Re: The criticism of British "orchestral" conductor Cyril Ornadel,...

[Tony Partington]

Tessa, 

You are quite correct about Cyril Ornadel. While he was a graduate of the Royal Academy, that most certainly does not mean he was a properly trained and seasoned and/or good classical music conductor. Maestro Constantine Callinicos on the other hand was a classically trained conductor (Julliard). He was also a concert pianist and a vocal coach. It was in this later capacity that I knew Maestro Callinicos quite closely for a period of three years - while coaching with him in New York City. Following that, I would return to NYC for coaching sessions with Maestro. Additionally, I would say that Cyril Ornadel's opinion of Mario Lanza was formulated in a matter of moments when he finally heard him sing. For all we know, Ornadel was miffed that he wasn't conducting for Lanza. Who knows! And really, when considering how very mediocre Cyril Ornadel's work - certainly as a conductor - was, I have to ask myself: who in the hell cares about Cyril Ornadel? I can tell you one other thing about Ornadel - that has nothing to do with Lanza - which might shed some light on his prudish (some might even say bitchy) attitude and opinion of Mario Lanza.

My father was the stage manager of the original Broadway production of the Lerner & Loewe musical MY FAIR LADY. Now the original musical director of MY FAIR LADY was the wonderful  Austrian conductor Franz Allers. Unlike Ornadel, Franza Allers was a conductor who came from a classical background. He conducted both the classical repertoire and the contemporary. And, later as we see, Broadway shows. Allers was the musical director my father worked with for the five and one-half that MY FAIR LADY was on Broadway. When it closed, Franz Allers moved on to CAMELOT ) the next big hit show by Lerner and Loewe. When Julie Andrews and Rex Harrison first left MFL it was to go to England and open the West End run of MFL. I guess Ornadell got the nod for musical director and because of the timing of the recordings: the first and Original Broadway Cast Album was recorded in mono. Stereo was just showing its face in the commercial recording industry and the original B'Way cast album was done as a  monaural recording. Some time later, when Andrews and Harrison were over in England, they did the "Original London Cast" album in stereo. So, most people thing the London Cast album is the original and, because it's in stereo, it is better. Nothing could be farther from the truth. The London cast album is quite inferior to the original cast recording. Ornadell's conducting is erratic - his conducting of the Overture is nearly unlistenable after hearing Franz Allers conduction of the musical theatre masterpiece. The casting in the London cast album is unfortunate as well. Most noticeably is the fellow the chose to sing Freddy Eynsford Hill. While this is a supporting role to be sure, the singer/actor charged with this role must sing one of the most iconic songs fromm all of Broadway, "On The Street Where You Live." In the original Broadway production the role was played by John Michael King; the son of the great actor/singer Dennis King (factoid: Dennis King created the title role in THE VAGABOND KING by Friml). Anyway, Michael King had a wonderful tenor voice. Perfect for the Broadway stage and perfect for "On The Street Where You Live." Unfortunately, Michael King didn't go to England so they had to cast that role with someone else. That someone else is a person named Leonard Weir. I know nothing about Leonard Weir except that he sounds so unmusical and so forced, so pinched and far too light it truly ruins one of the most beautiful songs ever written. And just to show you I'm not just picking on Little Leonard, I think Mario's recording of "On The Street Where You Live" a pretty ding-dang dreadful too!

As for Cyril Ornadel, one need only consider the source. And if there are people who still put any merit in what Ornadel said after a short few hours of exposure to Mario Lanza the singer and artist, then I would say to them that; you and I perceive and hear music very, very differently. Bottom line: Cyril Ornadel was good at what he knew. But he sure didn't know voices or standard accepted classical music protocol and practice.

Hope this is food for thought!

Tony

PS: I thank God for all of the conductors that have guided my singing over the past 40+ years. I also appreciate conductors mouthing as many words as they want - as long as they're my lyrics!!!

On Thursday, May 16, 2024 at 8:06:42 AM UTC-4 Tessa1111 wrote:

British "orchestral" conductor Cyril Ornadel, when he criticized Constantine Callinicos for mouthing the words while conducting Mario's rehearsal.  He accused Mario of being dependent on Costa to get through a song, because his memory was faulty?  NOT TRUE!!!

For those who have never sung with an orchestra, Mr. Callinicos, was making sure the orchestra was following Mario's singing, not overwhelming or attempting to drown him out.  

 This is a common practice to teach the orchestra to "follow" Mario's singing, breathing and high-notes length.  It wasn't to help Mario to remember the words.  Cyyril Ornadel's criticism merely showed how little he knew about conducting opera or oratorio soloists, he obviously was used to having his orchestra make the soloists work at his speed, rather than following the singers' requirements.  He'd probably never heard such a glorious voice as Mario Lanza possessed, which couldn't be drowned out by any orchestra.

It is sad that the interview containing Cyril Ornadel's faulty observation hasn't been refuted, more vehemently.