Voce 'e Notte

[Derek McGovern]

The other day, I came across this (presumably) amateur Russian tenor singing Voce 'e Notte -- inspired, he says, by Lanza's "unforgettable" version -- and I was reminded yet again how unusual and effective Ennio Morricone's arrangement is on the Mario! album. Yes, we've discussed the "angels" on Lanza's version -- and Vince even successfully removed them in one intriguing experiment -- but their "ooh"-ing aside, what I love about Morricone's arrangement is its stripped-down nature. It allows Lanza to sing almost a cappella at times, and the results are spine-tingling. 

But listen to the standard arrangement for piano, such as the Russian tenor sings, or Corelli's and even Di Stefano's versions, and it's almost like a different (and dated) song at times. Lanza's version is just so fresh and modern. 

Great singing, great arrangement -- and a conductor who knew how to get the best from his singer.

      

[Michele]

Hi Derek,
Have not been posting for a while, had trouble with computer.  Anyway
I listened to the Russian and certainly did not
have to listen to Di Stefano or Corelli to know that Mario is the one
for me with this song. He caressed the words like
only he could. I honestly think it was his voice, it had such a unique
sound with these Neapolitan songs.  It's very strange, I can hear him
singing Voce 'e Notte now even though it's some time since I've
listened to the C.D.  It's one of my favourites.

[Derek McGovern]

Hi Michele: Oh, do give Di Stefano a chance, at least, with this song! While I've never heard a better version of Voce 'e Notte than Lanza's—and I can't imagine for the life of me that I ever will—I think it's fascinating to listen to other singers tackling these songs, especially his contemporaries.

Actually, we compared Pippo's renditions of Neapolitan songs with Mario's on this thread a while back. As I wrote at the time, I think Di Stefano's Voce 'e Notte is spoiled by the arrangement (crashing cymbals and the like)—which brings me back to point of this thread: the crucial matter of the arrangement (and, of course, of the conductor). If Lanza had been stuck with Di Stefano's arrangement in this instance, would the same magic have happened? I don't think so.

I also don't think the Mario! album would be the masterpiece that it is if Callinicos had got his way and conducted it instead. (Callinicos was very upset when Lanza chose Ferrara over him.) It's interesting that the usually stubborn Mario went along with RCA's wishes in this instance, especially given how loyal he was to those around him. Was RCA really that insistent that a top Italian conductor be on board for the project, or did Lanza himself anticipate that this was going to be a very special album—and that therefore only the best talent would do?

By the way, I would still love for someone to interview Morricone (before it's too late!)

Cheers
Derek

 

[leeann]

When O' surdato 'nnamurato comes up on forum discussions, consensus says it's maybe not quite competitive for best of the best with other extraordinary tracks in the Mario! album. Nonetheless, I wonder if it's not one of the Morricone's greater departures  from standard orchestration. (Vince di Placido talks about his grandparents singing and listening to this WWI song here.)

It seems that traditionally this song is sung at a rapid tempo, buoyantly, and when it's orchestrated, strings often swoop in on the heels of the fifes and drums. A marching rhythm predominates and can dominate the arrangement and  the voices that are singing.  Morricone doesn't do this. The fifes and drums lead but not stridently, and cue us that  this song is deeply rooted in an older time.  But Morricone gives the stage to Lanza's voice and to an interpretation that places the words and how Lanza sings them in the forefront. He give us the consciousness of this song as the voice of a single soldier, and the arrangement allows the words to transcend time rather than to appear as a song that is perhaps stuck in an era long ago.

Quite different from the more popular  Renato Carosone  (of Tu Vuo Fa' L'Americano fame, among other works ) and Massimo Ranieri  or from the orchestral sweeps of di Stefano and The Three Tenors.

And then,as a non sequitur  there's anomaly of Anna Magnini's version in the 1970 made-for-television movie, La Sciantosa. All of these, though, do demonstrate how enduring this song has been, and by comparison, perhaps, how beautifully Morricone  adapted the piece for the talents of Mario Lanza.   And oh my, a Morricone interview would seem terribly urgent! Best, Lee Ann

[Derek McGovern]

Hi Lee Ann: I hadn't played 'O Surdato 'Nnammurato in quite a while, and I must say that listening to it with fresh ears tonight (thanks to your stimulating post) made me appreciate this slightly neglected gem from the Mario! album. I take back what I've said in the past about Lanza sounding slightly sluggish here. He may not sound like a young recruit (!), but especially as heard on the SACD version of the album, there's still plenty of verve in this romantic soldier.  

Yes, it is a wonderful arrangement, capped by a tempo that allows Lanza to relish the words rather than rushing through the number like almost every other singer does. The result is that it's a much more personal song. 

Morricone (unlike Carlo Savina, whose five arrangements for the album are comparatively conventional) certainly wasn't afraid to challenge tradition! Take his "Funiculi' Funicula'" -- they don't come much more unorthodox than that :) 

Cheers

Derek       

[Michele]

Hi Derek,
Well I took your advice and gave Corelli and Di Stefano both a
listen.  Corelli I think sounds as though he thinks he is singing an
operatice aria - didn't like it - love the voice though.  Di Stefano
on the other hand was quite different, I quite liked his version.  I
also listened to Mario again - don't know if it is the arrangement or
what but to my ear he sings it so much more smoothly, the voice just
flows with his usual perfect phrasing. I much perfer the way he ended
the song too, no histrionics as with Corelli particularly and Di
Stefano's ending was also somehow out of character for the song.
Everything about Mario's version is so right!!!!!  I just love it.

Happily listening, Michele

[Derek McGovern]

Hi Michele: I agree that Corelli sings Voce 'e Notte very operatically. But, my goodness, his lisp is intrusive here -- especially in the first verse. I don't think I've ever heard it more pronounced ("Thith thsta voce...", etc). It surprises me that so few people on YouTube, etc, ever comment on it, yet each one of Lanza's flaws (real and imagined) is regularly pounced upon there!

Like you, I much preferred Di Stefano's rendition. But I have to say that both men are hampered by their arrangements, particularly by the orchestra-only bits between verses. Morricone's arrangement, which in my opinion actually improves on De Curtis' original piano score, truly reflects a "voice in the night." The arrangements that Corelli and Di Stefano are saddled with ruin any possibility of suggesting that melancholy eeriness.

I also think that Lanza's approach is pure genius in the way that he gives the second verse a greater sense of urgency. He's building up to an overwhelming sense of grief here, yet (as you pointed out) he doesn't need a high note at the end to convey that. (Rather, a whisper -- which is all the more devastating.) Corelli and Di Stefano, on the other hand, sing both verses in pretty much the same way. 

Cheers

Derek     

[Armando]

Hi Derek: Regarding Voce e Notte, there’s no doubt that it’s one of Lanza’s greatest performances in the Neapolitan idiom.  

Interestingly, the lyrics were written by the young poet Eduardo Nicolardi who had lost his beloved after she was forced by her parents to marry a wealthy 75 year old.

The words are a reflection of the sadness and loss felt by the young man, a mood that Lanza captures perfectly –the subdued way in which he ends the song is most appropriate.

Corelli couldn’t sing songs, Neapolitan or otherwise, if his life depended on it. The approach and voice production were all wrong. Di Stefano is certainly much better. However, his is a typical Pippo performance without the extra nuances that Lanza brings to the song.

As an alternative to Lanza I much prefer Francesco Albanese’s version:

http://www.youtube.com/watch?v=wpwmw-OBPvw

 

 

 

 

 

[Derek McGovern]

Ciao Armando: That's very interesting about Eduardo Nicolardi and the background to the song. So now I know why the young man's beloved is in the arms of another man! It's too bad Nicolardi, who died in 1954 at the age of 76, never got to hear Lanza's interpretation of his lyrics.

I was being kind to Corelli in my previous post. One of my problems with his renditions of songs is that he only sounds impressive when he's singing full out. When he attempts to sing softly, I find that his tone becomes hoarse, and verges on the ugly at times. I also feel that he sings every song the same way -- regardless of whether it's happy or sad -- and that he's always in operatic mode. (Listen to his phrasing too on the first chorus; he's very mechanical, and it's obvious that he's not engaging with the words.) Here he sings Voce 'e Notte as if he were performing Manrico or Calaf; I don't hear a lovesick young man at all. 

I enjoyed Francesco Albanese's version. It's not the most beautiful of voices, but I found him completely believable -- which is more than I can say for Bergonzi's almost jaunty (!) rendition:   

http://www.youtube.com/watch?v=8Z2VkprqEA4&feature=related

Cheers

Derek

[leeann]

Dear Armando,

I DID know the story behind the song, perhaps from the RAI Archivio Sonoro della Canzone. (It's hard to find information about Neapolitan music--at least if you don't know where to look!)

I love the Albanese rendition and have listened to it and to other songs he's done on YouTube since your post. If you have time, would you mind talking about what you find compelling about his version of Voce e notte? 

His version of this piece and of others seem to come from an earlier era--both interpretively and perhaps also technologically--yet this was 1948?  Thank you. Lee Ann

[Derek McGovern]

Lee Ann wrote:

His version of this piece and of others seem to come from an earlier era--both interpretively and perhaps also technologically--yet this was 1948?

I felt the same way, and was surprised to learn that Albanese was only nine years older than Lanza. Mind you, you'd never know that Corelli's version was recorded three years after Lanza's! Again, I'm reminded of that prediction from a friend that Lanza's singing would never date.

Cheers
Derek

[Armando]

Hi Lee Ann: What I like about Albanese is not only Voce e Notte, but all of his Neapolitan and Italian songs output. Yes, the style is predominantly that of the 1930’s but compared to the glorified Gigli, Albanese is a model of taste. Excellent phrasing and diction and a voice that I find both warm and appealing.

His was a short voice that had difficulty beyond B flat, otherwise I think his career would have been more extensive. He was not yet 50 when he retired in 1961. 

Having said this, I have always maintained that, with few exceptions, compared to the singers that spanned the period of say, 1920 to 1960, Lanza’s recordings are as fresh and current as ever and, indeed, will never date. 

Quite apart from the excesses of Gigli et al. the worst examples of a total inability to sing a song convincingly are the already mentioned Corelli and, particularly, Del Monaco, who was only concerned with blasting away and totally lacked any understanding of the text.

 

[Tony Partington]

Hi Armando: So very intersting your comments about Corelli and Del Monaco.  I cannot help but wonder if they, like perhaps so many other "great" voices were taken with their own "sound" and making just that, and thus sacrificing the wonderful story of the canzone.  I am reminded of the comment that Henry Pleasents once made about Mario Lanza: "Mario put everything into the words and phrasing."  You mentioned Gigli as an example of a certain period sound and I couldn't agree with you more.  To be honest, I must tell you that Gigli is not in my top ten when it comes to tenor voices I love to listen to.  Oh yes he has a very sweet sound and certainly made some very good recordings but none that, for me, move me to the point of considering them exceptional.  Perhaps it's the over emoting or the - as you say Armando - the dated sound of his voice.  I don't know, but there are one or two recordings that I do find truly lovely.  One, is the Carrettieri (Sicilian Wagoner's Song) From "Four Sicilian Miniatures" by Gibilaro which Gigli recorded, I believe, in 1947.  Here is the YouTube link.

http://www.youtube.com/watch?v=L1ZWk3ZppK4

I just love this recording for some reason.  The image of him speaking kindly to his tired horse in between verses.  Shmalzy, perhaps.  But his over-emoting works here I think.

 

Getting back to "Voce 'e Note" though.  I recall a while back our discussing Pavarotti and most specifically how invested and convincing he was vocally.  Now there is no doubt I think that there was a magnificent and rather amazing instrument there but for me anyway, there were precious few times that the Pav moved me to tears.  One such time was during the first Three Tenors concert when he sang "Rondine al nido" and I remember Armando you commenting that that was probably the finest song recording Pavarotti ever made.  I quite agree.  I also agree that Lanza's recording of "Voce 'e Notte" is the finest I have ever heard to date and, as you have said, it is timeless.

 

Ciao ~ Tony

 

Ciao ~ Tony

[Armando]

Hi Tony: The problem with Del Monaco and Corelli, as well as others from the Melocchi school is, that unlike Lanza, Di Stefano, Gigli and Pavarotti, just to cite some examples, they were not natural voices. They were fabricated ones. The Melocchi method of lowering the larynx to the maximum resulted in trumpeting high notes but, as I said on more than one occasion, these tenors sounded as if they were singing with a mouth full of marbles.

I must, however, make a distinction between Corelli and Del Monaco. Corelli at least tried to interpret whatever he was singing and made a reasonable and sometimes (in opera) impressive job of it. Del Monaco on the other hand was merely concerned with emitting the loudest sound possible. There is no correlation between what he is saying and his totally ridiculous gestures that are obviously not felt but studied and belong with the silent film era style of acting.

It’s a different matter if we discuss Gigli and Pavarotti. Gigli made some excellent recordings particularly at the start of his career. The voice was a beautiful one, the technique solid and the singing mostly effortless. His failing was as an interpreter, as he relied far too much on mannerisms to convey what should have been heartfelt emotion which he obviously lacked.

I always felt that Pavarotti should have stuck to singing Donizetti, Bellini and some Rossini. He had the perfect voice for the Bel Canto repertoire.

In the romantic and verismo operas, as well as Neapolitan songs, I found him totally lacking in temperament. As Cavaradossi, for example, his acting, if one can call it that, is downright embarrassing, while in concerts he simply stood on the stage, handkerchief serving as a prop and, if I didn’t know, I could swear it was he and not Bocelli that was blind. Dead eyes fixed at some point at the back of the auditorium while the singer concentrated solely on producing a sound. Technically good but on the boring side. Rondine al Nido was a pleasant exception.

Un caro saluto.

Armando

 

 

 

 

 

 

[Barnabas Nemeth]

I totally agree with you Armando. By all means, Domingo has more or less been different from singers mentioned below, in my mind.

Barnabas

[Derek McGovern]

Here's Vince's choir-less version of Lanza's Voce 'e Notte (as mentioned in my first post) for anyone who hasn't heard it:

http://www.4shared.com/audio/u1H4Qm-f/Voce_e_Notte_-_senza_coro.html

What Vince has done here is simply remove the channel containing Franco Potenza's choir. There's a slight bit of "leakage" involved here---meaning that a ghostly hint of the choir remains---but basically what we're left with is just Lanza and the orchestra. The result is spellbinding.

[zsazsa]

Hi Armando,

thank you so very much for your analysis about the different singers and their voice and performances! I enjoyed it very much! Every words what you`ve been written, are so very true. You`ve put into words, what I have felt always about the mentioned singers, but could not explain so really, so that is the reason, I am so happy and grateful with your post, as every words are exactly, so very right and very true.

Once again many thanks and have a great weekend. Un caro saluto   Susan (alias Zsazsa)

[gary from NS]

Derek,

Spellbinding indeed.It's been a while since I have listened to this piece. What a great job by Vince giving us Mario and the orchestra only.
Tonight I sat with eyes closed, and listened several times, and Mario's voice simply wrapped my mind and body in the comfort of his voice.
Feeling his enveloping voice, was like sitting in a cosy living room, in your favourite chair,with of warmth  of the nearby wood burner. Outside is a vengeful February storm, with winds lashing against the windows.But inside we are warm and content.
I love this piece and it is always in my top favourites.

[gary from NS]

Armando, another wonderful post.

As I proceed along the road of learning more about tenors, and their voices, both from the earlier years and the more recent, I have changed, in my opinions of a couple that used to be my favourites.
I still have some Gigli favourites, and a number Corelli has sung, but the numbers have dwindled.
When I first started into listening to tenors, I was quite impressed with DelMonaco.
Obviously that is not the case any more.

But with Corelli not only do I still like a number of his arias, he was also imo a most handsome,and very able "actor" in his performances.

Cheers
Gary

[Anita Letkeman]

Hi Derek,

I appreciate all of the links you put up.  Thank you.  Unfortunately when I tried to get this one it keeps saying it can't be found.  A pity.  Anita

[Derek McGovern]

Hi Anita: Is your browser Google Chrome by any chance? On my PC, none of the 4shared music links will play when I'm using Chrome, but they work in other browsers (Internet Explorer, Firefox, etc).

Hi Gary: What a lovely post (and an inviting photo!). It's a great shame we're not neighbours! 

Cheers

Derek

[gary from NS]

 Hi Derek,

Agreed about being neighbours.
Thank you for your lovely comment. I am getting careless in my age it seems, and not checking my grammar, or spelling as closely as I should.

The wood stove depicted,is the same we had in our house before moving to Halifax last year. We miss the wood burner to be sure,but I don't miss stacking six to seven full cords every fall.

When I bought my wood and had it dropped in the driveway,and began to stack it,I played Lanza cd's outside with enough volume the neighbours on both sides asked "who is the great singer?" The rest is history.
Cheers
Gary

[Derek McGovern]

Hi Gary: You're lucky your neighbours approved! As a teenager, I was notorious for playing my records at top volume, and at least one of our neighbours complained to my father about "that Mario-bloody-Lanza" :) 

On one occasion, I remember being outside on the street on a summer evening as "Voce 'e Notte" (of all things) was blasting out through our living room window. I was greeting a friend who had just got of her car, and I remember that on the thrilling chorus she grabbed my arm in amazement at the sound of that voice. She was transfixed by it. Little wonder, though! Domingo talks about the "visceral" impact of Mario's singing---and that certainly applies to "Voce 'e Notte." 

No, there's no doubt about it: Lanza is in glorious form on this recording. Apart from the magic he weaves with the words, the depth and roundness of his voice is startling here, and yet it also has that incredible "bite" or "ping" to it. Vocally, he sounds indestructible. This truly is a singer in complete control of his instrument, and I don't think he ever used that combination of his soft and loud "pedals" to such devastating effect as he does here.       

Cheers

Derek