The Ultimate Lanza Italian/Neapolitan Album

[Derek McGovern]

Here's something to ponder: if you had the ear of SonyBMG and were in
a position to select the entire contents of a Lanza Italian/Neapolitan
CD, what recordings would you choose?

Assuming that the CD contained the standard 22 tracks, the compilation
couldn't consist exclusively of Neapolitan songs, as Lanza only
recorded 19 of those (plus a verse of Pecchè? when he was still a
teenager). So a combination of Neapolitan and Italian songs in that
case? If we exclude the aria-like Pietà, Signore and Victor Herbert's
Neapolitan Love Song (which, by the way, is actually sung in Italian,
not Neapolitan!), Lanza recorded 19 Italian songs.

So of those 38 songs, which 22 would you choose -- and which versions?

Here are the choices (commercial recordings only):

NEAPOLITAN SONGS (songs sung in Neapolitan dialect)
Mamma Mia, Che Vo' Sape? (1949, 1951, 1958)
Core ’Ngrato (1949, 1952)
O Sole Mio (1949, 1951, 1958)
'A Vucchella (1951 RCA & Coke; 1958)
Marechiare (1951 RCA & Coke; 1958)
Torna a Surriento (1951, 1955)
Funiculì Funiculà
Dicitencello Vuie (1952, 1958)
Maria Marì (1952, 1958)
Voce 'e Notte
Canta Pe' Me (1952, 1958)
'O Surdato 'Nnammurato
Comme Facette Mammeta?
Santa Lucia Luntana (1952, 1958)
Fenesta Che Lucive (1952, 1958)
Tu Ca Nun Chiagne! (1952, 1958)
'Na Sera 'e Maggio (1952, 1958)
Passione
Senza Nisciuno (1952, 1959)

ITALIAN SONGS
Vieni sul Mar
Musica Proibita (1952, 1959)
Vaghissima Sembianza
Serenata
Lolita (1949, 1951, 1957, 1959)
Luna d’Estate
L’Alba Separa dalla Luce l’Ombra
La Mia Canzone
Ideale
Santa Lucia* (1952, 1959)
Serenata (Drigo) (1950, 1951)
Serenata (Toselli) (1950, 1951)
La Spagnola
La Danza (1951, 1955)
Non Ti Scordar di Me
Mattinata (1949, 1951)
Parlami d’Amore, Mariù
Arrivederci, Roma (with screechy Luisa di Meo)
Ciribiribin


*Originally a Neapolitan song, but sung by Lanza in the (standard)
Italian translation.

[zsazsa]

Hi Derek,
your question is very interesting, although it is really difficult to
me sometimes choosing the right one, as sometimes I love two of them,
but here is what I´ve choosed as surely my favorites:

Mamma Mia, Che Voì Sape? 1949 (or the version in BYM is very near!)
Core `Ngrato 1949
O Sole Mio 1949
A`Vucchella 1951
Torna Surriento 1955
Dicitencello Vuie 1958
Maria Mari 1952
Voce è Notte
`O Surdato `Nnammurato
Santa Lucia Luntana 1958
Fenesta Che Lucive 1952
Tu can Nun Chiagne! 1958
`Na Sera `e Maggio 1958
Passione
Senza Nisciuno 1959
Musica Proibita 1952

L`Alba Separa dalla Luce l`Ombra

Ideale
Serenata (Toselli) 1950
La Spagnola
La Danza 1955

Non Ti Scordar di Me

But as I told you, it is very difficult to choose, as I`d also like to
put Serenata, Ciribiribin, Vieni sul Mar, Vaghissima Sembianza, Comme
Facette Mammeta?
Oh, yes it is difficult, because I think that all of Mario`s Italian,
Neapolitan Songs are master pieces, only the Funiculi Funicula I like
it much more in English, although it is really strange, as usually all
the songs or arias are always the best in the original language, the
other exception for me is the opera `Martha` which I like much more in
Italian (Mario`s fabulous version!) like in German.
I`m looking forward to see the oppinions of you all! Thanks a lot and
best wishes from Susan

[Mike McAdam]

Good thread Derek. Funnily enuff, a collection similar to this
recently dropped out of the sky and into my posession ;-))
Seriously, for me, the 22 picks were not too difficult at all. They
fell out almost automatically. As follows:

Mamma Mia, Che Vo' Sape? (1949)
Torna a Surriento (1955)
Dicitencello Vuie (1958)
Voce 'e Notte
Canta Pe' Me (1958)
Santa Lucia Luntana (1958)
Fenesta Che Lucive (1958)
Tu Ca Nun Chiagne! (1958)
'Na Sera 'e Maggio (1958)
Passione
Senza Nisciuno (1959)
Vieni sul Mar
Vaghissima Sembianza
Serenata
Lolita (1949)

L’Alba Separa dalla Luce l’Ombra
La Mia Canzone
Ideale

Serenata (Drigo) (1951)
Serenata (Toselli) (1950)

Non Ti Scordar di Me

Mattinata (1949)

I must admit that it was down to the wire in choosing between Non Ti
Scordar di Me and Parlami d'Amore Mariu. Both performances have their
great moments but are marred by some less-than-stellar singing in
others (almost shouting the notes in the "Parlami..." at times)
Would that BMG/Sony had an interest in serious song collections on
Lanza CDs, wot?
Cheers, Mike

[Jan Hodges]

Sorry Derek, I cant come up with any better collection than Mike has chosen. They are my picks too but not necessarily in the same order. My top picks are Ideale...because I particularly like the song itself as well as Mario's rendition Passione Na Sera e Maggio Tu Ca Nun Chiagne Senza Nisciuno Mamma Mia..... Canta Pe' Me    Then the rest in any order you care to put them. What a CD that would make! Someone ought to send a copy to Sony..:-) Regards Jan

[leeann]

The delightful problem with Mike's list is the selection of the last
two pieces. The choices of Non ti Scordar and Mattinata (1949) would
vie with Luna d'Estate, Core n'grato (1949), and Musica Proibita
(1959). But since this is about a compilation CD, not the desert
island list, I'd probably have to acknowledge that maybe di Stefano's
Non ti scordar di me is better, eliminate the controversial Core
n'grato, and in the end would probably stick with Mattinata and
substitute the tremendously moving Musica Proibita (1959). Best, Lee
Ann

[Derek McGovern]

Dear all: I'll chime in with my choices after a few more people have
commented, but I can tell you now that I won't be agonizing over
whether to include Mario's versions of Parlami d'Amore, Mariu' or Non
Ti Scordar di Me :) I actually prefer Di Stefano's version of the
former:

http://www.youtube.com/watch?v=a85sWyBCP5U) (even if he is past his
vocal prime). Just listen to how he *sings* it!

And I love what 62-year-old Carlo Bergonzi brings to the *words* in
this live performance of Non Ti Scordar di Me:

http://www.youtube.com/watch?v=k-cyNktoTNM

Cheers
Derek

[Vince Di Placido]

I have to say I really enjoyed Carlo's "Non ti scordar di me", it
moved me!
So now to choosing a track listing... Well I get something, even if
its only a line or a special bit of phrasing or a golden high note
from all of these recordings... But here is a 22 song choice, not in
any particular running order :-)

Mamma Mia, Che Vo' Sape? (1949)

'A Vucchella (1951 RCA)
La Mia Canzone
Lolita (1949)

Dicitencello Vuie (1958)
Voce 'e Notte

L’Alba Separa dalla Luce l’Ombra

'Na Sera 'e Maggio (1958)

Core ’Ngrato (1949) - Flawed yes, but I love this song & I find
something thrilling about Mario's obvious excitement at his first RCA
recording session.
Serenata
Serenata (Toselli) (1950) - I love this orchestration!
Torna a Surriento (1955)
Canta Pe' Me (1958)
Marechiare (1951 RCA) - Very Hollywood but it has a great atmosphere!
Ideale

Non Ti Scordar di Me

Comme Facette Mammeta? -

Tu Ca Nun Chiagne! (1958)

La Spagnola
Senza Nisciuno (1959)
Musica Proibita (1952) - I do love the 1959 recording but I think the
song suits Mario's younger voice better & he relishes his phrasing
here, slightly showy but I like it!
Passione - http://www.youtube.com/watch?v=s6cqIyX3b10

[Derek McGovern]

Interesting choices, Vince!

I'm intrigued that both you and Mike chose La Mia Canzone. Mike's only
recently discovered that recording (and instantly liked it), but I had
no idea it was one of your favourites. I like the first half very much
and also the ending, but I feel that Mario comes slightly unstuck
vocally in the second half (from "Ma, disfidando"). Still, a nice
recording, and I wouldn't be upset to see it on a compilation like
this. The 1952 Musica Proibita *would* bother me, though :) Sorry,
Vince (and Susan).

I thought about including Marechiare, but, as you say, it's very
Hollywood. (Mattinata suffers even more in that respect!) I also wish
that Mario had sung two verses instead of one. He's in great voice,
but I just feel he could have done more with it.

Bergonzi's forever ruined me as far as Non Ti Scordar di Me goes! He
may be as flat as a pancake in a couple of places, but (as you say)
it's a very moving piece of singing. This is how it should be sung,
not blasted to kingdom come, as the Coke Show arrangers wanted! But I
do love the tender opening verse of Mario's version, and I like the
first chorus.

Here are my choices, and in the order that I'd want them to appear on
the CD. I thought of grouping the Italian and Neapolitan songs
separately, but in the end I felt that chronological order was better.
That way we hear a gradually darkening Lanza voice rather than being
jolted back and forth from young Mario to later Mario (and from mono
to stereo, and back again). The exception, chronologically, is the
last track, as the magnificent Passione just had to end the
compilation!

I also tried to balance the moods between the 1958-59 songs, as I
realize that many of them are either anguished or reflective. That's
why Come Facette Mammeta pops up after 'Na Sera 'e Maggio, for
example.

It'll certainly be interesting to see how many choices we all have in
common once more people have posted.

1/ Mamma Mia, Che Vo' Sape? (1949)
2/ Core ’Ngrato (1949)
3/ Lolita (1949)
4/ Toselli's Serenade (1950)
5/ 'A Vucchella (1951 RCA)
6/ La Spagnola
7/ Torna a Surriento (1955)
8/ O Sole Mio (1958)
9/ Dicitencello Vuie (1958)
10/ Voce 'e Notte
11/ Canta Pe' Me (1958)
12/ Santa Lucia Luntana (1958)
13/ Fenesta Che Lucive (1958)
14/ Tu Ca Nun Chiagne! (1958)
15/ 'Na Sera 'e Maggio (1958)
16/ Come Facette Mammeta?
17/ Ideale
18/ Senza Nisciuno (1959)
19/ Vaghissima Sembianza
20/ L'Alba Separa dalla Luce l’Ombra
21/ Serenata
22/ Passione

Cheers
Derek

[Derek McGovern]

A PS to the above: I see that no one else has chosen the 1958 O Sole
Mio yet. Do give this recording some thought! Lanza may be slightly
tired here, but he sings the song so suavely and appropriately that it
deserves consideration. The 1949 and 1951 versions are not romantic at
all to my ears; they're simply exercises in power and vocal
pyrotechnics, courtesy of the ridiculously overblown arrangement that
turns a serenade into a stampede.

Finding a decent reproduction of the 1958 O Sole Mio is difficult,
though. On CD it usually sounds grainy and laboured. But *this*
reproduction is one of the best, and may even sway some of you :):

http://www.4shared.com/account/audio/-ZkcahqQ/O_sole_mio.html

[Derek McGovern]

One further thought: I'd always been in the minority in feeling that
Dicitencello Vuie was slightly below par in comparison with some of
the other 1958 Neapolitan recordings from the "Mario! album. But on
listening to the original LP version (which I do think is the best
reproduction of this recording), I felt it couldn't be left off the
list:

http://www.4shared.com/account/audio/vp8svtKV/Dicitencello_Vuie.html

[leeann]

Dear Vince and Derek,

When you all have time, you could you talk about why you all have
selected Come Facette Mammeta?

I love that piece--it's amazing to me that a voice as strong as
Lanza's is so light-hearted--to say nothing of the little chucke. I
love the orchestration--the interplay between Mario's voice, the
constant percussive background, the rise and fall of the strings. And
it's kind of fun to sing along. Lee Ann

[Vince Di Placido]

Derek, I have to say you have a real talent for spotting the best
reproductions & pressings of Lanza recordings. It makes such a
difference...
I grew up with my Dad's mono pressing of "Mario!" & I have to say that
I have never heard "Dicitencello Vuie" sound better, it had such life,
I love this song & I love Mario's performance.
As regards "O Sole Mio" I just don't care for the song really... It's
just a case of over exposure I think because sometimes I listen to a
performance & just now while listening to your link to a very good
reproduction of Mario's recording & I do like it but while growing up
in Edinburgh it was used in a British advertising campaign for
Cornetto ice cream & it became so very annoying & I would get teased
with people singing "Just one cornetto, give it to me, delicious ice
cream from Italy" to the chorus melody (which was the ad campaign) It
was sung at me because I was Italian & I would cringe, it was tacky in
the extreme!!! It got very old, very quickly!!!
If I hadn't lived through that annoying ad campaign & jingle then I
think I might have added Mario's 1958 "O Sole Mio" to my list of 22,
in place of "La Mia Canzone" which I struggled with including over
"Vaghissima Sembianza" I would be happy with either...
Derek, I know we will never agree on this but I do like Mario's 1952
Musica Proibita. Mario is being very cheeky in his performance &
dynamics but it suits the story of the song... It is the only
performance (along with "Lolita" & the 3 Neapolitan Albert Hall songs)
that I prefer early Mario over 1958/59 Mario.

[Vince Di Placido]

Hi, Leeann! "Comme Facette Mammeta?" is just adorable & Mario is in
great form vocally & the phrasing is perfect! Lovely orchestration
too. I play this song often, it is just great fun!!! When you think of
all the heartbreak & sorrow that is on the "Mario!" album & how well
Mario interprets that heartbreak then "Comme Facette Mammeta?" shows
how well Mario could handle different types of song & mood... This
song would be very clumsy in a lot of tenors hands. Mario is deft in
the extreme here!

[Derek McGovern]

Hi Lee Ann and Vince: Yes, "adorable"'s the word for Com(m)e Facette
Mammeta! As far as I'm concerned, everything about this recording is
perfection. Mario's in great voice, Ennio Morricone's arrangement is
exactly right, and Lanza and orchestra are so completely in sync with
one another that you'd swear they must have rehearsed this song to
death. (I wouldn't be at all surprised, though, if they got it right
on the first take.) And I love the perfectly executed ending!

Other favourite moments: that almost-indescribable "Neapolitan-ness"
in the way that Mario sings the line "Tutto chello ca mettatte?" the
second time, the emphasis on "bella" when he repeats "E pe' fa 'sta
vocca bella" (And to make that lovely mouth), and, yes, the chuckle
after "Tutt' e fravule 'e ciardino" (All the strawberries in the
garden). But most of all, it's the sense of joy that Lanza radiates on
this song that makes it such a winner for me. I find it impossible not
to listen to this recording without smiling.

Here's that link again to the superb original LP reproduction of Come
Facette Mammeta: http://www.4shared.com/account/audio/5jZE_qhk/Come_Facette_Mammeta.html

And here are the lyrics and English translation:

Comme Facette Mammeta? (Gambardella) 1906
How Did Your Mother Make You?

Quanno mammeta t'ha fatta When your mother made you
Quanno mammeta t'ha fatta When your mother made you
Vuo' sape comme facette? Do you know what she did?
Vuo' sape comme facette? Do you know what she did?

Pe' 'mpasta sti ccarne belle To cook up this nice dish
Pe' 'mpasta sti ccarne belle To cook up this nice dish
Tutto chello ca mettatte? What did she put in it?
Tutto chello ca mettatte? What did she put in it?

Ciento rose 'ncappucciate A hundred rosebuds
Dint' a martula mmescate She mixed with a mortar
Latte, rose, rose e latte Milk and roses, roses and
milk
Te facette 'ncoppo fatto! She whisked you up in the
blink of an eye!

Nun c'e bisogno 'a zingara It doesn't take a gypsy
P'andivina, Cunce' To figure it out, Cunce'
Comme t'ha fatto mammeta Just how mother made you
'o ssaccio meglio 'e te! I know better than you!

E pe' fa 'sta vocca bella And to make that lovely mouth
E pe' fa 'sta vocca bella And to make that lovely mouth
Nun servette 'a stessa dose There were other things she added
Nun servette 'a stessa dose There were other things she added

Vuo' sape che nce mettette? Want to know what she put in?
Vuo' sape che nce mettette? Want to know what she put in?
Mo te dico tuttecosa Now I'll tell you all
Mo te dico tuttecosa Now I'll tell you all

Nu panaro chino, chino A basket filled to the brim
Tutt' e fravule 'e ciardino With all the strawberries in
the garden
Mele, zuccaro e cannella: Apples, sugar and cinnamon
Te 'mpastaje 'sta vocca bella To make that lovely mouth

Nun c'e bisogno 'a zingara It doesn't take a gypsy
P'andivina, Cunce' To figure it out, Cunce'
Comme t'ha fatto mammeta Just how mother made you
'o ssaccio meglio 'e te! I know better than you!

[Derek McGovern]

Hi Vince: Oh, I completely agree that O Sole Mio as a song has been
done to death. Those Three Tenors concerts have a lot to answer for!
And yes, I remember the "Just one Cornetto / give it to me" commercial
in the UK; in fact, when I attended the British Mario Lanza Society
get-together in Birmingham in 1982, one of the less sane people there
insisted that it was Lanza singing those words on the ad!!

Knowing SonyBMG, though, they'd probably insist on such a popular song
being included on any Neapolitan collection. But if I had to
substitute it with another song, I'd go with Lanza's other Di Capua
ballad, Maria Mari'. I'm very fond of the 1958 version. Like the O
Sole Mio of a few months earlier, Mario does sound slightly tired here
(and, again, a couple of the lower notes are just a little shaky), but
he sings it *beautifully*. I love the smile in his voice on the third
line ("ca stóngo 'mmiez'â via..."), the magical way he elides from
"Nun trovo n'ora 'e pace" (I can’t get an hour’s peace) to "'a notte
'a faccio juorno" (The night’s the same as the day to me), and that
wonderful turn he does on "te" on the line "Quanta suonno agiu perse
pe' te!" (How much sleep I lose for you!) just before the end.

Here's a link to the original LP pressing:
http://www.4shared.com/account/audio/7Pc-7epj/Maria_Mari.html

And, for complete contrast, why not revisit the Coke version:
http://www.youtube.com/watch?v=KWj0jdBGEMM

Ye Gods, do only six and a half years separate these two recordings?!
Mario manages to mangle his Neapolitan to the point where he sounds as
though he's singing obscenities (of course, it doesn't help that many
of us have heard him swearing his way through the five takes that it
took to piece this recording together :)), he goes piercingly sharp,
and, to make matters worse, the first verse is repeated -- but only
the second half of it (from "Nun trovo n'ora e pace"), a decision that
mucks up the structure of the song. I hope this version never sees the
light of day again!!

Maria Mari’ (Di Capua-Russo) 1899

Arápete fenesta!
Open the window!
Famme affacciá a Maria,
And let Maria look out,
ca stóngo 'mmiez'â via...
I’m standing here in the middle of the road…
speruto d''a vedé...
Desperate to see her…
Nun trovo n'ora 'e pace:
I can’t get an hour’s peace:
'a notte 'a faccio juorno,
The night’s the same as the day to me,
sempe pe' stá ccá attuorno,
Always hanging around here,
speranno 'e ce parlá!
Hoping to talk to her!

Oje Marí', oje Marí',
Oh Marie, oh Marie,
quanta suonno agiu perse pe' te!
How much sleep I lose for you
Famme addurmí,
Just let me fall asleep,
una notte abbraciata cu te!
Hugging you for a night!
Oje Marí', oje Marí'!
Oh Marie, oh Marie!
Quanta suonno agiu perse pe' te!
How much sleep I lose for you!
Famme addurmí...
Just let me fall asleep…
oje Marí', oje Marí'!
Oh Marie, oh Marie!

Pare che giá s'arape
Now it looks like
na sénga 'e fenestella...
One of the window shutters is opening…
Maria cu 'a manella,
Marie puts out her hand,
nu segno a me mme fa!
And waves to me!
Sòna chitarra mia!
I play on my guitar!
Maria s'è scetata!...
Maria has woken up!
Na scicca serenata,
A lively serenade
facímmole sentí:
is making her listen:

Oje Marí', oje Marí',
Oh Marie, oh Marie,
quanta suonno agiu perse pe' te!
How much sleep I lose for you
Famme addurmí,
Just let me fall asleep,
una notte abbraciata cu te!
Hugging you for a night!
Oje Marí', oje Marí'!
Oh Marie, oh Marie!
Quanta suonno agiu perse pe' te!
How much sleep I lose for you!
Famme addurmí...
Just let me fall asleep…
oje Marí', oje Marí'!
Oh Marie, oh Marie!



On Sep 19, 9:26 am, Vince Di Placido <vincent.diplac...@gmail.com>
wrote:

[Derek McGovern]

Here's an alternative reproduction of the 1958 O Sole Mio. It's much
brighter, more vibrant-sounding version than the one I posted a link
for earlier, and the high notes ring out quite impressively. The only
downside is that it's not quite as resonant or warm as the other
reproduction. Definitely worth hearing, though, *especially* if you're
not a fan of the 1958 recording:

http://www.4shared.com/account/audio/NRCeF8pc/O_Sole_Mio_brighter.html

[Armando]

It wasn’t really that difficult to select 22 out of the 38 songs
listed, although in at least two cases it ultimately came down to
personal preferences. I have never cared for either Lolita or La
Spagnola. Both are well sung, but I find the first one pretty
ordinary as a composition and the second one reminds me too much of
the type of music sung at wedding receptions. I decided to include the
1949 Mattinata because, regardless of the totally inadequate
arrangement, Lanza is simply in stupendous voice and the top B natural
at the end is to die for. Similarly, I couldn’t overlook the 1949
Core’NGrato, the equally unsuitable arrangement notwithstanding.


Here is what I ended up with:

1) Mamma Mia Che Vo Sape -1949
2) Core ‘Ngrato -1949
3) A Vucchella-1951-RCA
4) Torna a Surriento -1955
5) O Sole Mio- 1958
6) Dicitencello Vuje -1958
7) Voce ‘e Notte
8) Canta Me Me -1958
9) ‘Na Sera e Maggio -1958
10) Passione
11) Fenesta Che Lucive -1958
12) Santa Lucia Luntana -1958
13) Tu Ca Nun Chiagne-1958
14) Come Facette Mammeta
15) Senza Nisciuno -1959
16) Mattinata- 1949
17) Toselli’s Serenade –1950
18) L’Alba Separa dalla Luce L’ombra
19) Ideale
20) Luna d’Estate
21) Vaghissima Sembianza
22) Serenata

[leeann]

What a great thread, and how interesting to hear different points of
view about these various pieces. The fringes of my list have changed
since the thread opened, thanks to various opinions, and it's
fascinating.

Maria, Mari' and 'O Surdato 'nnamurato seem to be two selections not
talked about quite so much. But I remember Vince sharing his memories
of the latter on an older conversation:
http://groups.google.com/group/mariolanza/browse_thread/thread/9c6c64d0854d3bfe/0638ff69fd0af264?lnk=gst&q=surdato+nnamurato#0638ff69fd0af264.
It certainly quite different from the World War I songs my grandmother
used to share, e.g. Mademoiselle from Armentieres and K-K-K Katy. :-)

I do love Lanza's baritonal sound on this one, the way he moves
triumphantly into each reprise of the chorus (Oje vita, oje vita mia,
oje core 'e chistu core...), the way he sort of glides over certain
passages. And the orchestration never competes with his voice--not
even on the climactic ending when brass instrumentation becomes more
prominent. But none of us have put it on our top 22 list. Best, Lee
Ann

[Derek McGovern]

Ciao Armando: Well, I can certainly understand your being turned off
La Spagnola because it sounds like a wedding number! I feel much the
same way about The Loveliest Night of the Year, with its merry-go-
round connotations :) Drigo's Serenade is another. In fact, it took me
years to like Be My Love as a song simply because I heard Harry
Secombe's version before I listened to Lanza's! (The way that Harry
squeezed out the high notes truly put me off the song.)

I do love the way Mario sings La Spagnola, though. It's a joyous
rendition even if the material (like more than a few of the Coke
numbers) isn't quite worthy of him.

As for Lolita, my only issue with the 1949 recording is the relatively
poor sound quality. Lanza seems to have been doomed to record the song
on days when the audio engineers weren't doing their jobs properly!
(Think of the appallingly recorded Seven Hills version or the sandy-
sounding and distorted 1959 rendition.) As a composition, I wouldn't
rate it up there with the likes of songs by, say, Tosti or De Curtis,
but as a piece of *singing*, I find it thrilling (especially when
played at a decent volume).

The high B in the 1949 Mattinata is indeed "to die for"!! (http://
www.youtube.com/watch?v=YX5Dhdd-z4Q) But that arrangement....grrr!!
They should have also trimmed a minute off the number, as it goes for
far too long for such a simple song.

Mattinata vs. Lolita? La Spagnola vs. Luna d'Estate? What do you
think, folks? I could happily live with either choice in each
instance, just as I wouldn't be bothered to see the RCA Marechiare on
this collection -- or, at a pinch, Non Ti Scordar di Me. The 1955 La
Danza (only selected by Susan so far) wouldn't bother me either,
though it sounds better in the Serenade film than it's ever done on LP
or CD.

Any other compilation choices? I was rather hoping that Lou and
Muriella would chime in, as I know Neapolitan and Italian songs are
close to their big hearts.

Cheers
Derek

[Derek McGovern]

Lee Ann wrote:

> Maria, Mari' and 'O Surdato 'nnamurato seem to be two selections not
> talked about quite so much. But I remember Vince sharing his memories

> of the latter on an older conversation.

>
> I do love Lanza's baritonal sound on this one, the way he moves
> triumphantly into each reprise of the chorus (Oje vita, oje vita mia,
> oje core 'e chistu core...), the way he sort of glides over certain
> passages. And the orchestration never competes with his voice--not
> even on the climactic ending when brass instrumentation becomes more
> prominent.  But none of us have put it on our top 22 list. Best, Lee
> Ann

Hi Lee Ann: I'm also fond of Lanza's 'O Surdato 'Nnammurato (and I see
that Susan included it on her list), but I don't regard it as one of
the highlights of the "Mario!" album. (Let's face it: the competition
is intense!!) Maybe it's the fact that its track placement on the LP
and CD is straight after Canta Pe' Me -- on which Lanza is in
glorious, ringing voice -- but I've always found Mario slightly
sluggish on this recording. I like the arrangement, and I also like
the unusually slow tempo (virtually everyone else sings it flat out),
but I think it should have been sung in a slightly higher key.

My favourite moments on the recording: the way Lanza glides in the
second verse from "Nu penziero mme cunzola" to "ca tu pienze sulamente
a me..." (And one thought consoles me / That you only think of me) and
then, immediately afterwards: "'A cchiù bella 'e tutt'e bbelle" (The
most beautiful of beautiful women). I also love the way he gets his
second wind in the reprise, giving it that Lanzarian sense of urgency:
http://www.youtube.com/watch?v=9LI-0ARTmj8

Cheers
Derek

PS It's great when people explain their choices, rather than just
listing them. Thanks, Lee Ann.

[Armando]

Hi Derek:The 1955 La Danza with appropriate sound is certainly a
worthy contender and I must say that I also like O surdato very much,
( Lee Ann will be pleased!) and in fact almost included it as it is
well sung even though Lanza’s handling of it is a little heavy in a
couple of spots.

Unlike you I don’t mind Drigo’s Serenade at all but it should have
been sung at a slower tempo, more like the Gigli version, but minus
the sobs, of course!

I’m fine with Marechiare but I don’t like Non ti Scordar Di Me, which
in my opinion, along with Parlami D’Amore Mariu’, is one of his most
un-Italian performances of an Italian song. By this I mean that the
approach and emphasis on the words are wrong. The Italian in both
songs is fine.

Strangely enough the approach and the Italian are perfect in the
inconsequential but brilliantly sung Ciribiribin.

Cari saluti

Armando

[Tonytenor]

My goodness what a task. This has been a real challenge and certain
songs that did not make the cut, geez Beav!

Anyway, here are my 20 not in any particular order. Incidently,
Armando I agree with you totally about "Parlami d"Amore Mariu" and
"Non ti Scordar d Me" and you've so very well too. Lanza's reading of
both pieces is very un-Italian. It's unfortunate too because I love
both songs and have enjoyed singing "Parlami.." for many years.

This may not be the ideal Neapolitan Serenade album for everyone but
I guess for me it's about as close to perfect as i can get given the
restrictions and such.

All the best,

Tony

1. Core ‘Ngrato (1949)
2. O sole mio (1958)
3. Torna a Surriento (1955)
4. Dicitencello Vuie (1958)
5. Santa Lucia Luntana (1958)
6. Passione
7. Tu Ca Nun Chiagne (1958)
8. ‘A Vucchella (1951 RCA)
9. ‘A Vucchella (1958)
10. Mamma Mia, Che Vo’ Sape? (1949)
11. Mamma Mia, Che Vo’ Sape? (1958)
12. L’Alba Separa dalla Luce l’Ombra
13. Ideale
14. Vaghissima Sembianza
15. Lolita (1949)
16. Toselli: Serenata (1950)
17. Voce 'e Notte
18. Canta Pe' Me (1958)
19. Na Sera ‘e Maggio (1958)
20. Musica Proibita (1959)

> > listing them. Thanks, Lee Ann.- Hide quoted text -
>
> - Show quoted text -

[Derek McGovern]

Hi Tony: Thanks for your list! But you didn't need to restrict
yourself to 20 tracks, my friend; 22 is the standard number on Lanza
CDs these days!

I must say I'm curious as to why you chose the Albert Hall versions of
'A Vucchella and Mamma Mia, Che Vo' Sape, as well as the commercial
recordings of these songs. Wouldn't it be better not to double up on
the titles on a single-CD compilation? Or couldn't you decide which
version you preferred?

For my money, the commercial versions of both these songs are much
superior to the Albert Hall performances. I feel that Mario starts out
well on the Albert Hall 'A Vucchella, but loses his way somewhat
towards the end. I find it OK, but not memorable. The Albert Hall
Mamma Mia, Che Vo' Sape, on the other hand, features a brilliant
ending (terrific high B Flat!), but pitch-wise (and in other respects)
is pretty hit and miss before that. Still, both of these performances
are far better than the other Neapolitan rendition from that evening,
Marechiare, which for me is the low point of the recital.

Lanza's in great voice, though, on the Albert Hall recital. I just
wish that he could have combined the style that he brought to the rest
of his singing that year (For the First Time and "Mario!") with that
magnificent sound.

Cheers
Derek

[Tonytenor]

Hi Derek: Great news, I shall add two more. I doubled up, so to
speak, because, while I agree with you about the studio versions of
"Mamma Mia, Che Vo' Sape" and ""A Vucchella" being technically vocally
superior, I'm one of these nuts that really feels there is a
connection, an electricity between a performer and their audience.
That's why I'll opt for a live version of a performance of a piece
almost every time.

A very good example of this I think is Sergio Franchi, who is a singer
I enjoy greatly. Much of his studio recorded legacy is wonderful but
for my money, the finest recording he ever made was his LIVE AT THE
COCOANUT GROVE album. He is in superb voice - and he probably knew it
for I think he pushes the envelope a time or two - and his connection
with his audience is fully evident from the start. He weaves a
magical musical world for his audience that doesn't falter or end
until his unique and moving reading of "Core 'Ngrato."

I watched the tape of Mario and Betty on the Christopher TV program
the other night and it was so evident how very nervous Mario was
throughout the entire program. At times he seemed truly rambling. As
for his singing, I would say it was marginal at best. I got the
feeling that he didn't trust himself or his voice. The three
selections he sang were all in a very moderate range for him and the
only taxing or challenging note he sang the during the entire program
was the final note on "Because You're Mine" (I'm not even sure it was
a B-flat). Whatever the actual note it was quite spread and not
covered and focused as on the RAH recording for example. My point in
bringing this up is to, in a way, answer you question; why two of the
same song? I think, and this is just my opinion, Mario was, by
nature, somewhat shy and insecure about things. One thing he was sure
of and was secure in was his voice and the connection he had to his
audience. Since there are so few opportunities for us to enjoy him in
that idiom and feel or sense that connection, I wanted to include,
when possible, some selections from the RAH concert because I think he
very much connected with his audience on January 16, 1958. What are
your thoughts Derek?

[Barnabas Nemeth]

Come on guys,

 

Where is the Fenesta Che Lucive, and the Drigo Serenade, or the Non ti Scordar di Me?

 

Barnabas

[Derek McGovern]

Hi Barnabas: I'm puzzled by your post! Did you not read the earlier
messages in this discussion thread?

If you go back and read the posts, you'll see that Fenesta che Lucive
(1958 version) is on my list, and that at least a couple of people
chose Non Ti Scordar di Me. (I mentioned that I preferred Bergonzi's
version and provided the link to a live version of his.) Armando
discussed Drigo's Serenade, and stated that he liked it, but wished
the tempo had been slower.

On Sep 23, 10:54 pm, Barnabas Nemeth <barnabasneme...@gmail.com>
wrote:

[Derek McGovern]

Hi Tony: There's nothing "nutty" about feeling there's a connection
between performer and audience, and the Albert Hall recital provides
thrilling proof of that electricity. It's just that I don't think 'A
Vucchella and Mamma Mia, Che Vo' Sape are the best examples of that
connection. But the Albert Hall Lamento di Federico, Because You're
Mine, etc: absolutely.

Yes, it would be nice to be able to include a live performance on a
Neapolitan/Italian collection, but I don't think it should be at the
expense of something like the terrific 1959 Senza Nisciuno. It's very
frustrating that none of Lanza's other concerts on that final tour
were recorded, as, by all accounts, he sang better than at the Royal
Albert Hall on quite a few occasions.

One live performance of an Italian song that I do like is the Albert
Hall Gia', il Sole del Gange. Mario sings it well. Technically,
though, it's an aria, and I think it would be out of place on a
collection devoted to 19th & 20th century Italian & Neapolitan songs.

I wouldn't describe Mario's singing as "marginal at best" on the
Christopher Show. Baron's not much help with his accompaniment on the
Ave Maria (or on any of the songs), but I quite like the Santa Lucia
and Because You're Mine. Sure, the last note on BYM is much better on
the Albert Hall recital, but let's not forget that Lanza's performing
in a small room rather than a massive auditorium, and everything is
therefore scaled down. But don't underestimate the difficulty of a
song like Because You're Mine. I think he's in surprisingly good voice
here for someone who had done virtually no singing for months.

Cheers
Derek

[leeann]

Derek wrote:

> Mattinata vs. Lolita? La Spagnola vs. Luna d'Estate? What do you
> think, folks? I could happily live with either choice in each
> instance, just as I wouldn't be bothered to see the RCA Marechiare on
> this collection -- or, at a pinch, Non Ti Scordar di Me. The 1955 La
> Danza (only selected by Susan so far) wouldn't bother me either,
> though it sounds better in the Serenade film than it's ever done on LP
> or CD.

Happy holidays, Derek!

Those are some kind of thought-provoking pairings and suggestions
you've made there.

Hmm, La Spagnola vs Luna d'Estate. Interesting juxtaposition. Well,
they're both light-hearted. And from Armando's characterization of La
Spagnola as appropriate for wedding receptions, I would make a guess
that Lanza's beautiful rendition is perhaps another instance where he
takes a song and makes it so much bigger, so much more than one has a
right to expect. It's thrilling, really, and talk about light and
shade as he glides through the reprise of each verse with extra
emphasis on the last couplet.

But I'd vote for Luna d'Estate, hands down. I think there's so much
more to the lyrics and I suspect that this song requires so much more
of the singer than La Spagnola. But Armando is the only one who's
put it on the list so far, I believe.

So excuse me for asking why again, Armando, but if you have time?

That selection amazes me because Lanza's voice is so rich, so deep
here, and like other Mario! and Caruso Favorite selections, there's
such a beautiful harmony between interpretation and vocal technique.
With Luna d'Estate, it seems as though he's telling us a story, almost
like a conversation, until the really critical "ah-ha" point, the
couplet that
begins "E chi le guarda soffre per amore... "(And whoever sees them
suffers..."). Then he brings us back to that theme again as he moves
so
grandly into the couplet "Ho il pianto agli occhio e la speranza in
cuore..." (I have tears in my eyes and hope in my heart...").

I had to listen to di Stefano and Bergonzi on this one, too, and
Caruso, of course, on YouTube. I'm a pretty big fan of the Bergonzi
voice, and his rendition didn't disappoint. Di Stefano surprised me.
On first listen, his interpretation was so light, so evocative of a
summer romance, summer moon, etcetera. I like his lyrical
interpretation, and I think maybe it's best to focus on the
interpretive strength he brings because t on second listen, it was
less entrancing--his voice sounded strained in parts; the piano kind
of out-of -synch.

Here are YouTube links to those pieces:

Bergonzi: http://www.youtube.com/watch?v=LCdXdLvQY6g
di Stefano: http://www.youtube.com/watch?v=h2tc70uXn3g

Thanks, Derek, for keeping the postings going even during the
holiday! Best, Lee Ann

[Lou]

Hi Derek: You're right, I do have a big heart for Lanza's Neapolitan
and Italian songs, so big that there's room for all of them with the
possible exception of the 1952 Core 'Ngrato. I don’t think I’ll ever
get used to that embarrassing “core” in the reprise.

Here are my top 22:

1. Mamma Mia, Che Vo' Sape? (1949)
2. Core ’Ngrato (1949)
3. Lolita (1949)
4. Toselli's Serenade (1950)
5. A Vucchella (1951 RCA)
6. Ciribiribin
7. Torna a Surriento (1955)
8. La Danza (1955)
9. O Sole Mio (1958)
10. Dicitencello Vuie (1958)
11. Voce 'e Notte
12. Canta Pe' Me (1958)
13. Tu Ca Nun Chiagne! (1958)
14. 'Na Sera 'e Maggio (1958)
15. Passione
16. Come Facette Mammeta?
17. Ideale
18. Senza Nisciuno (1959)
19. Luna d’Estate
20. Vaghissima Sembianza
21. Serenata
22. L'Alba Separa dalla Luce l’Ombra

As you may notice, this list is similar to yours except I bumped off
La Spagnola, Santa Lucia Luntana, and Fenesta Che Lucive (and its
wormy corpse’s mouth – did the lyricist have to be so disgustingly
graphic?) to make way for the following:

1. Ciribiribin – Irresistibly singable and danceable, this breezy
ballad shows what vocal magic Lanza can coax out of a meaningless
tongue-twisting word. I wonder if Caruso does as well in his 1909
recording. (I haven’t been able to find a copy.)
2. La Danza (1955) – The fresher, brighter sound of early Lanza would
have been a better fit for this dizzying, light-hearted number, but
who cares, given the amazing agility of his voice and his clear
articulation meeting the challenge of the breakneck tempo. And who can
fail to be thrilled by the breathtaking last note that he holds
forever?
3. Luna d’Estate - I love the hypnotic rhythm of this piece. Here
again, the sound of Lanza’s Coke period would have been perfect, but
his now heftier, deeper voice has no problem evoking the “constantly
moving wave (un'onda senza posa)” that the singer likens his heart to.
The final note of the melismatic “Ah”, floated mezza voce, takes my
breath away.

I heartily go along with your idea of arranging the tracks
chronologically, but I leave Passione where it belongs in the
timeline. Instead, I finish with L’Alba Separa, whose searing last
line, E dal sogno mio breve il sole eterno!, haunts me to this day.

Best,
Lou

On Sep 21, 1:28 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> Ciao Armando: Well, I can certainly understand your being turned off
> La Spagnola because it sounds like a wedding number! I feel much the
> same way about The Loveliest Night of the Year, with its merry-go-
> round connotations :) Drigo's Serenade is another. In fact, it took me
> years to like Be My Love as a song simply because I heard Harry
> Secombe's version before I listened to Lanza's! (The way that Harry
> squeezed out the high notes truly put me off the song.)
>
> I do love the way Mario sings La Spagnola, though. It's a joyous
> rendition even if the material (like more than a few of the Coke
> numbers) isn't quite worthy of him.
>
> As for Lolita, my only issue with the 1949 recording is the relatively
> poor sound quality. Lanza seems to have been doomed to record the song
> on days when the audio engineers weren't doing their jobs properly!
> (Think of the appallingly recorded Seven Hills version or the sandy-
> sounding and distorted 1959 rendition.) As a composition, I wouldn't
> rate it up there with the likes of songs by, say, Tosti or De Curtis,
> but as a piece of *singing*, I find it thrilling (especially when
> played at a decent volume).
>

> The high B in the 1949 Mattinata is indeed "to die for"!! (http://www.youtube.com/watch?v=YX5Dhdd-z4Q) But that arrangement....grrr!!

[Armando]

Hi Lee Ann,

The main reason I picked Luna D’Estate is, again, a question of
personal preference or, in this case more of nostalgia, as it was one
of the very first songs that I learned when I began studying singing.
But I do like it’s lilting pace and poetic lyrics.

Actually, there’s a little anecdote that you will probably find
amusing. My teacher used to name the songs he wanted me to learn, but
occasionally he would ask me to make a suggestion, naturally I went
for the songs I already knew, so in this particular instance I chose
Luna D’Estate. When I sang the song at my next lesson my teacher was
both complementary and rather surprised that I had picked it up so
fast, he also felt I had sung it “straight,” (without any
exaggerations) so he asked me if I had listened to any particular
recording, I said yes, Mario Lanza.
Rather amazed look from the old man, since he regarded Lanza as a
vocal phenomenon, but he also thought that at times he was way over
the top.

Lanza certainly sings it “straight”, but the mezza voce ending, as Lou
has pointed out, is a lovely touch.

Di Stefano was already in serious vocal decline in 1968 but, as usual,
his masterly phrasing is something to behold. Bergonzi, while not
possessing the greatest of voices is seldom disappointing –a pretty
stylish singer.

By the way, welcome back Lou!

[Tonytenor]

Hi Derek: Thanks for your your post. You make some very good points
and believe me, I know first hand how difficult a song "Because You're
Mine" can be to sing having sung it many times in concert in the
tribute section I had to Mario in my one of my concert programs. It's
also interesting what you said about his not singing for months. I am
not fully clear on the specifics leading up to the Chistopher Show but
I shall consult Armando's book and reacquaint myself with the facts.
It is clear he is quite thin and, as we have heard in the past, Lanza
often times preferred to sing when he was a bit heavier - perhaps he
felt he had, and was connected to, his physical strength then. I
cannot wholly agree with you about how he sounds on the Christopher
Show but there are several factors at play here and Paul Baron is one
of them. By the way, where did that sour fellow come from anyway and
how did he work his way into Lanza's life. I recall reading in
Armando's book that Baron told Armando, during one of their
interviews, that Mario wasn't a tenor at all but a pushed up
baritone. What nonsense.

Anyway, back to Neapolitan canzone. Your points and opinions are
quite compelling. So much so that I find myself going back to the
drawing board - not to completely start anew but to make some
revisions. Ah, the art of persuasion - it's a wonderful thing. And
delightfully fun to banter back and forth on a subject known very well
and cared for so deeply.

Cheers,

Tony

> > > 22)    Serenata- Hide quoted text -

[Derek McGovern]

Hi Lee Ann: The "happy holidays" are sadly over! I was back at work
today :(

Still, you'll be amused to know that I was in the middle of playing
Bergonzi's Luna D'Estate through the fantastic speaker/internet set-up
in my classroom today when the students rolled in. I don't think those
19-year-olds knew what to make of it!

But thanks for the Bergonzi & Di Stefano links. Di Stefano's middle
register remains beautiful on this late (1968) performance, and the
man could still weave a spell with a song, but the way he went
horribly flat every time he ventured out of his vocal comfort zone
made for some uncomfortable listening. Bergonzi, on the other hand, is
in his element vocally here, and he sings it very well. I'd actually
rate his rendition a notch above Mario's. It's more buoyant -- which
is how it should be, I feel. For once, I feel that Lanza is too
"straight" here, as Armando noted in his post above, though I do love
his beautiful ending. (Jim Kilbourne once described it as "like a
haunted whisper from a less painful and more tender past.")

So, yes, I'm still inclined to leave Luna d'Estate off my
list...sorry!

Cheers
Derek

[Derek McGovern]

Hi Lou: I'm not surprised you left the 1952 Core 'Ngrato off your
list! I still remember your telling me how you burst into laughter the
first time you heard Mario's hysterical second "Core" on the reprise.
Definitely *not* the reaction that he was aiming for, I'd say! :)

Sorry: I simply can't stand Ciribiribin as a song! But you've got me
very curious now about Caruso's version; has anyone here heard it,
and, if so, how does it compare with Lanza's recording?

I was interested in your idea of ending the CD with L'Alba Separa.
That would certainly ensure that it finished with an emotional wallop!
The only downside would be that the note is not one of Mario's best
high B-Flats, and while it doesn't bother me at all, I think the CD
should either end spectacularly (from a vocal perspective) or very
quietly. My compromise choice if we were going for chronological order
would therefore be Ideale. Just imagine: "Torna . . .torna" and then
silence. Chilling stuff!

Great to have you back, and in top form too!!

Cheers
Derek

[Derek McGovern]

Hi Tony: Baron told me that he first met Lanza in the US. Mario had
greeted him enthusiastically on learning that he was a fellow Italian-
American. As the unsentimental Mr. Baron recalled the occasion, "When
he heard that I had Italian blood, he embraced me -- what a lot of
shit!" Baron was subsequently reintroduced to Lanza (by a sponger by
the name of Alex Revides, whom you can read about in Armando's book)
when they were both living in Rome.

Incidentally, Baron claimed that he had produced the "Mario!" album.
It's possible, I suppose. And, yes, he did make the ridiculous
statement during our brief conversation that Lanza was really a
baritone. (Baron's kind of tenor was Mario del Monaco.)

But while Baron wasn't much of a pianist -- as the Christopher Show
makes very clear! -- he *was* a decent conductor, and I suppose we
should be grateful to him for serving Lanza well on the Caruso
Favorites disc. I can't help wondering, though, what the results would
have been like if Ferrara had conducted the album instead.

Cheers
Derek

[Barnabas Nemeth]

I see but even though I don't agree with you.

Thanks,

Barnabas
 

[Tonytenor]

Hi Derek: What a great deal to ponder. So Baron's type of tenor was
Del Monaco eh? I wonder if Baron knew that Del Monaco didn't have
anything worthwhile above a B-flat and sustained high notes terrified
him. And by the way, wasn't it Del Monaco who returned to the
baritone repertoire in later life and sang Iago in many of the same
houses he had enjoyed success as Otello? So that was Baron's kind of
tenor eh? Well that goes to show that he knew the tenor voice well I
would say.

I would love to have seen what Constantine Callinicos might have
brought to the CARUSO FAVORITES album instead of Baron. Just a few of
the advantages Costa would have brought to the session that Baron
could not: True respect and admiration for Lanza's voice and its
abilities, An understanding of how the artist works and how to get the
very best from him. How to conduct him and make suggestioins to him
without embarassing or angering him. Finally, how to conduct the
finished piece, that which was contracted for.

Anyway, it's an interesting exercise in thought. My revised song list
to follow shortly.

Ciao, Tony

> > > - Show quoted text -- Hide quoted text -

[Derek McGovern]

Hi Tony: It was actually Ramón Vinay, not Del Monaco, who sang Iago
late in his career. But you're right about Del Monaco steering clear
of high Bs and (especially) Cs.

It's fun to speculate how differently Mario might have performed the
Caruso Favorites with either Ferrara or Callinicos. Regardless of my
opinion of Baron the person, I do think he was a good conductor, and I
certainly hear a much more inspired orchestra on both the Christmas
album and Caruso Favorites than I do on the Vagabond King album with
Callinicos. (Presumably, it was the same orchestra.) There's also some
good orchestral playing on the 1959 Student Prince (Thoughts Will Come
to Me, for example) under Baron, much as I dislike some of the
arrangements.

Yes, Mario does sound tired on many of the Baron recordings, but the
same could be said of the two 1959 albums with Callinicos. In any
event, the bottom line for me is that, irrespective of Callinicos'
rapport with Lanza, the Caruso Favorites album is by far the best of
the 1959 albums.

Had Ferrara been on board, though, for Caruso Favorites, we would have
had the advantage of an outstanding conductor -- as opposed to a
competent one like Baron -- who might well have inspired Lanza to sing
with more of the buoyancy and phrasing magic that we hear on the
"Mario!" album. As I said, it's fun to speculate!

> ...
>
> read more »

[Tonytenor]

1. Core ‘Ngrato (1949)
2. O sole mio (1958)
3. Torna a Surriento (1955)
4. Dicitencello Vuie (1958)
5. Santa Lucia Luntana (1958)

6. Passione (1958)

7. Tu Ca Nun Chiagne (1958)
8. ‘A Vucchella (1951 RCA)

9. La mia cazone (1959)
10. Mamma Mia, Che Vo’ Sape? (1949)
11. Mamma Mia, Che Vo’ Sape? (1958)
12. L’Alba Separa dalla Luce l’Ombra (1959)
13. Ideale (1959)
14. Vaghissima Sembianza (1959)

15. Lolita (1949)
16. Toselli: Serenata (1950)

17. Voce 'e Notte (1958)

18. Canta Pe' Me (1958)

19. Na Sera ‘e Maggio (1958)
20. Musica Proibita (1959)
21. Senza Nisciuno (1959)
22. Luna D'Estate (1959)

There, that looks a bit better. Say, I believe I read, a good long
time ago - perhaps it was in her book about her husband, that "Luna
d'Estate" was the first recording Dorothy Caruso listened to, of her
husband's, after he died.

Yes, it is from her book. After Enrico has died, Dorothy is still in
Naples and she writes:

I knew that one day I would have to hear his voice again on a record.
The thought that it might come from a strange house, through an open
window, was unbearable - I could prepare myself for this anguish only
by first facing it here, and alone. One afternoon I sent all the
servants out of the villa and went to the music room. I chose one of
the gayest of his songs, "Luna d'estate," and put it on the victrola.
Once again his voice was in the room, but I sat listening almost
without recognition, my heart locked in ice, until I saw Gloria
stumbling through the doorway, holding out her arms and calling ,
"Daddy! Daddy!"

What a scene, my god. I'm picturing Ann Blyth right now....

> ...
>
> read more »- Hide quoted text -

[Lou]

Hi Derek: I chose L'Alba Separa as the closing number because I've
always regarded it as the closest thing to a Lanza valedictory.
However, I defer to your discriminating ear, so if you say the high B-
flat is not one of Lanza's best, I'll drop the idea in a heartbeat. On
the other hand, ending the album with his achingly wistful
"Torna ...torna" will indeed work to chilling effect, but isn't it a
bit ironic that a song sung in a baritonal key should ring down the
curtain on a compilation of the definitive renditions of arguably the
greatest tenor voice of the 20th century? Perhaps we should stick to
Passione after all.
Lou

[leeann]

Morning (or whatever part of the day it is where you are), everyone.

Tony, thank you for that great Caruso anecdote. There certainly are
some good stories on this thread about Luna d'Estate.
Thanks Armando and Derek! Big smiles on this end.

Ending an album with "torna...torna." Stunned silence would fall
before thundering applause. But perhaps the totality of Passione and
that stunning ending do make it the ultimate finale.

I have often wondered, though, how the sequencing of pieces was
determined
on both Mario! and Caruso Favorites. Passione is so beautifully
placed at the end on Mario!, but I'd call Santa Lucia a bit of an anti-
climactic last track for Caruso Favorites.

But then, I have bad childhood memories of that song--not like
Vince's experience with O Sole Mio, but the two songs we sang every
year in elementary school were Funiculi, Funicula and Santa Lucia
(English, of course). I think it was intended as part of our
international exposure then. Awful. I can never get "FINICK
yoooooleeeeee, FINICK yoooooooolAAAAAAH" out of my head, and Santa
Lucia
is similarly stuck. It would take a Caruso, Bergonzi, di Stefano,
Lanza ensemble to banish the memory. Maybe.

Best, Lee Ann

[Derek McGovern]

Thanks for your updated list, Tony. Our choices are getting closer, I
see! :)

I've just been reviewing everyone's selections, and here are the
recordings that appeared on every list:

1/ Mamma Mia, Che Vo' Sape (1949)
2/ Toselli's Serenade (1950)
3/ Torna a Surriento (1955)
4/ Dicitencello Vuie (1958)
5/ Voce 'e Notte
6/ Tu Ca Nun Chiagne! (1958)
7/ 'Na Sera 'e Maggio (1958)
8/ Ideale
9/ Senza Nisciuno (1959)
10/ L'Alba Separa dalla Luce l'Ombra
11/ Passione

Interesting! So we all agree on exactly half of the CD's selections!

The other recordings that were *almost* unanimous favourites were the
1958 Canta Pe' Me (only Susan didn't include it) and the RCA versions
of 'A Vucchella and Core 'Ngrato (Mike was the sole "dissenter").

> ...
>
> read more »

[Jan Hodges]

Well Derek if you add those 3 "almosts" that makes 14 which leaves just 8 , Not too bad considering. Jan

[Derek McGovern]

Hi Lou and Lee Ann: Yes, good point (Lou) about the irony of ending a
great tenor's compilation with a song performed in a baritonal key.
The more I think about it, I agree with Lee Ann that ending the CD
with Passione is the only way to go. But Ideale would be the perfect
penultimate track, I feel.

Lee Ann: I've also often pondered the order of the tracks on several
Lanza albums. Hats off, though, to the person responsible for the
sequencing on the "Mario!" album. Everything works beautifully, with a
lively song beginning each side of the disc, and Passione ending the
album. I also like the placement of Tu Ca Nun Chiagne straight after
Santa Lucia Luntana and Fenesta che Lucive. Here we have two
reflective songs sung in a very baritonal voice, and then we revert to
the startling tenorial brilliance of Tu Ca Nun Chiagne. Perfectly
placed! And it was right for Fenesta to follow Santa Lucia Luntana,
and not the other way round. It would have been too much a tonal shift
to have gone straight from the gaiety of Come Facette Mammeta into the
aching sadness of Fenesta che Lucive.

The last trio of songs on Side Two (Tu Ca Nun Chiagne, 'Na Sera 'e
Maggio, and Passione) are also an ideal grouping.

On the Caruso Favorites disc, the opening tracks on each side are
again well chosen (Vieni sul Mar & Luna d'Estate), with both of them
appropriately light in mood. Both sides of the disc end with lack-
lustre renditions (Lolita and Santa Lucia), however. In fact, these
are arguably the only truly disappointing pieces of singing on the
album. I would have placed these tracks second on each side just to
get them out of the way! To go from something as haunting and
beautifully sung as Ideale to a number as (relatively) trite as Santa
Lucia was a big mistake, and, what's more, Mario noticeably tires in
the second verse. For my money, Musica Proibita would have been a much
better choice for the closing track.

Actually, the only Lanza version of Santa Lucia (of the four he
recorded) that really works for me is the laidback lower-key version
that he made for The Great Caruso. It wasn't used in the film --
probably because 'A Vucchella served the same purpose (more's the
pity, since Santa Lucia is better sung!).

Cheers
Derek

[leeann]

Dear Derek, Thank you so much for parsing this out! Just a quick
comment--I had to laugh that, in this age of CDs, it hadn't occurred
to me to think of these presentations in terms of two-sides, rather
than as a continuous, uninterrupted sequence. Best, Lee Ann

[Mike McAdam]

Wow! just back from my 15 Sept to 15 Oct foray and am amazed at the
great posts this thread evoked between those dates.
Today I listened again to some of my "lesser" choices and gave
another spin to my 'Rarities' CD containing the herein-mentioned Santa
Lucia ....the one recorded for The Great Caruso and never used. I am
definitely inclined to put this well-delivered piece into my top 22 in
place of Non Ti Scordar di Me. Has everyone here had the opportunity
to hear this lovely film outtake?
Cheers, Mike

On Sep 12, 10:07 pm, Mike McAdam <macadame...@ns.sympatico.ca> wrote:
> Good thread Derek. Funnily enuff, a collection similar to this
> recently dropped out of the sky and into my posession ;-))
> Seriously, for me, the 22 picks were not too difficult at all. They
> fell out almost automatically. As follows:

>
> Mamma Mia, Che Vo' Sape?   (1949)

> Torna a Surriento   (1955)
> Dicitencello Vuie   (1958)
> Voce 'e Notte
> Canta Pe' Me    (1958)
> Santa Lucia Luntana   (1958)
> Fenesta Che Lucive     (1958)

> Tu Ca Nun Chiagne!    (1958)

> 'Na Sera 'e Maggio       (1958)

> Passione
> Senza Nisciuno       (1959)
> Vieni sul Mar
> Vaghissima Sembianza
> Serenata
> Lolita   (1949)

> L’Alba Separa dalla Luce l’Ombra

> La Mia Canzone
> Ideale
> Serenata (Drigo)  (1951)
> Serenata (Toselli)   (1950)
> Non Ti Scordar di Me
> Mattinata     (1949)
>
> I must admit that it was down to the wire in choosing between Non Ti
> Scordar di Me and Parlami d'Amore Mariu. Both performances have their
> great moments but are marred by some less-than-stellar singing in
> others (almost shouting the notes in the "Parlami..." at times)
> Would that BMG/Sony had an interest in serious song collections on
> Lanza CDs, wot?
> Cheers, Mike
>
> On Sep 12, 12:05 am, Derek McGovern <derek.mcgov...@gmail.com> wrote:
>
>
>
> > Here's something to ponder: if you had the ear of SonyBMG and were in
> > a position to select the entire contents of a Lanza Italian/Neapolitan
> > CD, what recordings would you choose?
>
> > Assuming that the CD contained the standard 22 tracks, the compilation
> > couldn't consist exclusively of Neapolitan songs, as Lanza only
> > recorded 19 of those (plus a verse of Pecchè? when he was still a
> > teenager). So a combination of Neapolitan and Italian songs in that
> > case? If we exclude the aria-like Pietà, Signore and Victor Herbert's
> > Neapolitan Love Song (which, by the way, is actually sung in Italian,
> > not Neapolitan!), Lanza recorded 19 Italian songs.
>
> > So of those 38 songs, which 22 would you choose -- and which versions?
>
> > Here are the choices (commercial recordings only):
>
> > NEAPOLITAN SONGS  (songs sung in Neapolitan dialect)
> > Mamma Mia, Che Vo' Sape?   (1949, 1951, 1958)
> > Core ’Ngrato    (1949, 1952)
> > O Sole Mio    (1949, 1951, 1958)
> > 'A Vucchella    (1951 RCA & Coke; 1958)
> > Marechiare   (1951 RCA & Coke; 1958)
> > Torna a Surriento   (1951, 1955)
> > Funiculì Funiculà
> > Dicitencello Vuie   (1952, 1958)
> > Maria Marì     (1952, 1958)
> > Voce 'e Notte
> > Canta Pe' Me    (1952, 1958)
> > 'O Surdato 'Nnammurato
> > Comme Facette Mammeta?
> > Santa Lucia Luntana   (1952, 1958)
> > Fenesta Che Lucive     (1952, 1958)
> > Tu Ca Nun Chiagne!    (1952, 1958)
> > 'Na Sera 'e Maggio       (1952, 1958)
> > Passione
> > Senza Nisciuno       (1952, 1959)
>
> > ITALIAN SONGS
> > Vieni sul Mar
> > Musica Proibita   (1952, 1959)
> > Vaghissima Sembianza
> > Serenata
> > Lolita   (1949, 1951, 1957, 1959)
> > Luna d’Estate

> > L’Alba Separa dalla Luce l’Ombra

> > La Mia Canzone
> > Ideale
> > Santa Lucia*    (1952, 1959)
> > Serenata (Drigo)  (1950, 1951)
> > Serenata (Toselli)   (1950, 1951)
> > La Spagnola
> > La Danza    (1951, 1955)
> > Non Ti Scordar di Me
> > Mattinata     (1949, 1951)
> > Parlami d’Amore, Mariù
> > Arrivederci, Roma (with screechy Luisa di Meo)
> > Ciribiribin
>
> > *Originally a Neapolitan song, but sung by Lanza in the (standard)
> > Italian translation.- Hide quoted text -

[Mike McAdam]

David: here's a link for you (and any others who are interested) to
download the aforementioned Santa Lucia outtake (this was recorded for
The Great Caruso,,,correct, Derek?):

http://www.4shared.com/audio/0vxb_o7P/SantaLucia_tGC_outtake.html

Cheers, Mike

On Oct 18, 1:39 am, David W Wallington <getontoit...@gmail.com> wrote:
> I've not had the opportunity to hear that Santa Lucia. Would it be
> possible for you to share it? I think Lanza was at his peak in The
> great Caruso.
>
> Thank you in anticipation.
>
> David W.

> > > - Show quoted text -- Hide quoted text -

[Derek McGovern]

Hi Mike: Yes, the unreleased Santa Lucia was definitely recorded for The Great Caruso -- on the same day, in fact, that Mario sang that magnificent version of Because (9 August 1950). He was certainly in terrific form at that session.

What I like about this Santa Lucia is that unlike, say, the Coke version he keeps it nice and restrained -- as it should be for what's supposed to be a gentle barcarolle. This is also a much better arrangement than the one on Caruso Favorites, which turns the poor song into a boisterous march!

You're cheating though, Mike, if you want to include this recording on the Ultimate Neapolitan/Italian CD :) It's very unlikely it'll ever see the light of day on a SongBMG release, since MGM owns the copyright but isn't allowed to release it, and the two parties seem incapable of coming to any sensible arrangement. Just look at what happened when MGM brought out their Rhino CD of soundtrack recordings in 1998; BMG threatened to sue them, and the CD (Be My Love: Mario Lanza's Greatest Performances at MGM) was withdrawn. It didn't matter that the poor old public was going to be deprived of the hitherto-unreleased All the Things You Are, which just happens to be one of Lanza's best recordings.

Cheers
Derek

[Michael McAdam]

Hello all: Resurrecting an old thread here as I have been wanting to clean up and tweak Lanza's 1949 RCA recording of that great ditty Core' Ngrato for some time. I hark back here to Lou's previous lament on this thread: ".....Core 'Ngrato. I don’t think I’ll ever get used to that embarrassing “core” in the reprise".

 

Here ya go, Lou (and other fans of Mario's Neapolitan canzoni). See if you like the result of my endeavours here:

http://www.4shared.com/audio/YrmpWzrp/Corengratomod.html

 

Mike

[leeann]

Oh my goodness!  I was in the car for hours today and I must have hit the replay button on Core 'Ngrato a thousand times (the Encore album).

So, to get home just now and find this on the forum! There are tones, notes, phrases in this that bring me to a standstill in awe. It is so beautiful. Thank you, Mike. I'll look forward to comments from Lou and others more musical. Best, Lee Ann

[Michael McAdam]

Anita read the thread and emailed me privately so I'm assuming she is having trouble posting or logging in? I'm sure she won't mind me inserting her note to me here:

 

Hi Mike,  That was truly magic. I listened to it 4x non stop! I love that song and you have "tweaked" it seamlessly.  Congratulations on a super job and thank you.  Anita

 

And, you are most welcome. Lee Ann also. Glad you enjoyed.

[Derek McGovern]

Hi Mike: As you know, I loathe any kind of tampering with an artist's singing---and it still appalls me that so few people were prepared to come out and criticize Jeff Rense for selling CDs (two of them under the BMG Special Products imprimatur) containing manipulated high notes and other sonic meddling. (Thread here on that subject.) But I don't have any objection to fans having a bit of fun with a recording when a) they're upfront about it, as you always are, and b) they're not making it commercially available.

You've done a great job with the sound here! There's a warmth that's missing from other reproductions.

Cheers
Derek

[Derek McGovern]

Just a few further thoughts on "Core 'ngrato":

I've always wondered if this was one of the songs that Lanza had learned while studying repertoire with Irene Williams in the early 1940s. I also wonder if he ever sang it live during the 1940s. Probably not, but given what we've learned in recent months about his concert repertoire, one never knows! Whatever the truth, it's one of the few Neapolitan songs that, apart from a Coke performance, he never returned to---either in the studio or in recital. (In 1958-59, for example, he either recorded or performed a surprising seventeen of the 20 Neapolitan songs in his discography.)

I love the first half of the 1949 recording---apart from that wobbly, out-of-breath "cchiu" immediately before the orchestral bridge. The reprise is the problem for me---and Mike's piece of sonic fun shows us how a retake might have fixed the problem---with that very sharp re-entry. The ending could have been a little better too. It's not one of Mario's best-executed B-flats for my money. Still, a formidable studio debut for a young tenor!

My favourite "Core 'ngrato" remains this live Carreras performance from 1980. (You'll need to turn it up at the beginning to hear Carreras' introduction.) But I'm convinced Lanza had the definitive version in him. Imagine how he might have sung it had he recorded it at the same session as the 1958 Canta Pe' Me! On that day, he could no wrong.

[Lou]

My sentiments exactly, Derek, except that I believe criticizing Rense for selling CDs with tampered notes passed off as originals is an exercise in futility. Isn't there a law requiring such "enhancements" to be declared on the label?

Mike, you really outdid yourself this time! To my non -techie mind, seamlessly tweaking notes in the middle of a song, as you've done with"Core 'ngrato," is an even more difficult feat than what you did with the endings of "The Lord's Prayer" and  "Roses of Picardy." Thanks to your techno-wizardy, I can now listen to this early sample of Lanza's art without tensing up in anticipation of the braying sound of the second "core" on the reprise. I look forward to your next clean-up job. All in the spirit of "when a tree falls in a forest, etc.," of course. ;)

 

Cheers

Lou

[Michael McAdam]

Hi Lou: I was waiting for you to weigh in as I did this sleight-of-mouse mainly with you in mind;-)

As Derek has stated, just a bit of mucking about for the benefit of members; appearing only here on the Forum.

For those who have listened and maybe haven't twigged yet to what I did: I simply took the "Core, c-o-o-ore'ngrato" out after the middle-eight orchestral bit (the one where Mario unknowingly sits down on the tack in the studio chair and decides to show the critics just how sharp he can really get!!). I inserted the 1st refrain in its place so it is heard a 2nd time, natch.

 

I had to equalize all the segments, stitch them together seamlessly and voila! I think the result is likely close to what Mario would have produced had his Dad compelled him to do a second take (we know he was pretty disappointed with his son's Neapolitan/Italian canzone efforts prior to the Mario! LP).

 

The Lord's Prayer and Roses of Picardy fixes were actually a little trickier, Lou. Thanks for the kudos, BTW.

 

Mike

[Armando]

As one would expect from you, great work on Core ‘Ngrato, Mike, but we cannot change history. An experienced producer such as Richard Mohr should have asked for a retake. Then again, I wish Mario would have recorded it in 1958 with a much better arrangement than the 1949 blasting one.

Ciao,

Armando  

[Barnabas Nemeth]

Dear Armando, 1949 version of Core 'Grato,  though it's an open-throat take one, even though I like it very much this way further on.

Barnabas

[Savage]

Wow!  That is amazing job, smoothing out the rough edges of a glorious rendition.  Love your work.

                                                                                                         David

[Derek McGovern]

I can't resist bouncing this old thread back up to the top of the tree. So many interesting posts that deserve a re-visiting --- and if anyone else would like to compile their "Ultimate Italian/Neapolitan album," then be my guest. (The first post lists all of the commercial Italian and Neapolitan songs that Lanza recorded.)

Incidentally, all of the links to recordings provided in this thread seem to be working. One of the best is this excellent reproduction of the 1958 "Dicitencello Vuie." As a reproduction of Mario's voice, it's much better than any CD pressing I've heard---and I now understand why this recording has so many ardent admirers here (Mike, Vince et al). Gone is the slight sluggishness that always bothered me about the recording (at least, as it sounded on CD).

Cheers
Derek

[Derek McGovern]

Whoops: for some strange reason the link to that "Dicitencello Vuie" didn't come through. Here it is again:

http://www.4shared.com/account/audio/vp8svtKV/Dicitencello_Vuie.html

[Barnabas Nemeth]

Well, if only 22 songs are allowed, here my choices. Many others are missing.

 

Barnabas

 

NEAPOLITAN SONGS  (songs sung in Neapolitan dialect)

 
Mamma Mia, Che Vo' Sape?   (1949)
Core ’Ngrato    (1949)
O Sole Mio    (1949)
'A Vucchella    (1951 RCA) 

Torna a Surriento   (1955) 
Dicitencello Vuie   (1958)

Maria Marì     (1958)
Voce 'e Notte (1958)
Canta Pe' Me    (1958) 

Fenesta Che Lucive     (1958)
Tu Ca Nun Chiagne!    (1958)
'Na Sera 'e Maggio       (1958)

Passione (1958)
Senza Nisciuno       (1959)

ITALIAN SONGS 

Musica Proibita   (1952, 1959)
Vaghissima Sembianza (1958)
Ideale (1958)
Serenata (Drigo)  (RCA)
Serenata (Toselli)   (RCA)
La Spagnola
La Danza    (1955)
Mattinata     (1949)

2012/2/21 Derek McGovern <derek.m...@gmail.com>

[Derek McGovern]

Thanks for sharing your choices, Barnabas. I'd be very happy to encounter such a CD!

One question, though: which version of "Musica Proibita" would you choose---the 1952 or 1959 rendition? I'm often intrigued by the preferences of Lanza admirers when it comes to the two versions. (Vince, for example, mentioned upthread that he prefers the "cheeky" 1952 take, while Coke Show Devotee Derek Mannering amazed me by writing that he preferred the 1959 version.)

Cheers
Derek

[Barnabas Nemeth]

Definitely the 1959 version of "Musica Proibita" is preferred.

 

Barnabas

2012/2/21 Derek McGovern <derek.m...@gmail.com>

[Barnabas Nemeth]

Below is my ultimate preference. Nevertheless, we could (or rather should) compile another CD, too. Why don't we plan a double-decker?

 

Barnabas

 

NEAPOLITAN SONGS  (songs sung in Neapolitan dialect)

 
Mamma Mia, Che Vo' Sape?   (1949)
Core ’Ngrato    (1949)
O Sole Mio    (1949)
'A Vucchella    (1951 RCA) 
Torna a Surriento   (1955) 
Dicitencello Vuie   (1958)
Maria Marì     (1958)
Voce 'e Notte (1958)
Canta Pe' Me    (1958) 
Fenesta Che Lucive     (1958)
Tu Ca Nun Chiagne!    (1958)
'Na Sera 'e Maggio       (1958)
Passione (1958)

ITALIAN SONGS 

Senza Nisciuno       (1959)
Musica Proibita   (1959)
Vaghissima Sembianza (1959)
Ideale (1959)

Serenata (Drigo)  (RCA)
Serenata (Toselli)   (RCA)
La Spagnola
La Danza    (1955)
Mattinata     (1949)

[Derek McGovern]

Hi Barnabas: Even if we included all of Lanza's commercial recordings of Italian and Neapolitan songs---which I wouldn't want to do---there wouldn't be enough individual titles to fill a two-CD set. Incredibly, Lanza recorded only 38 songs in total (see this section of our discography for the details).

A 22-song CD could, of course, be stretched to a 24-song compilation if Sony were feeling benevolent. If that happened, I would add 'O Surdato 'Nnammurato and the 1958 Maria Mari' to my dream list:

 1/  Mamma Mia, Che Vo' Sape?   (1949)
 2/  Core ’Ngrato    (1949)
 3/  Lolita (1949)
 4/  Toselli's Serenade (1950)
 5/  'A Vucchella    (1951 RCA)
 6/  La Spagnola
 7/  Torna a Surriento   (1955)
 8/  O Sole Mio (1958)
 9/  Dicitencello Vuie (1958)
10/ Voce 'e Notte
11/ Canta Pe' Me    (1958)
12/ Santa Lucia Luntana   (1958)
13/ Fenesta Che Lucive     (1958)
14/ Tu Ca Nun Chiagne!    (1958)
15/ 'Na Sera 'e Maggio       (1958)
16/ Come Facette Mammeta?
17/ Ideale
18/ Senza Nisciuno       (1959)
19/ Vaghissima Sembianza
20/ L'Alba Separa dalla Luce l’Ombra
21/ Serenata
22/ Passione

I am fond of the 1959 "Musica Proibita," by the way; it's just that I feel it's not quite up to the standard of my "Top Five" Caruso Favorites tracks (17-21 above). Mind you, I wouldn't be too upset if it replaced Maria Mari' or 'O Surdato 'Nnammurato. The same goes for "Luna d'Estate."

Cheers
Derek

[Barnabas Nemeth]

Well, as far as I'm concerned, I would prefer "Mari Mari 1958" or "Musica Proibita" instead of  "Luna d'Estate." or up to "Serenata 1959" . I love "Ciribirin", too. I understand, it could be difficult to choose a list at everyone's satisfaction. By all means, I would be happy to have a compilation of higher quality like this comp.

By the way, isn't there any progress in editing of "Caruso Favourites" on Hybrid SACD?

Cheers,
Barnabas

2012/2/21 Derek McGovern <derek.m...@gmail.com>

Hi Barnabas: Even if we included all of Lanza's commercial recordings of Italian and Neapolitan songs---which I wouldn't want to do---there wouldn't be enough individual titles to fill a two-CD set. Incredibly, Lanza recorded only 38 songs in total (see this section of our discography for the details).

[Derek McGovern]

Hi Barnabas: I would be very surprised if Caruso Favorites were ever released on Hybrid-SACD. Sony's policy, where its historic releases are concerned, is only to issue SACD versions of existing RCA "Living Stereo" CDs. Now it so happens that the only Living Stereo CD RCA released was the weirdly conceived Mario! album/Vagabond King combo in 1995. Why didn't they replace The Vagabond King with Caruso Favorites? Presumably because they'd already released Caruso Favorites on CD in 1989, but not as a "pure" Living Stereo CD---instead, they'd combined it with the mono Great Caruso studio album of 1950.

And so the opportunity for a perfect coupling of two memorable albums was lost...

The other potential hindrance to a Caruso Favorites Hybrid SACD is that Sony has reportedly stopped making SACD releases (though other companies have adopted the technology). That's presumably why the Mario!/Vagabond King SACD is no longer available, except from Amazon marketplace sellers for the ridiculous price of $79:

http://www.amazon.com/Mario-Lanza-Best-Hybrid-SACD/dp/B000E1NWHI/ref=sr_1_4?ie=UTF8&qid=1329823067&sr=8-4

Cheers
Derek

[Barnabas Nemeth]

It's a shame. Just in case, I bought three copies of Mario! album.

Barnabas

2012/2/21 Derek McGovern <derek.m...@gmail.com>

Hi Barnabas: I would be very surprised if Caruso Favorites were ever released on Hybrid-SACD. Sony's policy, where its historic releases are concerned, is only to issue SACD versions of existing RCA "Living Stereo" CDs. Now it so happens that the only Living Stereo CD RCA released was the weirdly conceived Mario! album/Vagabond King combo in 1995. Why didn't they replace The Vagabond King with Caruso Favorites? Presumably because they'd already released Caruso Favorites on CD in 1989, but not as a "pure" Living Stereo CD---instead, they'd combined it with the mono Great Caruso studio album of 1950.

[Derek McGovern]

Hi Shirley:

 

The original Italian lyrics of Drigo's Serenade are available on our forum here:

 

https://groups.google.com/d/msg/mariolanza/jnAvHE6JHdk/3sbhhoVP41wJ

 

Cheers

Derek