Re: Mario Lanza - solved mysteries
Vincent Di Placido
think you are the most amazing researcher! Well done on all the great
information you have uncovered for us. Thank you!
Armando
Hi Steff: Thank you for solving the old controversy over the San Rafael concert.
The photos published in my book along with the information supplied by Bob Dolfi, did, indeed, originate from a woman who had attended the concert and had written on the back of the photos that the female singer was Rise Stevens.
We now know that it wasn’t Stevens but Dorothy Kirsten and that the concert took place in June, not February.
For those wondering what all the fuss, or controversy was all about, I should state that at the time my book was published a couple of members from opposing Lanza camps jumped at the opportunity to point out the mistake. Stevens face was longer than Kirsten, the hair style was different-it couldn’t possibly be Stevens! Why, any fool could tell it wasn’t Stevens!
Well, unfortunately, mistakes occur and I admitted as much and corrections were made in the second edition of the book.
Far worse, however, is making up stories of imaginary meetings or similarly attributing false quotes to those who can no longer speak for themselves, let alone making ridiculous statements that only highlight the musical incompetence of the author.
Michael McAdam
Steff
Hi Armando,
Just out of interest, where did the February date for the concert come from? Also from the backside note on the photos? Thinking about this, it would have been unlikely that an OPEN AIR concert takes place in February, even if we talk about California. I think not even bigger venues like the Redlands Bowl or the Hollywood Bowl would perform open air in January etc., I understand their season starts around June. However, one mystery is solved, so off to the next challenge!
Steff
Steff
Thank you Vincent and Michael, for your kind words.
Steff
Derek McGovern
One clarification, though: in the second (2008) edition of Armando's book, the captions for photos #39 and #40 no longer mention Rise Stevens; instead they've been corrected to state "Lanza in concert with unidentified soprano, circa 1947."
Actually, I would have put money on it being 1947, as Mario looks heavier here than in any 1948 photo I've seen, but of course we now know otherwise. As for the original February date (which I'm sure was supplied by Bob Dolfi), I always thought that Mario looked dressed for winter, but that the soprano was curiously under-dressed for the season :)
Cheers
Derek
Steff
I had another look at the San Rafael pictures and I think it's the suit (with the wide lapel) that makes Mario look heavier. From what I can see, his face does not look chubby. Difficult to judge though, since the quality of the pictures is somewhat poor. The fact that Kirsten is very slim also may contribute to his looking heavier.
Steff
P.S. Seems that I have to get hold of the second edition of Armando's book, LOL. Thank you for the clarification regarding the first and second edition of "American Tragedy."
Steff
Derek McGovern
Yes, the second edition of Armando's book is the one to get, as, like most revised works, it's superior to the original. The second edition corrects some minor mistakes made in good faith in the first edition, as well as expanding on important musical matters and featuring an improved CD. (Some of the tracks on the CD accompanying the first edition ran a tad slow.) The book also includes detailed track listings---something that Baskerville had inadvertently omitted in the first edition. And I prefer the cover to the second edition!
There is indeed a world of difference between a biographer making an honest mistake, as in the case of Armando's reporting of the San Rafael misinformation, and biographers who include anecdotes---or make assertions---about their subject that they know are either invented or are, at the very least, highly dubious.
Cheers
Derek
Derek McGovern
Steff
I would like to start a new thread here called "Mario Lanza - solved mysteries." There are surely a lot of ananswered question regarding Mario Lanza, obscurities and discrepancies regarding his life and singing career which from time to time even cause controversial discussion in the Lanza world.
Let me start today with Mario Lanza's "infamous" SAN RAFAEL concert which took place in 1948.
Many of you may be familar with the two San Rafael concert photos that Armando included in the picture gallery of his "Mario Lanza - An American Tragedy" biography (I am referring to pictures no. 39 + 40, the image caption says:"With Rise Stevens concert in San Rafael, California, 1948, and "On Stage with Rise Stevens"). Damon Lanza and Bob Dolfi have a similar picture in their book "Be My Love - A Continued Celebration of Mario Lanza" with the following comment: "Actual picture of outdoor benefit concert with Mario Lanza and what appears to be Rise Stevens. Some wonder if this is Dorothy Kirsten.... This is one of several pictures sent to me by Bob Rezak of the Walnut Creek Opera Association who received it from a woman who actually attended this fund raising concert [...]"
I seem to remember, Armando may correct me if I am wrong, that the backside of the photos which the woman had provided, stated that the female singer was the mezzo-soprano Rise Stevens, so at beginning, there was no reason to doubt this. However, many have questioned the identity of the female singer over the years, and I understand also about the concert venue (were the photos indeed taken in San Rafael?).
Well, yesterday, just by coincidence, I spotted the snippet of a music magazine (dated 1948) which dealt with Constantine Callinicos and which give us not only the name of the female singer, but also the correct date of the concert: The concert took place on June 27, 1948 and the female singer was: DOROTHY KIRSTEN.
Callincos had specially flown in on a few days before to accompany the two singers. The venue is called "Forest Meadows."
"Forest Meadows" on the campus of Dominican College is quite an amazing venue. Just read a little bit of history on
http://www.marinmusicchest.org/history.html and
http://www.marinij.com/marinnews/ci_10402108 which states:
"Founding members of the Marin Music Chest - which turns 75 this year - invited many of the world's greatest musical artists to present outdoor concerts at Forest Meadows on the campus of Dominican College well before it became a university. Come they did: Isaac Stern, Arthur Rubenstein, Gregor Piatogorsky, Rise Stevens, Mario Lanza, Jose Iturbi, Yehudi Menuhin, Arthur Fiedler."
The venue is bigger than I would have imagined. The photos I saw of Marios concert gave the impression that it was a rather small venue with a very private atmosphere and only a few people attending. I see I was wrong. To give you a little impression I would like you to have a look at the following pictures (second picture first row and first and fourth picture in the fifth row). The stage pictures prove that Mario's concert indeed took place at San Rafael Forest Meadows.
http://www.facebook.com/media/set/?set=a.108416775910253.17538.108395045912426&type=3
Finally, let me quote from the book "San Francisco in the 1930s" by David Kipen:
"The first local buidling of the Dominican College, Grand Ave. between Locust and Acacia Sts. was dedicated in 1889 on land given by Don Timoteo Murphy and William Tell Coleman [...]. Since its founding in Monterey in 1850 the college has given much attention to music; many distinguished musicians have taught and lectured here. The music library has some valuable illuminated missals and a number of rare books on music. The campus covers 35 acres planted to pine and eucalyptus by Coleman, who tried to reforest the region. Forest Meadows, a part of the campus, is the setting for the Woodland theatre, an outdoor auditorium built in 1934 and used for the annual concerts."
Steff
Steff
I was finally able to locate a series of newspaper notes that confirm the date of the St. Rafael concert (27 June 1948), the venue (Forest Meadows, Dominican College) and prove without doubt that it was the soprano Dorothy Kirsten who appeared there with Mario Lanza. As you can see from my many attachments, this concert received much attention in the newspaper. I noticed that the newspaper mentions the name of Theodore Paxson (I understand he was Nelson Eddy’s accompanist and also did recordings with him) as accompanist for the singers' concert. An earlier source I had researched about 4 years ago stated that it was Constantin Callinicos. However, the lady in question sharing the outdoor stage on the “mysterious” St. Rafael photos, definitely is Dorothy Kirsten.
Steff
Derek McGovern
Armando
Excellent work, Steff! Finally we know not only who the others singer is but also the correct date of the concert.
Are we sure
Callinicos was the accompanist?
Armando
Steff
Armando
Great work Steff! In the second edition of the book (2008) I changed the captions on the two photos to, “Lanza in concert with unidentified soprano.” The date is still incorrect (1947) and, of course, I had no idea who the accompanist was. Now we know it was Paxson.
Armando
Steff Walzinger
Hello to all!
Another mystery is finally solved!
In November 1942 a very young Mario Lanza sang in a concert in the State of New Jersey. The source of this information was an unidentified newspaper review, a snippet, to be correct, which I understand was kept in one of Mario’s own scrapbooks. Mario’s singing was highly praised and the three given arias were mentioned. Details, however, such as the exact date of the concert, its occasion and the venue, were missing and would remain a secret for many, many years as the newspaper could not be located. It was presumed that the concert took place in Union City, New Jersey, but this could never be confirmed and has now proved to be wrong.
The other day I happened to unearth the complete article in “The Jersey Journal,” which was titled “Opera Tea is Held.”
The concert did not take place in Union City but in Jersey City. This was on 23 November 1942 and the venue was the “Woman’s Club.” Mario Lanza was not the only singer appearing there, and it is interesting to note that he filled in for the Metropolitan bass-baritone Nicola Moscona who was unable to appear that afternoon. Moscona, as you know, would later be cast in “The Great Caruso” (opera montage).
Mario Lanza appeared with three other singers, the contralto Irene Antal, the colloratura soprano Doris Marinelli and the baritone Angelo Pilotto, the latter a Metropolitan singer. The singers were accompanied at the piano by Thomas Philipp Martin. Vienna born Martin was a conductor, translator and coach, a staff conductor with the Metropolitan Opera and the New York City Opera. Moreover, he was associate chorus master at the Met and director of musical studies at the City Opera. Together with his wife Ruth Kelley Martin he translated many opera librettos from German and Italian into English, More information here:
In glowing words the article “Opera Tea is Held” comments the following on Mario Lanza:
“Mario Lanza, 21-year-old tenor, who came in place of Moscona and made a successful debut with Serge Koussevitsky last summer in the Berkshires, but is studying for grand opera, followed Miss Antal. From a tremendous frame and chest, a tremendous and dramatic voice came forth, belying his youth, in the tragic arias ‘Ch’ella mi creda” from Puccini’s ‘Girl of the Golden West,’ the ‘E lucevan le stelle’ from ‘Tosca,’ also the poetic ‘Un di all’azzuro spazio” from ‘Andrea Chenier’ by Giordano.”
Derek McGovern has kindly added the complete review “Opera Tea is Held” to the “Lanza and the Press” section (“concerts/opera 1942 – 1950), so you can find it here:
http://www.mariolanzatenor.com/concertsopera-1942-1950.html
In addition, Derek now has included Thomas Philipp Martin to the “Who is Who” section, a still growing, remarkable list of artists who are/were associated with Mario Lanza. The page with the list really is worth a visit, especially for those who are interested in “thinking outside the box.“
http://www.mariolanzatenor.com/a-lanza-musical-whos-who.html
I would like to point out that You-tube has four recordings of the above mentioned baritone Angelo Pilotto, all dating from around 1930. One of them is “La Danza.”
https://www.youtube.com/watch?v=aHB0-KpGnXk
Pilotto was born in Treviso, Italy, in 1895. He debuted in the opera “Carmen” in 1917. After moving to the U.S.A. he was for many years member of the San Carlo Opera Company.” He died in 1961 (see attachment, the obituary from the Cincinnati Enquirer, which, by the way, mentions, that Pilotto was the favourite baritone of the composer Umberto Giordano! And here is the chronology of his career:
http://www.lavoceantica.it/Baritono/Pilotto%20Angelo.htm
About Doris Marinelli, the colloratura soprano, the Trenton Evening Times wrote:
“…Doris Marinelli, young Pittsburgh coloratura who gained high place in European operatic circles prior to the war.
After years of study in America and Europe, Miss Marinelli became a member of that citadel of great opera, the La Scala of Milan, where she met with outstanding success.
With war clouds looming on the horizon the young American found it prudent to return to her native land. The instant success attending her appearances in San Francisco, Cincinnati, Montreal, Trenton and other of America’s better opera companies attests to the sagacity of the La Scala management in choosing this youthful artist for its roster.” (The Evening Times, 14 February 1943).
And the Jersey Journal wrote on 20 May 1942:
“…Doris Marinelli, an American girl who has achieved notable successes on the operatic stage here and abroad.
Born in Pittsburgh, Pa., and still a young woman, Miss Marinelli had climbed rapidly in the musical world, going for study to Italy, where she made her debut. Recognition came immediately and critics praised her singing as ‘dynamic.’ After appearing in opera at the Carlo Felice in Genoa, the Massimo in Palermo, and at the La Scala at Milan, the goal of singers in Italy, her roles have cast her with such stars as Gigli, Schipa and Malipiero.
Before coming back to the United States, she had scored successes In Helsinki, Budapest, Prague, Lisbon and Oporto. With Giovanni Martinelli, she was also guest of honour in Jersey City at a tea given last week by the Friends of Opera auxiliary group to the Hudson Association.
One of Miss Marinelli’s attributes before the public is charm of personality. Youth and a striking appearance add to her popularity...”
Ah, what talent Mario was surrounded with!!!
Please don’t miss having a look at the attached photos of Mario’s fellow singers!
Steff
