Fenesta Che Lucive

[Derek McGovern]

Now here's an unforgettable song: the haunting Fenesta Che Lucive.
We've briefly touched on Lanza's 1958 recording of it on another
thread, but I thought it'd be interesting to discuss the song - as
well as other singers' renditions of it - in a little more depth.

The song is sometimes attributed to Bellini, who died the year it was
published (1835). (I had to smile, though, when RCA, on one of its
*American* LP pressings, listed its composer as "Ignoto" - faithfully
reproducing this word from the RCA Italia logs without realising that
it means "unknown".) But whoever wrote it, it's certainly the oldest
of the Neapolitan songs that Lanza recorded. He sang it twice: once on
the Coke Show in March 1952, and then again six and a half years later
for the great Mario! album. No prizes for guessing which version I
prefer! :-) Interestingly, though, Mario sings a different second
verse on the Coke version - possibly because the reference to "worms"
was deemed a little unsavoury for his audience's sensibilities.

Here's a temporary link to the unreleased Coke recording:

http://www.4shared.com/file/36017122/c1e8c83c/Fenesta_Che_Lucive__Coke_1952_.html

And here's Lanza's 1958 version, taken not from the CD, but the
original stereo LP. Mario's voice is warmer and more forward here than
on either of the CD pressings:

http://www.4shared.com/file/36017783/488d6c92/Fenesta_Che_Lucive__1958__-_from_the_original_stereo_LP.html

I'd be very interested in your thoughts on these two renditions.

And here are two other tenors' versions for you to compare Lanza's
best effort with:

Di Stefano:
http://www.4shared.com/file/36018644/23fdcc5c/Fenesta_che_lucive.html

And Corelli:
http://www.youtube.com/watch?v=-7ZyL2ydEh4

Enjoy while you weep!


Fenesta che Lucive
(As sung by Lanza on his 1958 "Mario!" album)

Fenesta che lucive e mo nun luce...
The once-lit window, now dark...

sign'è ca nénna mia stace malata...
means that my sweetheart is ill...

S'affaccia la surella e mme lu dice:
Her sister looks out and tells me:

Nennélla toja è morta e s'è atterrata...
Your sweetheart is dead and buried...

Chiagneva sempe ca durmeva sola,
She always used to cry that she slept alone,

mo dorme co' li muorte accompagnata...(x 2)
Now she sleeps in the company of the dead...(x 2)


Va' dint''a cchiesa, e scuopre lu tavuto:
Go to the church, and look into her coffin

vide nennélla toja comm'è tornata...
See how your sweetheart is now...

Da chella vocca ca n'ascéano sciure,
From the mouth that once came words of love,

mo n'esceno li vierme...Oh! che piatate!
But now only worms...Oh! What sadness!

Zi' parrocchiano mio, ábbece cura:
Priest: take care of my little one:

na lampa sempe tienece allummata...(x 2)
always keep a lamp lit by her...(x 2)

[Joe Fagan]

I love the way you do this , Derek,.....we novices learn a great deal about
other singers...and along the way....get to even * better* appreciate how
great Lanza was !. Good show! Ok , here goes from a very untrained set of
ears"

I instantly loved the " bright" voice of Mario in the Coke '52 version and
IF I never heard anyone else do this aria, I would have been every
happy.....BUT

then, I heard the "knockout" , later version of '58, and there was no
comparison! Mario's rich, lush tones blew me away! What a difference a few
years made (and I usually prefer the younger, lighter voiced Mario but not
THIS time).

I am partial to DiStephano whose version was quite beautiful

Corelli seemed to lack the required sadness. So, to rank:

Coke' 52 by Lanza.........."B"
Stereo' 58 by ML..........." A++", easily the tops!
Distephano....................B+, very, very good!
Corelli......good, but seemed to lack the required sadness..."C+"

Hmn, what happens if I fail this test? Will I have to go to the othe forums
for a month!

[Jan]

On Jan 27, 9:22 am, "Joe Fagan" <jorain...@comcast.net> wrote:
> I love the way you do this , Derek,.....we novices learn a great deal about
> other singers...and along the way....get to even * better* appreciate how
> great Lanza was !. Good show! Ok , here goes from a very untrained set of
> ears"
>
> I instantly loved the " bright" voice of Mario in the Coke '52 version and
> IF I never heard anyone else do this aria, I would have been every
> happy.....BUT
>
> then, I heard the "knockout" , later version of '58, and there was no
> comparison! Mario's rich, lush tones blew me away! What a difference a few
> years made (and I usually prefer the younger, lighter voiced Mario but not
> THIS time).
>
> I am partial to DiStephano whose version was quite beautiful
>
> Corelli seemed to lack the required sadness. So, to rank:
>
> Coke' 52 by Lanza.........."B"
> Stereo' 58 by ML..........." A++", easily the tops!
> Distephano....................B+, very, very good!
> Corelli......good, but seemed to lack the required sadness..."C+"

Thank you Derek for providing those files.
I must say I agree with you Joe The stereo version gets my number one
vote.
It is so much clearer than the CD release of this version.
And yes I prefer Di Stefano's version to the Coke version which seems
to miss the mark a bit
interpretation wise, although the voice is beautiful
>

[am...@ruc.dk]

Hi Derek.
You have picked a very interesting song to discus and two great tenors
to compare to Lanza's versions. Corelli and Di Stefano are two of my
favorites, so it has been pretty hard for me to rank them, but after a
full day in my 'thinking tank', I believe I have come to some sort of
decision.
This song has some really pitch-black lyrics, I didn't notice this
before. "She always used to cry that she slept alone, Now she sleeps
in the company of the dead" is *so* sad, and "From the mouth that once
came words of love, But now only worms..." is quite morbid, but I do
think the 'worms' fits the sentiment just fine. lol

Mario's 1958 version is without any doubt the best one. I think it is
very clear that he first really got the hang of this song in 58 and in
my opinion he nails it! Not too much and not too little - just the
right emotional expression. Perfect! Gorgeous!!!!
The Coke version is however a bit histrionic here and there. Although
I ADORE Mario's youthful light voice and in general prefer it over the
later darker one, the 58 is obviously better interpreted. Hearing the
52 I couldn't help smiling at his first 'O te salor (sp?)' in the
second verse, I think it was sweet, but I don't think that's what he
was aiming at. lol
I also enjoyed both Corelli's and Di Stefano's renditions very much.
Thanks for including these.
Corelli is a bit challenged on the diction part, it is sometimes
difficult to hear which words he is singing, unlike Mario and Di
Stefano, but aside from this, I really like his timbre. To me his
voice has a natural sadness to it so I didn't miss more grief here.
Had he given it more, I think it would have been too much.
Di Stefano comes in at number 3. He sings it very good but just now
and then, I think he has a hint of a 'raspy' voice. It *is* minor in
this song, but enough for me to prefer Corelli's over his. I worship
Di Stefano's talent in diminuendos and pianos, but sometimes he sounds
as if he is singing directly on his vocal cords (or something like
that) without any support, especially in his middle and upper register
(mostly when he sings with force) which makes a somewhat 'raw' sound.
(Not knowing much about singing technique or the right terms for it, I
could be talking rubbish, but I think you know what I mean, right?)
So my rank would therefore be:

Mario's 1958
Corelli
Di Stefano
Mario 1952

Ann-Mai

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[Muriel]

I'll throw in my two cents' worth, as I've always felt this is one
song on the Mario! album that needs no translation. The extreme
sadness Mario conveys is palpable and I am grieving along with him. Of
course, this is the best of the four versions.

I'll choose Di Stefano's as second because of his believable
interpretation. He also conveys the emotion with a warmth that draws
on my sympathy. His coloring is lovely.

Now, which shall be last? Hmmm. While Mario's CC recording is a bit
over the top as is the case with most of his CC Neapolitan renditions,
I know he is trying to make it serious. Listen to the sob here and
there - I smile each time at the youthful exuberance that peeks
through in spite of his efforts. He's singing the words, but not
really following through with the proper thoughts. You have to love
him and feel a little sorry for his situation. He comes in a number
three.

Lastly, is the Corelli recording. There is something about his
approach that puzzles me. It almost sounds like someone awakened him
from a deep sleep and shoved a sheet of music in front of him and
said, "Sing this". His tongue is not working yet and the words are not
well formed. He is quietly going through the paces, sluggish and
devoid of emotion. Yes, the song is definitely not a happy one, but he
doesn't encourage empathy. His delivery is rather colorless. Sorry,
Corelli admirers......he missed his mark this time.

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[Muriel]

A PS - I had read a description of this song once that made the
comment that the poor grieving fellow walked down to the graveyard to
sit and wait for death to come to him as well. Now this is "big time"
mourning! If Mario sang a different second verse, might this be what
he sang? It made a big impression on me, I can tell you...
Those high-strung Neapolitans took things to the limit!!

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[Jana]

Thank you, Derek. Fenesta is one of my favourite songs. I actually
didn't know Mario made a Coke rendition of this one. I've found the
text of its second verse:

Ah! nenna mia, sì morta, parvurella!
Chill'uocchie chiuse nun l'arape maje!
Ma ancora all'uocchie mieje tu para bella
Ca sempre t'aggio amata e mmo cchiu' assaje!
Potesse a lo mmacaro mori' priesto
E m'atterrasse a lato a tte, nennella!

I think the verse Muriel was referring to is the next one of this
version (which I find very touching), is it?:

Addio, fenesta; restate nzerrata,
Ca nenna mia mo nun se po' affacciare;
Io cchiu' nun passarraggio da sta strata;
Vaco a lo campostano a passiare
Nzino a lo jurno che la morte 'ngrata
Mme face nenna mia ire a truvare.

Derek once implied to me that my views are often similar to Ann-Mai's,
and here I totally agree: I would rank these four renditions in
exactly the same order. Nevertheless, as opposed to you, Ann-Mai, I am
quite used to finding lyrics of a song as soon as I get my hands on
it. Then I can appreciate the interpretation more. I've written before
(I think it was in the first Chit-Chat thread) that I was quite
successful in translating Fenesta to Czech and that the simple words
"always keep a lamp lit by her" made me weep, having in mind Mario's
beautiful '58 interpretation. I don't know how many times I cried
listening to it. However, I came across an interesting thing: there
are two versions of the lyrics, the first one being "mo n'esceno li
vierme... (But now only worms...)", the other, "soft" one, being "mo
n'esceno l'inverno... (But now only winter...)". I actually tend to
prefer the latter one: it's less morbid and more metaphorical. Which
one do you prefer?

Best regards
Jana

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[Armando]

The general response to Corelli never ceases to amaze me. Corelli's
biggest attribute, apart from his good looks, was a stunning top
register particularly well suited for such roles as Manrico and
Calaf.. But singing a song such as Fenesta Che Lucive requires much
more than a stunning top. It needs the appropriate expression which is
totally lacking in Corelli's delivery. I find Corelli's approach not
only in Fenesta Che Lucive, but in just about all the songs that he
sang totally inappropriate His performance here is more akin to
someone determined to raise his departed beloved from the dead!

Equally inappropriate is Lanza's over the top Coke performance in
which he gives Gigli some serious competition in the sobbing
department. The tempo is too fast, and apart from the exaggerated
delivery, Lanza is uneven in a couple of places where the tone becomes
breathy.

It's the total reverse in the 1958 take. The voice is not as fresh,
but the singing is musical and Lanza totally captures the plaintive
mood required for this song often attributed to Bellini because it
recalls a passage in La Sonnambula, but is most likely the result of
plagiarism by some other composer.

Di Stefano's rendition is a close second, not quite capturing the
immense sadness of the piece, but very well sung, even though in one
spot there's a touch of throatiness due to what, by 1956, was becoming
more and more his tendency to sing open.

[Derek McGovern]

I was very impressed with Di Stefano on this recording. To me, the
only difference between his and Lanza's approach is that whereas
Giuseppe sings this very beautifully - with that fantastic diction
that he always had - Mario is clearly living the song. His involvement
is such that he sounds quite overcome at the end. Listen to the
exquisite way he sings the final line, "Na lampa sempe tienece
allummata," with no histrionics (or ill-advised high note, as Sergio
Franchi does here) - just the heartbreaking sadness of a man who has
lost his one great love.

Vocally, Di Stefano sounds in fresher form to me, but here, at least,
the heaviness in Lanza's voice works in his favour. I don't think it's
a coincidence that this is the most baritonal-sounding of all the
songs on the Mario! album; it's the right quality for a man in the
depth of despair - and I'm sure Lanza knew that. (Elsewhere on the
album, he lightens his tone when it's appropriate, as on something
like Canta Pe' Me.)

I also like the simplicity of the arrangement on Lanza's version very
much - though Di Stefano's is almost as good - and the tempo, to me,
is exactly right here. Ferrara knew what he was doing! Any faster and
the song would have lost much of its poignancy. I think that's lost on
a lot of casual listeners - or on those who prefer their Neapolitan
songs to be about as serious as Funiculi' Funicula'. Derek Mannering,
for example, has criticized Lanza's rendition, calling it one of the
weakest offerings on the Mario! album, and citing the observation of
one of his friends: "If Mario had sung [Fenesta Che Lucive] any
slower, he would have been asleep."

All I can say to such opinions is: read the words! There's nothing
remotely jaunty about this song, and that's the fundamental problem on
the ill-conceived Coke version, which no doubt Mr Mannering prefers.
Apart from the fact that Lanza's in beautiful voice, everything's
wrong with his earlier rendition: his approach, the tempo...even the
arrangement! (Well, no surprises there :-)) In fact, given all of its
shortcomings, I'm amazed that BMG hasn't released it on one of its
Greatest Hits-type collections :-)

I prefer Corelli's rendition to the Coke version, but for the life of
me, I just can't respond either to his voice or to his interpretation.
Believe me, I've tried! While I definitely prefer him to Del Monaco
(whom I'd like to start a thread on soon), I've never enjoyed any of
his Neapolitan song renditions. He simply doesn't move me. I hear a
certain "anxiety" - a sort of nervous tension - in everything he
sings, and possibly that's one of the reasons he polarizes people. But
a powerful voice? Goodness, yes! Years ago when I was in London, I had
a friend there who used to blast Corelli's Di Quella Pira to me at
every opportunity. Under the right circumstances, Corelli can
certainly be quite thrilling, and I'd like to have heard him on stage.
But apart from those remarkable diminuendos that he was justly famous
for, I've never found his voice beautiful nor his singing particularly
expressive. Sorry, Corelli fans!

[Joel]

Hello everyone,

I haven't had time to post much lately, but wanted to respond as well
to this fascinating thread. Of the versions posted, I like Mario's 58
version followed by Di Stefano, Corelli, and Mario's CC version.

I have always loved the baritonal quality Mario had on his 58
recording. I find his voice at this stage so compelling.

Corelli is one of the tenors I enjoy listening to most after Mario and
Caruso, although I prefer his operatic performances as opposed to most
of his Neapolitan renditions. I do agree with Derek regarding a
certain "anxiety" in his singing. I think that may be one of the
reasons I enjoy his live performances more so than his studio
recordings. I often listen to MET broadcasts with Corelli and find the
voice thrilling.

As you can probably tell I am a fan of the larger spinto voices. This
is just one of the many reasons I love the Mario! album so much. The
voice is rich, powerful, and as beautiful as ever.

Best regards,

Joel

> ...
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[Derek McGovern]

Hi Joel: Good to hear from you.

I'm glad it's not just me that hears that "anxiety", for want of a
better word, in Corelli's singing. I find it a very unusual voice.
Perhaps Ann-Mai put her finger on it when she referred to the "natural
sadness" of his timbre, for I never sense the sun coming out - as it
were - in his singing. Not that we want the sun in this song, of
course!

I feel that Corelli's in his element when he's singing at full
throttle - then there's that unique tension in his upper register than
can be quite exciting. Jay Anthonisen on grandi-tenori.com describes
it very well when he refers to Corelli's "pulsating high notes, almost
out of control." In other words, it's *dangerous* singing. With Lanza,
on the other hand, I always sense that he's in total control of his
voice. It would have been fascinating to have heard Corelli and Lanza
- and Di Stefano, for that matter - from the same stage together:
three completely different voices (and all three born in 1921!).

[Derek McGovern]

New member Barnabas would like to post on this thread, so I'm
re-opening it for him.

(Barnabas: The Google Groups system automatically closes discussion
threads 60 days after the last post; that's why your post didn't come
through. However, if you'd like me to reopen an expired discussion,
just drop me a line privately.)

From Barnabas:

Hello Derek,

Congratulation to this thread. I thought earlier that this song
belongs to the best three songs I like most from ML. only in my
opinion. His 58 rendition is fully mature not only the voice but the
feelings inside. Yes, this is one of the most saddness song I've ever
heard but impresses the content of the song appropriately.

Frankly, I have more Corelli records but I have been unable to make
friends of his approach of singing. Simply, I feel it artificial,
except some renditions like Il Trovatore or so. I feel sometime as if
he sang for singing.

Di Stefano is different, he is one of my favorite, but many cases,
incl. the Fenesta ..., his reading is not appropriate.

Mario's rendition of 58 causes only goose bumping for me, this is the
only measure that counts for me.

[leeann]

Hello, Baranabas, welcome to this forum.

I've been trying to learn more about Neapolitan songs, their composers
and authors and the stories behind the poetry--not terribly
successfully so far, I'm afraid.

One interesting online source, however, is Radio-RAI's Archivio
Storico della Canzone Napoletana. Among their resources are
interviews with artists and composers. Here's an excerpt brief 1952
interview (and additional commentary) with Beniamino Gigli talking,
in part, about the qualities that are necessary to sing these songs--
and demonstrating: http://www.radio.rai.it/canzonenapoletana_eng/view.cfm?Q_EV_ID=182682&Q_PROG_ID=659.
(Given the numbers of native and fluent Italian-language speakers on
this group, I think I won't apply by beginner--but developing--
language skills to the translation!)

The archived version of Fenesta che lucive places the inspiration for
the mid-1800s version in the story of star-crossed lovers.
Interestingly, the rare version of the song online for listening is a
swing version (!) by Rodolfo De Angelis.
http://www.radio.rai.it/canzonenapoletana_eng/view.cfm?Q_EV_ID=196599&Q_PROG_ID=659

Please excuse me if this material is already familiar to other forum
members. Topics are so comprehensively and interestingly discussed
here and members so knowledgeable, I'm always concerned about deja
vu. Best, Lee Ann

[Derek McGovern]

Hi Lee Ann: I share your frustration about the lack of information
available on many of the great Neapolitan composers!

The origins of Fenesta che Lucive are especially interesting, and I
had no idea until I followed that link of yours that the basis of its
lyrics dated back to the 1600s. As for the song itself, who knows who
composed it? Was it really Bellini, for example? The composer is
generally listed on Italian releases as "ignoto" (unknown), which I
think confused RCA, since on one occasion (on an American LP release)
they dutifully attributed it to a (Mr.) Ignoto :-)

Years ago, I even came across an American novel (can't remember the
title) set in Italy in which the song featured prominently (and
hauntingly).

Whoever wrote Fenesta che Lucive, it certainly is a most compelling
composition -- and I've yet to hear a more gut-wrenching
interpretation than that of Mario Lanza (especially as reproduced
here):

http://www.4shared.com/account/file/160706430/11bb29af/09_-_Mario_Lanza_-_Fenesta_Che.html

Lee Ann: I wish Muriella were here to discuss this recording with you.
She truly is a kindred spirit, and I have no doubt that she'll be back
as soon as she can.

On Dec 11, 5:59 am, leeann <leeanngha...@gmail.com> wrote:
> Hello, Baranabas, welcome to this forum.
>
> I've been trying to learn more about Neapolitan songs, their composers
> and authors and the stories behind the poetry--not terribly
> successfully so far, I'm afraid.
>
> One interesting online source, however, is Radio-RAI's Archivio
> Storico della Canzone Napoletana.  Among their resources are
> interviews with artists and composers. Here's an excerpt  brief 1952
> interview (and additional commentary)  with Beniamino Gigli talking,
> in part,  about the qualities that are necessary to sing these songs--

> and demonstrating:http://www.radio.rai.it/canzonenapoletana_eng/view.cfm?Q_EV_ID=182682....

> (Given the numbers of native and fluent Italian-language speakers on
> this group, I think I won't apply by beginner--but developing--
> language skills to the translation!)
>
> The archived version of Fenesta che lucive places the inspiration for
> the mid-1800s version in the story of star-crossed lovers.
> Interestingly, the rare version of the song online for listening is a

> swing version (!) by Rodolfo De Angelis.http://www.radio.rai.it/canzonenapoletana_eng/view.cfm?Q_EV_ID=196599...

[barry oderfer]

Derek... Concerning Fenesta Che Lucive sung by Mario, I ran across this song on youtube.com, and, it was posted December 8,2009 by a 16 year old young man. For those of you who care to hear this, here is the link...
http://www.youtube.com/watch?v=piJDc3ACI0k

> Date: Sat, 12 Dec 2009 03:08:40 -0800
> Subject: Re: Fenesta Che Lucive
> From: derek.m...@gmail.com
> To: mario...@googlegroups.com

---

Your E-mail and More On-the-Go. Get Windows Live Hotmail Free. Sign up now.

[Mike McAdam]

Hello Barnabas:
A belated welcome from me to our fine Forum.
As you are new here you have likely not heard this musical experiment
I did a while ago where I took Mario's two markedly different versions
of 'Fenesta' and interspersed the verses of the 1952 Coke Show take
and the 1958 RCA Italia version. You will likely be amazed at the
difference in approach that six years can make. Little wonder his
father told him after listening to his 1958 recording(s), "Now,
*that's* singing!"

http://www.4shared.com/file/149568106/20d47c84/Fenesta5258.html

Enjoy!
Cheers, Mike

[Barnabas Nemeth]

Hello Mike,

 

Fortunately, I've got both versions of Fenesta, and the difference is huge. As a whole of the record of the Mario! is extraordinary even compared to himself, this Fenesta is one of my favorites if not the No.1. For me, though I have been biased by ML back to the late fiftees, all the earlier takes only curiosities, and I listen mainly to the 58' record as the most mature and moving collection including the orchestra, the orchestration, the quality, not to mention the reading of Mario. I've got the original CD and the SACD version as well, and the difference is also huge. Otherwise, some days ago I showed the Fenesta to some of my friends interpreting by di Stefano, Corelly, Tucker, Gigli and of course, finally by Mario. You can guess what the overhelming result was. That's it, even for those who haven't been familiar of the great ML and others. The comparison is only a game, an evidence but I can only listen to ML as far as many other recordings are concerned. Who can only approach the style and reading of, let's say, the Questa a quella. No one. Or how about Schubert's Ave Maria, or Silent Night etc. I have stayed here for fifty years, and my taste cannot change. And the point is that more and more people are lining up to group of admirers discovering the qualities, specialities of ML. The big difference is that listening to the voice and rendering of ML over the past fifty years sweetend my mood, my life. Very few other singers (only some times Callas, rarely Domingo) can cause me goose bumps, though that is what only counts in my view.

 

Regards,

Barnabas

[Derek McGovern]

I thought I'd bump this old thread back into prominence :) Some of the links to various versions of "Fenesta che Lucive" provided in the opening post no longer work, so here are some updated ones:  

http://www.youtube.com/watch?v=owgu0MKByno (Lanza's 1952 version)

http://www.4shared.com/mp3/TG1qY8Ak/09_-_Mario_Lanza_-_Fenesta_Che.html? (Lanza's 1958 version; superior reproduction)

http://www.youtube.com/watch?v=GHzMAz8n7yk (Corelli's version)

Cheers

Derek

[Derek McGovern]

I've just created a Rate These Recordings page for the two recordings of "Fenesta Che Lucive": 

http://www.mariolanzatenor.com/fenesta-che-lucive.html 

Cheers

Derek

[Kaz]

Hi Derek!

It's been a long time!  It's good to see that your enthusiasm for Mario's music remains unabated.

I definitely felt that the 1958 version was superior to the others, and to any other version of that song I've ever heard, for that matter.  Mario's timing/pacing was impeccable, his vocal control was superb (IMO), and his overall interpretation is the stuff goose bumps are made on;-)  Mario! Lanza At His Best is still my desert-island disc, though I'd hate to live without his other exquisite arias, e.g.Che gelida manina, E lucevan le stelle, etc.

It's a shame that BMG won't release the all-operatic disc we discussed a few years back.  They release collections of love songs sung in a manner that fewer and fewer people appreciate anymore (I don't much care for that style of love songs either, frankly), and let the crossover world remain wowed by performers who really don't compare, vocally or interpretationally.  Andrea Bocelli has a fine, unique voice, and he knows how to take advantage of its full potential.  The problem, IMO, is that he sounds like someone who is using his voice to its full potential, whereas Mario, at his best, sounded like he was personally experiencing the pain, longing, joy, or whatever other emotion was inherent in the song.  That distinction seems to be what separates the 1952 and 1958 versions of Fenesta.  In the 1952 version Mario sounded like he was singing a sad song while trying to use his voice to its full potential, whereas in the '58 version he was a man whose beloved died, and he longed for his own death so that he could be with her again.  Ironically, this is suggested more by the '58 version, even without the alternate wording that apparently would have made that feeling clear. 

~Sean

[Derek McGovern]

Hi Sean: Good to hear from you after all this time!

I certainly agree with you about the 1958 version of "Fenesta," and it remains my favorite rendition of the song by any singer, despite some serious competition from the likes of Di Stefano. To me, interpretation-wise, it's a perfect piece of storytelling, with no contrivances or exaggerations to break the spell, while vocally it comes perilously close to perfection---with the exception, perhaps, of "Chiagneva sempe ca durmeva sola" in the first verse. The second verse is faultless in every respect, right down to the (unintended?) little croak in Mario's voice at the very end. (And it's the ending on which a lot of other singers, including Di Stefano, disappoint.)

The 1952 version, on the other hand, is simply a show of vocal potency! As you say, it's all about Mario "trying to use his voice to its full potential," and interpretation-wise it's all bathos rather than genuine grief. He's not living the song at all. Mind you, the terrible arrangement and fast tempo would have made it impossible for any singer to deliver a decent interpretation. 

Incidentally, one of the things I love about Carlo Savina's arrangement on the 1958 version is how the orchestra, rather than Lanza, repeats the penultimate line. A gorgeous touch. It's overkill to have him repeat both lines, as he does on the Coke version.

Cheers

Derek

P.S. Here's the link again to our poll on the two Lanza versions of "Fenesta" for anyone who may have missed  it:

http://www.mariolanzatenor.com/fenesta-che-lucive.html  (The wonderfully warm sound on the 1958 version here is taken from the original 1959 LP pressing.)

And don't forget our other "Rate These Recordings" features:

http://www.mariolanzatenor.com/rate-this-recording.html

[Derek McGovern]

Since things are currently a little quiet around here (due in no small part to the FIFA World Cup :)), I thought I'd revive this thread for anyone who would like to comment on/compare the two Lanza versions of "Fenesta Che Lucive":

http://www.mariolanzatenor.com/fenesta-che-lucive.html 

[Barnabas Nemeth]

I've got the rendition by Corelli, di Stefano, R. Tucker and some others. Mario's 58's version by far the best. It's a masterpiece for me. At the same time, his 52' version is prematured, and max. "so-so" category in my view. All in all, not only his voice matured by the time of the late 50's but his reading and inner radiation as well. The 58' version is touching, moving and what is essential thing, it's goosebumping. That's the main point of view in my evaluation in general. I can listen to it several times randomly....Barnabas