Caruso Favorites
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Derek McGovern
Jan 11, 2015, 9:49:47 AM1/11/15
to
Since we already have a thread devoted to the Tosti songs that Lanza
recorded for the 1959 Caruso Favorites album (and at other periods in
his career), and given that Senza Nisciuno has been commented on in
our Neapolitan song thread, I've decided to create a separate
discussion for the six remaining songs on the Caruso Favorites disc.
These are:
Vieni sul Mar
Musica Proibita
Vaghissima Sembianza
Serenata (Caruso-Bracco)
Lolita
Santa Lucia
I'd have to say that, of the above, Santa Lucia is my least favourite rendition; in fact, I regard it as the least successful track on the album. It's ironic, then, that of all the Caruso Favorites selections that RCA could have chosen for their 1964 Best of Mario Lanza compilation (and other similarly titled releases), they selected this recording. (Of course, they did the same thing with Funiculi' Funicula' - the one weak track on the great Mario! album.)
Santa Lucia is not actually a bad piece of singing. It simply suffers in the main from a completely inappropriate arrangement. What should essentially be a barcarolle has been turned into a march! Mario does his best to cope, beginning the song energetically enough, but by the second verse hints of tiredness appear, and he sounds worn out in the chorus that follows. Near the end of the song, however, he suddenly regains his energy for a stirring, final "Venite all'agile", etc. But what a shame the otherwise reliable arrangers let him down here. As the last song on the album too, it also should have been something special - in the same way that Passione provided such a stunning conclusion to the Mario! album of the previous year.
But what of the other five songs?
First, I think we can skip Lolita, which we've already discussed elsewhere on this forum. In my opinion, it's the least memorable track on the album after Santa Lucia. Again, it's not bad - it's simply lacklustre (especially compared with Lanza's excellent 1949 rendition), and marred by an unnecessarily loud orchestra.
The remaining four selections are another matter, though. Perhaps the best of them - both vocally and stylistically - is Vaghissima Sembianza. I regard it as a near-perfect rendition, with the exception of the first few lines, on which Mario is slightly sluggish or bleary. (Hard to describe, but it's almost as if he's half-asleep.) Happily, though, he quickly redeems himself, and his performance develops into a stylish, tasteful, relatively fresh-voiced rendition, magnificently enhanced by two beautiful, ringing high As - the first of which is quite startling in its execution. Definitely a recording to play to his critics: they'll be surprised by his elegant sense of line here. "Languid beauty," as Lindsay Perigo has described it.
Vieni sul Mar is a very different kettle of fish, but it's just as appealing in its own way. This is Lanza at his lustiest and least refined: the only way, in my book, to sing a song as simple and hackneyed as this. In fact, I always think of Mario's pose in the excellent Caruso Favorites album cover painting when I listen to this recording, for it perfectly captures the vitality and earthiness of his approach here.
I like the arrangement on this song too, with the string section nicely evoking waves against the singer's boat at the beginning of each verse. Some listeners find a slight harshness present in Mario's voice here, but it's not really an issue for me. The important thing is that he has energy to spare, and that he's obviously enjoying himself immensely. I particularly like his verve on the lines, "Ma tu dormi, e non pensi al tuo fido/ Ma non dorme chi vive d'amor!" (But you sleep and you don't think of your faithful man/ But those who live for love don't sleep!) in the first verse. Vieni sul Mar was a good choice for the first track on the original album, with Lanza's clarion brilliance on the aforementioned "d'amor!" offering immediate proof of his still-exciting upper register. One of the critics in our album reviews section, in fact, mentions this rendition and that of La Mia Canzone admiringly as examples of Lanza's "virile"
approach.
A greater sense of style is needed, though, on something like Musica Proibita. Here, Mario virtually ignores all of the composer's markings as he delivers a full-out, though undeniably compelling, rendition of this memorable song. Oh for a bit of light and shade! But, vocally, he's in good shape here, with only the climactic "Fammi provar" betraying his health problems. I love the baritonal warmth of the opening phrases ("Ogni sera di sotto al mio balcone", etc), on which he sounds remarkably similar to his O Sole Mio of the previous year.
The Caruso-Bracco Serenata is impressive. Although in some ways it's arguably the least memorable song on the album, melodically speaking, it's one of the most demanding to sing - and Lanza gives it his all. A couple of years back, Lou observed that ill though Mario was at the time,
here he sounds as though he could go on for years. I heartily agree. Mario's rendition actually compares very favourably with that of Caruso, with the latter only surpassing him with that extra strength he musters near the end from "Ah...ah, fulgete o stelle" onwards.
So there you have it : just a few of my thoughts on the "other" Caruso Favorites. I love this album - as you've probably guessed :-) - and it's no surprise to me that it ended up becoming one of Lanza's most popular discs (reaching #4 on Billboard's chart) when it was released posthumously in 1960. In fact, the only mystery to me is that the even more impressive Mario! album never matched its success! Was it simply because some of the song titles on Caruso Favorites were more familiar to the general public? Or was it because Lanza had just died? Hard to say.
Anyway, feel free to jump in, folks: I'd be most interested in reading what you have to say about any of these recordings.
These are:
Vieni sul Mar
Musica Proibita
Vaghissima Sembianza
Serenata (Caruso-Bracco)
Lolita
Santa Lucia
I'd have to say that, of the above, Santa Lucia is my least favourite rendition; in fact, I regard it as the least successful track on the album. It's ironic, then, that of all the Caruso Favorites selections that RCA could have chosen for their 1964 Best of Mario Lanza compilation (and other similarly titled releases), they selected this recording. (Of course, they did the same thing with Funiculi' Funicula' - the one weak track on the great Mario! album.)
Santa Lucia is not actually a bad piece of singing. It simply suffers in the main from a completely inappropriate arrangement. What should essentially be a barcarolle has been turned into a march! Mario does his best to cope, beginning the song energetically enough, but by the second verse hints of tiredness appear, and he sounds worn out in the chorus that follows. Near the end of the song, however, he suddenly regains his energy for a stirring, final "Venite all'agile", etc. But what a shame the otherwise reliable arrangers let him down here. As the last song on the album too, it also should have been something special - in the same way that Passione provided such a stunning conclusion to the Mario! album of the previous year.
But what of the other five songs?
First, I think we can skip Lolita, which we've already discussed elsewhere on this forum. In my opinion, it's the least memorable track on the album after Santa Lucia. Again, it's not bad - it's simply lacklustre (especially compared with Lanza's excellent 1949 rendition), and marred by an unnecessarily loud orchestra.
The remaining four selections are another matter, though. Perhaps the best of them - both vocally and stylistically - is Vaghissima Sembianza. I regard it as a near-perfect rendition, with the exception of the first few lines, on which Mario is slightly sluggish or bleary. (Hard to describe, but it's almost as if he's half-asleep.) Happily, though, he quickly redeems himself, and his performance develops into a stylish, tasteful, relatively fresh-voiced rendition, magnificently enhanced by two beautiful, ringing high As - the first of which is quite startling in its execution. Definitely a recording to play to his critics: they'll be surprised by his elegant sense of line here. "Languid beauty," as Lindsay Perigo has described it.
Vieni sul Mar is a very different kettle of fish, but it's just as appealing in its own way. This is Lanza at his lustiest and least refined: the only way, in my book, to sing a song as simple and hackneyed as this. In fact, I always think of Mario's pose in the excellent Caruso Favorites album cover painting when I listen to this recording, for it perfectly captures the vitality and earthiness of his approach here.
I like the arrangement on this song too, with the string section nicely evoking waves against the singer's boat at the beginning of each verse. Some listeners find a slight harshness present in Mario's voice here, but it's not really an issue for me. The important thing is that he has energy to spare, and that he's obviously enjoying himself immensely. I particularly like his verve on the lines, "Ma tu dormi, e non pensi al tuo fido/ Ma non dorme chi vive d'amor!" (But you sleep and you don't think of your faithful man/ But those who live for love don't sleep!) in the first verse. Vieni sul Mar was a good choice for the first track on the original album, with Lanza's clarion brilliance on the aforementioned "d'amor!" offering immediate proof of his still-exciting upper register. One of the critics in our album reviews section, in fact, mentions this rendition and that of La Mia Canzone admiringly as examples of Lanza's "virile"
approach.
A greater sense of style is needed, though, on something like Musica Proibita. Here, Mario virtually ignores all of the composer's markings as he delivers a full-out, though undeniably compelling, rendition of this memorable song. Oh for a bit of light and shade! But, vocally, he's in good shape here, with only the climactic "Fammi provar" betraying his health problems. I love the baritonal warmth of the opening phrases ("Ogni sera di sotto al mio balcone", etc), on which he sounds remarkably similar to his O Sole Mio of the previous year.
The Caruso-Bracco Serenata is impressive. Although in some ways it's arguably the least memorable song on the album, melodically speaking, it's one of the most demanding to sing - and Lanza gives it his all. A couple of years back, Lou observed that ill though Mario was at the time,
here he sounds as though he could go on for years. I heartily agree. Mario's rendition actually compares very favourably with that of Caruso, with the latter only surpassing him with that extra strength he musters near the end from "Ah...ah, fulgete o stelle" onwards.
So there you have it : just a few of my thoughts on the "other" Caruso Favorites. I love this album - as you've probably guessed :-) - and it's no surprise to me that it ended up becoming one of Lanza's most popular discs (reaching #4 on Billboard's chart) when it was released posthumously in 1960. In fact, the only mystery to me is that the even more impressive Mario! album never matched its success! Was it simply because some of the song titles on Caruso Favorites were more familiar to the general public? Or was it because Lanza had just died? Hard to say.
Anyway, feel free to jump in, folks: I'd be most interested in reading what you have to say about any of these recordings.
Derek McGovern
Nov 24, 2007, 1:51:45 AM11/24/07
to Mario Lanza, tenor
I've just been listening to Caruso's Musica Proibita. It's interesting
comparing it with Lanza's 1959 rendition: overall, I prefer Caruso's
version, but that's not to say there aren't moments where Mario is, if
anything, more tasteful than old Enrico. This is especially true of
the ending ("l'ebbrezza dell'amor!"), which Caruso virtually barks in
comparison with Lanza's more restrained finish. In fact, the curious
thing here is that Caruso's ending is remarkably similar to Mario's
singing of the same line on his 1952 version. I wonder if Lanza was
copying Caruso on his rough Coke rendition?
Elsewhere, however, Caruso sings the song more lyrically and tenderly
- particularly on the opening phrases. At the beginning, the tempo is
nice and slow in comparison with Paul Baron's rather no-nonsense
"let's get moving" approach, which allows no opportunities for
reflection. I also like the way Caruso savours "O quanto 'e bella
quella melodia" (Oh how beautiful is that melody), drawing out the
"O" (or is it "Ah"?) in an unexpected but irresistible way. The tempo
speeds up rather suddenly on Caruso's version around the middle of the
song, and it's here that he takes the occasional liberty - for
instance, not taking a breath after the line "e lo sentiva al solito
cantar", but carrying through to the next ("vorrei baciare") in the
way that Mario often does on his Coke Show love songs. I'm not sure
about the wisdom of breathing *between* "Vorrei bacaire" and "i tuoi
capelli neri", though: "I want to kiss....your black hair". Hmmn.
(Interesting too that he sings "baciare" rather than the more poetic &
less awkward "baciar" on Mario's rendition. From memory, however,
Enrico's version is what the score says.)
Anyway, don't take my word for it: thanks to Ann-Mai's discovery of
this file sharing site, you can download Caruso's version here:
http://www.archive.org/details/Caruso_part1
...and compare it with Lanza's here:
http://www.4shared.com/file/30226997/8d613d44/Musica_Proibita__1959_.html
> First, I think we can skip Lolita, which I've already discussed
> here.
>
> hard to say.
comparing it with Lanza's 1959 rendition: overall, I prefer Caruso's
version, but that's not to say there aren't moments where Mario is, if
anything, more tasteful than old Enrico. This is especially true of
the ending ("l'ebbrezza dell'amor!"), which Caruso virtually barks in
comparison with Lanza's more restrained finish. In fact, the curious
thing here is that Caruso's ending is remarkably similar to Mario's
singing of the same line on his 1952 version. I wonder if Lanza was
copying Caruso on his rough Coke rendition?
Elsewhere, however, Caruso sings the song more lyrically and tenderly
- particularly on the opening phrases. At the beginning, the tempo is
nice and slow in comparison with Paul Baron's rather no-nonsense
"let's get moving" approach, which allows no opportunities for
reflection. I also like the way Caruso savours "O quanto 'e bella
quella melodia" (Oh how beautiful is that melody), drawing out the
"O" (or is it "Ah"?) in an unexpected but irresistible way. The tempo
speeds up rather suddenly on Caruso's version around the middle of the
song, and it's here that he takes the occasional liberty - for
instance, not taking a breath after the line "e lo sentiva al solito
cantar", but carrying through to the next ("vorrei baciare") in the
way that Mario often does on his Coke Show love songs. I'm not sure
about the wisdom of breathing *between* "Vorrei bacaire" and "i tuoi
capelli neri", though: "I want to kiss....your black hair". Hmmn.
(Interesting too that he sings "baciare" rather than the more poetic &
less awkward "baciar" on Mario's rendition. From memory, however,
Enrico's version is what the score says.)
Anyway, don't take my word for it: thanks to Ann-Mai's discovery of
this file sharing site, you can download Caruso's version here:
http://www.archive.org/details/Caruso_part1
...and compare it with Lanza's here:
http://www.4shared.com/file/30226997/8d613d44/Musica_Proibita__1959_.html
> elsewhere on this forum. In my opinion, it's the least memorable track
> on the album after Santa Lucia. Again, it's not bad - it's simply
> lacklustre (especially compared with Lanza's excellent 1949 rendition)
> on the album after Santa Lucia. Again, it's not bad - it's simply
> lacklustre (especially compared with Lanza's excellent 1949 rendition)
> and marred by an unnecessarily loud orchestra.
>
> The remaining four selections are another matter, though. Perhaps the
> best of them - both vocally and stylistically - is Vaghissima
> Sembianza. I regard it as a near-perfect rendition, with the exception
> of the first few lines, on which Mario is slightly sluggish or bleary.
> (Hard to describe, but it's almost as if he's half-asleep.) Happily,
> though, he quickly redeems himself, and his performance develops into
> a stylish, tasteful, relatively fresh-voiced rendition, magnificently
> enhanced by two beautiful, ringing high As - the first of which is
> quite startling in its execution. Definitely a recording to play to
> his critics: they'll be dumbfounded by his elegant sense of line
>
> The remaining four selections are another matter, though. Perhaps the
> best of them - both vocally and stylistically - is Vaghissima
> Sembianza. I regard it as a near-perfect rendition, with the exception
> of the first few lines, on which Mario is slightly sluggish or bleary.
> (Hard to describe, but it's almost as if he's half-asleep.) Happily,
> though, he quickly redeems himself, and his performance develops into
> a stylish, tasteful, relatively fresh-voiced rendition, magnificently
> enhanced by two beautiful, ringing high As - the first of which is
> quite startling in its execution. Definitely a recording to play to
> here.
>
> Vieni sul Mar is a very different kettle of fish, but it's just as
> appealing in its own way. This is Lanza at his lustiest and least
> refined: the only way, in my book, to sing a song as simple and
> hackneyed as this. In fact, I always think of Mario's pose in the
> excellent Caruso Favorites album cover painting (it's in our files)
> appealing in its own way. This is Lanza at his lustiest and least
> refined: the only way, in my book, to sing a song as simple and
> hackneyed as this. In fact, I always think of Mario's pose in the
> when I listen to this recording, for it perfectly captures the
> vitality and earthiness of his approach here.
>
> I like the arrangement on this song too, with the string section
> nicely evoking waves against the singer's boat at the beginning of
> each verse. Some listeners find a slight harshness present in Mario's
> voice here, but it's not really an issue for me. The important thing
> is that he has energy to spare, and that he's obviously enjoying
> himself immensely. I particularly like his verve on the lines, "Ma tu
> dormi, e non pensi al tuo fido/ Ma non dorme chi
> vive d'amor!" (But you sleep and you don't think of your faithful man/
> But those who live for love don't sleep!) in the first verse. Vieni
> sul Mar was a good choice for the first track on the original album,
> with Lanza's clarion brilliance on the aforementioned "d'amor!"
> offering immediate proof of his still-exciting upper register. One of
> the critics in our reviews section, in fact, mentions this rendition
> vitality and earthiness of his approach here.
>
> I like the arrangement on this song too, with the string section
> nicely evoking waves against the singer's boat at the beginning of
> each verse. Some listeners find a slight harshness present in Mario's
> voice here, but it's not really an issue for me. The important thing
> is that he has energy to spare, and that he's obviously enjoying
> himself immensely. I particularly like his verve on the lines, "Ma tu
> dormi, e non pensi al tuo fido/ Ma non dorme chi
> vive d'amor!" (But you sleep and you don't think of your faithful man/
> But those who live for love don't sleep!) in the first verse. Vieni
> sul Mar was a good choice for the first track on the original album,
> with Lanza's clarion brilliance on the aforementioned "d'amor!"
> offering immediate proof of his still-exciting upper register. One of
> and that of La Mia Canzone admiringly as examples of Lanza's "virile"
> approach.
>
> A greater sense of style is needed, though, on something like Musica
> Proibita. Here, Mario virtually ignores all of the composer's markings
> as he delivers a full-out, though undeniably compelling, rendition of
> this memorable song. Oh for a bit of light and shade! But, vocally,
> he's in good shape here, with only the climactic "Fammi provar"
> betraying his health problems. I love the baritonal warmth of the
> opening phrases ("Ogni sera di sotto al mio balcone", etc), on which
> he sounds remarkably similar to his O Sole Mio of the previous year.
>
> The Caruso-Bracco Serenata is impressive. Although in some ways it's
> arguably the least memorable song on the album melodically speaking,
> approach.
>
> A greater sense of style is needed, though, on something like Musica
> Proibita. Here, Mario virtually ignores all of the composer's markings
> as he delivers a full-out, though undeniably compelling, rendition of
> this memorable song. Oh for a bit of light and shade! But, vocally,
> he's in good shape here, with only the climactic "Fammi provar"
> betraying his health problems. I love the baritonal warmth of the
> opening phrases ("Ogni sera di sotto al mio balcone", etc), on which
> he sounds remarkably similar to his O Sole Mio of the previous year.
>
> The Caruso-Bracco Serenata is impressive. Although in some ways it's
> it's one of the most demanding to sing - and Lanza gives it his all. A
> couple of years
> back, our member Lou observed that ill though Mario was at the time,
> couple of years
> here he sounds as though he could go on for years. I heartily agree.
> Mario's rendition actually compares very favourably with that of
> Caruso, with the latter only surpassing him with that extra strength
> he musters near the end from "Ah...ah, fulgete o stelle" onwards.
>
> So there you have it : just a few of my thoughts on the "other" Caruso
> Favorites. I love this album - as you've probably guessed :-) - and
> it's no surprise to me that it ended up becoming one of Lanza's most
> popular discs (reaching #4 on Billboard's chart) when it was released
> posthumously in 1960. In fact, the only mystery to me is that the even
> more impressive Mario! album never matched its success! Was it simply
> because some of the song titles on Caruso Favorites were more familiar
> to the general public? Or was it because Lanza had just died? It's
> Mario's rendition actually compares very favourably with that of
> Caruso, with the latter only surpassing him with that extra strength
> he musters near the end from "Ah...ah, fulgete o stelle" onwards.
>
> So there you have it : just a few of my thoughts on the "other" Caruso
> Favorites. I love this album - as you've probably guessed :-) - and
> it's no surprise to me that it ended up becoming one of Lanza's most
> popular discs (reaching #4 on Billboard's chart) when it was released
> posthumously in 1960. In fact, the only mystery to me is that the even
> more impressive Mario! album never matched its success! Was it simply
> because some of the song titles on Caruso Favorites were more familiar
> hard to say.
Derek McGovern
Nov 24, 2007, 2:10:56 AM11/24/07
to Mario Lanza, tenor
Just listened to Caruso's version again. Actually, he doesn't take "e
lo sentiva al solito cantar/vorrei baciare" in one breath; he breathes
after "sentiva". I also noticed at the beginning of the song that
(unlike Lanza) he breathes between "sento cantare" and "una canzone
d'amore". He also sings "Oh quanto 'e bella quella melodia/Oh com'e
dolce, quanto m'e gradita", whereas Mario (changes?) these lines to
"Oh quanto 'e *dolce* quella melodia/Oh com'e *bella*, quanto m'e
gradita." Assuming Caruso's right, the correct lyrics are reproduced
below.
I also noticed that Caruso's (Italian) "e" sound was a little ugly in
a couple of instances, as was his first "cuore" in the fourth line.
But perhaps I'm pinpricking...:-)
Musica Proibita (Forbidden Music)
Ogni sera di sotto al mio balcone
sento cantare una canzone d'amore,
più volte la ripete un bel garzone
e battere mi sento forte il cuore,
e battere mi sento forte il cuore.
Oh quanto 'e bella quella melodia.
Oh com'e dolce, quanto m'e gradita.
Ch'io la canti non vuol la mamma mia.
Vorrei sapere perche' me l'ha proibita?
Ella non c'e ed io la vo cantare
la frase che m'ha fatto palpitare.
Vorrei baciare i tuoi capelli neri,
le labbra tue e gli occhi tuoi severi,
Vorrei morir con te, angel di Dio,
o bella innamorata tesor mio.
Qui sotto vidi ieri a passeggiare,
e lo sentiva al solito cantar.
Vorrei baciare i tuoi capelli neri,
le labbra tue e gli occhi tuoi severi.
Strigimi, o cara, strigimi al tuo core,
fammi provar l'ebbrezza dell'amor.
Every evening under my balcony
I hear a love song,
repeated several times by a handsome young man
and I feel my heart beat stronger,
and I feel my heart beat stronger.
O how beautiful is that melody.
O how sweet it is, how I like to hear it.
My mother doesn't want me to sing it.
I'd like to know why she has forbidden it to me?
Now she isn't there and I am going to sing
the lines that I found so exciting.
I'd like to kiss your black hair,
your lips and your solemn eyes,
I would want to die with you, angel of God,
my beautiful beloved treasure.
Yesterday I saw him walking by,
and heard him sing as he always does.
I'd like to kiss your black hair,
your lips and your solemn eyes.
Press me, darling, press me to your heart,
let me feel the ecstasy of love.
> ...and compare it with Lanza's here:http://www.4shared.com/file/30226997/8d613d44/Musica_Proibita__1959_....
> > what you have to say about any of these recordings.- Hide quoted text -
>
> - Show quoted text -
lo sentiva al solito cantar/vorrei baciare" in one breath; he breathes
after "sentiva". I also noticed at the beginning of the song that
(unlike Lanza) he breathes between "sento cantare" and "una canzone
d'amore". He also sings "Oh quanto 'e bella quella melodia/Oh com'e
dolce, quanto m'e gradita", whereas Mario (changes?) these lines to
"Oh quanto 'e *dolce* quella melodia/Oh com'e *bella*, quanto m'e
gradita." Assuming Caruso's right, the correct lyrics are reproduced
below.
I also noticed that Caruso's (Italian) "e" sound was a little ugly in
a couple of instances, as was his first "cuore" in the fourth line.
But perhaps I'm pinpricking...:-)
Musica Proibita (Forbidden Music)
Ogni sera di sotto al mio balcone
più volte la ripete un bel garzone
e battere mi sento forte il cuore,
e battere mi sento forte il cuore.
Oh quanto 'e bella quella melodia.
Oh com'e dolce, quanto m'e gradita.
Ch'io la canti non vuol la mamma mia.
Vorrei sapere perche' me l'ha proibita?
Ella non c'e ed io la vo cantare
la frase che m'ha fatto palpitare.
Vorrei baciare i tuoi capelli neri,
le labbra tue e gli occhi tuoi severi,
Vorrei morir con te, angel di Dio,
o bella innamorata tesor mio.
Qui sotto vidi ieri a passeggiare,
e lo sentiva al solito cantar.
Vorrei baciare i tuoi capelli neri,
le labbra tue e gli occhi tuoi severi.
Strigimi, o cara, strigimi al tuo core,
fammi provar l'ebbrezza dell'amor.
Every evening under my balcony
I hear a love song,
repeated several times by a handsome young man
and I feel my heart beat stronger,
and I feel my heart beat stronger.
O how beautiful is that melody.
O how sweet it is, how I like to hear it.
My mother doesn't want me to sing it.
I'd like to know why she has forbidden it to me?
Now she isn't there and I am going to sing
the lines that I found so exciting.
I'd like to kiss your black hair,
your lips and your solemn eyes,
I would want to die with you, angel of God,
my beautiful beloved treasure.
Yesterday I saw him walking by,
and heard him sing as he always does.
I'd like to kiss your black hair,
your lips and your solemn eyes.
Press me, darling, press me to your heart,
let me feel the ecstasy of love.
>
> - Show quoted text -
Muriel
Nov 24, 2007, 6:20:19 PM11/24/07
to Mario Lanza, tenor
My Thoughts on Serenata
Each time I listen to Mario's recording of Serenata, I have the same
reaction: I cry. Of all the Caruso Favs, I am more aware of the
raspiness in his voice, and yet, here he gives one of the most heroic
performances of his life. He takes on this difficult piece of music
and breathes his life into it. Played in a waltz tempo (3/4 time?), he
cannot back down one second or all is lost. One would think this is a
happy song if you only pay attention to its beat. But - he cannot
sound like he is tossing it off as it has a definite message. He is
singing to his love and imploring her to come to the window to hear
him pour out his feelings for her. He would gladly give his life for a
"soave sguardo" (sweet glance) from her. Oh, what a cold heart she
must have to ignore him! Perhaps if he seeks the assistance of the
stars, she will come out and relieve his aching heart.
As I listen I get the feeling that singing Serenata is a test of
Mario's endurance and he doesn't falter at all. I've played it over
many times today trying to find a weak spot. I've found none. There
are quite a few (at least seven) places where he has to go up to a
high note rather quickly and he hits them all solidly. This is a true
test of his vocal strength and breath control. I still hear some
lyrical qualities that we all love so well, although not as bright as
they were in his youth. As he begins his crescendo on, "Svegliati
amore, dammi col tuo sorriso," ("Awaken yourself love, give me your
smile") I am silently cheering for him and my excitement grows,
knowing the best is yet to come! He continues, "...nella notte serena,"
and becomes fearless and soars, "l'ebbrezza dell' amore (takes a
breath) ah!" This "ah" is held and blends into the following, "Ah!
fulgete o stelle,(takes a breath) il mio bene e svegliato (breath) e
all' amor mio, e(ha)all' amor mio, (breath) e ritorna(ha)to!" ("..in
the serene night, the intoxication of love, ah! Ah, disperse, oh stars
my happiness has awoken and, to my love, it has returned!") What
exquisite phrasing! Mario has kicked his energy up a notch at the very
time we expect him to show fatigue. This, indeed, is heroism to me. I
can only imagine what this song would have sounded like if he had
recorded it, even a year earlier.
A nice touch is the final punctuation by the orchestra. It almost
sounds to me as if they are putting their approval stamp on a job well
done! My sentiments exactly....Muriel (Yes, the tears are there...)
> ...
>
> read more >>- Hide quoted text -
Each time I listen to Mario's recording of Serenata, I have the same
reaction: I cry. Of all the Caruso Favs, I am more aware of the
raspiness in his voice, and yet, here he gives one of the most heroic
performances of his life. He takes on this difficult piece of music
and breathes his life into it. Played in a waltz tempo (3/4 time?), he
cannot back down one second or all is lost. One would think this is a
happy song if you only pay attention to its beat. But - he cannot
sound like he is tossing it off as it has a definite message. He is
singing to his love and imploring her to come to the window to hear
him pour out his feelings for her. He would gladly give his life for a
"soave sguardo" (sweet glance) from her. Oh, what a cold heart she
must have to ignore him! Perhaps if he seeks the assistance of the
stars, she will come out and relieve his aching heart.
As I listen I get the feeling that singing Serenata is a test of
Mario's endurance and he doesn't falter at all. I've played it over
many times today trying to find a weak spot. I've found none. There
are quite a few (at least seven) places where he has to go up to a
high note rather quickly and he hits them all solidly. This is a true
test of his vocal strength and breath control. I still hear some
lyrical qualities that we all love so well, although not as bright as
they were in his youth. As he begins his crescendo on, "Svegliati
amore, dammi col tuo sorriso," ("Awaken yourself love, give me your
smile") I am silently cheering for him and my excitement grows,
knowing the best is yet to come! He continues, "...nella notte serena,"
and becomes fearless and soars, "l'ebbrezza dell' amore (takes a
breath) ah!" This "ah" is held and blends into the following, "Ah!
fulgete o stelle,(takes a breath) il mio bene e svegliato (breath) e
all' amor mio, e(ha)all' amor mio, (breath) e ritorna(ha)to!" ("..in
the serene night, the intoxication of love, ah! Ah, disperse, oh stars
my happiness has awoken and, to my love, it has returned!") What
exquisite phrasing! Mario has kicked his energy up a notch at the very
time we expect him to show fatigue. This, indeed, is heroism to me. I
can only imagine what this song would have sounded like if he had
recorded it, even a year earlier.
A nice touch is the final punctuation by the orchestra. It almost
sounds to me as if they are putting their approval stamp on a job well
done! My sentiments exactly....Muriel (Yes, the tears are there...)
>
> read more >>- Hide quoted text -
Muriel
Nov 24, 2007, 6:22:57 PM11/24/07
to Mario Lanza, tenor
Oh my! I cannot possibly take on Musica Proibita at this time!!
> ...
>
> read more >>- Hide quoted text -
>
> read more >>- Hide quoted text -
Armando
Nov 24, 2007, 8:10:42 PM11/24/07
to Mario Lanza, tenor
Musica Proibita makes for some interesting listening.
There are differences in the performances when comparing the Lanza /
Caruso versions,
but there are more similarities than differences. Apart from three
instances, both breathe in exactly the same places, with Lanza not
taking a breath beween 'cantar and una canzon' at the start and again
between 'labbra tue and e gli occhi tuoi' towards the end which are
marked as pauses in the score.
Both take a breath in a rather dubious place and that is, Lanza
between 'dolce and quella melodia, at the start, and Caruso in the
same place although he sings bella which is wrong.
He then sings dolce instead of bella, but these are minor matters.
Caruso also takes a breath between "solito and cantar, (the one after
sentiva is in the score)
whereas Lanza breathes between 'cantar and vorrei baciare', which is
really better phrasing.
All in all I agree with Derek that Caruso's opening phrases are more
appropriately sung and that Lanza does a better ending. I hadn't
listened to Musica Proibita for quite sometime and forgotten just how
good Lanza's singing of it is.
> ...
>
> read more >>
There are differences in the performances when comparing the Lanza /
Caruso versions,
but there are more similarities than differences. Apart from three
instances, both breathe in exactly the same places, with Lanza not
taking a breath beween 'cantar and una canzon' at the start and again
between 'labbra tue and e gli occhi tuoi' towards the end which are
marked as pauses in the score.
Both take a breath in a rather dubious place and that is, Lanza
between 'dolce and quella melodia, at the start, and Caruso in the
same place although he sings bella which is wrong.
He then sings dolce instead of bella, but these are minor matters.
Caruso also takes a breath between "solito and cantar, (the one after
sentiva is in the score)
whereas Lanza breathes between 'cantar and vorrei baciare', which is
really better phrasing.
All in all I agree with Derek that Caruso's opening phrases are more
appropriately sung and that Lanza does a better ending. I hadn't
listened to Musica Proibita for quite sometime and forgotten just how
good Lanza's singing of it is.
>
> read more >>
Derek McGovern
Nov 25, 2007, 4:28:58 AM11/25/07
to mario...@googlegroups.com
My dear Muriella: I think this has to be one of your best-ever posts!
Thanks for putting so much thought into it. And good on you for
pointing out some of the wonderful moments (not to mention the
excellent breath control) in Mario's rendition. When I have more time
later this week, I will definitely return to this one!
Thanks for putting so much thought into it. And good on you for
pointing out some of the wonderful moments (not to mention the
excellent breath control) in Mario's rendition. When I have more time
later this week, I will definitely return to this one!
Message has been deleted
Derek McGovern
Nov 25, 2007, 1:52:01 PM11/25/07
to Mario Lanza, tenor
Hi Muriella: Just re-reading your Serenata post, yes, you're right
about Mario "kicking up his energy a notch" at the very place where
we'd expect him to start flagging. This is an exceptionally difficult
song - even for an artist in robust, rude health - and it's little
wonder that so few singers have attempted it. (Apart from Caruso and
Lanza, I think only Franco Bonisolli has recorded it.)
You've singled out some of my favourite moments in Mario's rendition.
I also love the way he sings "quale macigno freddo" (what cold
sandstone) - almost as an aside - and the spontaneous hint of a
chuckle (laughing wryly at his lovesick ardour, perhaps?) that he
inserts between "per un soave sguardo" and "mi convera morir..." (for
a sweet glance, I will agree to die...).
I just wish those recording engineers had been paying more attention
and not allowed Lanza's last note to disappear into a sea of
distortion!
On Nov 26, 5:57 am, Muriel <mawscompu...@yahoo.com> wrote:
> Thank you so much, Derek. Your kind words mean a lot to me... I can
> hear this special song in my mind after spending an afternoon with
> it.
> Love you, Muriel
> > > done! My sentiments exactly....Muriel (Yes, the tears are there...)- Hide quoted text -
>
> > - Show quoted text -- Hide quoted text -
about Mario "kicking up his energy a notch" at the very place where
we'd expect him to start flagging. This is an exceptionally difficult
song - even for an artist in robust, rude health - and it's little
wonder that so few singers have attempted it. (Apart from Caruso and
Lanza, I think only Franco Bonisolli has recorded it.)
You've singled out some of my favourite moments in Mario's rendition.
I also love the way he sings "quale macigno freddo" (what cold
sandstone) - almost as an aside - and the spontaneous hint of a
chuckle (laughing wryly at his lovesick ardour, perhaps?) that he
inserts between "per un soave sguardo" and "mi convera morir..." (for
a sweet glance, I will agree to die...).
I just wish those recording engineers had been paying more attention
and not allowed Lanza's last note to disappear into a sea of
distortion!
On Nov 26, 5:57 am, Muriel <mawscompu...@yahoo.com> wrote:
> Thank you so much, Derek. Your kind words mean a lot to me... I can
> hear this special song in my mind after spending an afternoon with
> it.
> Love you, Muriel
>
> On Nov 25, 4:28 am, "Derek McGovern" <derek.mcgov...@gmail.com> wrote:
>
>
>
> > My dear Muriella: I think this has to be one of your best-ever posts!
> > Thanks for putting so much thought into it. And good on you for
> > pointing out some of the wonderful moments (not to mention the
> > excellent breath control) in Mario's rendition. When I have more time
> > later this week, I will definitely return to this one!
>
> On Nov 25, 4:28 am, "Derek McGovern" <derek.mcgov...@gmail.com> wrote:
>
>
>
> > My dear Muriella: I think this has to be one of your best-ever posts!
> > Thanks for putting so much thought into it. And good on you for
> > pointing out some of the wonderful moments (not to mention the
> > excellent breath control) in Mario's rendition. When I have more time
> > later this week, I will definitely return to this one!
>
>
> > - Show quoted text -- Hide quoted text -
Muriel
Nov 25, 2007, 7:31:02 PM11/25/07
to Mario Lanza, tenor
Yes, I noticed how he pronounced "freddo" and had underlined it in my
notes. It sounded somewhat cold or detached which is exactly what a
sandstone is....
notes. It sounded somewhat cold or detached which is exactly what a
sandstone is....
Derek McGovern
Nov 26, 2007, 3:31:16 AM11/26/07
to Mario Lanza, tenor
Ciao Armando: I was very interested in your comments on Caruso's and
Lanza's renditions of Musica Proibita, and have gone back and compared
them again.
While I still feel that Caruso's version is slightly better -
essentially because he's more lyrical in his approach and uses more
light and shade - Mario's rendition certainly doesn't suffer by
comparison. He's in fine fettle here. In fact, his energy level is on
a par with that of his Serenata rendition; there's not really any
discernible tiredness at all. Vocally, he actually sounds fresher than
on almost any other track on the album. (It almost makes me wish he'd
recorded L'Alba Separa that same day.) Yes, the voice does thin out a
little on the climactic "provar", but then I noticed that Caruso
barely holds the note at all :-)
Listening to Mario's rendition of this song and many of the others
from Caruso Favorites, I'm not surprised that Caruso authority (and
Assistant Manager from the Met?) Francis Robinson, in his liner notes
for the original album, felt that Lanza had "never sounded better". He
wasn't that far off the mark. Of course, as impressive as Lanza is
here, *we* know that he'd surpassed even these efforts just six months
earlier on the Mario! album - or, for that matter, on his recordings
for Serenade. But then Robinson wasn't a Lanza aficionado, so it's
quite likely that he was comparing this Mario with the less consistent
artist of his Hollywood years. In many ways, this *is* a superior
performer, so in a sense Robinson was right on the money.
> ...
>
> read more >>- Hide quoted text -
Lanza's renditions of Musica Proibita, and have gone back and compared
them again.
While I still feel that Caruso's version is slightly better -
essentially because he's more lyrical in his approach and uses more
light and shade - Mario's rendition certainly doesn't suffer by
comparison. He's in fine fettle here. In fact, his energy level is on
a par with that of his Serenata rendition; there's not really any
discernible tiredness at all. Vocally, he actually sounds fresher than
on almost any other track on the album. (It almost makes me wish he'd
recorded L'Alba Separa that same day.) Yes, the voice does thin out a
little on the climactic "provar", but then I noticed that Caruso
barely holds the note at all :-)
Listening to Mario's rendition of this song and many of the others
from Caruso Favorites, I'm not surprised that Caruso authority (and
Assistant Manager from the Met?) Francis Robinson, in his liner notes
for the original album, felt that Lanza had "never sounded better". He
wasn't that far off the mark. Of course, as impressive as Lanza is
here, *we* know that he'd surpassed even these efforts just six months
earlier on the Mario! album - or, for that matter, on his recordings
for Serenade. But then Robinson wasn't a Lanza aficionado, so it's
quite likely that he was comparing this Mario with the less consistent
artist of his Hollywood years. In many ways, this *is* a superior
performer, so in a sense Robinson was right on the money.
>
> read more >>- Hide quoted text -
Muriel
Nov 26, 2007, 9:17:16 AM11/26/07
to Mario Lanza, tenor
Thanks, Derek, it was a pleasure working with this sweet song.
On Nov 25, 4:28 am, "Derek McGovern" <derek.mcgov...@gmail.com> wrote:
> My dear Muriella: I think this has to be one of your best-ever posts!
> Thanks for putting so much thought into it. And good on you for
> pointing out some of the wonderful moments (not to mention the
> excellent breath control) in Mario's rendition. When I have more time
> later this week, I will definitely return to this one!
>
> > done! My sentiments exactly....Muriel (Yes, the tears are there...)- Hide quoted text -
On Nov 25, 4:28 am, "Derek McGovern" <derek.mcgov...@gmail.com> wrote:
> My dear Muriella: I think this has to be one of your best-ever posts!
> Thanks for putting so much thought into it. And good on you for
> pointing out some of the wonderful moments (not to mention the
> excellent breath control) in Mario's rendition. When I have more time
> later this week, I will definitely return to this one!
>
Armando
Nov 26, 2007, 5:19:14 PM11/26/07
to Mario Lanza, tenor
Ciao Derek, No doubt, a little more light and shade would have
benefited Mario's performance of Musica Proibita. In that respect,
Caruso's version has the edge.
Must listen to the Serenata after reading Muriel's rapturous
comments!
> ...
>
> read more >>
benefited Mario's performance of Musica Proibita. In that respect,
Caruso's version has the edge.
Must listen to the Serenata after reading Muriel's rapturous
comments!
>
> read more >>
Armando
Nov 27, 2007, 1:35:46 AM11/27/07
to Mario Lanza, tenor
Lanza's singing of Serenata is a towering achievement. I've never
cared much for this song as, musically, it's not very interesting, but
it is nevertheless vocally challenging.
Lanza's voice at 38 is heavy, a lot heavier than Caruso's who was
eight years older than Lanza when he recorded it. The tessitura is
demanding, very demanding for a big voice, yet Lanza succeeds in
producing no less than 5 High As and a High B all splendidly handled
save for a little evidence of tiring on the line 'Ah fulgete o
stelle.'
He does take a breath on the word 'Dite-le' ( chio sento per lei) but
it's barely noticeable.
In concluding all I can say is that Serenata is further proof that the
voice, if not the body, was not damaged. Had he changed his ways, the
heaviness would have gone and the voice would have still retained a
baritonal quality combined with a brilliant top.
> ...
>
> read more >>
cared much for this song as, musically, it's not very interesting, but
it is nevertheless vocally challenging.
Lanza's voice at 38 is heavy, a lot heavier than Caruso's who was
eight years older than Lanza when he recorded it. The tessitura is
demanding, very demanding for a big voice, yet Lanza succeeds in
producing no less than 5 High As and a High B all splendidly handled
save for a little evidence of tiring on the line 'Ah fulgete o
stelle.'
He does take a breath on the word 'Dite-le' ( chio sento per lei) but
it's barely noticeable.
In concluding all I can say is that Serenata is further proof that the
voice, if not the body, was not damaged. Had he changed his ways, the
heaviness would have gone and the voice would have still retained a
baritonal quality combined with a brilliant top.
>
> read more >>
Derek McGovern
Nov 27, 2007, 3:42:05 PM11/27/07
to mario...@googlegroups.com
Hi Armando: *Five* As?! I must admit I'd never counted them before.
And a high B as well - little wonder that virtually no one else has
attempted to sing this song. Plus, as you say, the tessitura of this
song is all the more difficult for bigger voices such as Lanza's. But
while I can imagine someone like Juan Diego Florez, with that highly
flexible lyric voice of his, being able to negotiate with ease all the
leaps here, I would miss the heroic quality that Mario brings to his
rendition.
And a high B as well - little wonder that virtually no one else has
attempted to sing this song. Plus, as you say, the tessitura of this
song is all the more difficult for bigger voices such as Lanza's. But
while I can imagine someone like Juan Diego Florez, with that highly
flexible lyric voice of his, being able to negotiate with ease all the
leaps here, I would miss the heroic quality that Mario brings to his
rendition.
As I mentioned earlier on this thread, Caruso brings more strength to
the line "Ah fulgete o
stelle" (he's actually quite formidable here), but overall I prefer
Lanza's rendition. I find Caruso's singing style a bit dated on this
song - "sing-songy" (as I think Muriella described it a few years
back), particularly on lines such as "La luna scende, e tu, o cara,"
where the melody is already a little trite to begin with. Mario, on
the other hand, blows the cobwebs out of this song!
Muriel
Nov 27, 2007, 9:11:03 PM11/27/07
to Mario Lanza, tenor
Tessitura! That's it!
I was trying to think of the term and it kept evading me. (We also
have an example of a difficult tessitura in One Flower In Your
Garden.) I suppose when I refer to the raspiness of Mario's voice, it
is the heaviness really. Mario's solid landing on all the high notes
captured my admiration the most. Although it doesn't change the tragic
outcome, I'm somewhat consoled that Mario could have come out of this
decline had he begun to take care of himself. He needed a strong
friend whom he trusted to guide him through his troubles. Even though
John Coast tried, Mario wasn't hearing.
Derek, yes, I *did* complain about Caruso's "sing-songy" delivery. It
turned me off. Although the man is a legend, I still cannot sit and
listen to one of his CDs from start to finish. I've heard Juan Diego
Florez in person, and his voice is, indeed, very flexible, but, as you
say, he lacks the substance that Mario has to make this song so
remarkable.
I was trying to think of the term and it kept evading me. (We also
have an example of a difficult tessitura in One Flower In Your
Garden.) I suppose when I refer to the raspiness of Mario's voice, it
is the heaviness really. Mario's solid landing on all the high notes
captured my admiration the most. Although it doesn't change the tragic
outcome, I'm somewhat consoled that Mario could have come out of this
decline had he begun to take care of himself. He needed a strong
friend whom he trusted to guide him through his troubles. Even though
John Coast tried, Mario wasn't hearing.
Derek, yes, I *did* complain about Caruso's "sing-songy" delivery. It
turned me off. Although the man is a legend, I still cannot sit and
listen to one of his CDs from start to finish. I've heard Juan Diego
Florez in person, and his voice is, indeed, very flexible, but, as you
say, he lacks the substance that Mario has to make this song so
remarkable.
Lou
Nov 28, 2007, 4:21:47 AM11/28/07
to Mario Lanza, tenor
Hi Armando and Derek: Many thanks for your very interesting and
informative comments about Musica Proibita.
I wonder what it is about this song that makes it such a favorite
among tenors whether or not their voice is, in my opinion, appropriate
for it. Even Mario del Monaco had a go at it, singing with the lyrical
sweetness of the proverbial bull in a china shop. Isn't there a Musica
Proibita voice just as there is an Otello voice? It seems to me that
this "song within a song" cries out for a voice that, one moment, can
project the innocence and curiosity of a newly pubescent girl
lamenting her mother's censorship, and the next moment, the ardor and
sensuality of the serenader she is quoting. A voice like Gigli's or
the young Carreras' - or the young Lanza's. Which is why I prefer
Mario's "rough" 1952 version to his more polished and disciplined 1959
take.
On the basis of the tender opening phrases, the "glide" (if that's the
right word) from "cantar" (in "solito cantar") to "vorrei" (in "vorrei
baciare"), and the almost "barked" ending pointed out by Derek, I
share Derek's speculation that Lanza may have been copying Caruso on
his Coke rendition. I wish he had also copied Caruso's delectable "o
quanto 'e bella quella melodia." Lanza's own distinctive touches,
however, are a delight. For example, his "vorrei sapere perche' me
l'ha proibita" has a hint of sullenness that escalates to subtle
defiance in "ella non c'e ed io la vo cantare," while his "o bella
innamorata tesor mio" is so meltingly tender and sensuous that
Caruso's own treatment sounds insipid in comparison. All in all a
convincing and thrilling performance that the 1959 version can't make
me forget.
By the way, what is the word that Mario substituted for "sentiva" in
"e lo sentiva al solito cantar"?
Lou
informative comments about Musica Proibita.
I wonder what it is about this song that makes it such a favorite
among tenors whether or not their voice is, in my opinion, appropriate
for it. Even Mario del Monaco had a go at it, singing with the lyrical
sweetness of the proverbial bull in a china shop. Isn't there a Musica
Proibita voice just as there is an Otello voice? It seems to me that
this "song within a song" cries out for a voice that, one moment, can
project the innocence and curiosity of a newly pubescent girl
lamenting her mother's censorship, and the next moment, the ardor and
sensuality of the serenader she is quoting. A voice like Gigli's or
the young Carreras' - or the young Lanza's. Which is why I prefer
Mario's "rough" 1952 version to his more polished and disciplined 1959
take.
On the basis of the tender opening phrases, the "glide" (if that's the
right word) from "cantar" (in "solito cantar") to "vorrei" (in "vorrei
baciare"), and the almost "barked" ending pointed out by Derek, I
share Derek's speculation that Lanza may have been copying Caruso on
his Coke rendition. I wish he had also copied Caruso's delectable "o
quanto 'e bella quella melodia." Lanza's own distinctive touches,
however, are a delight. For example, his "vorrei sapere perche' me
l'ha proibita" has a hint of sullenness that escalates to subtle
defiance in "ella non c'e ed io la vo cantare," while his "o bella
innamorata tesor mio" is so meltingly tender and sensuous that
Caruso's own treatment sounds insipid in comparison. All in all a
convincing and thrilling performance that the 1959 version can't make
me forget.
By the way, what is the word that Mario substituted for "sentiva" in
"e lo sentiva al solito cantar"?
Lou
Derek McGovern
Nov 28, 2007, 4:46:41 AM11/28/07
to Mario Lanza, tenor
Hi Muriella: Yes, One Flower in Your Garden is an excellent example of
a fiendishly difficult tessitura - and yet another example of Mario at
the end of his life still delivering all the vocal goods. That
particular song just bangs away at the upper register, and includes a
terrifying B natural ("terrifying" because of the approach to it). We
must talk about this recording in more detail some time!
By the way, I knew exactly what you meant when you referred to the
slight "raspiness" in Mario's timbre on Serenata and L'Alba Separa
dalla Luce l'Ombra. As far as I'm concerned, "raspiness" is the right
word, and, what's more, it *is* distinct from "heaviness." Lanza
sounds "heavy" on virtually all the Caruso Favorites numbers, but only
"raspy" on a couple of the songs. So you were right!
a fiendishly difficult tessitura - and yet another example of Mario at
the end of his life still delivering all the vocal goods. That
particular song just bangs away at the upper register, and includes a
terrifying B natural ("terrifying" because of the approach to it). We
must talk about this recording in more detail some time!
By the way, I knew exactly what you meant when you referred to the
slight "raspiness" in Mario's timbre on Serenata and L'Alba Separa
dalla Luce l'Ombra. As far as I'm concerned, "raspiness" is the right
word, and, what's more, it *is* distinct from "heaviness." Lanza
sounds "heavy" on virtually all the Caruso Favorites numbers, but only
"raspy" on a couple of the songs. So you were right!
Derek McGovern
Nov 28, 2007, 5:17:27 AM11/28/07
to Mario Lanza, tenor
Hi Lou: Yes, I can well imagine del Monaco's version of Musica
Proibita! Do you remember what Lanza said in Rome about *that* Mario's
articulation when he sang? (Del Monaco, he complained, was all "Waw!
waw! waw!") Couldn't agree more - especially where songs were
concerned.
I certainly understand why you're drawn to Lanza's Coke version of
Musica Proibita. It has some very endearing touches, and Mario's in
beautiful voice. *But*...and you know what I'm going to say! It's just
too rough for me. While I would never write it off - and yes, I agree
that it's closer to being the "right" voice for the song than the 1959
version - it's the later version that touches my soul. Mario may
indeed sound too heavy, but he's stylistically consistent throughout
the piece, and totally in command of his material. Actually, I've
always agreed with Mike's summing up of the differences between the
two renditions in his "Musings on the Mario! and Caruso Favorites"
page:
"It's interesting to compare the '52 Coke Musica Proibita with the
rendition offered here. Compared to Mario's 'Caruso Favourites'
version, the '52 Coke Musica Proibita is somewhat untutored but full
of those youthful, inimitable Lanza touches. Using his 'soft pedal'
immediately after a flurry of full-throated singing is a little
undisciplined, even for the younger Mario. I get the feeling he didn't
get to practice this number too much before recording it. His '59
reading is sung 'full-pedal-to the-metal' but in a mature and
disciplined manner. After three or four playings I find I quite prefer
this version."
By the way, you were asking what that word was that Mario sings
instead of "sentiva" on the 1952 version. As far as I can make out, he
sings "ritiva". There's no such word in Italian, to the best of my
knowledge :-) He also pronounces "canti" in the line "Ch'io la canti
non vuol la mamma mia" in a rather curious way, and then does
something unusual to the emphasis on "me l'ha" in the next line
("Vorrei sapere perche' me l'ha proibita?"). You'll hear what I mean
if you compare the two versions.
It'd be interesting to know how many other folk here prefer the 1952
Musica Probita. Probably quite a few. I was very surprised, though, to
read in Derek Mannering's 2001 bio that he - the most ardent Coke Show
fan I know of - actually preferred the 1959 version.
Proibita! Do you remember what Lanza said in Rome about *that* Mario's
articulation when he sang? (Del Monaco, he complained, was all "Waw!
waw! waw!") Couldn't agree more - especially where songs were
concerned.
I certainly understand why you're drawn to Lanza's Coke version of
Musica Proibita. It has some very endearing touches, and Mario's in
beautiful voice. *But*...and you know what I'm going to say! It's just
too rough for me. While I would never write it off - and yes, I agree
that it's closer to being the "right" voice for the song than the 1959
version - it's the later version that touches my soul. Mario may
indeed sound too heavy, but he's stylistically consistent throughout
the piece, and totally in command of his material. Actually, I've
always agreed with Mike's summing up of the differences between the
two renditions in his "Musings on the Mario! and Caruso Favorites"
page:
"It's interesting to compare the '52 Coke Musica Proibita with the
rendition offered here. Compared to Mario's 'Caruso Favourites'
version, the '52 Coke Musica Proibita is somewhat untutored but full
of those youthful, inimitable Lanza touches. Using his 'soft pedal'
immediately after a flurry of full-throated singing is a little
undisciplined, even for the younger Mario. I get the feeling he didn't
get to practice this number too much before recording it. His '59
reading is sung 'full-pedal-to the-metal' but in a mature and
disciplined manner. After three or four playings I find I quite prefer
this version."
By the way, you were asking what that word was that Mario sings
instead of "sentiva" on the 1952 version. As far as I can make out, he
sings "ritiva". There's no such word in Italian, to the best of my
knowledge :-) He also pronounces "canti" in the line "Ch'io la canti
non vuol la mamma mia" in a rather curious way, and then does
something unusual to the emphasis on "me l'ha" in the next line
("Vorrei sapere perche' me l'ha proibita?"). You'll hear what I mean
if you compare the two versions.
It'd be interesting to know how many other folk here prefer the 1952
Musica Probita. Probably quite a few. I was very surprised, though, to
read in Derek Mannering's 2001 bio that he - the most ardent Coke Show
fan I know of - actually preferred the 1959 version.
Armando
Nov 29, 2007, 2:08:43 AM11/29/07
to Mario Lanza, tenor
Hello Lou,
In answer to your question, for me Musica Proibita is one of the most
beautiful love songs ever written. It's a difficult song to sing, one
that requires considerable light and shade and, obviously, a great
amount of feeling, but for a singer it's a joy to sing.
There's no Musica proibita voice as such. The song can be sung by
almost any voice, it's the variations in the colouring and inflexion
which make the difference. In other words if a baritone can alternate
between forte and mezza voce while keeping an even vocal line and
appropriate style he will be more than impressive.
Now, about the 1952 Lanza version. I didn't like it when I first heard
it back in 1980 and have seldom played since. Having just listened to
it again I'm afraid my opinion hasn't changed. I'm not going to
comment on it, as there are just to many things wrong to start
dissecting it. I do understand, however, why you would prefer a
lighter approach as opposed to the fairly dramatic Lanza version of
1959.
You mentioned Gigli, but I would advise you to stay away from his
version unless you want to drown in a flood of tears and sobs! Simply
dreadful!
I would recommend Di Stefano's gorgeous 1942 version, also Carreras is
not at all bad in his tribute to Lanza CD.
> ...
>
> read more >>
In answer to your question, for me Musica Proibita is one of the most
beautiful love songs ever written. It's a difficult song to sing, one
that requires considerable light and shade and, obviously, a great
amount of feeling, but for a singer it's a joy to sing.
There's no Musica proibita voice as such. The song can be sung by
almost any voice, it's the variations in the colouring and inflexion
which make the difference. In other words if a baritone can alternate
between forte and mezza voce while keeping an even vocal line and
appropriate style he will be more than impressive.
Now, about the 1952 Lanza version. I didn't like it when I first heard
it back in 1980 and have seldom played since. Having just listened to
it again I'm afraid my opinion hasn't changed. I'm not going to
comment on it, as there are just to many things wrong to start
dissecting it. I do understand, however, why you would prefer a
lighter approach as opposed to the fairly dramatic Lanza version of
1959.
You mentioned Gigli, but I would advise you to stay away from his
version unless you want to drown in a flood of tears and sobs! Simply
dreadful!
I would recommend Di Stefano's gorgeous 1942 version, also Carreras is
not at all bad in his tribute to Lanza CD.
>
> read more >>
Derek McGovern
Dec 1, 2007, 5:45:27 AM12/1/07
to Mario Lanza, tenor
Ciao Armando: I agree that Musica Proibita is a magnificent song, and
I can certainly understand why it's such a favourite with singers of
all voice types. I even have the Siberian baritone Dmitri Hvorostovsky
singing it.
Having listened to Mario's 1959 version quite a few times now since we
began this discussion, I'm convinced that his singing is simply
missing the necessary light and shade to make it the rendition that it
might have been. (Lanza certainly had a classic version in him.) It's
an appealing recording nonetheless!
I take it you meant Di Stefano's *1944* Swiss version? If so, then I
agree that it's gorgeous; in fact, it's the best, most perfectly
lyrical rendition I've heard of Musica Proibita:
http://www.4shared.com/file/30865509/f4af7826/Musica_Proibita__1944__-_Di_Stefano.html
I also like Carreras' 1993 version very much. It's actually one of the
most successful tracks on his With a Song in My Heart (Lanza tribute)
CD, and has a beautiful strings with piano obbligato arrangement (that
I'm sure would coaxed a more delicate rendition from Lanza) as well.
Carreras does some beautiful things with the words, including a lovely
touch on "gli occhi tuoi severi". Just about the only negative is that
his "Fammi provar" is pretty wobbly!
Curiously, both Jose' and Giuseppe sing "Oh quanto 'e dolce quella
melodia/Oh quanto 'e bella, quanto m'e gradita" (that's a lot of
"quanto"s!), whereas Mario and Dmitri sing "Oh quanto 'e dolce quella
melodia/Oh com'e bella, quanto m'e gradita." And Caruso, as I
mentioned in an earlier post, sings Oh quanto 'e bella quella melodia/
I can certainly understand why it's such a favourite with singers of
all voice types. I even have the Siberian baritone Dmitri Hvorostovsky
singing it.
Having listened to Mario's 1959 version quite a few times now since we
began this discussion, I'm convinced that his singing is simply
missing the necessary light and shade to make it the rendition that it
might have been. (Lanza certainly had a classic version in him.) It's
an appealing recording nonetheless!
I take it you meant Di Stefano's *1944* Swiss version? If so, then I
agree that it's gorgeous; in fact, it's the best, most perfectly
lyrical rendition I've heard of Musica Proibita:
http://www.4shared.com/file/30865509/f4af7826/Musica_Proibita__1944__-_Di_Stefano.html
I also like Carreras' 1993 version very much. It's actually one of the
most successful tracks on his With a Song in My Heart (Lanza tribute)
CD, and has a beautiful strings with piano obbligato arrangement (that
I'm sure would coaxed a more delicate rendition from Lanza) as well.
Carreras does some beautiful things with the words, including a lovely
touch on "gli occhi tuoi severi". Just about the only negative is that
his "Fammi provar" is pretty wobbly!
Curiously, both Jose' and Giuseppe sing "Oh quanto 'e dolce quella
melodia/Oh quanto 'e bella, quanto m'e gradita" (that's a lot of
"quanto"s!), whereas Mario and Dmitri sing "Oh quanto 'e dolce quella
melodia/Oh com'e bella, quanto m'e gradita." And Caruso, as I
mentioned in an earlier post, sings Oh quanto 'e bella quella melodia/
Oh com'e dolce, quanto m'e gradita."
I wonder who's right?!
Derek McGovern
Dec 1, 2007, 6:00:34 AM12/1/07
to Mario Lanza, tenor
Here's an interesting juxtaposition of Caruso's Serenata with Mario's
rendition from a BBC2 radio documentary on Lanza (courtesy of young
Mike McAdam). It's a bit unfair to Caruso (in terms of the point at
which Lanza takes over in the song), but I think it rather starkly
demonstrates the different approach and voices of the two singers, not
to mention the dated "sing-songy" style that annoyed both Muriella and
me about Enrico's version:
http://www.macadamedia.com/music/Serenata_Caruso,Lanza.mp3
rendition from a BBC2 radio documentary on Lanza (courtesy of young
Mike McAdam). It's a bit unfair to Caruso (in terms of the point at
which Lanza takes over in the song), but I think it rather starkly
demonstrates the different approach and voices of the two singers, not
to mention the dated "sing-songy" style that annoyed both Muriella and
me about Enrico's version:
http://www.macadamedia.com/music/Serenata_Caruso,Lanza.mp3
Armando
Dec 1, 2007, 6:49:36 AM12/1/07
to Mario Lanza, tenor
Quite right, Derek, it's Di Stefano's 1944 version of Musica Proibita
I was referring to. The date on my CD is wrong.
The correct lyrics are " Oh quanto e dolce quella melodia-Oh com'e'
I was referring to. The date on my CD is wrong.
The correct lyrics are " Oh quanto e dolce quella melodia-Oh com'e'
bella, quanto m'e' gradita."
On Dec 1, 9:45 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> Ciao Armando: I agree that Musica Proibita is a magnificent song, and
> I can certainly understand why it's such a favourite with singers of
> all voice types. I even have the Siberian baritone Dmitri Hvorostovsky
> singing it.
>
> Having listened to Mario's 1959 version quite a few times now since we
> began this discussion, I'm convinced that his singing is simply
> missing the necessary light and shade to make it the rendition that it
> might have been. (Lanza certainly had a classic version in him.) It's
> an appealing recording nonetheless!
>
> I take it you meant Di Stefano's *1944* Swiss version? If so, then I
> agree that it's gorgeous; in fact, it's the best, most perfectly
> lyrical rendition I've heard of Musica Proibita:
>
> http://www.4shared.com/file/30865509/f4af7826/Musica_Proibita__1944__...
> Ciao Armando: I agree that Musica Proibita is a magnificent song, and
> I can certainly understand why it's such a favourite with singers of
> all voice types. I even have the Siberian baritone Dmitri Hvorostovsky
> singing it.
>
> Having listened to Mario's 1959 version quite a few times now since we
> began this discussion, I'm convinced that his singing is simply
> missing the necessary light and shade to make it the rendition that it
> might have been. (Lanza certainly had a classic version in him.) It's
> an appealing recording nonetheless!
>
> I take it you meant Di Stefano's *1944* Swiss version? If so, then I
> agree that it's gorgeous; in fact, it's the best, most perfectly
> lyrical rendition I've heard of Musica Proibita:
>
Lou
Dec 2, 2007, 11:55:07 AM12/2/07
to Mario Lanza, tenor
Hi Derek and Armando: Once again, a million thanks for your very
helpful comments. They are real eye-openers for me in that they show
that I still have a long way to go before I get a handle on what
constitutes good singing.
Thank you in particular, Armando, for setting me straight about my
long-held notion that there was, or ought to be, a Musica Proibita
voice. I'm looking for my recording of Cappucilli's version which I
had summarily set aside because I thought the voice and the song were
mismatched. When I find it, I'll give it another listen with an ear
out for variations on the colouring and inflexion of the voice.
About Gigli, I just thought his voice type fitted my idea (now
discarded) of a Musica Proibita voice, but I can't stand his sobs and
aspirates.
I have both Di Stefano's 1944 and Carreras' 1993 renditions, and I
agree that Pippo's is drop-dead gorgeous. I love Jose's version, too,
but it pains me to listen to the wobble which, it seems to me, is not
only in the words "fammi provar" but all the way to the end. (By the
way, isn't his pronunciation of "ll" in "capelli" Castilian rather
than Italian?)
In the passage "e lo sentiva al solito cantar. Vorrei baciare i tuoi
capelli neri,", Carreras takes a breath between "cantar" and "vorrei";
so does Lanza in the 1959 version, as Armando mentioned earlier.
Caruso, Lanza in the 1952 version, and Di Stefano do not breathe in
those places but sort of glide (for want of the proper musical term)
from one word down to the next. (Is it just me, or does Di Stefano
sing "cantare" here instead of "cantar"?) I find this second
treatment, especially Di Stefano's, much more beautiful. Are both
treatments legit?
Lou
On Dec 1, 2:45 am, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> Ciao Armando: I agree that Musica Proibita is a magnificent song, and
> I can certainly understand why it's such a favourite with singers of
> all voice types. I even have the Siberian baritone Dmitri Hvorostovsky
> singing it.
>
> Having listened to Mario's 1959 version quite a few times now since we
> began this discussion, I'm convinced that his singing is simply
> missing the necessary light and shade to make it the rendition that it
> might have been. (Lanza certainly had a classic version in him.) It's
> an appealing recording nonetheless!
>
> I take it you meant Di Stefano's *1944* Swiss version? If so, then I
> agree that it's gorgeous; in fact, it's the best, most perfectly
> lyrical rendition I've heard of Musica Proibita:
>
> http://www.4shared.com/file/30865509/f4af7826/Musica_Proibita__1944__...
> > not at all bad in his tribute to Lanza CD.- Hide quoted text -
helpful comments. They are real eye-openers for me in that they show
that I still have a long way to go before I get a handle on what
constitutes good singing.
Thank you in particular, Armando, for setting me straight about my
long-held notion that there was, or ought to be, a Musica Proibita
voice. I'm looking for my recording of Cappucilli's version which I
had summarily set aside because I thought the voice and the song were
mismatched. When I find it, I'll give it another listen with an ear
out for variations on the colouring and inflexion of the voice.
About Gigli, I just thought his voice type fitted my idea (now
discarded) of a Musica Proibita voice, but I can't stand his sobs and
aspirates.
I have both Di Stefano's 1944 and Carreras' 1993 renditions, and I
agree that Pippo's is drop-dead gorgeous. I love Jose's version, too,
but it pains me to listen to the wobble which, it seems to me, is not
only in the words "fammi provar" but all the way to the end. (By the
way, isn't his pronunciation of "ll" in "capelli" Castilian rather
than Italian?)
In the passage "e lo sentiva al solito cantar. Vorrei baciare i tuoi
capelli neri,", Carreras takes a breath between "cantar" and "vorrei";
so does Lanza in the 1959 version, as Armando mentioned earlier.
Caruso, Lanza in the 1952 version, and Di Stefano do not breathe in
those places but sort of glide (for want of the proper musical term)
from one word down to the next. (Is it just me, or does Di Stefano
sing "cantare" here instead of "cantar"?) I find this second
treatment, especially Di Stefano's, much more beautiful. Are both
treatments legit?
Lou
On Dec 1, 2:45 am, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> Ciao Armando: I agree that Musica Proibita is a magnificent song, and
> I can certainly understand why it's such a favourite with singers of
> all voice types. I even have the Siberian baritone Dmitri Hvorostovsky
> singing it.
>
> Having listened to Mario's 1959 version quite a few times now since we
> began this discussion, I'm convinced that his singing is simply
> missing the necessary light and shade to make it the rendition that it
> might have been. (Lanza certainly had a classic version in him.) It's
> an appealing recording nonetheless!
>
> I take it you meant Di Stefano's *1944* Swiss version? If so, then I
> agree that it's gorgeous; in fact, it's the best, most perfectly
> lyrical rendition I've heard of Musica Proibita:
>
Armando
Dec 3, 2007, 8:33:32 PM12/3/07
to Mario Lanza, tenor
Hi Lou, I can't detect any Castilian in Carreras' pronunciation of
capelli, to my ears it's pretty accurate Italian.
Di Stefano does sing cantare instead of cantar towards the end of the
song, but the score is full of variations from cor to core, amor /
amore, etc. Di Stefano, for example, sings " vorrei morir 'per' te
angel di Dio, instead of vorrei morir 'con' te. I suppose you can put
it down to artistic licence, simple errors or, in Di Stefano's case,
wanting to spare her life!
The gliding you refer to, which consists of sliding between notes, is
known as portamento.
And, yes, both treatments are fine.
capelli, to my ears it's pretty accurate Italian.
Di Stefano does sing cantare instead of cantar towards the end of the
song, but the score is full of variations from cor to core, amor /
amore, etc. Di Stefano, for example, sings " vorrei morir 'per' te
angel di Dio, instead of vorrei morir 'con' te. I suppose you can put
it down to artistic licence, simple errors or, in Di Stefano's case,
wanting to spare her life!
The gliding you refer to, which consists of sliding between notes, is
known as portamento.
And, yes, both treatments are fine.
Derek McGovern
Dec 3, 2007, 9:07:33 PM12/3/07
to mario...@googlegroups.com
Hi Lou: Just following on from Armando's post, I like Di Stefano's use
of portamento here too (it's very romantic!), and it doesn't bother me
in the slightest in that it's not marked in Gastaldon's score. Of
course, some singers - particularly those of earlier generations -
tended to overdo the use of portamento. Carreras once complained about
this aspect in Caruso's recordings, saying that he preferred to listen
to Caruso's contemporary Aureliano Pertile instead because he was
"more modern" in his approach, particularly in his judicious use of
portamento. In fact, the technique - except where indicated by the
composer - is often frowned upon these days by arbiters of "good
taste" :-) Here's that king of refinement Carlo Bergonzi in a 1981 New
York Times article on this very subject:
of portamento here too (it's very romantic!), and it doesn't bother me
in the slightest in that it's not marked in Gastaldon's score. Of
course, some singers - particularly those of earlier generations -
tended to overdo the use of portamento. Carreras once complained about
this aspect in Caruso's recordings, saying that he preferred to listen
to Caruso's contemporary Aureliano Pertile instead because he was
"more modern" in his approach, particularly in his judicious use of
portamento. In fact, the technique - except where indicated by the
composer - is often frowned upon these days by arbiters of "good
taste" :-) Here's that king of refinement Carlo Bergonzi in a 1981 New
York Times article on this very subject:
"Another key to proper Italian singing style is the knowledge of how
much portamento to apply and when to hold back. ''The proper
portamento is indicated by the composer, in the phrasing marks in the
score,' Mr. Bergonzi contended. 'If it's not in the score, it's not
correct.' He then proceeded to sing the phrase, 'Celeste, Aida,'
from Verdi's opera, first with a smooth, subtle eliding of the notes
throughout the phrase, then with all the portamento forced into the
transition between the final syllable of 'Celeste' and the first
syllable of 'Aida.' "
Coincidentally, Celeste Aida's one of the best examples I can think of
in which Mario uses a lot of portamento. I'm thinking of his very
lyrical alternate take for The Great Caruso - not used in the film,
but heard on the Mario Lanza at MGM CD from Rhino. I don't think
Bergonzi would have approved in this instance! :-)
Derek McGovern
Dec 3, 2007, 10:40:31 PM12/3/07
to mario...@googlegroups.com
A slight correction to the above: Pertile wasn't *quite* Caruso's
contemporary: he was 12 years younger than Enrico and appeared at the
Met for the first time in 1921 - the year of Caruso's death.
contemporary: he was 12 years younger than Enrico and appeared at the
Met for the first time in 1921 - the year of Caruso's death.
Armando
Dec 4, 2007, 2:07:34 AM12/4/07
to Mario Lanza, tenor
Interesting Derek, but what was Bergonzi talking about?
Celeste Aida is loaded with portamento from beginning to end.
At the start , Celeste is so marked and so is (A)ida, from ida.
Must listen to the take on the Rhino CD.
By the way, speaking of Bergonzi, one of the recordings of Lanza he
singled out as liking was the commercial Celeste Aida!
Celeste Aida is loaded with portamento from beginning to end.
At the start , Celeste is so marked and so is (A)ida, from ida.
Must listen to the take on the Rhino CD.
By the way, speaking of Bergonzi, one of the recordings of Lanza he
singled out as liking was the commercial Celeste Aida!
leeann
Feb 11, 2012, 12:09:10 PM2/11/12
to mario...@googlegroups.com
If I had to pick a favorite Lanza album, I honestly don't know whether it would be Mario! or Caruso Favorites--although consensus seems to put Mario! in a somewhat more elevated bracket of artistic perfection.
But this week, I've been listening to the Caruso-Bracco "Serenata" again and again and the repetition didn't lessen the impact or thrill of it.
To a great extent, it's the sheer musicality, a sustained magnificence. The last few lines, as an example, beginning with "Svegliati amore, dammi col..." and continuing to an infinite crescendo. As the voice is soaring, the lyrics shift from imploring his love to exultantly addressing the stars. That can't be easy (to say nothing of hitting the notes) and it works splendidly. (Lyrics with translation here.)
In any event, I was glad to find this thread and the eloquent and explanatory posts about what makes this piece (and others) so fantastic. Best, Lee Ann
But this week, I've been listening to the Caruso-Bracco "Serenata" again and again and the repetition didn't lessen the impact or thrill of it.
To a great extent, it's the sheer musicality, a sustained magnificence. The last few lines, as an example, beginning with "Svegliati amore, dammi col..." and continuing to an infinite crescendo. As the voice is soaring, the lyrics shift from imploring his love to exultantly addressing the stars. That can't be easy (to say nothing of hitting the notes) and it works splendidly. (Lyrics with translation here.)
In any event, I was glad to find this thread and the eloquent and explanatory posts about what makes this piece (and others) so fantastic. Best, Lee Ann
Derek McGovern
Feb 12, 2012, 7:03:06 AM2/12/12
to mario...@googlegroups.com
Good on you, Lee Ann, for reviving this thread.
While I think most Lanza aficionados would rate the Mario! album as superior (somewhat) to Caruso Favorites, it's interesting to recall that the latter was more popular with the general public at the time of its initial release---and was probably a bigger hit with the critics as well. In fact, the Mario! LP had long been out of print when I first heard it in 1977. (It's different these days: the Mario! album has been consistently available on CD since the mid-1990s, while Caruso Favorites is harder to find, and is currently only available on a subsidiary label "twofer.")
I think Caruso Favorites was initially more popular for the simple reason that it contained a higher number of well-known songs than the Mario! album. Let's face it: even today "Santa Lucia," "Vieni sul Mar," etc, have greater recognition value than, say, "Voce 'e Notte" or "Tu Ca Nun Chiagne." Quite a number of Lanza fans have also told me---actually, surprised me in saying---that it took them quite a while to appreciate some of the songs on the Mario! album. I had the opposite experience: I found the songs instantly accessible, whereas some of the Caruso Favorites numbers---including, I'm ashamed to say, "Serenata"---did little for me.
What makes the Mario! album superior to Caruso Favorites? For me, it's the consistency on the former; aside from Funiculi' Funicula' (which is not actually that bad---just disappointing in relation to everything else on the album), the singing ranges from good/very good to excellent/a masterpiece. Lanza is also in fresher voice. On top of that, the conducting and the arrangements are wonderful. Caruso Favorites, on the other hand, is less consistent ("Santa Lucia" is all wrong and badly arranged, and the noisy "Lolita" pales in comparison with the 1949 version), with an obviously tired singer at times whose voice is heavier than it had been on the Mario! album. It's a shock to go straight from something like "L'Alba Separa dalla Luce l'Ombra" to "Canta Pe' Me"; Lanza sounds 20 years younger on the latter! Overall, there's also more light and shade in his interpretations on the Mario! album.
Caruso Favorites is still a formidable artistic achievement, though, and I play its highlights only marginally less often than I do the Mario! album's. I guess that's the ultimate proof of the pudding!
So how do other members rate these two albums? Does anyone prefer Caruso Favorites? And what are its best tracks in your opinion?
As for the seldom-recorded "Serenata," for which I'm proud to say we offer lyrics and the English translation on our main site, "sustained magnificence" truly says it all when it comes to Lanza's version!
Cheers
Derek
norma
Feb 17, 2012, 4:46:25 PM2/17/12
to mario...@googlegroups.com
Dear Derek
Two of my favourites are Serenata where he sort of swings from one note to the other at the end.Sorry but I do not know the correct term for this .I hope you can understand what I mean.The other favourite is Alba Separa Dalla Luce L`Ombra I love the whistfulness of his voice.So I probably prefer Caruso Favourites.
Norma
Message has been deleted
Message has been deleted
Derek McGovern
Mar 4, 2013, 8:39:45 PM3/4/13
to mario...@googlegroups.com
I'm saddened to note that Caruso Favorites appears to have been withdrawn from Sony/BMG's catalogue. It was first released on CD in 1989 on The Great Caruso and other Caruso Favorites, and then years later on a BMG subsidiary label (Collectables) as a "twofer" with For the First Time, but neither of these CDs is now available, except via Amazon's Marketplace Sellers at ridiculously inflated prices (over US$60 in one case). Caruso Favorites doesn't appear to be available for mp3 downloading either (though a scratchy copy of the original LP is probably on iTunes).
Ironically, the incredibly hard-to-find Encore 2-CD set---put out by BMG subsidiary Harvest Music---is currently available, though it'll cost you at $29.45. I'd assumed this fine set, which includes five beautifully reproduced selections from Caruso Favorites, had been deleted from the catalogue years ago.
Thank goodness the Mario! album is still available, though. It's bad enough that one of the most important albums in the Lanza canon has been cast aside (while much inferior material remains available), but I'd be heartbroken if Mario! were to be discontinued as well. The 2006 SACD disc is no longer available in hard copy, but it is for sale via Amazon as an mp3, while the 1995 Mario!/Vagabond King coupling (Mario! Lanza At His Best) can still be bought on CD.
Cheers
Derek
Derek McGovern
Nov 10, 2013, 9:36:41 AM11/10/13
to mario...@googlegroups.com
I played Mike's new compilation a couple of nights ago, and it was fascinating listening to the Caruso Favorites album immediately after the Mario! album. (Mike's CD features nine of the twelve tracks from each of these albums.) For one thing, the "heavier" Lanza voice of Caruso Favorites wasn't as immediately obvious, since Mike (cleverly) segues from "Fenesta che Lucive" from the Mario! album to "Senza Nisciuno" from Caruso Faves. The latter song---which, incidentally, is the only song sung in Neapolitan on the latter album---could almost belong to the Mario! album, both vocally and interpretively. Lanza's in fresh, vibrant voice, and his singing of "Senza Nisciuno" could hardly be better or more convincing.
But I wondered yet again as I listened to the highlights of both albums how differently they might each have turned out if Caruso Favorites had been recorded first. According to Terry Robinson, Lanza was supposed to record Caruso Favorites in 1958 (as his first studio album in Italy for RCA), but then decided to do an all-Neapolitan album first. (In his book, Callinicos writes that "a Neapolitan album" that been promised to him went to Baron instead; however, he is probably referring to Caruso Favorites, rather than Mario!. Caruso Favorites is often incorrectly described as a Neapolitan album, even by its original liner notes writer, Francis Robinson, who really should have known better. And Baron produced the Mario! album---or so he told me---but, as we all know, he certainly didn't conduct it.)
Does anyone wish that Caruso Favorites had come first? The two albums are quite different---and I don't mean just vocally; "Senza Nisciuno" aside, the songs evoke different emotions. (Well, they do for me.) But in terms of Lanza's health, the earlier album definitely finds him in better shape. It's tantalizing therefore to contemplate how a healthier, fresher-voiced Lanza might have sung, say, "Musica Probita," which I feel (although good) would have benefited from the light and shade that is such a hallmark of the Mario! album. Or "L'alba Separa dalla Luce l'Ombra"---though I think the marked heaviness in Lanza's voice here actually enhances the song's impact. But I wouldn't like to have heard "Passione," "Voce 'e Notte," "Canta Pe' Me" and '"Na Sera 'e Maggio" by anything less than a Lanza in peerless form, which is how I'd describe his vocal and interpretive condition on all four of these songs.
Returning to Lee Ann's comments just a few posts back, I'm also curious as to whether anyone here prefers the Caruso Favorites album to Mario! I think you all know my response, but I certainly wouldn't want to contemplate life without both of these albums :)
Cheers
Derek
P.S. I will never forget how extraordinary Caruso Favorites sounded when my grandfather put on Side 1 on his radiogram, and "Vieni sul Mar" came booming out. The rich, glorious sound was the epitome of how Franco Ferrara had described Lanza's voice on the earlier Mario! album---the perfect combination of steel and warmth---and all the sins of those hapless Rome recording engineers were concealed by that amazing radiogram's built-in speakers :)
Derek McGovern
Feb 8, 2019, 12:40:49 AM2/8/19
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Ciao Armando: I think Bergonzi meant that the portamento between, say,
the words "Celeste" and "Aida" should be *subtle* elision, as opposed
to a pronounced, unsubtle kind of exaggerated glide. It's a pity we
can't hear him demonstrate his concept of good and bad portamento, as
he did for the journalist!
I'd forgotten that he once praised Mario's commercial (1949) Celeste
Aida. Good for him!
Mario's alternate take of Celeste Aida for The Great Caruso can be
heard here: http://www.4shared.com/file/31108715/1bd4a623/Celeste_Aida__alternate_take_for_The_Great_Caruso__1950.html
Just played it now, and in fact the only part that stood out as being
bad portamento to me was "le dolci brezze del patrio SUOL_UN regal
serto".
the words "Celeste" and "Aida" should be *subtle* elision, as opposed
to a pronounced, unsubtle kind of exaggerated glide. It's a pity we
can't hear him demonstrate his concept of good and bad portamento, as
he did for the journalist!
I'd forgotten that he once praised Mario's commercial (1949) Celeste
Aida. Good for him!
Mario's alternate take of Celeste Aida for The Great Caruso can be
heard here: http://www.4shared.com/file/31108715/1bd4a623/Celeste_Aida__alternate_take_for_The_Great_Caruso__1950.html
Just played it now, and in fact the only part that stood out as being
bad portamento to me was "le dolci brezze del patrio SUOL_UN regal
serto".
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