Customer Reviews

Mario Lanza ~ Opera Arias & Duets, from Andréa Chenier · La Bohème · I Pagliacci · Madama Butterfly · Otello

5 star:		(19)
4 star:		(5)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Let's get the criticisms out of the way first. This is a mixed bag of some of the finest operatic recordings Mario Lanza ever made, together with some decidedly mediocre performances. If it is too much to expect for BMG to get it completely right when it comes to assembling any Lanza collection, let us at least be grateful that some of the tenor's greatest recordings have finally appeared on CD.

But first the gripes:

The CD starts out unpromisingly with a mannered and sloppy performance of Celeste Aida taken from one of Lanza's Coca-Cola-sponsored radio shows from 1952. For a much superior rendition of this aria by Lanza, one need look no further than his outtake for The Great Caruso soundtrack (featured on the 1998 Rhino Records "Lanza at MGM" CD) or his 1949 commercial recording (available on the 1987 "Legendary Tenor" CD). The second track, Amor Ti Vieta -- another "Coke" Show offering from 1952 -- is similarly flawed, with Lanza alternating between his full voice and some inappropriate crooning. (For a completely different performance by the tenor, I recommend his sublime 1955 rendition of the aria, available on the 2004 twofer album Serenade/A Cavalcade of Show Tunes, and reviewed elsewhere on this site.)

The 1955 Serenade soundtrack contained some of Lanza's finest operatic singing. Ironically, however, his two *weakest* offerings from the soundtrack are featured here: the bleary and unfocused Nessun Dorma and a rather graceless O Soave Fanciulla with Jean Fenn. Sadly, these are Lanza's only commercial recordings of these pieces; he did, however, sing both the aria and the duet magnificently in concert at the Hollywood Bowl in 1948 and 1947, respectively. (Both performances are available elsewhere.)

Similarly, the Madama Butterfly Love Duet from 1950 is Lanza at his roughest, with his singing here light years removed from his 1947 Hollywood Bowl performance with soprano Frances Yeend. He delivers a sloppy O Paradiso, an aria that he went on to perform magnificently for the Serenade soundtrack five years later. The ubiquitous Vesti La Giubba (again, taken from the Coke Shows) has its moments, but is still inferior to the versions recorded for both The Great Caruso and Lanza's final movie, the 1958 For The First Time.

All is forgiven, however, with the inclusion of what is arguably the finest-ever rendition of the Monologue from Otello. The Australian critic John Cargher once remarked that this recording alone would "assure Lanza of immortality", and he is right. Recorded for the movie Serenade in 1955, this is the perfect Otello voice -- dark, but with dazzling colours and a brilliant upper register. It is an astonishing performance. Irritatingly, BMG have lumped it under the same track number as the duet, Dio To Giocondi which precedes it, but stick with the duet as well for it offers memorable singing with soprano Licia Albanese.

The Improvviso from Andrea Chenier is in the same class, and no one -- not even Gigli -- comes close to capturing the poetry and dramatic thrust of Lanza's rendition. The climactic phrase "Amor, divino dono..." is staggering, and listening to this recording today one can appreciate why leading opera houses were desperate to secure Lanza for the role of Andrea Chenier.

Come Un Bel Di' di Maggio (from the same opera) is also included, and although not quite in the same class as the rendition of the Improvviso, it features some beautiful singing, especially in the opening passages.

Other highlights on the CD include a superb M'appari from Martha, an appropriately dramatic Un Tal Gioco from Pagliacci, and the little-known Testa Adorata from Leoncavallo's La Boheme. Testa Adorata is quintessential Lanza, with the tenor alternately poetic and powerful as he builds up to a tremendous climax of despair in this thrilling performance.

The 1952 Lamento Di Federico (again from the Coke Shows!) also makes its first appearance on CD. Much debated by Lanza aficionados, this is another exciting performance, but one which I find too over the top in its almost-hysterical anguish. Granted, the climactic High B makes my hair stand on end, and the voice is appropriately lyric here, but Lanza sang this much more beautifully in Serenade. In any event, Lanza's best version of this aria is arguably his hauntingly lyrical rendition in a 1948 Toronto concert, which features on the disc accompanying the 2004 biography Mario Lanza: An American Tragedy. Much more restrained, both the Toronto and Serenade performances achieve their impact without the unnecessary histrionics of the Coke performance.

All in all, then, the CD is a decidedly mixed offering, but it is still essential listening for anyone interested in the most fascinating tenor of the 20th Century. And if, by chance, BMG ever gets round to a Volume 2, may I respectfully urge them to compile it more selectively. Let's have, for example, the tenor's 1950 E Lucevan Le Stelle and Recondita Armonia, the Coke Cielo E Mar, the 1949 Che Gelida Manina, the 1950 O Tu Che In Seno Agli Angeli from La Forza Del Destino, and the aforementioned Serenade arias all on the one CD! How about it, BMG?

Toscanini called Lanza's voice the "Greatest natural tenor voice of the 20th Century." In listening to this disc one understands why he made this amazing statement. Every track is wonderful and exciting listening, but the real gems are the recordings which have, up to now, never been released. The lovely aria "Amor ti vieta" from Giordano's seldom performed FEDORA is sung so lyrically at the start and then builds to a wonderful verismo climax. His reading of "Lamento di Federico" from L'ARLESIANA, finds Lanza in beautiful shape vocally and his investment of passion and pathos of this work is overflowing. One note regarding this aria from this seldom done work; would that Mario have observed the composers dynamics a bit more. It is a lyric piece and often times more effective when sung with that type of approach. One of the finest tracks on this reasonably priced recording is the third act duet from Verdi's OTELLO. Lanza is partnered by the great soprano Licia Albanese. The singing is glorious and had Mario lived past the age of 38, he would have, in all likelihood, have created an Otello on the opera stage that would have rivaled even Del Monaco and Domingo. Certain music critics still turn their noses up at the mention of Mario Lanza doubting his legitimacy as a classical vocalist. To them I commend this recording. Listen, and with objectivity, and you will hear the "Greatest natural tenor voice of the 20th Century."

Beyond possessing a tremendous voice, Mario Lanza's great triumph was to invest in every song -- nay, every note -- a breath-taking depth of emotion. Never artificial or overwrought, it is evident in Lanza's singing that he is feeling every word. This sincerity and passion, combined with his amazing technical ability, form a shimmering alchemy which more often then not leaves me entirely overwhelmed. This CD contains several superb examples of this alchemy, including the two Chenier arias, and the electrifying Otello duet, sung with Licia Albenese. Listening to the latter, I found myself literally gripping my seat, exhilarated. Opera truly lives when it is felt as well as sung, and anyone who understands this will find find this CD blissfully captivating.

I recented re-discovered Mario Lanza after many years. As a child I listened to his songs over and over and even memorized the words to most of them. I have never forgotten him. I think this is remarkable since I was so young when he was making movies. I recently have purchased a number of CD's after watching "The Great Caruso" video many years after seeing the movie. I particularly liked the opera numbers. I am not a singer but I know music. I play the piano, organ and flute and have had many years of lessons. I have been playing this CD over and over because it is so beautiful. I hear very few errors. It all seems beautiful to me. I think Mario Lanza is the greatest voice I have ever heard, period. He certainly could have been the greatest opera star in the world if he had so desired. I think every song on this CD is wonderful, particularly the aria from Fedora. No one could sing with such passion and power. I have listened to the opera greats and I have heard no one who comes close. May he live on in memory as the greatest tenor ever!

I bought this album back in the 60's and am so happy it's finally been released on CD. There are some tracks here that you'll find on no other disc. By the way, I am always amused by folks who try to put limits on Lanza's greatness such as the earlier reviewer here who said "He was no opera singer". I imagine, if you put constraints around the definition of greatness and artistic beauty, one can arrive at any conclusion one wishes. But, I have listened with great pleasure (in person and on recordings) to many great voices and have never found an equal to Lanza's God-given, natural talent. Perhaps, if Lanza had lived longer, he could have satisfied more of his technical critics. But, if I have to choose, I will take a "technically imperfect" Lanza over anyone else. The voice is the voice.

This new CD is a joy to behold. The quality of the tracks will make you think Lanza is alive and well and in your living room. The excitement felt by listening to the raw power and clarity of this legend's voice will make you wonder why this CD doesn't cost twice its price. Keep the vaults open and bring us more of the same. In response to an earlier reviewer's comment about Lanza "sounding like" he is singing Nessun Dorma in a lower key than written, nothing could be truer--and that is a true tribute to the richness of Lanza's instrument. He sings the aria in the correct key with a fullness that makes you wonder why he doesn't sound like he's "reaching" for these notes. Lanza's style transcends classification. Comfortable in both pop, operetta and opera, he was one of a kind.

The review by the music fan from Detroit is as "week" as his/her spelling. Mario's Chenier arias, far from being "week" are a study in marrying lyrics to music. And who else could soar up to the climactic B-flat in the Improvviso the way Mario does? Nessun Dorma is not transposed down - it finishes with a B & an A just as Pavarotti's (et al) does. It sounds to be in a lower key because Mario's voice has more depth. The CD is worth having for the Lamento di Federico alone. With the other gems that are on it, it is astonishingly under-priced.

I am sick and tired of all these technical reviews and critical remarks leveled against everything Mario Lanza did in his short life!

True, musically Mario made some mistakes....but so has every other great tenor in history....from Caruso to Pavarotti and beyond!
And perhaps he sang some arias with too much fortissimo....so what?
Every single song on here, be it among his best or worst work, is a masterpiece when compared to renditions of the same arias by other, more legit and operatically acclaimed tenors.

In order to "get" Lanza one must discard all notions of "finesse", "grace" and " elegance" for Lanza operated, and sang on raw, unadulterated, gut wrenching emotion.
THAT was the genious of Mario Lanza.

We can argue for another 40 years as to his operatic legitimacy...for nought!
Lanza was a VOCAL master and his approach to song was as unconventional and idiosyncratic as was his life.
That's what makes these songs so special and unique.

No one other than perhaps Corelli had the voice and the balls to sing with such uninhibited emotion and that's what this CD is all about.
It is a testament of a great voice.
The fact that Lanza did not have the benefit of a great conductor or teacher guiding him through most of his career, makes these recordings all the more great.

He sang the music as he felt it and that's a big no-no in the stuffy, overbearing and self-righteous world of opera.
Lanza earned millions of dollars because his voice touched all who heard it. His art brought more people to opera than all the leading tenors of his day combined....and this during the golden age of tenors and opera as a whole!

The only word of lesser praise I can offer is the inclusion of the duets. Mario did not have the temprament for duet singing, and subsequently he ended up drowning his partners out, or engaging in a sort of vocal warfare which was the case with much of what he and Grayson recorded during his MGM days.
The arias are great....the duets are medicore on all accounts.

In closing, I apologize for not having spen time on the actual songs. It's been done to death.
All I can say is that, if you wish to hear opera arias sung in a way such as will never be heard again in our lifetime, then this is a CD for you.
If you want proper, technically proficient opera, sung by some big name opera jerk, then stick to that....you'll only end up feeling like all the other good people who have so much negative to say about this CD.

To the reviewer from Michigan who said Mario never performed an opera on stage, you are wrong. He did two performances as Pinkerton in Madame Butterfly before going off to Hollywood.

Mario had extensive operatic training from some top teachers. He was sought after by many opera companies, including the Met in New York.

It is true that some of Mario's recordings are not as good as others. He did various versions of much of his material, both live and studio, so of course you will find some you prefer to others. But the beauty, power and expressiveness of his voice is unmatched by any tenor I have ever heard.

There are several cuts on this CD that Lnaza did in fact record much better at other times. I have all his records LPs, 78s and movies and I wish BMG would consult a Lanza fan,or me,for the cuts would make the perfect CD. I think its great that we have such a wonderful collection of recordings of Lanza and this one warts and all is still one of the best. The best Lanza set was the RCA LP 2 record set put out in the 70s with Lanza on the cover in M. Butterfly. Where oh where can it be??? Long live Mario Lanza!