Rate these Recordings: Three Versions of "O Paradiso"

[Derek McGovern]

For our second round of "Rate This Recording!", we're featuring Lanza's three complete versions of the aria "O Paradiso" from Meyerbeer's L'Africana. As with "And Here You Are" and "Beautiful Love," I hope you'll get into the spirit of things by listening to these recordings, rating them, and then coming back to discuss them here.

Here's the direct link to the poll and sound files feature for "O Paradiso":

http://www.mariolanzatenor.com/o-paradiso.html

These features take many hours to put together, so if you want the series to continue, why not participate? (Only ten members had their say last time, and the number of votes cast has been quite disappointing.) As I wrote on the earlier thread, I know that many of our members feel reluctant to join in on these sorts of threads because they feel they don't know enough about singing to contribute. Rubbish, I say! Any intelligent music lover should have something worthwhile to share here. It may be a particular phrase that caught your attention or something in the voice that spoke to you (or turned you off, as the case may be!). How did you feel about Lanza's approach to the song or aria? Was he over the top or did he touch you with some unexpected poetry? There is so much that can be said---and happily debated---and none of us is the final word on Lanza! So no excuse for lurking :)

[Shawn]

Once again, very well put together and including the translation is a nice touch.

1950 version: I had to think long and hard about it but, I say very good. =P He's in fine voice, but for reasons I can't completely explain, I don't get the sense he was really 'feeling' the character in this rendition. Exciting finish.

Coke show: Surprisingly, and especially in the first few lines of the recording, I feel his approach is more (appropriately) wistful and lyrical than the 1950 performance. It just feels somewhat rough around the edges though (even the orchestra sounds a bit amateurish to me in a few spots...) and perhaps the inferior audio doesn't do it any favors. Voice sounds good though, and another fine finish.

Serenade: Excellent! Beautiful contrast, he really seems to be giving attention to the text, and the voice is dark and ringing. Stylistically it's also a considerable improvement on the other two also- free of some of their mannerisms ("ma-HA-pa-HArtieni," and the like.) 

I found his approach to the line "Che l'Europa puo tutta arrichir" in this rendition interesting too. Rather than singing it in an almost jaunty optimistic tone (the 1950) or skimming through it (Coke show,) here he sings it a bit more introspectively...rather as you might imagine a man might say such a line when he has every reason to think he will soon die and never actually see his (slightly incongruous) dream come to fruition.

Love the ending here, brilliant high note and the cries of "a me!" are particularly convincing.

Thanks for prompting the re-listen. :)

[JOE]

Hi Derek....I also agree that being able to read the lyrics along with his singing is a nice touch and it adds a lot to the listening enjoyment.

 

I thought both the 1950 as well as the Coke versions were OK , BUT kinda "choppy". I realize that is not a very descriptive , musical term...but nevertheless it seemed  like he was singing one line at a time w/o the ususal flow.

 

 The Serenade version, however, was beautiful in every respect. It just flowed together, seamlessly and it was very convincing.He was in better voice throughout; just beautiful!

[Shawn]

Joe: I agree with you on the 'choppiness' (some might say sloppiness) and the coke version sounds particularly .....spasmodic? in parts. As always, it can be easy to overlook in the presence of such a naturally great sound....but listening again although I do find the finish to the 1950 exciting it is not, perhaps one of his best high notes. The '55 is really on another level.

[Savage]

The Serenade version with piano outshines all others.  The sound and phrasing are impeccable.  Vocally, the 1950 version is glorious, but it is not a smooth performance.  

                                                                      David

[leeann]

It's interesting that the progression of these three renditions might outline one course of Lanza's development as a singer--although a very broad pattern with frequent deviations.

And understanding, of course, that many factors can determine how well or how poorly anyone sings at a given time--health, the conductor, preparation, the audience, performance circumstance--so many elements I can't imagine. But still, it seems that these three versions maybe could epitomize the development of Lanza's profound interpretive nuances. By 1955, he embodies Vasco da Gama as an explorer who seems to have internalized his discovery, processed its meaning, and yet, facing his death glories in this understanding, but with constraint. It's a maturer, more thoughtful interpretation than that of 1950--and the Coke version seems a bridge (interpretively) between the two.

It's not the only time Lanza's ability to get in and under and around the lyrics, to embody them, shows a change from the earlier years to the later--certainly the Neapolitan and Italian songs do that as well.  And then there's the smashing Lamento di Federico at Albert Hall which seems to set aside convention but which takes us to the emotive heart of the words.

Of course, it's awfully dangerous to speak in generalities, and also, probably to try to pin down the sometimes erratic genius that was Mario Lanza.  But however it's defined, and despite the amazing heights of his earlier years,  overall (and highly arguably) to me there is a depth, an increased intertwining of musicality and meaning as Lanza matured and maybe these three versions help highlight that. (I also very much appreciated explanations of O Paradiso here on the earlier thread An Operatic Wish List.)  Best, Leeann

[Derek McGovern]

Hi Lee Ann: I loved this post, and I think there's a lot to be said for the 1955 "O Paradiso" being held up as an example of Lanza's development as a singer---or certainly as an operatic one. Certainly, when listened to alongside its equally splendid companion recordings from those 1955 soundtrack sessions ("Amor ti Vieta," "Di Rigori Armato," etc), it's obvious that the hit-and-miss qualities of his 1950-52 operatic output had been replaced by a much more consistent kind of artistry. Basically, it reveals what the man was capable of achieving when he wasn't being distracted by Coke Shows and other demands, and was properly prepared. Gone is the exaggeration and sloppiness that spoiled his earlier versions of this aria. Everything is right about this recording: the vocal control and that incredible solidity in his voice from top to bottom, the interpretation, the care with the musical line. I love it.

Definitely 5/5!

Cheers
Derek

[Derek McGovern]

I've just realized that I never posted my ratings for our poll on two of the three recordings of "O Paradiso," so here they are:

1/ RCA recording (1950): So-so ( 2/5). Mario's in great voice, as David pointed out above, but this is not a smooth performance. It starts out quite promisingly, but ends up being a bit of a mess of exaggerated phrases and choppiness, and with a poor final note---well described by Armando here:

"Actually, the last note (an F) in the 1950 O Paradiso is quite interesting. As you pointed out, Derek, Lanza gives the impression that he is swallowing it. What in fact happens is that he attacks the note open, realises he is in trouble and immediately reverts to a covered tone. The result is that he is virtually drowned out by the orchestra."

2/ Coke recording (1951): Poor! (1/5) About the only decent thing I can say about this performance is that the tricky "Tu" (on "Tu m'appartieni") is better than on the RCA recording, as is the ending. (Actually, the climactic high B-flat is pretty exciting!) In all other respects, it's a big disappointment: highly mannered singing---almost a caricature of the aria---and with some "dodgy" vocal moments. It also doesn't help that the orchestra is out of sync at times, and sounds woefully under-rehearsed.

3/ Serenade recording (1955): Excellent!! (5/5) See my comments above!

Cheers
Derek

P.S. Keep those votes coming in, folks, and post your comments on this thread! If you disagree with me or anyone else---and obviously many of our voters do, judging by the number who've rated the RCA & Coke versions as "excellent" or even "a masterpiece" :)---then why not share your point of view here?

[Derek McGovern]

Just a reminder that anyone can vote and comment on the renditions included in our "Rate this Recording" series. Things have been quiet recently, but if interest in the concept picks up, then I'll be happy to continue with it.