Revisiting the 1947 Hollywood Bowl concert

[Derek McGovern]

Last night I did something I hadn't done in a long while: I listened to the entire 1947 Hollywood Bowl concert---Yeend's solo and the orchestral-only numbers included. What prompted me to play it was a chance re-reading of a January 1948 review of a Bel Canto Trio concert by Marjorie C. Tower of the (Meriden, Connecticut) Reader-Journal. (It's the 12th piece in our concert/opera reviews section of Lanza and the Press on our home site.)

This review is interesting in that it's perhaps the only critical appraisal of the 86-concert Bel Canto tour that I've come across in which Lanza is largely ignored while Frances Yeend is praised as the outstanding talent of the three: "Her glorious voice . . . seemed more than one could reasonably expect from one person," "the purest and loveliest tones," and so forth.

Yeend was certainly a gifted singer, and deserving of higher praise, I feel, than James Miller's 1989 view that she had a "small-scaled" approach to using her "somewhat plain voice." (Miller's full review can be read here; it's the second-to-last one on the page.) But on the strength of the 1947 Hollywood Bowl concert recording, at least, I don't feel that Yeend was one of the immortals. She's impressive, but---and I say this while trying to be as objective as possible!---she doesn't set the pulse racing or make one gasp in astonishment at the beauty of her voice, as I found myself doing while listening to Lanza's contributions on the CD. [Sorry, Kevin, if you're reading this! (Kevin, who joined us back in 2008, once studied singing with Yeend. His reminiscences of that time can be read here.)] Perhaps she simply didn't record that well, though; after all, critics as demanding as Claudia Cassidy and Albert Goldberg thought she was wonderful in person, with the latter marvelling at her "vocal opulence" and "poignant emotional appeal." (Tantalisingly, Goldberg, in his review of the Lanza-Yeend concert at Chicago's Grant Park in 1946, also mentions Yeend's beautiful singing of a duet from The Merry Widow with Lanza; now what wouldn't I give to hear a recording of that!)

But getting back to the 1947 Hollywood Bowl concert, I feel that Armando was definitely right in omitting the "Una Furtiva Lagrima" when he compiled the CD of live and home performances that accompanies his book. Although the dulcet beauty of Mario's voice is apparent from the get-go, as a piece of singing it pales in comparison with the other five performances he gave that evening. Dare I say it? Lanza's actually a tad dull here, and I feel he could have done more with the phrasing. The Improvviso is a different kettle of fish, though, and apart from (slightly) lacking the fire of the 1950 and 1952 (home) recordings, it's an incredibly assured performance from a 26-year-old. 

The "E Lucevan le Stelle," which I hadn't listened to in a long time, was just as good, I felt. Again, it doesn't have the fire of the 1950 recording or, say, the 1954 live performance, but my God! The plaintive quality of Lanza's voice, and the sensitive way in which he employs it, work magic here.

I was surprised to read Albert Goldberg's comment (in his original review of the concert---also in our press section) that he found the "Parigi O Cara" "rather straitlaced." Then again, Mr. Goldberg wasn't writing from the perspective of someone who's listened to the performance perhaps a hundred times! But I would never knock it for being "straitlaced"---that implies dullness, and there's far too much gorgeous vocalism going on here for it to be guilty of that charge. In fact, Lanza's a revelation on this performance, striking the perfect balance between tenderness and youthful ardor. And that use of mezza voce and diminuendo! Great stuff.

But I agree with Goldberg that the highlight of the concert was the Madama Butterfly Love Duet (which can be heard here, accompanied by a terrific slide show from our Vince). It may not be perfect, but I've yet to hear a more thrilling rendition. And that ending! As James Miller wrote in Fanfare, conductor Eugene Ormandy made the right call when he ended the duet with a loud chord rather than the (written) "dying orchestral coda." After all, who would have heard it amid the ensuing pandemonium? One of Lanza's great high Cs, especially given the circumstances, and if that wasn't enough, he gives another high C in the nicely done "O Soave Fanciulla" that follows :) 

So what are your favourite performances from the 1947 Bowl Concert? And what is your opinion of Frances Yeend? Do share.

Cheers
Derek

[leeann]

Derek, since you opened this thread, I've listened several times to the Andromeda CD of the Hollywood Bowl concert. What an experience to hear to the entire evening, to use a little imagination and picture the environment, the audience. It's certainly artistically, emotionally awfully impressive. And since we know the outcome of that night on the progression of Lanza's life, perhaps historically overwhelming. I wanted to ask about Verdi's "Parigi O Cara."  This Lanza-Yeend performance strikes me as such a beautiful vocal and interpretive blending and weaving--a combination of technique and emotion, restraint and passion as the soprano voice reiterates "de’ corsi affanni compenso avrai" (you will be rewarded for your suffering) and the tenor, his commitment and hope. (It's amazing how one line takes takes on different meanings, according to who is singing it.) It seems to me they bring out the best in each other--and I prefer Frances Yeend in her duets with Lanza to her solo performances, truthfully. (That statement comes with the admission that the solo soprano doesn't often resonate with me.) How would you compare the Lanza-Yeend rendition that night with the work of other prominent artists with the understanding that probably everybody and his great uncle has recorded or performed this opera. The following are just as examples, and I'll stick to YouTube versions here--with the understanding they certainly don't always do justice to the artist or represent the best version.  Bergonzi/Caballe: (my next-favorite, but a disclaimer--I'm on a huge Bergonzi kick right now.) Netreboko and Villazon (taking into account that the performance venue and occasion might have worked against their artistic deliver here) Carreras and Scotto (truthfully, I think he's amazing ; her, perhaps not quite as much? but this is a bad video.) Here are listen-along lyrics and translation to the Parigi, O Cara segment. Only six lines that summarize and portend so much! di Stefano/Callas: I wanted to like it much more than I did. Parigi, o cara noi lasceremo, la vita uniti trascorreremo. de’ corsi affanni compenso avrai, la tua salute rifiorira’. Sospiro e luce tu mi sarai, tutto il futuro ne arridera’. Dearest, we shall leave Paris, we shall spend the whole life together. You will be rewarded of your suffering, your health will bloom again. You will be sigh and light to me, all the future will be bright to us. Thank you! Leeann

[leeann]

Sorry, I should've put a link to the Lanza-Yeend version of "Parigi O Cara."  This is Stoltapaura's upload.  And apologies for misplacing the di Stefano-Callas link among the lyrics. Best, LeeAnn

[Derek McGovern]

Great post, Lee Ann! I've just been listening (and re-listening in a couple of cases) to the performances you linked to. Very interesting! (Can I just add, by the way, that the Lanza-Yeend version is even better---reproduction-wise---on our own site than at YouTube :))

My feeling is that while none of them is perfect, the Lanza-Yeend version is the best overall, closely followed by the Bergonzi-Caballe recording. Focusing on the men for a moment, I feel that there are parts in each version in which one is superior to the other. For example, I prefer Bergonzi's passionate handling of the line "la vita uniti trascorreremo," but much prefer Lanza's repetition of the line "de’ corsi affanni compenso avrai," on which he varies his delivery beautifully, in contrast to Bergonzi, who's a bit mechanical here. (It's curious, by the way, that Bergonzi and Caballe reprise the "la vita uniti trascorreremo"---none of the others do---while on the Carreras-Scotto performance they omit the repetition of the potentially awkward "de’ corsi affanni compenso avrai.") But both men do magical things. My favourite moments with Mario come about halfway through the duet, and from then until to the end, I feel he outshines everyone. Oh, how beautifully he sings "rifiorirà" each time! (Of course, Bergonzi is nearly twice Mario's age here, and his later problems with pitch are just beginning to appear, so perhaps it's a little unfair to be comparing them.)

Quick thoughts on the others:

Carreras, one of my favourite tenors, sounds absolutely gorgeous on that 1973 performance, but I have to concede that Bergonzi does more with the words. I didn't mind Scotto, by the way, though her notorious wobble is a bit intrusive.

Di Stefano (who, incidentally, disliked the role of Alfredo) is not at his best here, and I preferred Scotto's singing on the version with Carreras to Callas' performance.

I thought Villazon was dreadful (though clearly none of the YouTube posters thought so!). He barked his way through the opening bit, and made some ugly sounds throughout. I think I can safely live without hearing this performance again :)

Cheers
Derek

[Michael McAdam]

Great thread opening, Lee Ann.

 

I listened to all four of these Parigi O Cara's and was a bit surprised that the same duet could be so different between/among singers.

 

Bergonzi? Wonderful! His partner Caballé? Sublime! If this version is not in the 'masterpiece' realm, what is?

 

Villazon? bit of a shouter! Netrebko? Too beautiful but a fair to good singer (video distracting in that one waits for a "wardrobe malfunction" in many of her performances ;-)

 

Carreras? Superb! Scotto? Not bad but not great (what happened to that pizzicato, quick-time counterpoint vocal* near the end? they skipped it!)

diStefano?mostly great. Maria? That bubble-in-the-esophagus sound and near-shrieky high notes at times make this a bit disappointing from the soprano who later performed the greatest Vissi d'Arte I've ever heard! (she's a bit young here, I guess?)

 

Mike

(* not sure what you call this...please advise?)

[Derek McGovern]

Hi Mike: I just took a look at the La Traviata score, and the part in the duet that Carreras and Scotto omit---that repetition of "de’ corsi affanni compenso avrai" near the end---is written in staccato (hence the "pizzicato" effect that you mentioned).

By the way, I don't think Callas was too young on that version with Di Stefano---at 29, she was only a year away from her celebrated Tosca recording (again with Di Stefano).

Cheers
Derek

[leeann]

Since things are quiet on the forum, here's a little side note. Opera blogs and twitter messages are highlighting the anniversary of the first performance of La Traviata, and therefore, of the first performance of "Parigi O' Cara." It happened in Venice in 1853.  Lodovico Graziani sang Alfredo and, according to Wikipedia (quick fix), Fanny Salvini-Donatelli played Violetta.  Clearly her role wasn't typecast; at 38 years of age and apparently overweight, she was anything BUT a consumptive young woman.  The Metropolitan Opera gives a quick plot summary.

[Derek McGovern]

Hi Lee Ann

Thanks for alerting us to that anniversary. It's incredible to think that Verdi composed three of his most popular operas in a mere two-year period: Rigoletto in 1851 and then Il Trovatore and La Traviata in 1853. Other operatic composers have been even more prolific, but their works have not held the stage the way Verdi's have.

The man had his critics, though: the apoplectic Henry Fothergill Chorley---a leading music reviewer in Britain in the 1850s---was appalled by the idea of a consumptive soprano in La Traviata: "Consumption for one who is to sing! A ballet with a lame Sylphide would be as rational." And Punch Magazine, fed up with the British public's enthusiasm for the Rigoletto-Trovatore-Traviata triumvirate, put its frustration into verse:

Three Traviatas in different quarters,
Three Rigolettos murdering their daughters,
Three Trovatori beheading their brothers,
By the artful contrivance of three gypsy mothers.

(From the brilliant Lives of the Great Composers, by Harold C. Schonberg.)

Cheers
Derek

[norma]

Dear Derek,Does the Andromeda CD have the whole Hollywood Bowl Concert including Frances Yeend?If so is it still available ?                                                                                                     Best Wishes Norma

[Derek McGovern]

Hi Norma: Yes, the Andromeda CD does feature the entire Hollywood Bowl concert. There's one copy available at amazon.co.uk for just over £4:

http://www.amazon.co.uk/M-Lanza-Ormandy-Hollywood-Bowl-Concert/dp/B001ECC4TI/ref=cm_rdp_product

And later this month, the concert is being reissued on yet another European CD (the third so far), I see:

http://www.europadisc.co.uk/classical/102154/Mario_Lanza__Francis_Yeend__Eugene_Ormandy:_at_Hollywood_Bowl_%281947%29.ht

Cheers
Derek

[Lover of Grand Voices]

Thank you Derek. I just ordered the CD. In a reissuing of this sort,
can we expect sound and voice quality to be improved or, as they say,
"remastered," compared to the original issue? This is what intrigues
me of "new" Lanza releases as to whether or not any improvement is
attempted in the quality of the sonora. Your thoughts would be
welcome Derek. Saluti, Emilio

On Mar 10, 9:15 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> Hi Norma: Yes, the Andromeda CD does feature the entire Hollywood Bowl
> concert. There's one copy available at amazon.co.uk for just over £4:
>

> http://www.amazon.co.uk/M-Lanza-Ormandy-Hollywood-Bowl-Concert/dp/B00...

>
> And later this month, the concert is being reissued on yet another European
> CD (the third so far), I see:
>

> http://www.europadisc.co.uk/classical/102154/Mario_Lanza__Francis_Yee...
>
> Cheers
> Derek

[Tony Partington]

Hi Folks:  Great thread!  It's rather hard to believe that another CD pressing of the first Hollywood Bowl concert could rival the the sound Andromeda was able to coax out of that sub-standard recording.  But, who knows.

 

Leeann, I quite agree with you about the duets Mario sings with Frances Yeend being much more captivating and electric.  She had a wonderful voice, no doubt of that and I especially like her reading of "Kling!" but, as you've indicated, the duets were magical.

 

Incidentally, some years ago I found, on an archival type site, the entire broadcast; the radio announcer intro for each piece, etc.  It was interesting to listen to, the problem however was it had a very low bit rate and when I tried to reproduce it the quality was just too inferior.  Perhaps one day I'll get around to cutting and pasting and seeing if that might work.

 

Ciao ~ Tony

[Derek McGovern]

Ciao Emilio: You were asking about the sound quality on the Andromeda release. Sorry for the delay in responding (I've been ridiculously busy).

We actually have a thread on the topic of that CD, and its sound quality. Here's the link:

https://groups.google.com/d/topic/mariolanza/6GXXwHkPDVM/discussion

As for the remastering issue on future CDs, I would be wary of anything not released by Sony/BMG. After all, we know what happened on these CDs!  And YouTube is overflowing with doctored Lanza recordings---in many cases, the ones issued by "Stolta Paura," for example, have been sped up to make Mario's sound younger.

Cheers
Derek

[Lover of Grand Voices]

Thank you Derek. I also posted a question about the 2011 CD that is
on the market entitled "Nessun Dorma," to see if anyone had any
experience with the album and its quality which I imagine is just
another compilation.

Saluti, Emilio

On Mar 12, 10:50 pm, Derek McGovern <derek.mcgov...@gmail.com> wrote:
> Ciao Emilio: You were asking about the sound quality on the Andromeda
> release. Sorry for the delay in responding (I've been ridiculously busy).
>
> We actually have a thread on the topic of that CD, and its sound quality.
> Here's the link:
>
> https://groups.google.com/d/topic/mariolanza/6GXXwHkPDVM/discussion
>
> As for the remastering issue on future CDs, I would be wary of anything not

> released by Sony/BMG. After all, we know what happened on these CDs<https://groups.google.com/d/topic/mariolanza/0nuVRK81A0U/discussion>!