Thanks Bill, for the info on Takesha Kizart. Nice to hear that Joyce El Khoury is making a splash, too.doing well, too. Of course the big event many are waiting for is 2005 winner James Valenti's debut at the Met this March as Alfredo in TRAVIATA. Having already made his debut at La Scala and other noted houses, he certainly has moved rapdily into the front-line rank of tenors on the international stage.

Yes, i agree that the voice is king.It is a balance of voice versus presentation of part. Joan Sutherland had a beautiful voice but in my opinion was not the best looker. As you say today it appears that looks do matter. Katherine Jenkins with her model looks is one example. Although she is not stricly an opera singer,rather more of the popularist genre.I saw Pavarotti in Rigoletto,and he sang beautifully,but becuse of his massive girth just did not add credulity to the part. In the cruel world of real life how many young great looking women fall for the 22 stone 60 inch waist man. Possible if he is rich but joking apart it just does not happen. In Carmen you have to have the seductress smouldering beauty,and not a fat flabby singer. As you say if the voice is outstanding then looks can be overlooked,but in these days of the slim look it must be difficult in getting the balance right.Natalie Dessay is beguiling with a lovely voice. For Falstaff you need a large waist or it is up to the make up department to enhance the girth. Florez is perfect for playing the young handsome lover. Villazon i am not sure with that gaping mouth. Mario had those dark smouldering looks although his weight did cause him problems at times while filming. But he is one voice that would transcend any bodily mishapes. At the moment we have the example of Susan Boyle. They called her " The Hairy Angel" which was a bit cruel. She did not look the part when she shuffled onto the stage in BGT and was given disdainful looks by the jury and audience.Because she looked clumsy and dowdy all pre judged her She opened her mouth and sang, and the rest is history. It is all about image these days too.In many soap operas most of the guys and gals look model like clearly not real life but it looks good.I guess i am on your side on this. I dont want a beautiful model looking soprano only to hear a poor screeching voice emanate.A great bonus if you get beauty and the voice.A handsome tenor with a superb voice fits the part. Paired with a stunning soprano with the voice of an angel, well you have heaven. Romeo and Juliet comes to mind.Who would you pair for these roles? Laurence Olivier was just perfect for his role of Henry the 5th and Agincourt. Had Pavarotti not been a singer he would have been just right for Henry the 8th. Mario in my eyes was the perfect Othello. Looked the real deal in Serenade. Domingo too. Martino you mention Sophia Loren. Beautiful woman, and if she had been a top soprano how many young tenors would have prayed to be her lover on stage. Ah well Martino we can all dream. It does us good.

Pete and Martino, interesting thread. I have solved it for my satisfaction in opera by being a season subscriber to a small local opera house for more than 30 years. Being in the San Francisco area, it attracts lots of young talent, some on the way up to higher things (saw one baritone who sang here in the same part in Bregenz!).

This means that most of the operas have young singers who match the part—the women are mostly slim and beautiful (at least with makeup). The men virile and handsome. The challenge is the roles for Falstaff, for example, but it is easier to gray hair, add padding, lengthen noses, and affect a limp, than to turn the 250 pound soprano into a young seductress dying of consumption!

The voices are uniformly good, but of course seldom great, since these young singers are not paid anything more than expenses (if that). The sopranos are generally the best; contraltos a little less predictable for quality; tenors usually too light; baritones a toss-up; and basses usually a failure—either the notes are right, but they can't project well, or they project some odd tones.

But as opera, where one enters into the world being depicted, surrounded by glorious music, soaring with lovely arias, it is a wonderful evening's entertainment when the singers look the part!

In general, I am with Martino. If I am at a major house and paying grand opera prices, I want a VOICE that will thrill me, even if the body shape doesn't. I can always close my eyes and imagine!

Bill, I meant to ask: how was Domingo as Boccanegra? I wonder, if he is successful, if he will tackle other major baritone roles.

He was very effective both vocally and visually. He still sounded like Domingo but darkened his tone somewhat. He is in remarkable vocal health and sounded much younger than his actual age. Best, Bill

Takesha Meshe Kozart (a name that for some might roll easily off the tongue, but for others might more readily be mistaken as a sneeze) was interviewed on radio here yesterday. She made a brave effort to defend the indefensible, apropos the perverse production of Tosca at Sydney's Opera House. Her hesitations, however, in responding to questions on that matter, were as eloquent as the rests and pauses in music. Ms Kozart, I believe, is by no means comfortable with the nature and direction of this production.

Edited by author 01-19-2010 04:36 PM
http://www.youtube.com/watch?v=li7xH0ymBDg

Another of the lovely women from Italy is Gina Lollobrigida, here in a clip from a film biography of Lina Cavalieri - soprano, silent film actress and wedding enthusiast (she had at least four, possibly five, and some spares in training) - who was promoted as The Most Beautiful Woman In The World. I am unsure of the true facts, but seem to recall hearing or reading that the beautiful actress used her own singing voice in this film. I saw it many years ago at a cinema and can still quite clearly call to mind some scenes. What a lovely creature, and said to be very good natured too.

Takesha Meshe Kozart is a unique name, that's for sure! She seems to be a lovely person, in addition to be a striking looking woman with a wonderful voice. Here is a clip of her doing the familiar "Vilia" from MERRY WIDOW:

http://www.youtube.com/watch?v=4poMHGaLZlQ&feature=related

If she is from a strict religious upbringing, as I gather she is, I am not surprised her mom did not like the Alden-directed TOSCA and that Takesha herself would be embarrassed. She may well be thinking, "Why, oh, why, if I was given the opportunity to debut in this fabulous house, in this soprano's dream role - why did it have to be in this dreadful production?"

Since you are speaking of looks rather than the best pairing vocally, I would answer your question by saying that in my opinion the most handsome Romeo and Juliet I am aware of on stage had to be Franco Corelli and Anna Moffo. When talking about this duo, this quote from Shakespeare play says it all, "Did my heart love till now? Forswear it, sight!/ For I ne'er saw true beauty till this night".

I agree with you on Sophia. I am sure the tenors would stumble over themselves trying to get a gig with a soprano who looked like that. I think Rob mentioned Gina Lollobrigida, another real beauty who was suppose to sing the role of Aida in that movie I talked about earlier. But Sophia Loren got the part, along with Luciano della Marra as Radames. Linked below are a couple clips from that movie. You will notice della Marra has nothing whatsoever going for him (unless acting like a stick counts) except that he had the face of an angel. Looks were the only reason these two were in the movie but I suggest, if you watch this clip, listen closely to the young Renata Tebaldi. Some really beautiful singing and the piano note at about the 4:05 mark of the first clip is breathtaking.

http://www.youtube.com/watch?v=9t-yjek9f9o

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

Martino:
Elizabeth Taylor, bless her, also "sang" Aida in one of her less-known films!

Liz Taylor "sang" Aida in a film? When, where, HOW?

You mentioned Susan Boyle. She has a nice voice and has become quite popular and a successful recording artist. How much do looks and attractiveness count these days? Here is a quote from People magazine:

(PEOPLE.com) -- She wowed Simon Cowell, sold a bazillion records and captivated people worldwide.

But Susan Boyle's act is apparently not music to the ears of the British record industry, which failed to honor her with a single nomination for the 2010 Brit Awards.

Some in the British press speculate that the Scottish singer, 48, whose album "I Dreamed a Dream" topped the U.S. and UK charts, simply isn't trendy or stylish enough.

"The problem for the Brits is they're supposed to be a celebration of British music -- and cool," one source told the Daily Mail. "And whatever anyone thinks of Susan Boyle, she certainly isn't cool."

As we can see, in today's world of music it is not enough to have a good voice or even be a chart topping seller of that music. "Trendy" looks, "stylish" glamor is, unfortunately, what today's music is all about. And this trend is moving at break-neck speed to the world of opera.

From left to right, Sabrina, GianLuca, Pam Latham and Maurizio Scardovi

I have just returned from a special trip to Milan to attend the debut of GianLuca Terranova at La Scala in the role of the Duke of Mantua on Sunday January 17th. He gave a wonderful performance (click on the links below to hear just a sample)and I feel sure this is just the beginning of many appearances he will eventually make at this prestigious venue. He was given a wonderful reception by the audience (who, as we all know, can be very cruel if they do not like a performer or his performance at La Scala)

I met with GianLuca and his beautiful wife, Sabrina, along with his agent, Maurizio Scardovi and members of his family for supper after the performance to celebrate the success of the evening. During the course of the evening GianLuca asked me if I had a pen, which I duly handed to him. Then he said 'I am going to sign my contract to sing at the Los Angeles Opera with your pen for good luck!' I felt very moved by this special gesture and I know if all the good wishes from all his very good friends in the BMLS is anything to go by, he will be an outstanding success in whatever he does, wherever he goes.

http://www.youtube.com/watch?v=00zkjvvX_LU&feature=related
http://www.youtube.com/watch?v=ykipZ1ntsJ8&feature=related
http://www.youtube.com/watch?v=vfIHpOTBrRw&feature=related
http://www.youtube.com/watch?v=5aAATn8D0X0

GianLuca, Elena Mosuc, and conductor James Conlon

I omitted to give the dates for GianLuca's performances in Los Angeles in Rigoletto, November 27th to December 12th 2010. James Conlon is the conductor (he conducted the performances at La Scala also).

GianLuca's next engagements after La Scala are in February in La Boheme in Palermo at the Teatro Massimo, then in March-April in La Traviata at Naples at San Carlo, then in May at Teatro Regio in Turin in La Boheme, then in June-July at the Festival Avenches in Switzerland in Lucia Di Lammermoor, then in September=October in Rome at the Rome Opera in Roberto Devereux. Quite a schedule, and all as lead tenor.

Then he still expressed a great desire to return to sing for us in the BMLS at our GTG! He has an open invitation, anytime at all!

Kept thinking that Maurizio Scardovi's face was familiar, and then the penny dropped. I had recently watched a 4:3 video of Star Wars translated to widescreen, and the resemblance to Harrison Ford was striking. By the way, there was a singer of that same name (MS, not HF, that is), and possibly the same chap, a few decades ago.

Thanks for posting those clips of Terranova. I enjoyed them all. As you know, we have talked about GianLuca before and he has always been very impressive in the clips we've seen of him, even when doing "pop" with that other GianLuca, you know, one of those baby tenors we talked about here a year ago. I remember you (or someone) posted clips from his opera performances in Verona, and how well he sang the treacherous "Pour Mon Ame" (with bis if I recall correctly!).

It is always good to see yet another supporter of Mario Lanza begin an international career, especially at important venues like La Scala and LA Opera. LA has gained in stature and is important these days to new singers because Domingo himself must give his stamp of approval before any singer is engaged. With the signing of that LA contract, along with Verona, San Carlo and now La Scala, Terranova is taking huge steps up in the opera world.

BTW, next time you see Gianluca tell him to take advantage of his great high notes. He does both verses of "Possente Amor..." instead of the usual one that most tenors sing but everyone is always waiting to hear if the tenor takes the high note at the end of it. It is not really expected BUT if the tenor dares to go for it the crowd will go crazy. It is one of those rare times when the crowd is with you even if it does not come off all that well. That the singer tried is enough for applause, if perhaps not an ovation. But of course Terranova knows all this. He has the note I know so tell him to take a run at it some time when he is feeling exceptionally good voice. BTW, you don't happen to have the "Addio" ending to the Rigoletto duet do you? It was not contained in the clip (I am assuming you are the uploader, "Camilla"?).

Martino:
The film was "Il giovane Toscanini", directed by Zeffirelli in 1988. Liz played a faded soprano who stops the opera to deliver a lengthy tirade against the slave trade! The soprano who dubbed for her voice was Aprile Millo.

Thanks for that information. I never saw that film, which as the title suggests, is about the young Arturo Toscanni. I did a little checking and I'm not even sure it was ever released in America. Amazon has a dvd of it but it is in Italian with no English subtitles and is only available in European PAL format. You would think that a movie staring people like Elizabeth Taylor and Franco Nero and directed by a top rank director such as Franco Zeffirelli would be better known.

Mario Lanza Article from the Baltimore Sun

http://www.baltimoresun.com/entertainment/...n19,0,5719147.story

That is a good article and I am glad to see Armando take the initiative in getting an expert medical examiner to investigate Lanza's death. But what is it telling us exactly? I think we have known for some time the diet methods Lanza was given, including the use of dangerous hormone injections. The article seems to suggest that the doctor believes Lanza was, in effect, poisoned by these injections of hCG. Says Dr. Macowick, "I also believe he was made hyperthyroid toxic by the use of hCG." The primary cause of death is still believed to be heart failure because an iron clad resolution can not be made due to a lack of medical documentation.

Because of this conclusion that a resolution can not be made, and the revelation that indeed the injections were toxic, raises more questions than it answers. Were the use of these hormones an accepted practice back then? Who prescribed them? What doses were given? Who gave Mario the injections and for how long? If someone wanted to hurt Mario, the misuse of these injections to toxic levels could hide that very well. But I agree with the conclusions primarily because they pretty much agree with what Damon and Bob found in their research - that Lanza died after his third heart attack. Until real evidence is shown to the contrary, I'll accept that.

Rob, Maurizio was a tenor some years ago, and quite probably the same person. He is also a great admirer of Lanza, and a personal friend of Armando Cesari (they lived near each other in Austalia).

Martino, glad you enjoyed the youtube pieces of GianLuca's singing, (and, no, I am not the lady recorder 'Camilla' so can't help with the 'Addio' portion of the duet featured, however, it was excellent!)
I will forward your suggestion on to GianLuca regarding the high note at the end of 'Possente Amor', he would definitely have no problems taking it as his upper register is fantastic, but it may be down to the director as to what he can or can't include at the end of the day.
To make it to La Scala in under two years with Maurizio is quite remarkable, and well deserved. However, as I said to Maurizio on Sunday after the performance, after hearing GianLuca in Filignano in 2002-3 I knew he had everything it takes to get to the top, the voice just needed a little 'fine tuning' and he could compete with the very best. Now I'm just waiting for Covent Garden!

Hi Pam,
thank you so very much for your great report and photos of Gianluca`s wonderful performance in La Scala, yes the videos in Youtube are just great and his scedule in this year is just fantastic. And to know that he will appear and sing in San Francisco is great. Surely that everywhere the audience will love him, as he is really a great singer, with wonderful, clear high notes and beautiful colorations of his voice. A real Italian tenor, just great. As you know, we have seen and heard Gianluca 2 times here in Germany and both of his performances were unforgettable for us, me and my husband. Do hope that we`ll be able to hear him again soon, although with such a busy scedule, I don`t thing, that he will come to Germany in this near future. It is just great to know that he had such a great success, what we are wishing him always in the future and everywhere! Oh, yes, do hope he will come to Covent Garden, if so, we will also surely be there. Once again many thamks Pam for all of your great informations and the photos are really just wonderful. Thanks a lot. Mario is proud of Gianluca, in Heaven! Lots of love from Susan and Helmut

In Rigoletto, the top note at the end of Addio Addio is a high D-flat (C-sharp). Possente Amor is the cabaletta which follows Parmi Veder Le Lagrime, and is often cut. The key is D, so the unwritten top note at its conclusion would be a high D natural. To my knowledge, only 2 tenors take a high D at the end of Possente Amor: Pavarotti and Alfredo Kraus. (I don't think Gedda took that particular high D). Pavarotti took that high D only on his commercial recording, but very seldom in live performances. Kraus often took that high D in live performances, as well as his 2 commercial recordings. Ciao.

http://groups.google.com/group/mariolanza/...ad/c976306a0311364c# is the link on the Google Mario Lanza forum of the article published about Mario Lanza's death which appeared in the Pharos magazine this month.

Watched both those clips. very nice indeed. Nice singing too and that note you mentioned was so delicate like a very soft landing. Monserrat Caballe had a beautiful voice and sang in some stunning productions. I have an old recording of her in a production of Norma. Her bel canto voice could transcend her physiology. Aneliese Rothenberger used to float my boat when i was in my younger days. Ahh! to be a great tenor with a beautiful soprano gifted with a glorious voice in your arms in say La Boheme. Many of those not into opera may ask where did it all go wrong.

Martino: I want you to know I made mention on Lanzalegend of your post concerning the newspaper article (but did not quote you since I didn't ask for your permission). I suggested that anyone interested come over here and read your astute words. We're only a click away.

I also posted the following, which I would like to share:

I heard an incredibly beautiful new CD yesterday which was recorded by my friend Anna Maria, an amazing soprano in my opinion. It includes stirring songs of inspiration like "You Raise Me Up", "His Eye on the Sparrow", Time To Say Goodbye" and the aria "Un bel di vedremo. Still only in her late thirties she has left the spotlight to be a home maker and raise her son. I have mentioned her here before. I am hoping she will put some of her work on youtube so all of you can hear her. Like Mario, she is pure Italian and sings from the heart with a crystal clear voice of beauty and warmth. I felt privileged to have heard her perform for the all too short years she was in our lives. I'm glad I have most of her CD's to play again and again...very often when Anna says "how about putting the tenors to rest for awhile and play some sopranos"!!

No problem, Sam. Anything I say here I consider public and can be read by anyone. My only objection would be to be directly quoted at some other site without my first knowing about it.

Thelma provided a link to this medical review that is much more comprehensive than what I had read before in the Baltimore Sun report. In the complete analysis, it says that the injections of gHC, "...while probably not lethal per se, were at the very least ill-advised given his thrombophlebitis and hypertension". So then, it now appears that the gHC probably did not "poison" Mario to the extent it could have been the sole and absolute cause of death, although it may have been a contributor.

When I first read the Sun article, it talked of "toxic" results and I may have misinterpreted that. In the context of the full article it makes clear that although the exact doses given of this hormone may not be known, the gHC was probably not lethal in and of itself. Of course, anything can be "toxic" if taken in great quanties. I suppose you could eat enough M&Ms to kill you and certainly one can drink enough Martinis to do so.

This puts things in a different light for me concerning these injections but my conclusions remain the same as I said before. I think the value of what Armando and Mackowiat have done is show clearly that Lanza was a very sick person with more than one condition waiting to explode. Also, it is now certain he was not cared for properly (in medical terms).

Possente Amor is nearly always cut. It really is a fantastic piece and there is no excuse to cut it. Carreras did it and did not take the high note but still did it justice. Florez did it live, but of course he is no Duke (His words not mine) at least not yet (or ever if he has sense) With Florez though the top not is too easy and sort of spoils it.

Another great cabaletta is the O mio rimorso from Traviata. That would have been great for Lanza.

Listen to Villazon rehearsing this....astounding!
http://www.youtube.com/watch?v=_Q2yok0iSlY&feature=related

Thank you Mrs Latham for the information on the voice type of Maurizio Scardovi. His name is listed in the Acknowledgements made in the Lanza biography by Armando Cesari.

Edited by author 01-20-2010 03:46 PM
Without reasonable doubt the cause of Mario Lanza's early death may be traced back to Freddy's childhood when he was fed breakfasts of the order of six eggs plus steak by his well intentioned Father. Basically, Mario Lanza died of a surfeit of indulgence.

Edited by author 01-20-2010 03:47 PM
I worked as an active registered nurse for 40 years, and Dr. Mackowiak has given us his honest opinion with the information he has. He did not have information from one of the doctors who treated Mario. Mario was so sick, it's a wonder he lived as long as he did. Mario was always used to eating and drinking as a way to deal with his problems.

And, in having it seems been conditioned to treat his problems in that way, he was beset with more problems for himself and for those involved in trying to deal with those problems. It was a process as relentless in its gathering momentum as an avalanche.

Edited by author 01-20-2010 04:31 PM
In his memoir, ONLY MAKE BELIEVE, Howard Keel has several fond rememberances of his friend Mario Lanza (one of them very ribald and involving Amanda Blake, "Miss Kitty" of GUNSMOKE fame).

Keel wrote that when he heard Mario had died, he was saddened - but not surprised. He said what amazed him is that Mario lived as long as he did.

Edited by author 01-20-2010 04:36 PM
Thomas Hampson, a fine American baritone, is an artist whose talents and chosen repertoire range widely, from popular songs, through operetta and opera to lieder.
It is pleasant occasionally or often to hear this well produced baritone, here strolling amiably to visit tenor territory, in type if not necessarily in key. Certainly, there is no suggestion here of intrusion:

http://www.amazon.co.uk/exec/obidos/ASIN/B...ef=ox_ya_oh_product

Edited by author 01-20-2010 05:05 PM
Thanks, David, for that reference to the Howard Keel memoir. I've just ordered a copy, not of course from any prurient interest in Mr Lanza's pursuit of Miss Kitty - one compassionately hopes that she did not need to climb a tree in imitation of a common method of feline escape.

Howard Keel had that distinctive and attractive voice which he used well, and was also a very fine actor. I recall seeing a few of his films in non singing roles, and certainly the high quality of his acting enhanced his screen singing performances.

There's a photo in one of the Lanza biographies showing Messrs Keel and Lanza engaged in a shoot out. Happily, no bloodshed resulted, perhaps because no loaded fingers were used in the making of that photo.

David, if you would kindly direct me, please, to any reference you might know of to material on the life and career of Jules or Julius Bledsoe, I would appreciate having that very much. The references to him were very interesting in your excellent biography of his colleague, Ruby Elzy.

http://www.abc.net.au/classic/throsby/

David, if you are interested and have the necessary whatever it takes mechanically to link to it, you might be able to hear the interview with Ms Kizart (sorry, I mistakenly thought the family name to be Kozart - I hold Wolfgang responsible for my entirely understandable and easily overlooked error).

Edited by author 01-21-2010 12:21 AM
Edita Gruberova proves in this extract from Johann Strauss ll's operetta Die Fledermaus that a lively Slovakian is not the same as a bouncing Czech:

http://www.youtube.com/watch?v=Xfh-05FNvNg&NR=1

The singer has enjoyed a long and successful career:
http://en.wikipedia.org/wiki/Edita_Gruberov%C3%A1

http://www.gutenberg.org/files/19116/19116-h/19116-h.htm

One of the great Internet free offerings is this book written by a grand, in every sense, German singer and teacher, Lilli Lehmann (1848-1929). The advice contained in this book, if faithfully followed by a young singer, would provide a sound basis for working towards vocal health and longevity.

Her recording of 'Casta Diva', made in 1907 when the singer was only a year or so away from sixty years of age, is remarkable for the firm legato of this beautifully and properly conserved voice. Lilli Lehmann, it might be noted, became a teenager in the year of Nellie Melba's birth (1861):

http://www.youtube.com/watch?v=3NUyCMF67jc&feature=related

http://en.wikipedia.org/wiki/Lilli_Lehmann

Tonight I watched a program on Public Television of the Met Opera Competitions which took place in 2005 or 2006. Needless to say, the competition gathers a group of future opera stars. All the participants were very impressive. The rehearsals were very interesting; the arias were, for the most part familiar to me and easy to see if they were sung with the right voice. By this I mean that if a voice is so lyrical that it is better suited for an aria such as "Una furtiva lagrima" better than "Che gelida manina," it is easy to tell that the tenor, especially a beginner, would have a big problem. Such was the case with a young man whose name I recall as Ryan. I couldn't help but to empathize with the young man. On the night before the finals, this young man chose to sing "E la solita storia," which suited his voice much better. Because of time constraints, the arias were shortened, so I did not hear this entire aria then. It was to be sung entirely the following day at the Met stage. A young man who impressed me very much rehearsed the aria "Ah, mes amis" from "La fille du regiment," the great aria that Luciano Pavarotti made his own. Like Diego Florez, the young tenor sustained the high C's very notably and with great aplomb. On the final day, Ryan made me cry when he sang a flawless "E la solita storia del pastore." I applauded as enthusiastically as those present there. The other young tenor who sang the French aria, was also flawless, and the public applauded in kind. These two tenors were finalists along with two sopranos and another tenor. It wa my turn to cry again when they recapped what had transpired in the life of some of these young men and women a year later. The young man who sang the aria from "La fille..." has been solicited by the top opera houses, but has turned down all of them to pursue further studies. Sadly, Ryan passed away (I cried), in 2008 of cancer. A young black man with a bright future. A life cut short in the prime of life. Luckily, I was able to assuage my sorrow with my two children who live close by, and who gather at our home every Wednesday for our usual meal. They bring their spouses and children. And so went my night on this Wednesday, the 20th of January, the 41st Birthday of our first born, who serves as an Officer in the Navy in Jacksonville. Ciao!

You are a man with a heart, amico mio. I watched the same program and I was also very impressed with all the young singers, and their stories. Although, with only a couple exceptions, I was much more impressed with their voices rather than how they sang.

Yes, Ryan passed away a year or so after the competition, loosing a fight with cancer. The other singers are in various stages of their careers with Michael Fabiano making perhaps the biggest noise of all of them right now (at least internationally) and he is singing already at La Scala. At age 25 or there about he is well on his way. Did you hear one of the judges say that the way Fabiano sings through the passaggio could wreck his voice in no time. The judges agreed that depending on how Michael progresses, he will either be great or a bust in no time. We shall see.

Rob - thanks for the link to the interview with Takesha Kizart. I listened to about 20 minutes of it and hope to hear the rest over the weekend. She's a delightful young woman. I didn't know is in the Sydney TOSCA as the replacement for another soprano who had to cancel.

About Jules Bledsoe - he died a few weeks after Ruby Elzy, in 1943. He was only 40 or 45 years old (some references say he was born Dec 1897 and others Dec 1902). He was born in Waco, Texas, and is buried there.

He had quite a career, which included creating the role of Joe in the original 1927 production of SHOWBOAT. It was he who introduced "Ol' Man River" - not Paul Robeson, who made the song famous (Robeson played Joe in the original London production).

Here's an interesting link to info and photos about Bledsoe:

http://www.texasescapes.com/TexasPersonali...r-Jules-Bledsoe.htm

His personal papers and memorabilia are part of the collection at Baylor University in his native Texas.

Many thanks for so kindly providing the Jules Bledsoe outline and link. An interesting man and artist.

Edited by author 01-21-2010 03:13 PM
Wondering if the link mention of Mr Bledsoe's singing Canio is accurate. Singers such as Tibbett and Warren could manage the leading tenor part in Pagliacci (in the former case, with some concessional transposition). Maybe, however, the Bledsoe role more probably would have been either Tonio or Silvio?

Tibbett's recording of 'Vesti la giubba' is at:
http://www.youtube.com/watch?v=JuIm7R1dA_M

Not content with trespassing upon tenor repertoire, the great baritone also ventured upon basso territory, in a devilish way:
http://www.youtube.com/watch?v=wtQ2HOpsD-o

Ms Kizart sang/sings the role of Tosca at Sydney Opera House, after taking over from Cheryl Barker , a fine Australian soprano (she sang Mimi to tenor David Hobson's Rodolfo in a well known videod performance of La Boheme circa 1993, directed by Baz Luhrman). I earnestly hope that Ms Barker's unavailability was not due to illness, and have some hope that her withdrawal from the production may have been in protest against the direction. If enough singers refuse to be smeared by association with grubby productions, and if audiences vote with their feet by staying away, then managements might start hiring really imaginative directors whose talents refresh not pollute. Good opera - any opera - deserves better than to be buried in muck.

I was very interested and pleased to read about Gian Luca Terranova's success at La Scala.

About 2002/3 Paul and I were privileged to watch a video of Gian Luca performing in Filignano.

Paul was so impressed he sent a copy of the video with a covering letter to Domingo begging him to listen to this exciting new young tenor, needless to say it was never acknowledged and he never received a reply.

It is very interesting that Gian Luca's now sign a contract to sing in LA.
I wonder if Domingo remembers that video, that is of course if it ever reached him.

I know if Paul was still with us he'd have been so pleased and delighted that he's finally been rewarded.

Mrs Velda, if the video Paul sent had reached Maestro Domingo, a singer and conductor who has consistently and diligently mentored and helped many younger singers, then it is likely that the great musician would have responded.

There are reports trickling out of Austrailia that Dame Joan Sutherland has fallen gravely ill for the past week or so but that she is now improving slightly. Let us hope the best for this remarkable and incredible singer.

Edited by author 01-21-2010 03:58 PM
Martino, did you see her at Cardiff Singer Of The Year? It was reported that she had had a stroke, this coming soon after she'd broken both legs in a fall. She could hardly walk and had to be helped to her chair. I admire her greatly: unlike today's singers she did not have to rely on her looks, which were never stunning, but on her talent, which was nothing short of exquisite.

Recent Australian radio broadcasts have not included references to Dame Joan Sutherland, unless just a fleeting mention. As far as I know Dame Joan lives now, and has lived for many years in Switzerland. Perhaps European news sources might reveal her present state of health.

Edited by author 01-21-2010 04:57 PM
A short article in the New York Times, about a year and a half ago seems to be the most recent news break on Dame Joan Sutherland. There is reference in it to her Swiss home.
For trivia collectors: Sir Noel Coward was for some time one of her neighbours in Switzerland, and they made a few recordings together.

'... Excerpt from Noel Coward's diary: Wednesday 6 July 1966. "On Tuesday I recorded in the morning with Joan Sutherland. I had very little to do. I merely spoke bits of the verses of 'Secret Heart' and 'Dearest Love'. Her voice really is incredible and to hear her singing my music with a big orchestra was a rare treat." The orchestra he refers to was conducted by Richard Bonynge and the arrangements of Coward's songs are unabashedly lush~an ideal framework for the voice of Joan Sutherland who in 1966 was in her prime. For those accustomed to his witty revue songs these selections provide a more balanced picture of his talents as a composer. Conversation Piece, Bitter Sweet, Operette, After The Ball, and Pacific 1860 are represented ...'

I did not see the Cardiff competition this year and I really don't know how long Sutherland has been ill or the nature of the illness. I understand it has been dealt with quietly with only "friends" of hers from Australia (although it could be Switzerland) sending out private emails to other friends, one of whom is on an opera forum and reported today that she is doing a little better.

Placido Domingo is "officially" 69 today. There has always been a controversy about his age but I don't know why. Some say he is a year or two older but it seems to me the man himself should know how old he is. Dorothy Kirsten was the real liar. She claimed a ten year difference in age and stuck to it!

I totally agree with you but alas I have no way of knowing whether the Maestro received the video or not.

All I know is that it was mailed to The Met for the attention of Placido Domingo. We were in The States at the time and mailed it in Palm Springs.

Perhaps Ms Kirsten became increasingly unsure and confused, something that happens to many - it certainly applies in my own case. it is ungallant, to say the least, to speak of her as a liar.

Edited by author 01-21-2010 05:43 PM
Mrs Velda, you are no doubt right and probably the parcel Paul sent is still in some Met cache, and has never reached Placido Domingo. Paul, as did/do many of us, rightly respected the great musician and there might have been simply a failure or oversight on someone's part to deliver the video to Senor Domingo.

Yes, Kirsten was a nice lady from what I understand and I did not mean to use that term in a derogatory way. But I bet you a bunch of money she knew how old she really was!

Edited by author 01-21-2010 05:58 PM
Now that the initial shock has passed and I start to see the humour in the situation, I am inclined to think maybe you are on target and that the lady may have had at least an inkling about the actual figure. Martino, do you think we might allow some latitude in the matter of age? Just as they might wish to reduce their physical figures, so it is also understandable that the singers (male and female) also might wish to adjust other statistics. I never understand why anyone might fudge his or her age, given that old age is an alternative to something which is perhaps even less desirable.

Now I am off to serve as a volunteer guide (and exhibit, in the aged locals section) at our Kentish Museum. If only they would get my age right on the label!

In exactly 3 months to the day, I will (God willing) turn 70 years old, which means I have Placido by 9 months! Regardless of who says what regarding Placido's birth date, I accept the FACT that Placido was born on January 21, 1941, and I was born on April 21, 1940. 'Nough said. Martino, Caro Amico, mille grazie! Ciao!

Oh sure, a lot of famous people have lied, or perhaps a better term might be "fabricate" their date of birth. Some just picked a date out of the hat because they really did not know when they were born. Go to the link below and you can find some interesting reading about this.

http://en.wikipedia.org/wiki/Age_fabrication

Edited by author 01-21-2010 07:13 PM
It is not always easy to establish a fact whether it be trumpeted in capital letters or not. For example, I suppose, from examining an ancient document which seems to be my birth certificate, that I was born on 15th December 1939, but I cannot ever know that as a fact. I should explain, in excuse for being inexact, that I was very young at the time of any alleged birth in which I might seem to have been (unwittingly) involved and had not by then learned how to count or to read and understand the calendar. I still am uncertain about such things.

It is not a small difference in age with Senor Domingo and his 1941 birthday. Older references sometimes had him born in 1934! In any event, he is spectacular and greatly to be honored for what he has contributed to opera. In one of my searches in my references, he is described as the most recorded tenor in history. It helped that he has mastered more than 100 roles. What a man...and he sings on! Even more wonderous if he is actually 76.

Happy 69th Birthday to Placido Domingo, and many more. Ciao.

Happy Birthday to "The Great Tenaglia"

Rob, I noted as well in the brief profile of Jules Bledsoe about him playing Canio in PAGLIACCI. I am sure it was an error, and that he played Tonio, not Canio, since he was a bass-baritone. The costume he's wearing in the photo even seems more apropos for the character of Tonio.

Yes, Happy Birthday to the wonderful Frank Tenaglia, and many more. I presume it is today, the day after Domingo's birthday. I forget what number birthday it is for him, today?? Ciao.

Frank: If Fred's nearly always reliable memory is in gear, then HAPPY, HAPPY BIRTHDAY. Even if the day is wrong, best wishes to our best and most beautiful voiced resident tenor!!

Many Happy Returns, also, and SWEET DREAMS! These words don't exactly fit the occasion but go here for a hopefully pleasing duet: http://www.singsnap.com/snap/watchandlisten/play/baad5bc7

David B: I totally agree that Joan Sutherland's voice is exquisite. Sumptuous, bounteous, and more. She could look like the Wicked Witch of the West as far as I'm concerned as long as she could sing like she does! If anyone doesn't enjoy seeing her, all they have to do is play her records and find bliss. Incidentally, I'm glad to report I have found much peace and happiness the past few days. Hopefully, the dark period that returned has gone for now and I will have the type of birthday celebration I wished for!!

Knowing you appreciate my singing, I have these two pieces to offer, which I am using in a Gershwn medley Wednesday, January 27th, the exact day I was delivered into this world: http://www.singsnap.com/snap/watchandlisten/play/c1117f9f5

http://www.singsnap.com/snap/watchandlisten/play/c210a6265 I was in a very good state when making the videos.

I would say that Placido Domingo also ventured into popular music as well, and has been very successful in exposing opera to the masses. He is a wonderful musician, all around good taste, and an example for any tenor or other musician to look up too, just as the masses of peple look up to him. Happy Birthday, Placido!

THANK YOU ALL MY FREINDS

Happy Birthday to Frank Tenaglia, and also the same wish for that aged yet still spry Spanish chap, the grand humanitarian, musician and singer whose generous efforts to help in all good things make every day seem like a Sunday.

Frank Tenaglia, I wish you a very Happy Birthday and many more. Your voice is very much admired by me also. I have heard you sing at Carnegie Hall In October 2009 and also earlier in Philadelphia at the Lanza Institute Scholarships in 2005 or so.

Hope you have a happy birthday and a great 2010!

                                 David

Edited by author 01-22-2010 07:27 PM
In his book The Twilight of Bel Canto, Leonardo Ciampi wrote the following passage, expressing admiration for the singing (not necessarily the voice) of Tito Schipa:

"He was such a fine musician that when I listen to him, I feel like I'm listening to a master clarinettist."

His comment may prompt some interesting ideas; for example: What singing styles and methods used by great singers might be suggested from listening to great instrumentalists? Or, vice versa.

Edited by author 01-22-2010 08:01 PM
A very Happy Birthday to Placido Domingo and Frank Tenaglia. Their singing, as that of those who preceded them, give ALL those who enjoy opera, moments of sheer pleasure. May the Good Lord give each of you many happy returns. Ciao!

Rob: Tony Bennett, in his early days, was told by his voice teacher, Miriam Spear, to not imitate other singers, but to imitate great instrumentalists. With the possible exception of Billy Holiday, he followed that advice. The cello is the instrument that most closely resembles the human voice. So, I suppose, Pablo Casals would be a good instrumentalist for classical singers to imitate. Ciao.

Rob, Your suggestion of a topic on the Forum tonight interests me. What about Chopin's piano melodies many of which have been made into song,: "It's Now or Never" popularized by Elvis Presley. Also "I'm always Chasing Rainbows."

Gershwin's "Rhapsody in Blue" should have words put to it. I haven't heard any yet though.
Am I on the right track? is this what you meant?

My all time favorite piano classic is http://en.wikipedia.org/wiki/Piano_Concerto_No._2_(Rachmaninoff)

"Full Moon and Empty Arms" was based on this classical piece and the song was introduced by Frank Sinatra: http://sso.playme.com/sso/d/s.php?media_ty...0013&tms=1263918415

Another one is "Till the End of Time" based on Chopin's Polonaise in A-flat major, Op. 53, biggest hit by perry Como in the forties.

Edited by author 01-23-2010 01:37 AM
Leonardo Ciampi's comment holds many implications for further interesting discussions on matters in turn suggested by your own thoughts. By coincidence, this afternoon, there were two recordings played on the radio, one of a trombonist performing Musetta's waltz song from Puccini's La Boheme, and later of a trumpet player "singing" 'Casta Diva' and the cabaletta which follows the aria in Bellini's Norma. Beautifully as these pieces no doubt were played, the absence of the human voice in each case was very apparent.

Edited by author 01-23-2010 02:05 AM
Some instrumental performances of songs, however, seem to be very well done and work well, as was the case for a tuba version of 'If I only had a heart', Harold Arlen's jaunty tune sung by Ray Bolger in the film, The Wizard of Oz.

Closer to home territory was a very interesting and pretty performance, heard several weeks ago, of a solo guitar arrangement of 'Be my love'. The linked video, jazz quartet version, by way of odious comparison, however clever the arrangement may be, seems rather less successful than the straight forward, simple guitar solo:
http://www.youtube.com/watch?v=JuIW6XUI_yQ

The incomparable instrument of the glorious voice - still the best version of this song, almost sixty years on:
http://www.youtube.com/watch?v=8o8SZng55T0

Hi Everybody,
tomorrow, the 24th January, Mario`s BBC Documentary, `Singing to the Gods` will be shown on one of the German TV Chanel, called NDR (North German Broadcast).
This is the 5th time that they show this Documentary in a German TV chanel. The chanel ARTE (French/German coproduction chanel) have showed it already 3 times, the West German Broadcast (WDR) showed it on the 6th October 2009 and now the NDR.
It is always good to know that the world will never forget him.
Cheerio from Susan

Susan, great artistes never die, so you need not worry!

Who saw the film-The Audition on PBS two days ago. The young Italian tenor with the constant scowl and beautiful voice made his Metropolitan Opera debut this week in "Simon Boccanegra" and received great reviews in the New York Post yesterday.
Best,
Matthew Minzer in S.E. tropical Florida with a cold wave coming.

Edited by author 01-23-2010 09:24 AM
http://www.metoperafamily.org/metopera/new...erviews/detail.aspx

Placido Domingo, interviewed after (or perhaps during) his engagement, singing the title role of Simon Boccanegra in Berlin last year.

During his time in Germany, the great tenor, now baritone - and conductor, although not here for this song - took time to sing this wonderfully jolly Paul Linke piece, surely Berlin's City Song:

http://www.youtube.com/watch?v=5A4IaO1P7-A&feature=related

That young tenor would be Michael Fabiano. We talked a little about him and "The Audition" a few days ago.

Today's Met broadcast is a "blast from the past": Samuel Barber's Vanessa, dated Feb 1, 1958. In English. Gedda sings the tenor role. I am not particularly fond of the music, but it is interesting to hear Gedda sing in English. His English was very good. Ciao.

I hope you listen to this, Fred, for this reason: Gedda was the only non-American in the cast yet he is the only one you can understand each word sung!

Martino: I have had that broadcast, for many years. Also, the opera (Vanessa) was recorded by RCA Victor, soon after, with Gedda in the tenor role. I believe the first opera at the "new" Met, at Lincoln Center, was The Last Savage by Menotti, also with Gedda in the lead tenor role. The date was Feb 8, 1964. Ciao.

Martino: In addition to Gedda, Giorgio Tozzi also had excellent English diction (as he did in the film of South Pacific). But the ladies, I agree, are difficult to understand. I am not very fond of Barber's music, altho I sang one of his songs at my own graduation recital: Sure On This Shining Night, which I did like very much. Ciao.

Yes, Tozzi was a great singer who always seemed to play second fiddle to others but he was as good as any. I liked him in South Pacific better than Pinza!

Edited by author 01-23-2010 04:11 PM
I just finished the "Hoffmann" you sent me (Rigoletto comes tomorrow!). Tony Poncet was as good as I had hoped and the other principals were also excellent. I especially liked Colette Lorand and Giselle Vivarelli, neither of whom I've ever heard of before. But gosh what a fine voice Poncet had!

At the very end of the Epilogue I started to reach for my remote to switch to satellite mode when all of a sudden I heard this spectacular, powerful and long held high C to conclude the opera! I had to play that final scene again (in fact twice) because I had never heard a "Tales of Hoffmann" conclude that way before. As the chorus makes its way out of the tavern (after Hoffmann finds redemption), rather than sit with his prose in his lap until the curtain comes down, as in most productions I've seen, Poncet joins the students at the end and then overpowers them all and the orchestra with that brilliant ending note. It was a treat for that alone. Thanks again for sending it to me.

Thanks for your opinions of The Tales of Hoffmann highlights with Tony Poncet as the lead. If I have any criticism of that mighty singer in this recording it would be that he sounds (to me) too confident, too much in control in a role where the situations show a manipulated and duped hero, and one who is at times the plaything of Fate. But, putting aside any such cavil, what a splendid, vibrant voice it is. Philips decision makers must have rocks in their heads and hearts for failing to reissue this material on CD.

You may download the Pharos article about Mario Lanza's death here: on the Google forum under Article on possible causes of Mario Lanza's death download provided by Derek McGovern, Jan. 23rd, 2010

Edited by author 01-23-2010 07:42 PM
Leonardo Ciampi's fine book The Twilight of Bel Canto contains much interesting information about singers, many of them only names to me.
One further and significant point offered for the reader's consideration on the matter of instruments and voices is that the violin (and this perhaps might also apply to every other instrument, possibly with the exception of a percussion instrument, maybe first conceived to mimic the rhythm of the heartbeat?) was made to allow the player to imitate the human voice, not vice versa. Even if there should come a time when all man made instruments are dust, hopefully the human voice may still be heard in song, albeit one of mourning.

Edited by author 01-23-2010 09:27 PM
The title, chosen presumably by Armando Cesari himself for his Lanza biography, is one of interesting implications:

Mario Lanza: An American Tragedy.

When I first saw the title, my immediate, unthinking reaction was something like: "No, no! Lanza's life and career, short yes, but a tragedy? It was a triumph, surely!"

I had missed entirely the point and significance of the title. The life and career of Mario Lanza had been American if Italian influenced, up to that time when he left with his family hoping, desperate perhaps to make a new home and a new start in Italy, the place where his parents had migrated to the USA. He was maybe, who knows, seeking his roots, trying to retrain and regrow the family tree in its original, native soil and environment?

Assuredly, Mr Cesari was wise or well advised to use the name of his excellent biography. It was the American system, its coldly cynical, Dore Schary type Hollywood system, its harshly judgemental media and money as God mentality (not by any means only a worship practice in America alone or in the West either) that cumulatively damaged the sensitive Freddy Cocozza/Mario Lanza.

Yes, it was an American Tragedy indeed. Like a hero of Greek myth, Lanza fled from the "gods" who had turned against him to try to make something more of his life and career than the America of his time offered - or threatened.

Edited by author 01-23-2010 09:50 PM
May I make something very clear:
My references on the subject of An American Tragedy were and are to the context of an America of over fifty years ago. It was not nor was intended to be an attack upon America or Americans. I am a grateful citizen of a country which is an ally of the USA, and I am or try to be loyal to my country and extend that loyalty also to its aliies as best I may.

The audition was a great show because it was filled with quality singers and music. It was fun to watch. I hope you survive that cold snap, you might have to wear pants.

"... even Schary failed to grasp both the threat and promise of television and backed the board's decision to withhold it's massive film library from broadcast licensing. Schenck himself rebuffed NBC chief David Sarnoff's repeated offer of a MGM-NBC alliance. The studio finally approved a foray into television with "MGM Parade" (1955) on ABC, then an also-ran network. The series, featuring the somewhat bland career MGM contract star, George Murphy and largely consisting of old film clips, and gratuitously promoting upcoming MGM releases, was no great success..."

This is an excerpt from a mini biography of Dore Schary at:
http://www.imdb.com/name/nm0770196/bio

What an intriguing possibility this MGM involvement in television might have opened up: if Mario Lanza had stayed on at MGM, and if the studio bosses had seen the potential for using television as a medium to promote the movies it produced and the MGM stars, how might an MGM television show, starring or at least regularly featuring Mario Lanza, have fared in the context of the rapidly growing influence of television upon its viewers?

Edited by author 01-24-2010 12:41 AM
4th March this year will be the fiftieth anniversary of the death of the great American baritone, that superlative singer Leonard Warren. By uncanny coincidence, he was on the Met stage in a performance of Verdi's La Forza del Destino when he died, struck down in a few instants as if by the very hand of Destiny. The details of his ending, as told by people present at this sad occasion, are brought together and set out in The Twilight of Bel Canto; they make very fascinating reading.

Three days before the fatal evening, Warren had sung at the Met his last complete performance, as Simon Boccanegra. Some celebration of his huge contribution to operatic activity in America might be timely and just.

Edited by author 01-24-2010 01:32 AM
http://www.youtube.com/watch?v=56wGeZHkRkE

Here, recorded in 1956, as on the night of their appearance together on 4th March, 1960, Leonard Warren and his friend Richard Tucker sing from a performance of La Forza del Destino.

I do not know this opera in full and it is possible that, on the fateful night in 1960, the performance so tragically interrupted by Warren's death did not reach this duet. Maybe Fred or Martino or someone else would kindly comment on that matter.

The duet between Warren and Tucker you posted takes place during the 4th act when Don Carlo finally finds and confronts Don Alvaro at a monastery to which Alvaro has taken refuge. Warren never sang this on that fateful night because he died during the third act.

Mario with his own tv show? An interesting thought. I suppose he could have done it but I really can't picture him in the role of host, at least not a live show which many during the '50s were. The tv personalities back then were much different kinds of people than was Mario. For the most part they were accomplished actors who had a lot of stage experience behind them, not just a few motion pictures as did Mario at the time and he had no real stage experience in front of a live audience, except when singing. These tv personalities could be funny and were very quick on their toes as much of what went on during the shows happened ad lib. It was all matter of their talent and experience that made it work.

Except for motion pictures where how many number of takes to get it right is not a concern, I always felt that the few times Mario was in front of the camera live, he seemed out of place or perhaps better put, somewhat uncomfortable. The make-up people, costumes, film engineers and editors and the color saturation of motion pictures could make actors look their best at all times. Black and white did not do Mario any favors, especially as he grew older and his health declined and at that time, black and white tv is all we had.

However, as you point out, a show where Lanza was a regular guest to promote a new movie or album would have been perfect for him because all he would have to do is what he did best - sing. He would not have to worry about running a program, remembering lines, interviewing guests, etc. Or, perhaps a previously taped show where Mario could settle in and get comfortable without the added pressure of going live. Yes, I think that might have worked very well for him, as did the previously taped radio show he had.

You know, it makes you think of what this kid from Philly was all about and what he eventually became. As he was growing up, probably all Freddie wanted in life was to sing opera and have a good career and nice family. His choices in life (and destiny) cast him into many other roles such as movie star, matinee idol, millionaire, the "American Caruso", etc. and some of which he may not have been prepared or well suited for. I would have liked to have seen and heard him much more often on that little screen in the big box but I think tv show hosting would have been yet another of those roles that might not have fit him all that well.

Edited by author 01-24-2010 05:49 AM
Thanks for those comments, and also for explaining about the Tucker/Warren duet. Your suggested factors, other than the two "what ifs" that I put forward, certainly raise a number of difficulties that I had not considered and some interesting alternative ways for him to be involved in television programmes. I particularly like that idea of the filming and later telecasting of the segments in which Mario Lanza might have appeared. That would be probably a system similar to the one with which he would have been fairly familiar and comfortable, from his movie work, and could, as you say, be seen as a visual parallel to the prerecording used for his Coke Show radio broadcasts. Given the success he enjoyed on radio, maybe Coca Cola might have seen a potential to co-sponsor his television appearances, in association with MGM itself. Too many maybes, but some tantalising possibilities nonetheless.

Quote from Edith Wharton, Pulitzer prize winner: ". . an unalterable and unquestioned law of the musical world required that the German text of French operas sung by Swedish artists should be translated into Italian for the clearer understanding of English-speaking audiences.”

Mario Lanza Birthday Remembrance

On Saturday January 30, 2010 from Noon - 3:00pm at the Mario Lanza Museum, will be the annual Mario Lanza birthday remembrance. The afternoon will feature a coffee and cake reception and Mario's recordings will be played. There may be some other goodies and possibly some video will be shown as well. Admission is free and donations are accepted. For more information call 215-238-9691 or write to mariolanzamuseum@aol.com. The Mario Lanza Museum is located at 712 Montrose Street in Philadelphia.

Best,Bill

Edited by author 01-24-2010 06:01 PM
Perhaps by a Danish translator? The magnificent Norwegian soprano Kirsten Flagstad always maintained that Danish was not a language at all - she and her great big buddy Lauritz Melchior (who just happened to be Danish) might not have shared many barbecues together but certainly enjoyed giving each other a Scandinavian roast.

On a tangent: Tasmania has a strong link with Denmark, since one of our local lasses married Crown Prince Frederik (that's not a typo; his name has no "c", despite his keen interest in matters marine). So general has been the approval of their union that there are rumours here in the Apple Isle of making the Apple Danish our State Dessert.

We talked a little about Lanza and television a few posts back. As luck would have it, the Arts Channel just played the 1954 Shower of Stars video of Mario singing "E lucevan le stelle" and "Someday" from the Vagabond King (a few weeks ago during the Holidays they showed his "Ave Maria" from the Christopher Program broadcast).

This appearance marked the first time in about three years that Lanza sang live before the public although we know he appeared on the program before but "sang" to a recording, which created quite a stir at the time. But on this day he was spectacular. He started with the aria and it was perfectly sung in some spots and not done so well at others but the over all impression left no doubt that Lanza's voice was intact - and how! Then came one of his favorite songs and the one he said that his fans requested the most, "Someday". Here we see Lanza in all his glory singing every phrase with all his heart and each word to note crafted perfectly. Perhaps too perfectly as he does seem to linger on the words a little too long. Not as long as in the later Vagabond King album but long enough that in lessor hands the whole thing would have lost its rhythm and fallen apart. But in Mario's hands the rendition progresses on nicely and ultimately it all comes together. It proves to be one of the highlights of his live performance career.

The Arts Channel gets a lot of their material, including the Lanza footage, from the Bel Canto Society and so far all I've seen of Mario on this station is not new and has been around for years. But I wonder what else they have in their vaults about Mario that may prove very interesting. People from all over the world send them rare items involving the Performing Arts. Who knows, maybe one day we will learn there is indeed a Lanza concert at the Hollywood Bowl or somewhere in Europe perhaps that was recorded and laid in the atic until they died and an heir finally dug it out. You never know.

Fascinating possibilities presented by all those European attics. Hopefully there might be something more substantial and interesting in those attics than a recent trollish rumour - wafting like smoke from a Cork tip - of a Lanza recording with Big Lucy.

Edited by author 01-24-2010 08:03 PM
The Bel Canto Society has in its organisation a very unusual person, Mr Stefan Zucker, here heard in a Donizetti aria associated in the minds of some, perhaps many, with the late Luciano Pavarotti:

http://www.youtube.com/watch?v=IuicGPGLi7g

Viewing this recording might prove to be an unforgettable experience and listening to it even more so.

http://www.youtube.com/watch?v=9EpW2f0ctdY

Andre D'Arkor, a Belgian tenor, sings this aria from a French opera, composed by an Italian (Gioachino Rossini) on a Swiss subject. The Swiss subject in question (William Tell) was in fact, at the time in which the opera was set, an Austrian subject. It's a bit complicated to explain here, and in any case who cares. In opera, it's mainly to do with tunes.

It is a sad story, Guillaume Tell, as the French insist upon spelling it, of maidens who often kiss but never Tell - gloomy news indeed for poor Tell.

Monsieur D'Arkor performed the Swiss role (not to be confused with a Swiss cheese roll) of Arnold, on stage on many occasions, singing this pining aria in the setting of a pine filled area. Do not be disappointed that there is no yodeling to be heard in this piece, although Rossini did at least use alpenhorns somewhere else in his orchestration.

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

The melody on which Andy Stewart based this song also was used by Rossini in the score of William Tell. It is described, depending on who is telling the story, as being a folk tune from either Italy or Switzerland.

Edited by author 01-25-2010 04:10 AM
http://www.youtube.com/watch?v=w0g3YnjCGwk&feature=related

Another, once well known Belgian tenor, Fernand Ansseau, sings an aria by Cristoph Willibald Gluck, a composer who, shrewdly noting the genius and likely challenge of the young Wolfgang Mozart (40 something years Gluck's junior), removed himself from Vienna and relocated to Paris.

In fairness, it might be noted that Gluck enjoyed well deserved success and esteem in several important musical centres during his career - in Milan, Paris and London, as well as in Vienna. He returned to Vienna and died there, respected by the public and his colleagues, a few years before Mozart's early death.

http://www.youtube.com/watch?v=Wa8h00YPN1w&feature=related

This Belgian tenor, who used the stage name of Jozef Sterkens, had/has a sadder history than either D'Arkor and Ansseau. Their recorded voices generally have been rather overlooked, but he had the shame during his final years of being shunned by his fellow Belgians:

http://www.dutchdivas.net/tenors/jozef_sterkens.html

Whatever his life circumstances, and the last few years were clearly in cruel contrast to any earlier successes, here in this video recording at least, he was a sensitive singer.

http://www.youtube.com/watch?v=A_kfYgI4RGg&NR=1

This might be better example to show what Jozef Sterkens was capable of achieving. The aria he sings, from Erich Korngold's Die Tote Stadt, is variously sung, in concert or recordings, as a solo for either soprano or tenor. In the opera itself, I understand, it is however a duet between tenor and soprano. There is a wonderful recording of it by Richard Tauber and Lotte Lehmann, originally recorded acoustically, and sometimes heard with a later electrically recorded orchestral accompaniment.

The composer Korngold left Europe when the Nazis rose to power, and made a very successful career in America. Among his works there were film scores for many Warner Bros films, including such well known ones as The Adventures of Robin Hood, starring Errol Flynn. One of his less well known scores was for Give Us This Night, starring Jan Kiepura and Gladys Swarthout. That film has been neglected, but it contains some beautiful music, and is quite enjoyable to see. Here's a clip of one scene:

http://www.youtube.com/watch?v=VH5urHMHMsc

It is now the start of Australia Day, 2010, two hundred and twenty two years since the First Fleet sailed into Sydney Harbour. However, let's not dwell unduly either on or in the past.

Here are videos of two great Australian singers:

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

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

There is, as Oscar Hammerstein ll once wrote, nothing like a Dame. Certainly we will never again see exactly the like of these two great singers who were rightly honoured by their monarchs.

Edited by author 01-25-2010 11:03 AM
Sometimes as I read comments on this forum, it seems as if there is a perception that Mario Lanza was the ONLY artist in history to ever be sacked by his employer. Rob, your comments a few posts back on how you felt Armando's book was appropriately titled caught my eye.

Luciano Pavarotti's contract with the Lyric Opera of Chicago was severed - and they announced publicly he'd never be invited to sing there again - after he cancelled 26 performances out of 41 scheduled with them over a period of a seven years. Was that "coldly cynical"?

Was Rudolf Bing merely aping Dore Schary when he fired Robert Merrill because Merrill, instead of undertaking the Met annual spring tour for which he was contracted - went to Hollywood to co-star in Paramount's AARON SLICK FROM PUNKIN' CRICK, one of moviedom's all-time stink bombs?

Joseph Volpe fired Kathleen Battle for flaggrant behavior that totally disrupted rehearsals for a new production at the Met of "Daughter of the Regiment," saying, "The financial, artistic, and EMOTIONAL health of the Met is more important than any single person in this institution." Was that because Volpe was a product of the "American" system?

On Lanza Legend, it's been mentioned more than once how Mario's co-stars should've walked off in protest when he was dismissed as a show of solidarity. Several posters have said they are sure Mario would've done the same for his fellow artists. Oh, really?

Judy Garland was fired in 1950, one week before her 28th birthday, for her failure to show up on the set for ANNIE GET YOUR GUN. I don't recall seeing any news reports that Mario protested her firing.

A year later, Louis B. Mayer told Nick Schenck at Loew's - it's me or Schary. Nick said, "Nice knowing you, Louis" - imagine a guy being let go from the company he started, that bears his name. This happened in June, 1951 - at the time when THE GREAT CARUSO was the Number 1 film at the box-office. Louis B. Mayer and Joe Pasternak had been the only ones at MGM who wanted to make the movie, and had championed Mario as Caruso. Did Mario walk off the lot to show his support for the man who, more than anyone else, was responsible for bringing him world fame? He did not.

I don't see Mario Lanza's life as an "American" tragedy. It was one man's tragedy. His tragedy did unfortunately touch the lives of others, most significantly his wife. I doubt if Betty Hicks life would've ended as soon as it did had she married someone other than Mario Lanza.

Frank Sinatra was also fired by MGM in 1950.

Edited by author 01-25-2010 11:32 AM
Ronald, I believe Sinatra was not fired from MGM - they just did not renew his contract when it expired. Same thing happened to many MGM stars over the next half-dozen years: Kathryn Grayson, Howard Keel, Ann Miller, Van Johnson. Even major figures like Clark Gable and Spencer Tracy.

The old Hollywood system was unraveling, in large part because of television. Studios no longer had stars earning salaries under exclusive, long-term contracts - instead they would hire whoever they needed on a per-film basis.

I was specifically talking about a star being fired because they did not fulfill the obligations of their contract, i.e., Lanza and Garland.

Also, I need to correct myself. Technically, Louis B. Mayer was not fired. He and Schary were in a power struggle, and LB wanted Schary out. Mayer's contract was due to renew July 1, 1951, and he told Loew's Incorporated in May he would refuse to sign on again unless they axed Schary. Loew's backed Schary.

Edited by author 01-25-2010 12:15 PM
You are quite right, David, in querying my condemning as "coldly cynical" a system and the people in that system. I know hardly any detail of either the system or the people in it and was wrong to make that call. However, it seems to me, and of course again I might be mistaken, that the perception of the composite man, Freddy Cocozza/Mario Lanza, at the time (1957) was that he was not just unsupported by the system and those who appeared to him to run it, but also threatened or opposed by it and The Bosses - he simply wanted out, and Italy seemed to him to be the place for him to go. It might or might not be significant that he took with him his immediate family, Betty and the children, but not both the parents to whom he had always been close. Whether my hunch is right or just a bit of nonsense, I believe that after the excitement of renaming himself, he might have always felt a guilt about hurting Tony Cocozza by using another name. Sure, many show business people change their names, but they might not have all had such vulnerable
Fathers as his - a man who was seemingly never the head of the family. I don't believe that Freddy was ever entirely comfortable about being or trying to be Mario, instead that renaming in his case could have stirred up internal hassles and family complications he didn't need or may not have been able to deal with. In a sense he might also have been running away from home.

Didn't MGM release 7 Hills of Rome and For the First Time? Anyone have any insight about that? I personally found 7 Hills to be one of his most entertaining films, and he seemed to enjoy making it.

Mario's last films were made by independent producers - LeCloud/Titanus produced THE SEVEN HILLS OF ROME and Corona Films did FOR THE FIRST TIME. In both cases, MGM handled financing and distribution, which is why you see the MGM lion and logo introduce each film.

Mario was very critical of SEVEN HILLS OF ROME, saying it was "junk" and that he was "lousy" in it.

Many die-hard fans say part of Lanza's troubles with MGM in the early 50s was because of his demands for "higher artistic standards." If that is really so, then it's hard to explain him making SEVEN HILLS, which most people agree is his weakest film.

Having said that, I personally find SEVEN HILLS to be pleasant and entertaining, sort of a precursor to the types of films Elvis Presley would make in the mid-60s.

You have made a lot of good points, David. Since you brought up the name of Elvis Presely, I'll go ahead and mention that anyone who wants to see a good documentary on his rise to fame can tune in to the Ovation channel tomorrow (check local times). Here is a copy/paste from the website:

  "Elvis '56 opens a time capsule to reveal the legendary performer as he stands on the brink of superstardom. Shot on tour in 1956 with digitally remastered recordings of such classics as Blue Suede Shoes, Love Me Tender, Ready Teddy and Money Honey".

Anyone that has their sound going through a home theater system should hear these classics like never before. The documentary, highlighting this particular, trail blazing period in Presely's life (which I think is by far the most interesting part of his life), should prove to be very entertaining.

Also, earlier tomorrow morning (again, check for local times), you can see what I think is a modern adaption of Bizet's, "Carmen". I'll paste another synopsis from Ovation's website:

"Bizet's Carmen is reputed to be the most famous opera in the world. Maestro Daniel Barenboim presents his musical view on this classic opera. Marina Domashenko's rich mezzo soprano voice makes her ideal for the title role in Carmen. After the premiere the Frankfurter Allgemeine Zeitung wrote about Rolando Villazon: A perfect José, sung as he hasn't been sung in a long time. This young Mexican tenor alone makes it worth seeing. The new Carmen by stage Director Martin Kuej is one of the current significant opera events".

If only we can get the Arts Channel (or Ovation) to give us more Mario Lanza. But from Elvis to Carmen all in one day and without ever leaving your easy chair is pretty spectacular when you stop and think about it. Ah, the glory of technology!

Edited by author 01-25-2010 03:01 PM
Please check the IP address of that last entry under my name. It is definitely not from me and I have absolutely no idea what this is about. He has also posted this on various sites and facebooks--anywhere that anyone has so much as remotely praised my book. I just checked and it's also on Bob's site too. Horrible man! I can only apologise to anyone who thought it was me. I gave my word not to bring aggravation to this forum, and I never will.

Elvis '56 is a great documentary - produced for the 10th anniversary of his death in 1987. It was shown initially on HBO, if I'm not mistaken - and a few years later was picked up by PBS. It's nice that Ovation has picked it up for airing.

I don't recall any channels besides PBS showing Lanza documentaries, and the only channel that airs his movies nowadays is TCM.

David: You missed the point entirely. The reason I chose An American Tragedy as the title for my book is because had Lanza been born in Italy his career would have followed the path of his predecessors as a legitimate opera singer.
Filmmaking in Italy was no-where near the scale of the Hollywood Studios and opera singers such as Gigli, Gobbi, Schipa etc. only made films after having attained celebrity status on the stage.

Lanza’s tragedy was not that he was sacked by MGM, but that the Studio signed him in the first place, thereby preventing him from fulfilling his destiny.

Just read that actor/dancer James Mitchell passed away. He played Pierre in Toast of New Orleans. ("Hey Pierre, catch!") That was surely one of the unforgettable moments in the movie. Later in his career he was a soap opera character actor.

http://www.imdb.com/name/nm0593411/filmogenre

Odd, how a scene can stay lodged in the memory. Supporting players, sometimes even in a single shot, may and often do add a lot to making a whole film memorable.

Has anyone else had trouble receiving orders from this site? I ordered three cds in November and paid by Paypal. I received a "receipt" from Paypal, which means they received the money and sent the order to Jeff Rense. I did not receive any acknowledgement of my order from his office. I have sent two emails asking about my order with no reply and Paypal have supposedly sent them an enquiry with no result. They have now sent me information about sending in an "escalation claim". What to do? I would really like to receive the cds or my money back if they are not available anymore.

Opera Lovers especially the infamous Dan Marine of the Carolinas. Yesterday, I saw Vrdi's "Otello" at the Palm Beach Opera in the beautiful Kraviss Center in West Palm Beach. The sets, production, chorus and orchestra were wonderful especially a tenor named Alan Glassman who sailed thru the four acts with stentorian power and finess. I sat in the rear orchestra and realiz

Jeff Rense is a very busy chap apparently, but he might be quite willing to straighten out the matter of the CDs for you, if you manage to find and use his email address. It's supposed to be somewhere on the site. Good luck in your quest, and I hope, when you receive the CDs, you'll enjoy them

realized that the performance was being amplified. Has anyone heard Alan Glassman in the past without mikes around the stage? Other than a few seconds in the baritone/tenor duet Si pel chel (spelling) he hit every note with great power.
I am looking forward to the Hi-def Met "Simon Boccanegra" scheduled for February 6th with baritone Placido Domingo. I especially like Marcello Giordani.
Sincerely,
Matthew Minzer in S.E. sort of tropical Florida.

http://www.joseiturbi.com/p/That-Midnight-Kiss.htm

According to the site linked, "... That Midnight Kiss was Lanza's first filma and Iturbi's last ..."

"Crossover", the movement to and from one genre to another or others, is sometimes mentioned. Many singers do it, and so do many musicians. Here's an example of Jose Iturbi in a break away from his classical repertoire:

http://www.youtube.com/watch?v=rK9pJVRcjIc

Armando, I think making films WAS Mario Lanza's destiny, and as such he inspired and influenced and enthralled millions of people the world over with his voice who otherwise would never have stepped into an opera house, myself included.

Plus, there were a number of personal and professional flaws in Lanza that were evident well before he became a movie star that would've spelled disaster in an operatic career just as surely as they spelled disaster in Hollywood.

It's nice to think that Lanza in opera would've gone from one glorious triumph to another. But I think it would've paralled his film career - a tremendous burst of initial excitement at his arrival on the scene, an early peak, and then a disastrous plummet, with a few brief periods of resurgence.

Roland Bessette said it best in his book TENOR IN EXILE - taking everything into consideration, Mario Lanza probably had the best career that was possible for him to have.

Edited by author 01-26-2010 10:26 AM
http://www.youtube.com/watch?v=27yG2m7FVHE&feature=related

http://lyricsplayground.com/alpha/songs/t/thedonkeyserenade.shtml

This song was sung by Allan Jones in the film The Firefly, and later by Mario Lanza. The Iturbi arrangement might almost bring the tune full circle to its origin as a 1923 piano piece. Not so much a crossover then as a musical meandering.

I'm thinking of ordering four cd's today, but I am not sure now after reading AnitaS problem. Has anyone else had a problem with ordering cd's from this site?

http://www.youtube.com/watch?v=IeM-kyCggss

This is how many film fans might remember Jose Iturbi.

It is interesting to note the coincidental linking of the opera Aida with the life of Freddy Cocozza/Mario Lanza. It was the first opera Freddy saw, at the age of twelve, and it was the last opera Mario saw - at least in part as he left before the performance ended. Ironically, given his own death a few weeks later, he was not present for the Tomb scene.

http://www.youtube.com/watch?v=wWkwbwZFSb0

The final scene from his final film - from Aida.

Edited by author 01-26-2010 11:29 AM
The email for the Jeff Rense site is webmaster@rense.com or Jeff Rense@mindspring.com

Usually when you order from this site, the order comes through OK. Maybe there was a glitch in the system this time. Try the mindspring address first. Thelma Prince

Listen to this on the organ: Moonlight Sonata by Beethoven.

Beethoven "Moonlight Sonata" 1st Movt - John Hong Organ Solo - 5.1 Dolby HD
http://www.youtube.com/watch?v=dcmj2TmkWeQ&feature=related

David Bret, how stupid do you think we are here? You claim you have "absolutely no idea" what that ugly Facebook post to Lindsay Perigo is about. Oh, really? May I suggest that you take a look at your own Blog? Everything contained in that disgusting rant can be found there. You have mocked Perigo repeatedly, usually with some revolting clipart that only you find amusing, and you have also launched vicious character attacks on Armando Cesari and Derek McGovern. You have repeatedly suggested that Eddie Durso, a man you never met or spoke with, had some repressed homosexual desire for Mario Lanza, a vile and baseless claim you now extend to his son John. I'm guessing all of this hatred stems from the fact that John gave your book a bad review on Amazon, a review incidentally that I agree with wholeheartedly. Lately and for reasons known only to you, you have inferred that Mario's two sons, Damon and Marc, were not interested in women. Even if that were true, their personal life was and remains no one's business, certainly not yours. If you are sincere in your latest apology, you could start by removing the character attacks on these good people from your blog.
You are obviously a very disturbed individual and while one or two folks here, and I'm thinking of Sam and LJ, may find you amusing, I think it is safe to say that most of us on the Lanza forums are repulsed by your disgusting comments.

Edited by author 01-26-2010 12:38 PM
The recent acerbic post has been deleted. As for CDs, there has never been a problem shipping. All orders are posted immediately. If anyone has any questions, he or she should do two things: 1. assume there is a very strong chance the 'US' Postal Service has lost or destroyed the package...this happens far more that this PRIVATE company will admit, and 2. email me immediately at sightings@mindspring.com. Your FIRST email will bounce back to you because I have maximum spam blocking. You will see a small window to fill out which will resend your email to me and I will see it at that point. The webmaster address is virtually useless...my webmaster is as overworked as I am, and rarely has time to check what's in there at all. So, I will await word from 'Anita and Vic'... I have not a clue until I hear from them. Thank you. Had Mario not signed with MGM, RCA and for his radio show, we would likely not be reading this forum today. The studio's behavior toward him regarding TSP was as bad as his behavior toward the studio. A number of sycophants and parasites were hanging around him, constantly telling him NOT to compromise over the Bernhardt matter and giving him the worst possible advice...that he was 'bigger' than Isidore Schary and didn't have to bend. Both sides should have compromised. That's the simple version, of course. The net result, and loss to the world, is incalculable. There would have been many more high quality films and perhaps double the recording output made during his *peak* years than we have today.

To Anita and Vic: I'm sorry I gave you the wrong email address by mistake, so go by what Jeff write instead.

The organ video you linked Thelma certainly does have a singing quality to it.

Eugene Conley was an outstanding tenor and much admired. He was invited to appear in the opening performance of a La Scala season, quite an honour for a non Italian singer.
This is his take on the well known melody from what has come to be known as Beethoven's 'Moonlight' Sonata, a name possibly unfamiliar to the composer and apparently one tacked onto it by an enterprising publisher:

http://www.youtube.com/watch?v=noUwRq1iOwk

Marty, I must correct you in your more than assumtion that I approve of David Brets ' antics '. Indeed, I have been a brunt of Bret's caustic writings on is blog, with the title of " little jerk ", so am not a member of his fan club. Any communication that I have had with Mr. Bret has been of a ' civilised ' nature, with the subject matter being mainly of singing and singers. Whilst Mr. Bret ' behaves himself ',and is welcome on this forum, then the function of the forum should exist in it's format of ' free speech ' with the proviso that obcenities and slander should be absolutely discouraged and instantly deleated. lj.

Edited by author 01-26-2010 01:44 PM
We heard it from the horses mouth (Armando Cesari) why he titled his biography of Mario Lanza, "An American Tragedy". It might be interesting to explore the titles of the other three major bios - "Tenor in Exile" (Bassett), "Sublime Serenade" (Bret) and "Singing To The Gods" (Mannering). Surely there must be some important reason why they chose to name the books as they did.

Armando felt that it was a "tragedy" because: "The reason I chose An American Tragedy as the title for my book is because had Lanza been born in Italy his career would have followed the path of his predecessors as a legitimate opera singer....Lanza’s tragedy was not that he was sacked by MGM, but that the Studio signed him in the first place, thereby preventing him from fulfilling his destiny". One can agree or disagree that Lanza's life was a "tragedy" but there are many who feel so, if perhaps for different reasons than fulfilling his destiny (in opera). Certainly, however, that is one way to look at it and I always felt it was a shame (if not a full blown tragedy, that Mario never went to opera. People can also have different opinions if Mario had what it took (besides voice) to become a world class opera star. We have discussed it many times and perhaps his daughter said it best to Derek Mannering when she told him that there would be no tributes or remembrances if Mario had chosen any different path than the one he took. I for one would have probably ended up a fan of his anyway (as I am of many great singers) if he had chosen opera but I doubt I would have been as rabid a fan as I am today all because things turned out as they did. If I had to use the term "tragedy" in reference to Mario Lanza, it would be in the context that he simply died before reaching his full potential; time ran out on him way too soon and we were denied his gifts prematurely. That a human being died so young and so much before his time is the real tragedy, twice fold if that person has a talent that brings joy to the rest of the world. That is true no matter who it is.

David Bret's "Sublime Serenade" is an interesting title not so much in the second word which is a musical one and appropriate to any singer but the interest, at least to me, lies in the first word. I don't think Bret saw Lanza's life as a tragedy at all. At the very start he uses the phrase, ..."grand chapeau bas to Mario Lanza for having lived". In what two or three words in French I know, that is a salute of sorts (hats off to you!) just for a Lanza to have lived and, by extension, accomplished what he did.

Because Bret seems in his writings (the serious ones anyway), to have embraced fully the scope of French romanticism (he should have been born two hundred years ago and could have been right at home!), and makes those kinds of references, tells me that his first choice of words, "Sublime", comes more from the original, pure French rather than our American traditional meaning and is used as a transitive verb. The on-line dictionary tells us that when used this way, the word sublime means - "a (1) : to elevate or exalt especially in dignity or honor (2) : to render finer (as in purity or excellence) b : to convert (something inferior) into something of higher worth". All have a place in Bret's book but perhaps most of all is the conversion of something inferior to something higher. As I said once before here, throughout this book, Brett leaves no doubt that thinks Lanza was a great singer but that he also recognized him as a man of flawed character. So there we have the "Sublime" and the reason for the title (or so I think, maybe David will tell us for sure). Bret says in no uncertain terms that Lanza was an inferior human being in many ways although "troubled" might be a better way to put it. Yet despite all, he turned those flawed character traits, through his magnificent voice and talent, into something far above and to a much greater worth - for all of us.

Well, now I'm getting winded and won't get into the other books right now. Maybe someone can take up where I left off with their thoughts on the bio titles and what you all think they might have really meant to Roland and Derek. Sometimes there can be more in the title than all the other baloney between the covers. Then we can all give our thoughts on these book titles and the discussion could prove very interesting. At the end of the discussion (if anyone cares to have that is), perhaps Roland, Derek and David, all of whom visit here and post, can give us the real reasons they titled their books on Mario Lanza as they did.

Rob, Here is Moonlight Sonata sung by Nana Mousskouri -


http://www.youtube.com/watch?v=zbF6vtFkL6M&feature=related

She sings in six languages I believe. On this she only hums:
 
http://www.youtube.com/watch?v=xhR21GzZzfA&feature=related (memories of the Alhambra in Granada, Spain. I visited there in 1978. What a gorgeous place!

Maybe she forgot the words?

Martino, you are absolutely right. Both words in the book's title are French, not English, though technically it should have been "Sérérade Sublime". I personally don't regard his life as a tragedy, no more than I did Piaf's or Judy's or that of Elvis. Though they brought about most of their problems themselves, usually on account of excess, it was for want of a better expression an oversurfeit of talent which drove them to excess. They knew that they were killing themselves, but were unable to stop. Had they lived, I am certain they would have burned themselves out completely. Can you imagine Piaf at 80, Lanza at 70? Like James Dean, one of the reasons that their star burns for ever is because they were taken from us before their time. Had they lived longer, these stars might have faded. They died leaving behind only perfection. In French, "sublime" means "exalted" or "lofty", and the term fits Lanza because artistically, technically, and the way he lived his life puts him way above everyone else. There are no exceptions.
LJ: sadly, you got caught in the crossfire some time ago and I apologized.
Of course we are polite to each other! Why shouldn't we be?
Naturally, I cannot be held responsible for anyone pretending to be me, posting comments which I am supposed to have made, so I cannot apologize for that! My Blogs are another matter: like any other Blogs which are disrespectful and far from complimentary about me, one does not have to read them!
I promised some time ago that I will never bring any unpleasantness to this forum, and I never will.
One last point, Martino. I don't think that Lanza was in any way inferior to anyone--actually, he was the opposite. Flawed, of course. That's what made him so special to me, because again like Piaf he was able to turn every flaw into a quality. Don't you think?

Interesting topic there, Martino. It seems not unlikely that Derek Mannering's Irish heritage, with the rich tradition of bards providing great and stirring poetry, might have suggested to him that poetic, evocative title. It has a pagan link in its reference to gods, and that might be a hint of unconventional facets to the singer's nature. The title might almost conjure up an image of an ancient place where splendid songs were offered to the gods as a form of reverence, almost a form of sacrifice or associated with sacrifices. Perhaps that is another hint, that the singer was consumed by the flame of his own genius.

No doubt Derek Mannering, being the kindly, good natured chap he is, will in due time explain all.

Roland Bessette's title Tenor In Exile is possibly a reference to the fact that Freddy Cocozza was a rebel and set an early pattern of putting himself outside the system(s): he didn't take kindly to discipline, although that might to some extent at least be modified if he respected someone sufficiently to knuckle down, as in the cases of Peter Adler and his teacher Enrico Rosati. His refusal to attend school after deciding that singing would be his career is a fair indication that in his own mind the usual rules did not apply to him. The exile was largely self imposed, although he seemed at times to have some help, if that is the right word, from people whom he had crossed or offended, often deliberately or from a couldn't care less disregard of, and contempt for their opinions.

Yes, I agree and I think that is was positive thing of what came out of your book. Despite all the flaws Mario had (or allegedly had) he turned his voice into a savior and moved to a higher plateau than one would have thought he could achieve if they saw only the man and not considered the talent. I know you did not consider Mario "inferior" and I mentioned "troubled" might be a better word. It was only used in the same context of the definition of moving from an "inferior" level to a higher one. I can picture Piaf and Lanza at 80. But Elvis at 80? I can't see it at all. In Elvis' case it would have been a tragedy, at least to see, had he lived to 80!

Roland Bessette's training as a lawyer might also have suggested that the singer put, or tried to put himself beyond the pale, outside the place where the law may be applied.

http://www.youtube.com/watch?v=HbxPTplPv80&feature=sub

An unusual duo.

Edited by author 01-26-2010 03:40 PM
I think we are pretty close together on Roland's title, Rob. Exile means to move away from a familiar place (usually, home and country) either by choice or by the decree of others. Either way, it is viewed as a form of punishment.

Bessette mentions the fact that Lanza was loved by many but also scorned by many, mostly opera nerds and a few people he came in contact with professionally. He was popular beyond belief yet Roland says, "Who was this Mario Lanza?...in view of his immense legacy, how little anyone seemed to know about him". Could this be what Bessette was driving at with the title? Taken to heart by some, "exiled" by others because, as you say, he often worked "outside" the system. Or was it bringing home the point as you intimated that Lanza's "exile" was mostly self-imposed? And to find the answer we have to define "exiled". Exiled from what? From the "main stream", from opera, from Hollywood, from his country, from his own heart and desires perhaps?

Roland also says, "Lanza was an essentially decent, but imperfect man". He goes on to say, ..."Often, Lanza could no more be blamed for his actions than a lame man can be blamed for his limp". Was his use of "exile" then a metaphor to saying Lanza was doomed to "exile" from and/or by others and perhaps even "exiled" from his own true self? Did this self destructive behavior Roland describes and gives great emphasis to pre-ordained the results of having to leave home for Italy, for example, never to return, not only in the physical but also in the psychological and emotional sense?

If I had to take my guess, Roland meant it to highlight his idea that Lanza's "exile" was self-imposed as some sort of punishment to himself. Roland highlights time and time again (perhaps more than any other Lanza biographer) the destructive behavior that gave Mario no real choice in the matter but also goes further than any other author to show how disgusted Mario was with himself. As Bassette says, and in a matter of fact way, "Hollywood did not cause Mario Lanza's troubles....Hollywood only replicated his childhood". So I think we can see, as you pointed out, that Lanza's "exile" did not just happen as a manifestation out of the blue with the most apparent and obvious sign (his leaving America) but that it was a blueprint ending going back all the way to his beginnings. I hope Roland will chime in and give us the real answer.

I can't believe that is Thomas! The golfer's lament, yes, I know it all too well!! I wonder, how long did Groucho's show run? Was Lanza ever on it although I don't think so? The Marx/Lanza connection I must be thinking of is the one with Harpo and "Guardian Angels".

In France, the "gods" is also a term for the galleries in the theatres, the theory being, certainly in French music-hall tradition, that these contained the people who matter to and identify most with the artiste--the man and woman in the street, as opposed to the "haute société" usually found sitting in the stalls. Lanza was, I feel, first and foremost a son of the people.

Edited by author 01-26-2010 04:21 PM
Roland Bessette seems to use exile both literally and as a metaphor, and there is probably a lot more that he could tell if he chose to do so. Your idea of Lanza being exiled frm his true self is, I believe, very accurate. He was a supreme example of someone with a desperate identity crisis. If I ever tried to write a biography of him (relax, please, I have no intention of doing that), I'd maybe call it something like Freddy And Mario: A Man Divided. I think that one of the worst decisions ever made by or for him was the name change. Maybe Alfredo Cocozza was not a catchy name, but who would really care if he had been called, say Mervyn Pillsbury (apologies to anyone with that name if such there be)? With that super voice and with charm by the truck load, would the name really have been any stumbling block?

I have communicated many times with Roland, and asked him that very question re the title TENOR IN EXILE. Here was his reply:

"What I meant was that Lanza is considered an inspiration, influence and force in opera – which is a medium he never conquered. He is exiled from consideration as an operatic performer, yet his name comes up in many discussions of operatic tenors."

Interesting. I would never have thought that is why he titled his book that way. Perhaps I was looking for something more profound. Lanza may be "excluded" as an operatic performer, but "exiled" is more punishment in nature. Maybe he meant that by Lanza being excluded, he was in fact, punished.

I agree Rob, I don't care what someone calls themselves as long as they can sing like that!!

That too is interesting. I never thought of "Gods" in those terms, as audience members. I just might have to think on that one a bit and rationalize what Mannering was saying, both in text and title.

Edited by author 01-26-2010 04:49 PM
What would RB know? Fair go! He was after all just the author. He was subconsciously thinking what Martino and I have so carefully put together. Where's the umpire?

There is another meaning for the gods in a theatre: the people who are seated or standing remotely right up at the top, like the gods on Olympus.

http://en.wikipedia.org/wiki/The_gods_(theatrical)

http://www.rense.com/excursions/lanza/clyde_smith.htm#What's in a Name is explained by Clyde Smith on this site about Mario changing his name and the reasons for changing his name.

Tenor In Exile is surely pregnant with meaning, and Martino and I have clearly demonstrated our remarkable skills as midhusbands. The motto of our firm is: We deliver!

Never mind about all that, Thelma. Anyone who disagrees with me is just plain wrong. (I hope I'm joking).

Aren't you tired yet, Rob?. You just keep going like the Eveready Bunny!

Are you hinting that I'm going Bugs, Thelma?

Time for my carrot break See you good people tomorrow, wherever that is. In the meantime, please keep repeating: Rob is Right. Tha-at's all folks!

Thelma, where is Clyde Smith now? Wasn't he Austrailian? Is he still alive?

Don't worry about anyone disagreeing with you, Rob, because there is no one to disagree with. I think today there are only three or four of us around here in total. I know some of the opera stuff we talk about some people just whisk by or don't read at all because they are not interested but I would have thought a discussion on Mario's bios, off-beat though the topic might be, would have brought out at least a few folks with ideas. And there is no musical knowledge required whatsoever. Sometimes I don't understand it and its happening more frequently. I can only think there are two possible answers: either the few of us that actually post most every day must be way off base as to what we think people like to talk about or, most people are focused on one, maybe two areas concerning Mario Lanza and nothing more. They'll jump in if we talk about his family, others might post only if we are talking about his singing English language "pop" songs, and then there may be those that care only about his opera records. I can't explain it.

Martino, I don't know where Clyde Smith is now. He lived in NY somewhere. I saw him once since he was guest at one of Bill Ronayne dinners for the Mario Lanza Society of New York. He wrote an article about Mario changing his name and other articles that are displayed on the Rense Mario Lanza main site. He was or is a sound expert and helped with the CD's Jeff Rense had made, I think. I did not disagree with you and Rob about the name busines, but it was Mario himself who decided to change it I think Mario Lanza is a beautiful name

Maybe they could be put off by my overposting. If so, I'll certainly try to calm down. Having the place to myself so much is probably making me power crazy, and as Thelma suggests, my batteries are going flat.

How about just asking people what they'd like to discuss? If there's no response we can assume they're asleep and we can just go bananas - nice change from all those carrots I've been eating. Now I must go, after being more or less awake for the past thirty or so hours. it was a pretty good discussion we had anyway. See you.

Rob is the one from Australia. Their time is 16 hours ahead of us, and he's been up so long I thought he must be tired. He is a really nice guy.

Martino, I cannot

The gods is a theatrical term, common in Britain, referring to the highest areas of a theatre such as the upper balconies. These are generally the cheapest seats.

There are references to the "gods" in many plays and films. Among them is the famous French film, Les Enfants du Paradis (or Children of Paradise in its US release), which is described as "set in the teeming theatre district of 1840s Paris (the "boulevard du crime"), the paradise of the film's title is a reference to "the gods", the highest, cheapest seats in the theatre, occupied by the poorest of the poor. As the well-known 1930s-and-later screenwriter Jacques Prévert said when asked about the meaning of the title, "it refers to the actors (...) and the audiences too, the good-natured, working-class audience". Wikipedia.
So maybe "Singing to the Gods" title of Derek Mannering's book means Mario Lanza sang to the common man on the streets. This man could understand well what Mario Lanza was all about, and for the first time opera was attractive to the common man and woman.

Martino, I cannot speak for others regarding lack of posting, but for myself, I go back to a time when this forum was not so civil as it is now. However, in my case there still appears to be a vestage of those unfortunate days, as you are the only person that responds to my occasional posts, apart from David Bret. I do not honestly know why Mr. Bret resorts to such vulgarity on his blog, he is obviously very talented as a writer and is very discerning about singers and singing. lj.

I think you might be right on that, Thelma. In the context of what you said, and if that is indeed what Derek was thinking (and I believe it was), then it makes perfect sense and "Singing to the Gods" is an excellent title choice given the way he wrote his book. I can quote Derek directly from that very chapter in his book (chapter 15) that is titled as the book itself. He says, "Lanza's singing that night (reference is the evening of July 24, 1948, at the Hollywood Bowl) was as much for his peers as it was for his audience - a man, a tenor, singing to the gods of his own personal world who had inspired him down through the years to become one of their own". What Derek says in his own words echos your point. Singing to the "gods" in the way Derek in this passage wrote it, (note the small letter 'g' rather than a capitol) is surely referring to Lanza's connection with his audience AND his peers AND really, ANYONE who would listen to his voice.

Mannering's book, perhaps more than any of them, moves continuously in the direction of trying to explain or at least make sense of that special and elusive quality Lanza had with whomever heard his voice, be it the guy on the street whose heart became filled with joy at hearing the voice, or a young Leech or Carreras (two of many Derek mentions) that heard more than that - they heard an inspiration. That Mario realized that he was singing not to just ears but to creatures who had hearts and souls just like he did and who could feel through his voice just what he felt is what (I think) Mannering had as a common thread throughout his book. In short, "Singing To The Gods" is (once again, I think) Derek's jumping board for introducing Lanza's way of going beyond the voice, beyond the ears, beyond anything physical to the connection it made with those who heard it.

So then, we have explored a bit the titles of all four of the major Lanza bios and tried to ascertain what the authors meant and may have had in mind with the titles they chose. And we have learned from a couple of them directly EXACTLY what they had in mind. A great deal of insight can be learned just by giving a little thought to the title of a book. It can give you an idea as to how an author will approach his subject and what he really wants to convey to you. A few of us have given our thoughts and it would really be nice (if anyone else is interested in this at all) for others to give their ideas on the titles, the books themselves, the authors (within the framework of their books) and any thing else dealing with the biographies of Mario Lanza. I think these ideas and impressions could branch out and we could really have some interesting discussions. The possibilities here are endless.

One more thing, I really hope if these kinds of discussions do take place that they remain at a high, positive level and not get into cheap mud slinging like we've experienced before with these things just because someone does not agree with what an author said or how he said it. I think most of us want to rise above that and have it done in an intelligent way. Now, like Rob said, I think I too will sit back a little and just see what transpires around here.

I remember those days too, and they were not that long ago. Even you and I would get into it from time to time but it was never a big deal, at least not to me. I'd much rather have some spirited debates (as long as they do not become personal) than talk to myself or just one or two people.

Edited by author 01-26-2010 10:58 PM
I always try not to have any spats with people.
Derek Mannering is from Ireland I think, so it is part of the area that calls these seats gods, and these seats go at the cheapest prices, so it makes a lot of sense that Derek was speaking of Mario singing to the common man. I have always said that Mario sang to the common masses of people because I was there when he first started and that's what he always did. David Bret's post about the gods seats started me thinking too.
I used to go to the Performing Arts Center in Newark all the time, but I sat in the uppermost seats at the back, because I could afford more concerts that way.

Perhaps "Singing To The Gods" refers to "many gods" in mythology (Norse, Greek, Roman). Lanza is now the main singer on Mount Olympus, to sing for all the gods. Perhaps, just another interpretation. As for "Tenor In Exile", that is what Lanza was, after the Student Prince walkout, for over a year. A self-imposed exile. As for "An American Tragedy" & "His Tragic Life" (the latter by Terry Robinson), the real tragedy was his early death. Whether Lanza would have sung on operatic stages, had he lived another 10 years, is anybody's guess. But, he surely would have made a few more films (such as Laugh Clown Laugh, & Granada, which were on the drawing boards), and many more recordings, including a few complete operas, of which Pagliacci was to be the first. And perhaps, more television appearances. The true tragedy is that all those plans were halted by his early death. And, of course, the plans of Fritz Wunderlich were also halted by his early death. Tragedy, indeed!! Ciao.

I had a delightful day yesterday and am looking forward to another one today for my birthday. Yesterday I had the pleasure of introducing my best man to SKYPE. I had sent him an inexpensive webcam which we used to start communicating free with both audio and video. He lives far away in New Mexico, so that was a thrill. I also had him join Singsnap and he made his first video, to which I added my own for a split screen of us singing a duet of "Fly Me To The Moon". Incidentally, he is a Lanza fan! He was playing and promoting the "Mario!" album long before I discovered its merits. Tonight I have prepared an all Gershwin medley for Anna and I. Listen to this great line-up: They Can’t Take That Away From Me, I’ve Got A Crush On You, Someone To Watch Over Me, Swanee, Summertime, Embraceable You, and Our Love Is Here To Stay.

Re: the Lanza biographies. I have enjoyed each one in different ways. Sure there was much dupicated material, but each brought to me interesting and personal observations and details due to their research. None deserve to be put down and torn to pieces.

Is it your birthday Sam? If so, have a good one.

You are right, I think, to enjoy the best things in all of the biographies. No two people see the same thing in exactly the same way; authors are individuals and each one may, and clearly does frequently see an event in a life in a very different way to another author; and it can be very helpful and enjoyable and sttmulating to get that fresh, often illuminating viewpoint. A biography is an interpretation of a life and career in terms of the author's own knowledge, experience, intuition maybe, and occasionally of prejudice and disposition.

Thank you Rob and Thelma for your interest in my problem and thank you "webmaster" for the correct email address.

I also think that "Singing To The Gods" most probably refers to Mario singing to the "common man" , who could only afford the seats way up in the rafters.
As far as Armando's title I believe the real tragedy was that Mario died much too soon. 38 is a very early age and he should have been in his prime with many more productive years to look forward to.
However, I am very grateful that there are so many of his recordings available as well as the films he made. It would be fantastic if all the unreleased recordings could be made available, wherever they may be.

Amen to that Anita. Roll on the day when all the recordings, great, good or not so good, are available in the best possible sound quality, and the films in bright and clear prints of whatever might be the then best format(s). Vince over at Google Forum mentioned that some old classics, like Gone With The Wind, are now available in beautifully remastered Blu-Ray versions. We can hope that the same thing will happen for the ML films.

I;ve mentioned a few times the book by Leonardo Ciampi, Twilight Of Bel Canto, and what I find very stimulating in it is how often I dsiagree with the author's opinion. That's the kind of book that is potentially very helpful, because the ideas and opinions it expresses can make the reader think and rethink his or her own viewpoint. The author seems (to me) to be very spirited and enthusiastic in his ideas yet never spiteful. It is a rich feast, even if the reader might not like the taste of every dish served.

Martino, It is my experience that most forums witness the age-old territorial phenomenon shared by humans and animals. That is to say longevity* seems to instill the feeling of ownership. As I have stated many times and have been shown discourtesy in doing so, a public forum should be egalitarian and without rank or subordination. This forum has been guilty in the past of such practises which is a great shame, as ' newbies ' wishing to expand their knowledge of Lanza and singers in general, are put off by the aggression and oft arrogance often displayed here and go elsewhere. I have little doubt under the present format that many posters will return and contribute once more and more to the point, many new posters will welcome tapping into the knowledge of admiral people like yourself and Rob. lj.

The film Shawshank Redemption contains many ideas, themes and of course images. A line spoken by a character in the film might even be applicable to the potential of this forum and others on the Internet, and to the Internet itself:

" ... there are places in the world that aren't made out of stone ..." Perhaps some of these places exist in the spirit and the heart and the mind, and yet they may be transmitted and shared by technological means:

http://www.youtube.com/watch?v=GAJ2skOJvdY

Happy Birthday to Sam, and many more. Ciao.

How's your post operation convalescence progressing Fred? Well, I hope.

Rob: Yes, coming along fairly well, thank you. No problems. Ciao.

I've been enjoying reading the various interpretations put on my title "Singing to the Gods." It originated in Chicago about 14 years ago when I was invited to write and present a two-part tribute to Lanza for WFMT Fine Arts Radio. I had decided to close the program with Mario's stunning Hollywood Bowl performance of "Nessun Dorma" and listening to it again I was reminded how a potentially great operatic career was forever sidelined by his subsequent choices – movies, popular recordings, the occasional concert tour, etc. Although Mario's blink-and-you'll-miss-it time as a professional opera singer was effectively over by then, there was still a sense in July 1948 that he might have returned to the classical stage. So, to my mind his stunning performance at the Bowl that night was a salute to the operatic gods (Caruso, Gigli, Pertile, et al) who had inspired him down through the years to become one of their own.

We know of course that Mario never did return to the opera stage and I suspect probably never would have, wishful thinking by a few devoted fans notwithstanding. I used the title again some years later when I wrote my second bio, incorporating some of the same imagery of the Bowl performance into the text. Mark Kidel also liked the title and asked if he could use it for his outstanding documentary. Ellisa likes to joke that the next time we use it will be for a Lanza movie, but I think not!

Fred believes the real tragedy of Mario's life was his early death, but I think his tragedy was set in stone by the ruinous way he lived out his life following the Student Prince debacle. By the late 1950s this was man whose life was clearly in freefall. As RCA producer Richard Mohr said to me, "I was shocked to hear of his passing on October 7th, but not surprised." I am also less enthused at the prospect of what Mario might have produced in the recording studio and in movies had he lived, this based on the evidence of those tired and generally charmless performances in the last year of his life. But of course he had bounced back before ("Lanza on Broadway"!) and could still have surprised us all.

And finally, a polite disagreement with Rob: For all the things Mario did wrong in his career, choosing the masculine version of his mother's name was a stroke of pure genius. If there was ever a more perfect, passionate or romantic name for a great popular tenor than Mario Lanza I have yet to hear it.

This from Howard Keel on Lanza's death on page 197 of his autobiography, Only Make Believe: "I heard on the radio that Mario Lanza had died in Italy. I wasn't surprised. He had been under tremendous pressure. What he went through, no one could surrive. I had many wonderful memories of Mario at MGM. To know him was to love him. But to watch what he went through to control his appetite and weight was both mind boggling and depressing."

Thanks, that explains it.

Happy Birthday to you my man! And many, many more.

Happy Birthday, Sam! Have a wonderful day.

I was reading about this singer from old days, Roland Hayes. He lived from 1887-1777, and was from Georgia. He sang spirituals and classical songs. Listen to this voice a cappella and you will see what a wonderful voice he had: http://www.youtube.com/watch?v=TFOsVxQ_SmY
http://www.answers.com/topic/hayes-roland
You can find more songs on You Tube also.

 I wonder how Tony Cocozza thought and felt about the name change. He might have been a good sport about it, but I'll bet that it hurt him and very deeply. In a way he lost his son four times at least: when Freddy changed his name and by so doing seemed to move completely to the Lanza side of the family; then when he went into the movies (although The Great Caruso might have been some consolation) and it became increasingly and dismayingly clear that any operatic career was switched to the backburner; when the younger family members went to Italy (Tony was not a keen traveler apparently and must have realised that he would not see his son often - in fact he never saw him, alive, again); and then that final tragic loss. There can be few things more sad for any parent than to have a child die before him or her - in the bitterness and grief of that catastrophe the matter of the name change, and any other disappointments that Tony Cocozza might have suffered, would be quite insignificant.
 
However, Derek, I do concede as graciously as I may that Mario Lanza is a name with music in it, ideal for a romantic tenor - in fact, I'll go further and admit that it's just ever so slightly more romantic and musical than the name Mervyn Pillsbury.

Edited by author 01-27-2010 01:08 PM
Roland Hayes was an accomplished artist from all accounts.

In the days before Christianity, the mythological gods were revered and nothing was too good for them. So Mario's voice was good enough for those gods and for us, the commoners as well. Thanks for the explaination.

In addition to being the most celebrated black singer of his time, Roland Hayes was a great mentor to the generation of black singers who followed him, including Marian Anderson and Ruby Elzy. I wrote about Hayes' influence and help in my book on Elzy's life, "Black Diva of the Thirties." I also have in my collection of memorabilia on her two original letters from Roland Hayes in 1929 and 1930.

Here's a clip of Marian Anderson talking about Hayes, whom she called her "musical hero":

http://vids.myspace.com/index.cfm?fuseacti...al&VideoID=25755809

Rob, I never met Tony Cocozza but from what I heard about him, from Ellisa and from Terry Robinson, he could not have been more proud of his son's accomplishments. I would be absolutely amazed to learn that he was deeply hurt or in any way bothered by his son's choice of career name. Besides, it was the masculine form of his wife's maiden name so it was still very much in the family. And it's hard to imagine "That Midnight Kiss" being billed as starring Kathryn Grayson and Alfred Cocozza. If Mario hadn't already made the name change by then, I'm sure MGM would have insisted on it.

And the name the studio bosses picked, if they had, might not have nearly been as good as Mario Lanza, which in itself has a musical ring. But as you say, Derek, no way would MGM have let Alfred Cocozza stand.

I doubt if the parents of Tula Ellice Finklea were surprised when MGM changed their daughter's name to Cyd Charisse or Zelma Hedrick's when their daughter became Kathryn Grayson.

And it was not just female stars, as evidenced by Archibald Leach, who became Cary Grant, and Marrion Morrison who became John Wayne.

Again, I doubt if the families of these renowned stars were bothered all that much.

One thing I can tell you from meeting Carole Shea and Marlene Marchak, Mario's cousins (their mom Agnes was Maria Lanza's younger sister), as a result of the Opera Columbus tribute: even after he became famous, no one in his family EVER called him "Mario" - it was always Freddy.

I just discovered Roland Hayes last night while looking at the website of Georgia Encyclopedia of Music. He was really so good, but there does not seem to be many records of him singing. Thank you for sending the video of Marian Anderson talking about him.

Edited by author 01-27-2010 04:37 PM
I just spent a pleasant time looking at Marian Anderson's web page. She was from South Philadelphia too. See how we are all entertwined with each other? No man is an island unto himself.

http://www.mariananderson.org/

You are probably, almost certainly, both right in what you say about the likelihood of MGM's glitter sprinklers wanting to impose a name change. Whether or not there were psychologists working for MGM, it is likely that somebody realised early in the history of the Hollywood dream factory that name changing could be a useful tool in the confuse'em and control'em starmaking process. "More stars than there are in Heaven" or whatever the slogan: arrogance, just arrogance. The system manufactured stars, but how quickly for many the lights stopped twinkling.

As for how Tony Cocozza viewed his son's success, of course he would have been ptoud. Tony idolised his son, the golden child who had shared his Father's

You are probably, almost certainly, both right in what you say about the likelihood of MGM's glitter sprinklers wanting to impose a cosmetic name change. Whether or not there were psychologists working for MGM, it is likely that somebody realised early in the history of the Hollywood dream factory that name changing could be a useful tool in the confuse'em and control'em starmaking process. "More stars than there are in Heaven" or whatever the slogan: arrogance, just wicked arrogance. The system manufactured stars, but how quickly for many the lights stopped twinkling, and how soon many became fallen stars with crippled minds.

As for how Tony Cocozza viewed his son's success, of course he would have been proud and pleased for and about that success. Tony idolised his son, the amazingly gifted child who shared his Father's love for great singers and then suddenly became one. All Tony's Christmases had come at once and Freddy must have seemed to be, and was for Tony, every shining, gold wrapped gift rolled into one. One of the many points that I failed to make, was that Tony's happiness might have been rather greater if he had seen not Mario Lanza's shadows on a screen or at least not hat alone. His greater joy wuld have been to see his Freddy standing and singing on an opera stage in one of the roles they both loved.

Sorry about that. Must be a carrot jammed somewhere in the computer's works.

Edited by author 01-27-2010 08:54 PM
Some of my friends and all of my enemies would tell you that It's a losing struggle to try to part me from a dollar (or a cent if it comes down to that, and many a battle have I fought to retain such a coin). But, David, I'd spend up to twenty dollars at the movies (if I ever went) to see any actress who looked like Cyd Charisse, even - no, particularly - if her name was Tula Ellice Finklea. There is music for me in that name and I can scarcely wait for my medication to kick in so I may drift off to sleep listening to the siren song of "Tula, tula, tula ...". I should like to dream of Tula and Mervyn Pillsbury dancing a tango together; she with a rose between her teeth, and he using his false teeth as castanets. Ah, glamour indeed!

Edited by author 01-27-2010 10:11 PM
Ever spoken to any members of Tony Cocozza's side of the family, David? From the little I've read, there was Tony's murdered Brother, but no other names seem to be ever mentioned for the Cocozza half (or whatever proportion it was) of Freddy's family. Tony, living in the shade of all those Lanzas, might occasionally have pined for a larger share of the Son.

Edited by author 01-27-2010 10:29 PM
Still on the theme of Hollywood names, is there anything quite as odd and humorous as the seeming transgender situation of Cyd Charisse and Gene Kelly (full name, Eugene Curran Kelly, according to Internet Movie Data Base)?

Many plain folks might make an easy assumption that Sid was a chap and Jean was a chick. Everytime I see these two great stars together in Singin' In The Rain, it makes me smile to think of those names and how puzzled I was as a kid on becoming aware that it was the other way round. I still am puzzled.

http://iloapp.dumb-hero.co.uk/blog/infoblo...age=m1253786844.jpg

Maybe a distant rellie? This chap is supposed to be Enrico Cocozza, a name that surely would have made Tony beam.

Wasn't it Serge Koussevitsky who suggested that Alfred Arnold Cocozza change his name?? However, Alfred had already decided earlier, on changing it to Mario Lanza. I think he made that decision while in his final year of high school, not long before he was expelled, for striking a teacher who had made an ethnic slur against his Italian heritage. Ciao.

Rob: Any info about Enrico Cocozza?? How old is that picture?? Not very old, I presume. Since Tony Cocozza died in 1975, I would guess that Enrico Cocozza was not even born, when Tony died. Curious. Ciao.

Here's another Enrico Cocozza, looking a bit like Richard Tucker:

http://www.scotsitalian.com/images/cocozza_small.JPG

Sorry, cobber, haven't got a clue on that as well. I just on a hunch googled for "Enrico Cocozza" images.

On the matter of the striking incident, wasn't the teacher's etnic slur only alleged? I can't find any reference that states that any teacher in fact made any such offensive remark. There seems on the other hand to be a reasonably unanimous belief that Freddy did strike a teacher. Any provocation for the striking does not seem to have been conclusively established.

Re: Clyde Smith, he is a native of New York City, I believe, and now age 69, I believe, and retired. Several years ago, he had some health issues, and suffered a nervous breakdown, but recovered from it, and is now in good health, but very quiet. I haven't heard from him in almost 10 years. Ciao.

Correction: I think I last spoke to Clyde Smith in early 2004, only a few months after the death of my friend Fred Phillips, who died on Dec 15, 2003. Rob: I think the "ethnic slur" was mentioned in one of the Lanza bios, but I forget which one. Ciao.

Fred, it's mentioned, I believe, in at least two of the bios. In American Tragedy, the case against the teacher comes down to: "It seems that one of his teachers had slurred the Italian people ..." by saying this or that. Nothing proven, case surely dismissed. Roland Bessette, author and lawyer, also refers to the incident, I believe, in Tenor In Exile. My recollection is that he did not find the teacher guilty of making the alleged slur. I'll fish out the book later and get back to you.

There are a bunch of Cocozza names on facebook, Rob.

Thanks Thelma. There are a lot of Smiths on Facebook as well. Maybe one of them is Clyde?

Edited by author 01-28-2010 04:36 AM
Fred, Tenor In Exile contains the passage, "... the faculty member, who had used an ethnic slur, ...". From that it is clear that the author, a lawyer, considered that the teacher had acted as your post indicated. My recollection of the circumstances of the incident was faulty, as so often is the case, and your own excellent memory proves again to be reliable.

Given the provocation of that slur, the school administrative decision to expel Freddy might surprise people of today's world where openly expressed racism is regarded by some in the community, whether the majority or not, as a more serious matter perhaps than physical violence. What I find puzzling is that there appears to be no footnote or information source provided in Tenor In Exile (unless I have overlooked it) with reference to an incident which cannot be called insignificant. American Tragedy, 2004 edition, in relation to this matter refers to "Magic Is His Music, 1951 - courtesy Elsie Sword" which might serve as an interesting example of Pen and Sword being accorded an approximately equal value.

Hi Rob, Fred and All,
The name of Mario`s uncle (who was killed on the street of Philadelphia) is Vincent.
About changing his name, I agree with Derek 100% and don`t think, that Mario`s father was bothered, because he changed his name, he was more than happy and proud having this Golden Child! A happiness and proudness of every parents. And Mario emphasised always his love to his father, just listen the Christopher Show.
That in the family they called him always Freddy, it is just normal for me. Why should they change his name at home, for them Mario was and remain always Freddy, as he was christened. But Mario Lanza is a fantastic name.

It certainly is a most euphonious name for the singer, Susan, and there is no reason to doubt Tony's justifiable pride in the talent of his Son - quite the opposite.
The matter of whether the name change might have had any undesirable effects is one finally of individual opinion.
The indisputable fact is that a great singer known by the name, Mario Lanza, still has a firm place in the hearts and minds of his many admirers. Whatever differences of opinion we may have on relatively trivial side issues would not, I hope, prevent our sharing an admiration for his great voice.

It's the day after now and I want to thank my friends here who sent their happy birthday wishes. Anna and I had a marvelous night out dining, dancing, and singing Gershwin medleys. I described it in detail on LL if anyone is interested in reading it. The celebration (and music!) will continue through Sunday I'm happy to say. I may put my performance on youtube and will post it. I would like to repeat here how unfortunate it is that Mario never sang a Gershwin song. I feel the closest he came to his style of music was the lovely song "I'll Be Seeing You". We very much enjoyed hearing the new "Favorite Arias" CD, which has to be the classical highlight of the recently released 5 CD set. Each track is excelllent!

You are right, Sam. It is unfortunate that George and Ira Gershwin songs were not among the Lanza recordings. Several songs by Leonard Bernstein, his fellow student at Tanglewood, also might have been welcome additions to the catalogue - several from Candide, at least three from West Side Story. Many more Irving Berlin songs (than the few he recorded fairly early in his career) surely would have suited him well. The one I most miss from Berlin is 'White Christmas'. I simply had assumed that he must have sung this very familar piece, and was surprised it didn't pop up in any Google references that I could find. Another song of the probable thousands that would have gone well with the Lanza style was 'This heart of mine' from MGM's Ziegfeld Follies. I can't think offhand who the composer was, Fane maybe? I'd ask Google, but the poor chap is worn out from my incessant queries.

I forgot to mention that this Saturday afternoon we will also be celebrating Mario's birthday by showing videos, having cake, Carole Shea's yummy hoagies, and playing recordings at the Museum. We will VERY much miss hearing dear Damon's cheery voice on the phone and singing happy birthday. And this will be the first year we will be without dear sweet Mary Papola who devoted nearly 50 years working to promote our favorite singer. After the celebration we hope to visit Mary in the nursing home where she now resides. Anyone near the South Philadelphia area would find it easy to attend, though people travel distances to be there. Hope to see some of you there!

Hi Rob,
thank you very much for your answer and you are very much right, when you say: ``Whatever differences of opinion we may have on relatively trivial side issues would not, I hope, prevent our sharing an admiration for his great voice.`Yes, that is the main point, that bought all of us together and that is really great! Thanks a lot and enjoy your day. Sempre per Mario!

Interesting posts on " What's in a name ". I wonder how Norma Egstrom and Frances Gumm would have faired if they had'nt changed their name ? lj.

In the 1910 census, Antonio Cocozza, then age 16, is listed as living in Providence, Rhode Island with his family, who immigrated to the United States in 1905. There are twelve people listed in the Cocozza household:

Giacinto, head of the household (Tony's dad): age 48
Antonia, his wife: 47
Bartolomeo, son: 24
Maria, daughter: 23
Carmela, daughter: 20
Nicoletta, daughter: 18
Antonio, son: 16
Filorinda, daughter: 16 (were she and Tony twins?)
Filomena, daughter: 14
Bricida, daughter: 12
Eugenia, daughter: 6
Luigi Cocozza, Giacinto's brother: 35

No listing of a Vincent - perhaps he was born after the 1910 census was taken.

Here is the link to last night's birthday video. Hope you like it. Watch how intently Nicky watches as he accompanies. I love that man. He came from the same neighborhood as Mario, too. http://www.youtube.com/watch?v=TlJGcxgCjRs

Rob: "This Heart Of Mine" was written by Arthur Freed & Harry Warren. I have it sung by Jimmy Roselli, and also a radio aircheck, sung by Dick Haymes. It is heard in the film "Yes Giorgio", by the orchestra only. Pavarotti did not sing it. Ciao.

It is possible that Lanza might have sung White Christmas, at home, but he never sang it in public, as far as is known. It was recorded by both Domingo & Carreras, and also sung by "the 3 Tenors" in their Christmas concert. Sergio Franchi recorded it, in Italian, for the Durium label. That was before he was signed by RCA Victor. Most recently, it was recorded by Andrea Bocelli. Ciao.

How many of you like Big Band music? I grew up with it. My favorites were Glenn Miller and Harry James. Here is You Made Me Love you by Harry James and orchestra. http://www.youtube.com/watch?v=YTQVWtSvwUE&feature=fvw

Big Band music is most enjoyable Thelma, and the Harry James Orchestra was a pip.

However, with music it's hard to go past a classic, even on the rails:

http://www.youtube.com/watch?v=UXRj9lSnJnI&feature=fvw

And the lovely music of other lands of course, so evocative of one's travels, whether conducted in reality or out of the mind:

http://www.youtube.com/watch?v=LQOXrMA4K0E

Even this singer seemed to like traveling and meeting people of other lands:

http://www.youtube.com/watch?v=Yua3bdXQjzU

Edited by author 01-28-2010 07:39 PM
And eventually, after travel, one's thoughts turn to home:

http://www.youtube.com/watch?v=Ozmxb2hFnp4
http://www.youtube.com/watch?v=zK3kbhDKPsE&feature=related

Edited by author 01-28-2010 08:16 PM
http://www.youtube.com/watch?v=s8zD-fN1GrI&feature=sub

This very pretty song allegedly was composed by Queen Marie Antoinette. If so, she had quite a talent, and the melancholy idea comes to mind that, when they met each other as children of much the same age in Vienna, the amorous young Wolfgang (about six or seven at the time) proposed marriage. But, the young princess did not on that occasion give her hand or lose her head. Now they are both gone, and his music lives on. Through the wonderful gift of the Internet and Youtube and the earlier technology of recording, her little song still tinkles away sweetly like a music box from the past.

Thanks, I listened to them all and very nicely done. Here is one for you:
http://www.youtube.com/watch?v=hUo6srV921o&feature=related

and perhaps everyone will enjoy this, it's Placido Domingo at 21 with Lily Pons in 1962. Lucia Duet 2

Edited by author 01-28-2010 10:56 PM
That is an interesting and historic recording Thelma. One great artist, as it were sharing a relay with and passing the baton to another new runner. It represents a symbol of the continuity of musical life and achievement. Lily Pons, that soprano so often likened to a songbird, might have been in her sixties (her birth year seems to have been as mobile as those of people who are shy about matters of age) as she sang this duet with the then fledgling Placido Domingo. He now is of course ageing, yet able to fly with impressive power.

We know that Mario had relations living in Scotland, and some years ago, I trawled through the Scottish telephone directories searching out all the Cocozza's (there are many)! I wrote to all asking if there was any connexion, but not one replied to me. There only appears to be a handful in the London area, but quite a few Lanzas'.

This recorded performance by pianist and singer seems to merit the label: Exquisite:

http://www.youtube.com/watch?v=um9gDNg852k

It is unlikely to be a musical setting of a recipe for making beetroot soup, however well such a dish might taste.

Edited by author 01-29-2010 04:32 AM
Perhaps the Cocozza family members are understandably diffident about claiming any relationship.

Edited by author 01-29-2010 05:23 AM
David, in An American Tragedy, Tony's family names appear as:

"... father Pompilio. mother Carmela, two older sisters, Pasqua and Michela, and younger siblings Vincenzo and Maria, ..." Perhaps it is coincidence that the not unusual name Antonio occurs in what might be two families. Census exercises have not always included, for whatever reason, all members of populations. I was missed from one a few years ago, an error which caused me to have serious doubts about my own existence.

The author of that book interviewed Tony Cocozza and it is not unreasonable to think that Tony would know the names of his parents and siblings.

Wow, that is just an amazing coincidence! In the 1910 census, the Antonio Cocozza listed in Rhode Island was born in 1894 and immigrated to the US in 1905.

In the New York Passenger Lists of arrivals between 1820 and 1957, there is only one Antonio Cocozza listed as arriving in the US in 1905 (June 1) who was born in 1894 - and that's the Tony who is Mario's dad.

So the Cocozzas in the 1910 census in Rhode Island (including Antonio) told census officials they arrived in 1905 - but are not in the passenger arrival list, at least not in New York City.

The Cocozzas that includes Mario's dad Antonio are listed on the passegner arrival list for 1905 - but are nowhere to be found in the 1910 census.

Vincenzo "Scabby" Cocozza seems to have skirted the law and gotten a little too close to the mob in Philly. Check out these items:

Bio of Philly mobster Salvatore Sabella:
http://en.wikipedia.org/wiki/Salvatore_Sabella

June 1927 newspaper article (MISSING WITNESS APPEARS):
http://news.google.com/newspapers?id=Fp4hA...ncent+cocozza&hl=en

Sep 1928 newspaper article (RUM RING USED GIRL):
http://news.google.com/newspapers?id=IZkhA...ncent+cocozza&hl=en


According to the last item, Scabby and the guy killed with him were supposedly involved in a robbery of a bottling plant that netted them $48 cash and jewelry. It was the bottling plant owner who had them killed - he was later charged with manslaughter.

In the Wiki article on Philly mobster Salvatore Sabella, one thing that struck me was that the legit business that served as his front was an olive oil business - same as Vito Corleone in THE GODFATHER!

I also meant to add that given what happened to his uncle Vincenzo, it's not surprising how much Mario Lanza despised the Mafia and resisted their repeated attempts to intrude into his life and career.

David - census records are incomplete at best, as are passenger lists. And there were many more ways to enter the US than thru NY. Nova Scotia was a major point of entry, then into the US. In years of genealogy research, I've found people appear and disappear on census records for various reasons.

Diane, yes, and people may even be entered into a census - but incorrectly. I've found Ruby Elzy, the subject of a book I wrote, and her family in four different censuses under four different names - Elzy, Elzie, Elzey, and Elza! That goodness for Soundex.

Singing To The Gods contains the story that a photograph of his Uncle Vincent
was kept by Freddy in his bedroom.

Whether or not there were two Cocozza families in North America (perhaps even more than two), each having a member named Antonio, the age of Vincent at the time of his death (17, I think, was mentioned somewhere or other) indicates, as David said, that he might have been born after the time of the 1910 census. Certainly, Diane, you are right; census details are sometimes incomplete or inaccurate. Given the presence of the Mafia and a common fear of officialdom among migrants it is not impossible that Italian people taking part might, for reasons of self preservation, have deliberately given false information to census takers.

That point about the spelling of names has happened, and perhaps still might happen, here in Tasmania. Four Brothers were born in different parts of the State. Each of their family names has a different spelling, because the parents were illiterate and the officials recording the births all had a different idea of how the name should be written (Murfet, Murfett, Murfit and Murphett).

Just been surfing a nice interesting site.Google " Great Singers" then go to page two and scroll down to Operavision. many clips of past great singers . Del Monaco in Othello. Kudyra the young Russian tenor and many great performances of those great singers of past. Lots of clips to listen to. Worth a visit if you have an hour to spare.

Edited by author 01-29-2010 02:15 PM
Great site, Pete.

Here are two direct links to the clips and photos:

http://aprilemillo.wordpress.com/great-singers-clips/

http://aprilemillo.wordpress.com/great-sin...lips-and-photos-ii/

Yes, that is a very nice site. Check out Ponselle as Carmen, Schmidt singing an unusual but wonderful "Una Furtiva Lagrima", and then Teresa Stratas in "Salome". Many other excellent clips as well.

Just a reminder, As far as censuses go, you have to be very careful in interpreting them. There are many problems. There are many people with the same age and same names in a given place, and there was much illiteracy among the people in the olden days.
Sometimes the census taker himself was illiterate and even wrote the wrong spelling of a name. Philadelphia was a major port, New York, Newark, even Baltimore and many other places at different times. Census as needed by the governments is why it exists. You can't always identify a person from the censuses, because the same names can appear in the same places.
They are essential to doing genealogy, but you have to have other records to substantiate them sometimes it is apparent this really is the person you are looking for and sometimes it isn't..

Edited by author 01-30-2010 02:02 AM
I have spent some pleasant time tonight looking at the site you gave. It is very worthwhile, and I shall go back to it sometime for more information and singing. Thanks very much.

Edited by author 01-30-2010 04:29 AM
There might be an interesting discussion about the first recordings made by a singer, particularly if anything could be shared about the reason for the song or aria to be chosen

Starting off, given his extraordinary effect upon singers and singing and audiences, there is an interesting implication (not necessarily or at all intentional on the singer's part) in the title of Enrico Caruso's very first (known) record: 'Studenti, udite!' (Students, hear me!). This aria comes from a role which Caruso "created" (in association of course with the composer, Franchetti) in the opera Germania. Caruso might have doubted whether the students had in fact heard him, as he made another, somewhat louder recording of the aria in 1910, the second one having orchestral instead of piano accompaniment.

The subject of the aria, I seem vaguely to remember reading or hearing, has something to do with revolting students, perhaps during school canteen feeding frenzies when revolting is hardly a strong enough word for some of their members' behaviour:

http://www.youtube.com/watch?v=TZLpHSQq8Z4

http://www.youtube.com/watch?v=OvbCLi8BTSs

http://www.youtube.com/watch?v=idPhMeVG8ZU

There is no doubt why this young singer made his first recordings. He tells us in his spoken introduction that the recording is made for his parents on their wedding anniversary.

Edited by author 01-30-2010 06:33 AM
http://www.nytimes.com/1985/05/02/arts/the-opera-germania.html

A review of a cut version of Germania, 75 years after the Metropolitan Opera's staging of Germania, with Caruso in the cast. Quite possibly Caruso's second recording of 'Studenti, udite' may have been prompted by that 1910 performance. Toscanini was the conductor of the Met Germania, as he was for the world premiere of Puccini's La Fanciulla Del West in the same year, again at the Met.

And, in the wedding anniversary present to his parents, the young tenor includes the well known aria from La Fanciulla Del West. A great pity that like Caruso the later singer did not make a commercial recording of the aria. His youthful effort gives some indication that a recording made in his maturity might have been even more impressive.

http://www.youtube.com/watch?v=vbLl2C3ChYY

The little matter of time zones and other things that might seem to divide us are not of much importance when we focus together on the more significant things of life .

Australia is nominally ahead of some other countries in the time zones, so here in Eastern Australian Summer Time it is now what we call 31st January and many of you (if you happen to be awake just now) might still call January 30.

When your clocks and calendars show you the appropriate day, let's sing or hum this jolly song together in celebration of the life and voice of the great singer.

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

For those who are yet asleep, may this serve as a lullaby.

Besides Caruso's 2 records of Studenti Udite, from Germania, it was also recorded by Giovanni Zenatello, a couple of years after Caruso's first record of that aria. The only modern record of that aria, to my knowledge, is by Jose Cura, and very fine. Ciao.

Today's Met broadcast is Verdi's Stiffelio. Jose Cura sings the title role. The soprano is TBA (to be announced). Placido Domingo conducts. I have a good broadcast of that opera, from San Carlo, Naples, January 7, 1973. Mario Del Monaco sang the title role, and superbly. Ciao.

Edited by author 01-30-2010 10:50 AM
Perhaps there may be a recording (or recordings) of Joseph Wolverton engaged upon 'Studenti,udite', from the 1985 performance(s)? As Fats Waller once observed (in the film Stormy Weather): "One never knows, do one?"
Here's his website address http://www.josephwolverton.com/ (JW's, not Fats's):

email address:
jbwolverton@gmail.com

HAPPY BIRTHDAY DEAR MARIO!

Happy Birthday in heaven to the great Mario Lanza. He had a life until death - and plenty of it!

Edited by author 01-30-2010 11:09 PM
I appreciated looking at the You tubes you put on the forum today. I really liked Mario's first recording for his parents very much, more so than Caruso's. I send my best to you.

On the website that I most often frequent, I proclaimed Jan 31 as Mario Lanza day, with a post containing bio links and video links. Perhaps I will convert one person to be a lifelong fan. At any rate, they will know I'm a lifelong fan.

And, as always Thelma, I heartily reciprocate your kindly goodwill.

The young singer's gift to his parents must have been received with great joy, and his later gifts of song, sharing the great voice, continue of course to delight many people.

Mario Lanza Birthday Party

A friendly group of people met at the Lanza Museum yesteray from 12-3 PM and enjoyed a warm celebration. We feasted on the excellent hoagies and home made cole slaw provided by Mario's cousin Carole Shea, we ate the exceptional cocoanut cream cake provided by John Luciani, and we saw Bill Ronayne's 50th Anniversary tribute, clips from Seven Hills of Rome, and the complete Because You're Mine all shown in an eight foot image with my video projector. Everyone remarked how beautiful the new WB DVD is. We sang Happy Birthday to Mario, toured the Museum where some purchases were made (Anna got me a lovely Lanza sweatshirt for my birthday!). As we left, snow was starting to fall but we only got one inch of the white stuff.

"... when the last call echoes clear,
And I must part from all that is so dear,
I shall not fear the valley that before me lies,
If I may hear you singing as I close my eyes."

Those are the English closing words of this lovely song (here in Swedish), sensitively sung by Goesta Bjoerling, one of Jussi's younger Brothers

The words could express the hope of many people that the final sounds they hear on earth might be of a beloved voice.

http://www.youtube.com/watch?v=LiGlaWkPO5I&feature=rec-rn-1r-6-HM

Happy birthday in Heaven dear Mario. Thank you for sharing your wonderful and beautiful inspirational voice with the world. May you always walk with God.

HAPPY BIRTHDAY MARIO, YOU WILL LIVE ALWAYS IN THE HEARTS ! 003

I'm enjoying the beautiful new Mario Lanza T shirt that Anna got me from the Museum as a present. Saturday was a great day, as after the Musuem we went to our favorite restaurant to dine, dance, and sing for my continuing birthday celebration. Anna shot this video recording of a favorite duet with our best local female vocalist: http://www.youtube.com/watch?v=aSeorWlYaJA

Nice job with "Endless Love", Sam. One of my favorite songs from the 70s (or was it the 80s?!). Not quite as much "soul" as the original, as to be expected, but I think Ritchie and Ross would have approved. I play quite a bit of golf and I think this song was played in some golf movie I saw once but I can't remember the name of it offhand. Incidentally, your new camera is quite good, especially given the low light conditions inside a bar.

Rob, thanks for the singing of Jussi's brother, beautiful!

Happy Birthday, Mario and my remembrances to his family on his birthday.

Thank you, Dear Mario, for all the beautiful song left to us by you!

Happy Birthday to Mario Lanza!

Well, I don't know about this one:

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

I've certainly never heard the Doll Song from "Hoffmann" sung by a male before. Marilyn Horne was once asked to record a recital of tenor arias. She refused of course, saying even she has her limits. This young fellow apparantly does not but then again, perhaps his voice has not changed yet and he indeed has a soprano voice at this stage of his life. Listen only as a curiosity.

Edited by author 01-31-2010 08:42 PM
Curiosity is one way of describing the result of the lad's interesting effort.

Hearing this recording brought Samuel Johnson's remark to mind: " ... a dog's walking on his hinder legs ... is not done well; but you are surprised to find it done at all". On further consideration, that comment is irrelevant, however, as at least the sounds emitted from this unlikely source are not all unpleasant.

But, the prospect that this example might incite other singers vocally to head for the high hills is depressing. Travesti roles, with females in the roles of young men or boys, are traditional in opera. It would be unfortunate to see that tradition develop further into a crossover trend, with bearded men enthusiastically rushing to don female garb and tweeting birdily.

David, a copy of Howard Keel's book Only Make Believe has just arrived, and after a skim through, I can see that it will provide some very enjoyable reading. Thanks for mentioning the book. The anecdotes of HK's friendship with Mario Lanza are particularly interesting.

Edited by author 01-31-2010 11:40 PM
Soundtrack music from one of the Lord of the Rings trilogy is playing on the radio. Mind-straying being an increasing activity between my ears, I was struck by the idea that a great subject for an opera would be the Harry Potter stories containing such powerful themes as the struggle between good and evil, and the tension between people in authority and younger, questioning folk. Harry no doubt would be a tenor and Voldemort a black basso (with a great, hissing role for his pet giant serpent). There's even the scope for at least one love duet with Ginny (a lyric coloratura soprano, perhaps). What grand ensembles also there could be! Does anyone have Ms Rowling's email address handy, please?

Rob, Miss Rowling has enough money already, if she lived to be two hundred, she woud still hardly make a dent in it ! Give some struggling , impoverished talented writer a chance instead ! lj.

Is it true that Because Your Mine is available on Warner Bros DVD?

Patrick: Yes, just go to Warner Home Video website to order!

Edited by author 02-01-2010 12:34 PM
Patrick, it is a great pity that any differences, even clashes, may occur for whatever reason. May I say that your post # 26308 on 3rd October, 2009, suggesting that people might tell about their reactions and recollections of the time when they first heard the tragic news of Mario Lanza's passing, was in particular a very thoughtful one, as the response at the time clearly showed. Perhaps the Mario Lanza Fan Club of Australia is still active, and you might (if you are not already a member) find it stimulating to make contact with the members of that group:
http://www.mario-lanza-institute.org/australia.htm

 Ms Rowling may not be impoverished, but she must have done the hard yards to earn her success, and her talent is so great that it might well be genius. Her work commands respect and it is a shame, I think, that she and other achievers so often become targets of envy. Ms Rowling's creation of the Harry Potter saga is a triumph.

Indeed Rob, having the full set of Harry Potter in both DVD. and book form, means that I have contributed to her wealth, so no 'sour grapes' there. I have'nt heard anyone begrudging miss Rowlings fame and fortune, just the opposite, they generally regard her success as a fairy-tale come true ! lj.

Perhaps it might be as you say. Having been a dupe so very often, I now begin to wonder about the genuineness of every post. That recent post allegedly made by Patrick Long, for example, seemed and still seems to me to be rather out of character.

Very nice to see that we share an admiration for the works of J.K. Rowling, and I admire the author herself for what she has achieved.

The very enjoyable book of Howard Keel's life and career, mentioned recently by David Weaver, makes clear that Lawrence Tibbett and HK had several things in common: gifted with splendid voices, highly talented in their standard of acting, and the most unfortunate fact that both lost their Fathers early in their lives. Lawrence Tibbett, it was good to see, was shown in the book as being very encouraging to HK, as he apparently was to many young artists.
Another thing that is very striking in the book is that the rich voice of the singing actor himself seems to be heard in the mind, speaking every line. It is a fine piece of work.

Perhaps both posts, one allegedly from Patrick Long and the other allegedly from the Webmaster, might not be genuine? Whatever the truth of that matter,
certainly the posts made by the real Patrick have always been helpful, showing his love of the great voice.

Scrolling back a bit, the biographies of Mario Lanza received some discussion. I have read all but the latest by David Bret - which I have ordered. I have my opinions about the rest. Musically speaking, Mr. Cesari claims the greatest expertise with articles and criticisms about opera and a number of performances. Can anyone direct me to where, when and in what musicals and operas he performed? Or a bibliography of his other written work?

Edited by author 02-01-2010 11:27 PM
To George Herb-Sainte: You can find Armando Cesari at the Mario Lanza google forum and you may read the forum as long as you have a gmail address signed in or you may join the forum itself. The link is http://groups.google.com/group/mariolanza/...g=Search+this+group
I think he can tell you all about his credentials. His book on Mario Lanza is very worthwhile.

Rolando Villazon has been in the news quite a bit lately but not about his singing. Some people have criticized him for his participation in a rather campy and cheesy British tv show where I believe the hoped for interest is in "pop" singers trying their hand at opera, or some theme like that. Reports from a couple of our forum members across the pond indicate they are not too high on this show. It is not broadcast here in America so I can not comment but even if it were shown here it probably would not interest me very much. However, I learned that a couple nights ago something Rolando did on the show would interest me - he sang!

We all know this very fine tenor has had vocal problems over the past two years and has withdrawn from the stage until the operation on his vocal chords had healed. He is starting to make appearances once again, as I reported here a while back.

During the show a day or two ago, Villazon sang one of the most popular and difficult of all Italian songs, "L'alba separa dalla luce l'ombra". This song (by Tosti) was made famous by Enrico Caruso who, in my opinion, sang it better than anyone ever has since (although Bjorling gives him a real run for his money with it). The clip below shows that Rolando's vocal state is intact. He sounds even richer than before with a slightly different but pleasing quality to his voice and, as always, he continues to sing from the inside with all his has. The ending top note is a bit open, perhaps to facilitate reaching it, but overall he does a very good job of it. It appears Rolando is back!!

http://rolandovillazon.blogspot.com/

Hi Martino..Hope you fit and well.

I have watched the Pop Star to Opera Star just fleetingly. I dont like it. It just demeans opera. Pop singers should just stick to what they are good or not good at. Some of the renditions we hear by the truly great singers are just debauched by the vocal talents of the contestants.Truly awful. The whooping audience clap and cheer as if they think that the aria sung by any of the pop stars has been achieved at the highest level.When they think that a high c has been attained ( and it never is) a rapturous level of applause starts in the middle of an aria. Donny Osmond for instance murders all he sings. The only positive thing i can say is that this does bring opera to those who perhaps have never ventured into its hallowed grounds. They perhaps have looked over the fence but have never been in the grounds. The huge problem is that the show is not a good advert for opera if some of operas greatest arias are being murdered. At best it is just a bit of fun,at worst it is the vocals that make me wince. As for the judges ,what the hell is Meatloaf doing there.? They must have struggled to get credible judges. Meatloaf is just over the top and likes the sound of his OWN voice and is not a judge of opera in my eyes. Not to be taken seriously this programme. As for Rolando he is too excitable.I could never see Placido or Jose having anything to do with this genre of entertainment. How can a top opera singer praise some of the junk that pours out of those pop stars mouths is beyond me.If the show does come to your shores then you will see what i mean. "Opera gimmick " or "Mimic" is what i would name this travesty. Did Verdi or Rossini write such beautiful works to be then denigrated by pop singers?. Ok i may hear that others will argue that opera singers do venture into pop material. But does it work? Only Mario could with some degree of sense cross over with credibility intact.
Martino you are not missing much. I had a friend of mine say to me the other night. " Oh Pete did you hear how good Donny was last week ,he is my favourite singer". Er no i replied.I like to hear professional opera stars singing arias " "Oh did you not think he was good then". Er no he was just awful. Martino i think i may have lost a friend. Pop stars and opera just do not mix.

I agree.

Thanks for all the clips you posted. Very interesting to see/hear those earlier recordings and earlier times when the recording industry was taking off. My huge regret is what a wonderful thing had Caruso at the height of his singing powers could have had all his recordings made with the technology we have today. Luckily we do have Mario in the sterophonic age legacy. Did caruso ever resort to using a microphone at all?.I used to think that a huge chest was all you needed to produce a big sound. Villazon is slight of build and he can produce such a powerful sound. Slightly built sopranos have amazingly powerful voices.( As do babies i may add)Top Cs and Ds i think. In vocal power who do think had the most powerful voice. Mario V Caruso. I have also heard that Placido is quite powerful. Does that extra burst place strains on the delicacy of sound.? Di Stefano and Gigli could milk the lower notes beautifully. To be powerful then suddenly soft must be so difficult to achieve and keep the performance to true note. I have heard or read about Mario Lanza in rehearsal at the London Palladium ,where other artists were agog with wonderment at how powerful Mario was live in person without sound assistance. Apparently The Duke of Edinburgh was mightily impressed with the power of Marios voice. I always relate rightly or wrongly that a powerful tenor voice is a mans voice. I listen to some whinging pop voices and think oh where are those proper mans voices like Frankie Laine, Tom Jones or the ladies in the form of Ethel Merman who could belt out a song with gusto and power.Mind you i did like Perry Como with his easy style.
The Gareth Gates and his ilk with their withering sounds to appease the maternal instincts do nothing for my ears. I like power stentorianism,gusto, that surging top C to bring an audience to its feet.

Mario did all this. Can you just imaginge how loud Mario would have sounded in his hollow palacial bathroom at full voice. Even the mighty but deaf Beethoven may have heard a glimmer of sound. is the myth that a glass can be smashed by a tenor true.Got to have the right frequency to do that.
I have tried it once but my glass collection remained intact. For the powerful spoken voice there was no better than the great Olivier. Magnificent in Henry the 5th.

There is a lot of food there in your post for anyone to eat and digest, so I'll just for now enjoy a few courses of the great and appetising meal you laid out.

Mario Lanza and Enrico Caruso were two singers who had quite different careers and their recordings, as you rightly say, were made at different times, with Lanza clearly having an advantage in the fidelity of the sound as recorded - tough luck for Enrico, but that's life. I like to hear their records and try to enjoy what each has to give - and of course each has a huge gift to share.

As for the matter of volume, power is surely impressive - Mari Lanza could belt with the best, and there is also a live recording from a performance of La Juive (it's on Youtube) in which Richard Tucker can be heard doing some great things in that department - maybe a chandelier crystal or two tinkled or shattered that night.

There are the smaller voices also that may provide great pleasure. Here is one which I hope would be enjoyed by all lovers of fine singing. Although maybe the singer might not have been easily heard in a hall without artificial amplification, I think the recorded result at least was a happy one:

http://www.youtube.com/watch?v=rF0YAJF7wpw

Let's hope for Rolando Villazon's sake, and for the sake of opera fanciers, that he remains in good vocal health.

The shattering of glass by human voice is but a myth. The art of 'loud' singing is a combination of chest / diaphram balance and voice projection. I am not aware that vocal teachers instruct their pupils in one or the other exercise today. lj.

Rolando Villazon is doing opera a great dis-service by being involved with 'Popstar to operastar'. Indeed, as is the whole 'show'. It is nothing more than a circus. The audience have obviously migrated from shows like 'x factor. Americas /Britains got talent etc. After this 'debacle' is over and put to bed, I doubt very much if just one of the audience would ever be tempted to go visit an opera production. As for the 'expert critics', well, they seem too involved with their own self-importance to care one way or the other. lj.

That lovely actress Jean Simmons has recently passed away, just eight days short of another birthday - which, like Freddy Cocozza's, was 31st January.

She and her Husband Stewart Granger (originally, James Stewart, I believe) appeared in a mystery film Footsteps In The Fog which had a particularly haunting theme - Lily Watkins's Tune. I saw the film when still a schoolboy, and, even well over half a century later, hearing in the mind that wistful little tune still brings back so clearly the pretty image of Jean Simmons. Wonderful, how very evocative music can be.

http://www.youtube.com/watch?v=P1oEt_4_Xk0

The musical theme that is heard from about 3'35 is one that tends to stay in the mind.

Vale Jean Simmons (1929 - 2010)

Edited by author 02-02-2010 12:51 PM
Yes, I have always enjoyed Jean Simmons in movies too. She was beautiful and very talented in every movie she did.
I also like Rolando very much, always have since first hearing him, and his voice is still very good of which I am so glad for him.

Ah Jean Simmons passing. What a beautiful lady and a great actress.

That Tino Rosi U Tube recording you posted was nice. He has a sweet delicate sound akin to Gigli somewhat. I had never heard of him. Re Villazon. I was under the impression that top opera stars are fully booked up for years in advance. So how is it he has time to be involved with ITV on the Pop Star to Opera Star programme,which must take up quite a lot of his time.? He has had voice problems i hear but the way he shrieks in voice during that programme it is no wonder his voice is under duress.

Perhaps a professional singer can enlighten me here. How does a tenor prepare for an opera.? Does he just keep quiet or does he practice up to being called to the stage. I know one has to warm the voice up and not go out cold on stage. Does a drop of whisky help to loosen the voice.? There must be many singers who have their own way of preparation. I also guess that nerves can tighten up the throat or even darken its register. On a documentary about Pavarotti i saw, he had trouble trying to remove a frog from the throat. A nightmare for any singer at the highest level.It must be absolutely nerveracking to go out on stage on your first big opera debut. Expectation is high and you have to deliver. Florez makes it seem so easy,but i bet he puts in a lot of peparation. Domingo is renownwed for his prep and attention to detail.

As an aside my next door neighbour was on telly on Monday in the Alan Titchmarsh show where he was entered for the "Peoples Crooner competiton".
Pete Waterman and two other judges one who was from Decca judged him as very experienced singing a Sinatra number.A recording contract was up for grabs. Sadly out of the three in this heat he was not chosen. Joe by the way is 72 and he was praised for the strength of voice for his age. Had he entered when he was young he would have certainly got through. The audience liked him and he was in no way disgraced.

Is Villazon lip-syncing in the clip I posted? What do you think? There is a discussion going on at an opera forum I belong to where someone feels Villazon is singing all right, but it is a "sing along", where the only thing the tv audience hears is the pre-recorded take and not the live singing. I looked at the clip again and although he is indeed singing, I'm not so sure now that we are hearing him live. There are a few places, if you pay attention, where the words and the lips are a tad off. This often happens on youtube clips because of poor transfers but this is from a professional tv studio.

I also notice a "studio" sound rather than a "live" sound. I know he is using microphones but there is something there that I mentioned in my earlier post that sounded different with his voice, an enhancement of sorts but I could not really put my finger on it. This "studio" sound from a recording can be enhanced by engineers a hundred ways for quality. Also, what is the orchestra doing, especially the strings, playing this whole piece with no music in front of them? This is a one shot deal and the entire orchestra would never take a chance of learning how to play this by ear. It would take many, many rehearsals and would be very time consuming. We're not talking a three piece jam session here and this is not an easy piece to sing or play. Maybe everything is on the up and up but I'm starting to smell a rat.

The sound completely stopped in several places during the song Rolando sang

Martino, that clip of Villazon, with orchestra was definately staged, as I say,there is nothing genuine about the 'show'. He was singing along with the recording but , apart from the 'lag', the vowel shape he was mouthing seemed exaggerated to me. lj.

http://www.prestoclassical.co.uk/r/DG/4778854

The Tosti song which is the subject of several comments is among the songs and arias on a CD due for release in the UK next week and a little later in the USA.

Given the likely disastrous reaction had there been a slip up in a live performance of the song on the television programme it is hardly a matter for wonder that the singer very possibly chose (wisely in my view) to mime to his recording.

The present excitement over "did he or didn't he ..." has the same odour about it as had the Shower of Stars hubbub of 1954, when the hounds were set upon Mario Lanza for lip-synching.

If people want to have a live hearing, then let them go to an opera or a concert instead of becoming outraged and/or censorious about what is surely a common practice.

Hi Rob
Greetings from Patrick in Melbourne Australia. irst of all thank you for those kinds words I really appreciate them. Could you pleae email me at: patlng1@bigpond.com
Regards From Patrick

Sorry Rob wrong email. Try: patlong1@bigpond.com

Rob third timw luck. patlong1@bigpond.com

Email soon on the way. Cheers.

Hi Martino,
Just had to ask, regarding Villazon singing L'alba separa dalla luce l'ombra,
Have you not heard Mario's recording of this beautiful song? Can't say I've
heard Caruso do it but Mario leaves Jussi for dead, much as I love Jussi.
regards Michele

Mario by birth and nurture always would be likely to have an edge over Jussi when singing in Italian or English, as perhaps Jussi might enjoy an advantage in Swedish songs.

Maybe if they each had recorded, say, an African hunting song in Zulu the comparisons might be more fair. Neutral territory is a good place if comparisons must be made. But neutrality doesn't seem to get much exercise in anything to do with singing.

Sorry, I'm just being a cranky old man. I'll go back and try to get some sleep and then maybe after that I can try to get out of bed on the right side.

Noticed the lag in the Villazon video, but I put it down to a HD broadcast. I've been told thqt if you watch HD on a non-HD set, you get this kind of lag. Mind you, I'm not a technical person, so am only repeating what I've been told. But something appears off.

I love Mario's version of "L'alba...". It is right up there with the very best. But I think he is just a shade below Jussi in this. Lanza here sounds a little too heavy for my taste. Here is the clip:

http://www.youtube.com/watch?v=zObGg-4FVYc

Mario is great throughout most of the "Caruso Favorites" album and the dark quality of his voice at this point of his life suits the deep blue Mediterranean theme perfectly. But I'm not talking about the darkness or hue of tone, rather the "heaviness" he displays in this song and there is a subtle but important difference between the two.

Bjorling on the other hand is absolutely perfect in every way possible. Darker than we are usually accustomed from him yet not "heavy", if you know what I mean. Bjorling is simply beautiful here and the edge must go towards beauty. Also, I must say, I've never heard anyone sound more like Caruso than does Jussi Bjorling in this song. Listen for yourself:

http://www.youtube.com/watch?v=lFNZ5vqIWnA

Since you have never heard Caruso himself in this song, prepare yourself for a treat of pure vocal gold. You will hear a flow of sound as if pouring forth from a volcano. And now for the ultimate pinnacle of male vocal evolution:

http://www.youtube.com/watch?v=qZo81i4VbeY

In the end, as always, it is all a matter of what you are looking for and also of personal taste of course, but make no mistake, I think Lanza is wonderful in this song.

Yes, I would be upset if Villazon did not sing this song live. It was suppose to be a live broadcast and before a live audience, not a movie. I was also outraged when Lanza lip-synced his "Shower of Stars" gig and for the same reason - it was suppose to be live. If they told me it was not live then I would not have expected a live performance.

I know back then there was a lot of that going on and I never liked any of it but I think the practice is not as prevalent today, especially among opera singers who appear before the camera. I can't think of a single operatic performer who has appeared on live tv since at least the days of the Ed Sullivan show, who I know for a fact lip-synced. Villazon would be the first in recent history (as far as I know). For opera singers, this simply is not done in live performances. And I'm not saying it was staged (although lj believes it was and he has a ring side seat right there in England). I simply don't know but I have my suspicions. Speaking of "suspicions", there is also a fleeting suspicion that perhaps this move by Rolando, not just the possible lip-sync but the entire program, is a move on his part to test the waters of "pop" culture. If the surgical operation was not as successful as they first thought, he must make a living somehow.

As much as the pressure was on Mario to appear live in 1954, the same pressure is on Villazon due to his recent vocal troubles. The big question then and now with these two singers is the same - can they still sing? Mario chose to lip-sync and paid a heavy price for it. If Villazon did the same thing it won't be quite as bad because he is not nearly the big star as was Lanza. Still, I won't like it.

It may have been the safe way out for both Lanza and Villazon (if in fact this was staged), and under the circumstances it may have been the wise thing to do, as you said, but I must still object. When a singer goes on live I want to hear him live, simple as that. And I don't care if it is in concert, in the opera house, on PBS or wherever. If he is not yet ready to sing live, then I'll wait for the day when he is.

Recorded in 1959, Mario's version of L'alba does have a fuller quality to it - but still the voice is there. And as always, the emotion is projected.

I found Caruso's version quite stunning. His high notes were wonderful.

Hi Thelma
This is the real Patrick Long. Thank you for those kind words I really appreciated them. I also appreciated your support last year. Regards From Mari ( My Wife ) & Patrick

Yes, I see your point of view and you are surely right to have an opinion and to stick to it. It doesn't happen to be mine, but that's beside the point and we can both cope with an occasional disagreement. Whatever the truth of the matter about any lip-synching, my main concern for the singer, and for opera and/or whatever other genres he might intend to include in his work, is that he has fully recovered from his problems and in future will do all he can to protect his voice. If that means altering his repertoire, going pop and even lip-synching then I say jolly good luck to him. He won't be likely to get another voice if this one is again damaged.

The career longevity of singers in part depends greatly upon having and maintaining good health, fitness (apparently, not always if at all the same kind as a sportsperson's or athlete's) and strength, and the psychological toughness to keep on. They probably have enough on their plate without the further hassles of disapproval and condemnation from music lovers, even if those are, or seem to be, an unfortunately unavoidable part of a singer's career package.

If we who listen have the right to choose whether we use technology to hear music - either live or recorded - then there might be a reasonable case for the performers to opt also for using technlogical alternatives of various kinds. In the history of singing (however long that might be - maybe back to the time when pre Stone Age hunters mimicked bird calls to lure prey - yet another of my whacky, unprovable hunches) it is the age of film and television, only a relatively short time, that has made lip-synching a possibility (I put aside the example of Cyrano and Christien, and any earlier practitioners).

I foolishly missed one very essential point that you made, and for the little that my agreement is worth, I fully agree with you: if performances are lip-synched then that circumstance surely should be made known to the live audience and the techno-listener. That fact, if honestly revealed, might both warn and content those who prefer not to watch or hear a lip-synched performance.

Edited by author 02-03-2010 06:36 AM
To be fair, consistent and honest, it might also be made clear that there is, in the recording linked of Caruso's grand performance of 'L'alba separa dalla luce l'ombra', an unannounced example of orchestra-synching.

The heard accompaniment in that video was added almost 80 years after the singer's death:

http://www.youtube.com/watch?v=qZo81i4VbeY

Edited by author 02-03-2010 06:56 AM
This concept of the techno-listener could be a start for another interesting thread:

How does each one of us most regularly listen to music - from recordings, radio or television or via other technological means - other than by himself or herself? Occasionally, on the Google forum there is mention of using earphones, so I assume, maybe wrongly, that means the listener is alone.

Please, could we discuss this fairly recent (barely a century, if that) circumstance where a listener has had the chance of, or has become accustomed to being the sole member of an audience?

My listening practice has altered presently. Where once I use to designate a day where I would arrange all my speakers to the correct position for maximum quality listening,( alway's alone ),I now take a selection of DVDs when I undertake a journey of some distance. The advantage of this is two-fold 1,It relieves the boredom of the journey 2, If and when the volume needs to be turned up, I can turn it up without the fear of blasting any person in the vicinity into kingdom come ! lj.

On the subject of lip-synch. If we are too be ultra critical, then we must relegate 99.9% of musical films to the trash bin. Regarding Villizon, could it be that in this enviroment ( non-operatic ), that he feels fairly safe and secure, regarding the fragility of his voice ? That is to say, surrounded by a derth of ignorant, but opera wannabees, his professional operatic voice would shine out like a ray of sun after a thunderstorm. His decision to lip-synch could be more about 'this is what you should achieve to be a top opera singer', but at the moment I can't physically 'cut the mustard'. lj.

I don't think we should be too ultra critical of lip-sync in the movies. It is expected that the singers make sound tracks in the studio and then lip-sync when the scene is shot. It has always been done this way and should be to create the finest movie experience. As Rob pointed out earlier, if you want to hear a live performance go to a live performance. But if I do go to a live performance, I expect it to be, in fact, live.

I think there has been a revolution in the last twenty years or so in how we listen to music. Computers, portable players such as I-pods, MP3 storage drives, etc., has made the listening experience more personal than in the days when you gathered around the radio or record player and listened as a family or group. I still have a home theater set-up with amplifiers and custom made speakers by Jim Salk, that provide as good a sound reproduction as I could hope for. I still go to them for the most critical listening.

But I find myself more and more listening to podcasts, Sirius sat Radio, internet streams and downloaded disks. Like lj, I take these downloads with me on travels, with earplugs or headphones being the logical way to listen to the music. By definition then, the listening to recorded music is private and I don't mind that one bit. In fact, I prefer being the only member of the "audience".

I agree whole-heartedly, I was endevouring to point out that 'the powers that be' seem not to have a facility to inform the general public as to wether a performance will be truly live......or not ! lj.

Let there be no mistake, there is no better way to listen to music than a designated sound system,in a room tailor-made for you own audio delights. However, in todays enviroment, even laid-back people ( such as myself ), can get caught up in the hurry-hurry, quickly-quickly aspect of life in the 21st century. Therefore, 'on the move', portable technology seems to have sneekily taken some precidence. I am fully aware of this and regulary promise myself to 'make time for some 'proper listening' lj.

Rob: Because my housemates do not share my taste in music, I listen with headphones, exclusively. It enables me to get the slightest nuances, and to have the volume as high as I like. I do go to live performances when I can, altho not as often now. I'm going to invest in an Ipod or similiar device as will maybe have knee surgery this year, and would like to speed my recovery with my favorite Lanza selections.

To all opera lovers:
Who saw Enrico Caruso's grandson on the Antiques Road Show from Atlantic City on Monday (and repeats) presenting a beautiful letter from Puccini to Caruso mentioning many of his beautiful operas, a full face characterature of Caruso done by himself and beatiful pocket watches-one in platinum encrusted in jewels with the letters EC. I was shocked at the low appraisals and would have purchased anyone of the items from Eric (grandson) for the full amount. Have anyone of you ever met Caruso's grandson? A much younger version of hime appears in the PBS documentary of his grandfather filmed in the metropolitan Opera Archives-probably 15 years ago.
Matt Minzer in S.E. tropical Florida.

Go easy on the volume on your headphones lj or anyone else. I have had Tinnitus in both ears - different frequencies in each - for 49 years 4 months it is not very pleasent be warned.

Edited by author 02-03-2010 12:09 PM
Rob, I use headphones when I am in the garden working and have my portable CD player in my pocket, sounds wonderful. I also use headphones when I am just sitting outside admiring the flowers and the woods behind me. The headphones shut out most of the noise from the street and around me there on the patio. I also have a pair of Koss stereo headphones inside which I use with the stereo system inside of four speakers placed around the room. I don't often use the headphones inside the house though. I also take DVD's and CD's in the car and play them there without headphones and I take Cd with the portable CD player and headphones on trips.

Thanks for the warning Gerald, that is very considerate of you ! Actually, I hardly use headphones at all but when I do ,I make certain that they are good quality, like sennheiser and keep the volume moderate. lj.

 Incidently, I do not possess an I-pod or Wii, or anything else. The only portable thing I have is my car, which has a dvd system installed. lj.

I like you want a live performance. I am totally againsy lip sync practices. if you have the talent then use it live. if i want to hear a recording then i will buy the CD. I think it is an act of disdain to lip sync to a live audience. Cheating more to the point. Pav in the park dare not lip sysnc or indeed can you imagine an opera in full lip sync. No not for me at all.

I wonder if musical films of the 1930's, and early 1940's, had the vocal songs pre-recorded, and lip-synced when filmed?? For example, films of Gigli, Martini, Schipa, Tauber, etc?? I am not sure. I think lip-syncing started around the mid 1940's. Even films of complete operas were pre-recorded, and lip-synced later, during filming. Curious. Ciao.

Edited by author 02-03-2010 01:52 PM
Pre-recording of musical numbers began in the early days of talkies for several reasons. Even Lawrence Tibbett, who made some of the first musicals, pre-recorded his numbers. There were several reasons for doing it this way.

First, to achieve the optimum sound quality. Second, so performers could concentrate on acting. Third, in the case of dancers, so they could concentrate on their choreography and movement.

Fourth - and most important - was cost. To have an orchestra on the set with the many delays that take place in shooting a scene would've been prohibitively expensive. What if a singer was having an off day, vocally?

So, studios began early on to pre-record, and singers and actors - most of whom had come from live performance - had to then get used to matching their lip movements to the recordings.

One exception I know of: Rex Harrison refused to pre-record his numbers for the 1964 screen version of MY FAIR LADY, the reason being he never sang his numbers the same way (he really didn't sing to begin with, his numbers were all patter songs, ala Gilbert & Sullivan) and he'd never be able to match himself. Ergo, for his musical numbers, he filmed them live to the accompaniment of a piano.

Once that was done, the piano track was taken out, and Andre Previn, the film's musical director, then conducted the orchestra, wrapping their performance around Harrison's.

Very interesting comments. Thanks, good people. The consensus of opinion seems to be that lip-synching is here to stay (and for the very good reasons listed by David Weaver), but if a show is claimed to be live then it should be exactly that with no lip-synching. Also, making it very clear when lip-synching is being used (a simple message on screen or voiceover announcement should suffice) could lessen the potential for negative reactions from audiences.

Lionel Barrymore directed the early sound and colour film, The Rogue Song, in 1929 (for release the following year) and here is what he is quoted as having said of the sound film making process and practice (at least for the MGM studio) at that particular time:

"... in 1929 the 'playback' had not yet been invented... " that is "...the system of recording voices or orchestras on records in advance ... then playing back the music ... while the singers merely go though the illusion of performing. But with The Rogue Song they had to record sight and sound in one take, at the same time."

His recollection, however, doesn't seem to gel with other reports that early sound films (including Warner Bros's famous Al Jolson success, The Jazz Singer) usually had all soundtrack recorded onto disk and synchronised with the film playback - quite a task for projector/sound equipment operators to manage in cinemas. Their job(s) was (were) simplified by the later, regular incorporation of sound onto the film itself.

Can one imagine ( shall we say ), Fred Astaire ( not the worlds greatest singer ), trying to sing whilst executing a fantastic, energetic dance routine ? lj.

Edited by author 02-03-2010 06:01 PM
That's quite a big ask for anyone, even for a really big voiced actor engaged in singing and dancing the Tina Lina.

Incidentally, Fred Astaire used to do the necessary tap (not tape) recordings for his partners and himself, post filming - he was a foot-syncher.
In fact, Fred Astaire was a hook, line and syncher man who did just about everything except the lighting and camera work (maybe he did that, but I haven't yet found any such information on that matter at Google).
And like Tito Schipa and other small scale singers Fred Astaire knew exactly how to use his voice.

He and his Sister Adele appeared in many stage shows in the early years of last century, well before microphones were available to boost small voices. Also, Fred had such a winning way with the rhythm and appreciation of meaning of lyrics of songs that composers (and certainly lyricists) often preferred their songs to be presented by him instead of by those with larger and maybe more beautiful voices.

Fred had class and he knew how to cut a small diamond to present its best facets.

Yes, I can well imagine Fred Astaire singing a song and dancing his famous way many, many times. Yes, He knew how to use his voice and feet, and all of him. He was just a wonderful entertainer, dancer, actor, singer, you name it. He was it. Another actor I admired in many ways was Gene Kelly. Both of these performers have given many hours of pleasure to many people.

Here is Fred Astaire doing his thing, and a wonderful thing it is!

http://www.youtube.com/watch?v=IFabjc6mFk4&feature=related

Hello my Rense "Voice of the Century friends! Didn't get a chance to read or post today, but here I am tomorrow (it is now past midnight here) and I had to tell you about a play I saw tonight before I go to bed! The show is called "Master Class" and revolves around Maria Callas, who holds a class and tries to share her wisdom with two sopranos and a tenor...all hopeful singers. It goes beyond the teaching realm and delves into details of Callas' past with Onassis and her musical experiences on opera stages and with singers around the world. This play with music is spellbinding....especially in the hands of the woman who plays Callas. We were privileged to see/hear Ann Crumb in this role. She is a respected actress/singer with great credits. Watching her was like listening to Lanza...captivating. This show is VERY well written and will appeal to wide masses but has special meaning and wisdom to people in performing arts. Our show had a perfect cast, great direction, and excellent voices. Callas herself does not sing except for a few notes and then one short passage. The rest of the songs she helps the students with are spoken and acted out so well that it nearly beats hearing actual singing. The real Callas voice is used to excellent effect in the background as the stage Callas reminisces.

Why tell you all this? Well....not only because I recommend you go see it if it comes around. (Our show is at the historic Media Theater). BUT there is a MARIO LANZA reference. I'll set up the scene: Callas is telling a young tenor that he has to do more than just sing words and arias. He must feel the opera and act out the story, sing recitative, and be in character. I other words, do a complete and full opera. Well, our young tenor simply wants to get concentrate on having a great voice and feeling for singing and interpreting just the arias. He blurts out something that the author must have felt applied to our favorite tenor. He says: "Mario Lanza. I LOVE Mario Lanza. He is my HERO!". Callas doesn't show interest in his comment but is so pleased with his voice that she doesn't argue the point. The tenor sang a lovely "Recondita Armonia" while Callas explained every word to the audience. Great, great show. I had to come home and sing after that inspiring experience. What did I sing? Five Patsy Cline songs. Makes no sense, I know, but they were featured songs on my Singsnap site and I had only until midnight to do them before they were replaced by new songs for the next day. I used a two camera system for the first time as well as my new studio mike and sound system. If you would like to see one: http://www.singsnap.com/snap/watchandlisten/play/bdfa72f7 There are a couple technical details I must improve, but it doesn't look bad.
NOTE: This is a repeat of a post I just put on LL.

Some examples of words of wisdom from "Master Class". 1-Sing with all your heart and especially pay attention to the words and their meaning. 2-Get out in front of an audience and treat them with the same respect you'd like for yourself 3-Make your mark and bring the best you can to your world andthe people you love. And so much more.

Forgot to tell you that in the audience with Anna and I was Patricia DiStefano. No....not related to Giuseppe, but rather Henry DiStefano's daughter from the famous Victor Cafe. We talked to her about attending the great restaurant for Lanza Ball weekends and all the fun we shared enjoying the food and entertainment. I told her that I have been going there since the sixties when record collectors and singers hung out to play prized recordings and sing to the patrons. Unforgetable! Today all recordings (and background tracks) are on MP3 files. She winked and said there was still a CD player upstairs if we'd like to bring our favorites and sing

Hi Martino,
Thanks for the links. Regrettably we've had a bit of trouble with our computer recently and the speakers are not connected at the moment. I have Jussi's recording of L'alba but am looking forward to hearing Caruso do it. From what you say it's great. I know what you mean about Mario sounding a bit heavy, but even though I don't speak Italian, the feeling with which he sings this song gets me every time, it reduces me to tears as he gets to the ending. I even tried playing it in car while drive and I still have to wipe away the tears - Nuts!! wouldn't you say?
Cheers Michele

See new update on http://mariolanzarevisited.blogspot.com/

More to come of the great man.

Hi Michele, I'm glad you intend to listen to Caruso's singing of "L'alba..." when your computer is fixed; I think you will enjoy it. It does takes some effort to enjoy these old singers what with their somewhat dated styles and vocal mannerisms (although this does not really apply to Enrico who helped create today's style of singing), not to mention the archaic sound reproduction we have to deal with. A lot of people are put off by these things, even me sometimes. I listen to Caruso contemporaries even those slightly before such as Fernando De Lucia and Giuseppe Anselimi and although I respect their artistry I just don't connect with them. Caruso's voice was one of the first that broke this style of singing but even then, it takes some work to really hear the voice itself, its power and its quality and expression. Let me know what you think.