Leonard Warren's Tell Me, Oh Blue Blue Sky vs. Mario Lanza's (1958) version

[Derek McGovern]

The following post is by Zsa Zsa (Susan), and I've moved it here, as I
feel it deserves its own thread.

Thanks for this, Susan!

*****************************************************************************************************************

Hi Everyone!
I don`t know if this would be the right place to put my mail, but I`ve
just found an interesting discussion and I want to share this with you
all.

Here is a very interesting discussion about Mario`s and Leonard
Warren`s singing the beautiful song; ``Tell me oh Blue, Blue Sky, it
would be interesting to hear your opinions about it.

http://forums.4aynrandfans.com/index.php?showtopic=11714

Cheers from Susan

[Derek McGovern]

The discussion on the forum in the link above is certainly an
interesting one. I was amused by the original poster's comment that if
he'd sung Tell Me, Oh Blue Blue Sky to his voice teacher in the style
that Mario does, he would have been forcibly ejected from the room!

I particularly liked these comments:

"Thank you, V. A very beautiful song. I listened to Mr. Lanza first.
It was very emotionally powerful, and I only noticed one place where a
consonant was lost, but it didn't really matter. However, when
listening to Mr. Warren I noticed, and was a little distracted by, the
extra effort to fully express ending consonants. Even though I love
the sound of Mr. Warren's voice, this comes across as technique for
technique's sake, and a little less than fully heart-felt.

"I just listened again, in reverse order. Mr. Warren's song is calmer,
more thoughtful, while Mr. Lanza's is more directly emotional.
Everything flows so well in the Lanza version, even the dramatic
contrasts seem just right. Depending on one's mood, it could be sung
either way and still be just as beautiful, though I can imagine Mr.
Lanza singing it like Mr. Warren does than the other way around."

It'd be interesting to read the opinions of the members of that forum
on Mario's other version of Tell Me, Oh Blue Blue Sky (the 1952 home
recording). No doubt the original poster would still find it too much
about Lanza, and not enough Giannini or Flaster, though I'm sure he'd
appreciate the magnificence of the voice. I might try and contact that
forum.

[leeann]

Susan, what a great find! Thank you so much for sharing it. I've
learned to love that piece since the February thread.

http://groups.google.com/group/mariolanza/browse_thread/thread/258464037c3d3e42/3521ab18b7b92bd8?lnk=gst&q=blue+blue#3521ab18b7b92bd8

It definitely would be interesting to hear comments from that forum
about the 1952 version which to me is such a beautiful balance between
technique and emotion. (with the usual disclaimer for an untutored
ear, here). Derek, I'm going to give your words back to you here
American Tragedy:" ...noteworthy for the tenor's use of light and
shade, coupled with an often-exquisite sense of poetry." (p. xiii)
As magnificent as Warren's voice is, his rendition does seem much more
of a vocal exercise--albeit wonderful to hear--than an emotional
commitment to the lyrics.

I suspect if anyone had sung the 1958 version before a voice teacher
or coach as Lanza did in Albert Hall, forcible ejection might also
have been contemplated. But discussions about this song and also
Lamento di Federico at Albert Hall seem pretty clear that the venue--
and probably other factors--led to some thrilling, but unorthodox
singing that night.

The comments about staying true to Giannini and Flaster raise some
interesting questions for me as a non-musician about when freedom of
individual interpretation turns into something that's just not
appropriate. Best, Lee Ann

[Derek McGovern]

Hi Lee Ann: I've just posted a reply on that forum (you can access it
by clicking on the link in the post at the top of this thread), and
I've mentioned the 1952 recording.

Your last paragraph certainly raises an interesting question. But it's
worth noting -- in this case, at least -- that whatever we may think
of some of Mario's musical "liberties" that evening, someone as
musically astute as Richard Bonynge wasn't bothered by them. Just last
month, Armando happened to meet Bonygne, and the latter again stated
how "magnificent" Mario had been at the Albert Hall recital.

Cheers
Derek

[zsazsa]

He Lee Ann,
thank you so very much for your nice words to me, like you I do like
very much this song, and Mario`s interpretation is just matchless, so
much feeling, so much colour of the voice, just great! Like you, I`d
like also to hear comments from that forum about the 1952 version,
you`ve judge it so very truly: `such a beautiful balance between
technique and emotion`, I do think the same. Thanks a lot and have a
great day! Cheers from Susan

On 8 Mai, 19:46, leeann <leeanngha...@gmail.com> wrote:
> Susan, what a great find!  Thank you so much for sharing it. I've
> learned to love that piece since the February thread.
>

> http://groups.google.com/group/mariolanza/browse_thread/thread/258464...

[Armando]

Tell Me Oh Blue Blue Sky is not an operatic aria, where the singer
(with few exceptions, E.G. interpolated high B in Lamento di Federico,
high C in Di quella Pira etc. ) has to adhere strictly to the score,
it’s a song. A song with some very poignant lyrics. “I see a face,
your face, pleading, I feel a heart, your heart, bleeding.” And,
“Breathe on my lonely heart, that too has bled. Tell what is left in
life, since love has fled, since love has fled.”

I like both Warren’s and Hampson’s traditional version of the song but
I find Lanza’s reading entirely appropriate given the text.
However, while I sit back and listen with admiration to the baritones
renditions, I am immensely moved by the Lanza one.

[Jan Hodges]

I am in total agreement with Armando on this one. . Warren's technique is excellent and the quality of the voice is very beautiful. On the other hand it does not have the emotional impact that Mario's does....even though I must add the song is not a particular favourite of mine. Jan

[Jan Hodges]

I found Leonard Warren's singing of this song technically very good with smooth even singing and quite good diction but it left me cold. I found it devoid of passion and I agree with the poster who wrote "technique for technique's sake." Mario on the other hand was full of passion and conviction even if not entirely flawless. By the way this song does not particularly appeal to me. Jan

[Derek McGovern]

Hi Jan: I'm guessing you posted a second post so soon after the first
because you'd assumed that your original message had disappeared into
cyberspace! But don't worry: that's been happening to me too, as
lately there's been a slight delay in messages appearing on the site.
(They always eventually show up, though.)

Actually, this thread's turning into something rather special. I loved
the recent comments from Armando and Jan, and I'm also pleased to see
that the original poster on the Ayn Rand site has responded to my
comments. I've just replied to him:

http://forums.4aynrandfans.com/index.php?showtopic=11714

[Thelma]

I have always liked Leonard Warren's voice, but as always, I like
Mario Lanza's voice better, because of the feeling and passion in his
voice.

[Derek McGovern]

From Maria Luísa:

L.W. has a very nice voice but my God, compared with Lanza's there is
almost a sea of difference. The sensibility, tenderness, powerful,
passionate way Mario sings whatever he sings, either this or any other
aria or song, there cannot be comparison possible. Not with Warren or
any other tenor.

[Lover of Grand Voices]

Dear Derek, Ah, there is a difference in Warren and Lanza's
interpretation. Warren follows the text, is mechanical but adds
emotion. Mario takes the song and makes it his own. He takes each
word and draws out its meaning and feeling. Listen to how he says
"tell me, tell me" with the questioning of a lover captured by the
sensation of a love lost. Only Lanza can do this. This is a
beautiful song. Someone once said that Mario could take a bad one and
make it good. He can take a good one and make it great. This is an
example. It needs to be listened to more than once. I can feel what
he feels. I can feel his message. This is Mario's skill and his
magic. Leonard Warren sang in a lovely manner but greatness is
something else. Greatness demands creation. It demands making
something new and innovative even if it is already present. I use the
example of "Long Ago and Far Away," in this regard. I have recently
listened to 20 singers who have interpreted it and each one is
different but Lanza, in my humble view, is the BENCHMARK for this and
so many songs. Imagine a pair of figure skaters skating to the music
and words of Long Ago and Far Away sung by Mario. It would be
spectacular and would fit into another form or performing art. That
is my point. Lanza could reach into other areas and his voice could
be the backdrop to other artistic messages. This would be an
interesting exercise and challenge for our forum members to apply this
magnificent voice to other artistic fields. The outcome would be
amazing.

Thank you Derek for provoking our thinking as you always do. Regards,
Emilio

[Vince Di Placido]

I may be biased here but I prefer Mario all the way here... The
lyrics' Melodramatic tone are perfectly suited to Mario's passionate
approach & his interpolated "Ah! No!" phrase seems right to me, it
could have maybe have been better sung on the night, it's ever so
slightly uneven & harsh.
I love Mario's sound on his first "Tell me, oh! Blue, blue sky, why
did we part?" the "sky" & "part" are lovely sounds. His 2nd "tell me"
after the "Oh! No!" interpolation is just a lovely bit of Mario
phrasing...

[Derek McGovern]

Hi Vince: I love the parts you singled out as well, and I also like
the way Mario sings the penultimate line (especially what he does with
"sky"). Just beautiful. "Whispering wind" is memorable too.

I just listened again, and I don't find the interpolated "Ah! no!"
harshly sung; I think it's just a little "in our faces" simply because
of the way it's recorded: Mario's so close to the (recording) mike. We
never really get a sense on the Albert Hall recording as to how the
audience would have heard that voice reverberating around the huge
auditorium.

The only real criticism I'd make is that Mario's intonation is a
little off on the second line. Like the people on the Ayn Rand forum
in our link in the first post on this thread, I used to find him a bit
too loud on "I feel a heart", but I now appreciate the contrast that
we get between that and "bleeding". It works!

Here's a link to a pristine audio copy:

http://www.4shared.com/audio/9Z0FAsBI/Tell_Me_Oh_Blue_Blue_Sky__1958.html

Summer has flown, the leaves are falling,
I hear a voice -- your voice -- calling,
I see a face -- your face -- pleading,
I feel a heart -- your heart -- bleeding.

Tell me, oh blue blue sky,
Why did we part?
Tell me, oh whispering wind, breathe on my heart.
Breathe on my lonely heart that too has bled.
Tell what is left in life, since love has fled, since love has fled?

Tell me...tell me...
Tell me, oh blue blue sky,
Tell me, oh blue blue sky!

[Derek McGovern]

Here's another old discussion that many may have missed the first time round---and which nicely complements the Royal Albert Hall thread.