Customer Reviews

Mario Lanza: An American Tragedy (Great Voices 7)

5 star:		(15)
4 star:		(3)
3 star:		(2)
2 star:		(3)
1 star:		(4)

 

 

"The definitive book about the legendary tenor Mario Lanza has been written. Anyone wanting to understand the successes and torments of the life of this American icon must read Armando Cesari's excellent biography." So wrote Dr. Lawrence Galante, Associate Professor at SUNY.

I heartily concur with Dr. Galante. This is the most balanced and well-researched account of Lanza's life yet written. Author Armando Cesari, an expert on singing and opera, has gone further than any previous biographer in uncovering the truth about Lanza the person and the artist. And *what* an artist! "He is Caruso's successor," the notoriously critical soprano Maria Callas once declared, adding in 1973 that the "biggest regret" of her career was "not having had the opportunity of singing with the greatest tenor" she had ever heard.

Sympathetic to Lanza, but at the same time frank about his shortcomings, Mr. Cesari is also the first biographer in over 40 years to possess the credentials necessary to give the tenor his full musical due.

The CD of rare live and home recordings that accompanies the book is a marvellous addition to a great biography. I should, however, declare my partiality here. It was I who wrote the liner notes for these items, something that I was honoured to do after realising the scale of Mr. Cesari's achievement here.

The book also includes a staggering 270 photos, many of which have never been published before.

Mario Lanza has long been the most controversial of all operatic artists. This biography finally establishes his true place among the greatest voices of the last hundred years. It is fitting that Mr. Cesari has included this hauntingly prophetic statement from the celebrated baritone Lawrence Tibbett: "In fifty years people will recognise Lanza for the great artist he is." Mr. Tibbett uttered those words 54 years ago. This book adds immeasurably to that recognition, and explains why singers as respected as the bass-baritone George London have hailed Lanza as the possessor of "the greatest singing instrument ever bestowed on a human being."

Cesari's book is a reclamation project: it is a successful attempt to reclaim Lanza's artistic legacy in a world that clings furiously to a false dichotomy between art and entertainment. It was an implicit acceptance of this conventional dualism that tore Mario Lanza's soul in two, and that lies at the base of the tragedy that Cesari describes. Despite unfulfilled promise, Lanza made an indelible mark on music, becoming, in effect, one of the first great "crossover" artists, who has inspired generations of singers, across genres, challenging the musical snobs of his time who sought to denigrate his remarkable achievements. Bravo to Cesari, and to the subject of his biography.

This biography of the great, late tenor is much more than just a comprehensive history of Mario's fabulous singing and his contributions to music. Mr Cesari places you in the mind of the often troubled artist and for the first time, you begin to understand the frustrations tormenting the Lanza genius. How does anyone handle a gift of possibly the finest tenor voice the world has ever known at such a tender age? A simple, sensitive and generous soul torn between the lure of the instant fame and money offered by Hollywood versus a burning desire to fulfill his destiny: grand opera! That he possesed the tools to become one of opera's immortals is well docummented by Mr Cesari through quotes and analysis by many of the well established singers and teachers of the art. After reading this compelling book, I wrote the following in honor of the Lanza voice:

Like a blazing comet it came to us, in all its stunning glory
Ever so brief but with a magical, unending story

Powered with thunder and lit by flashing light
Yet smoothed by silk, in spite of its might

Never before, never again, will we know such heavenly tone
For all to soon, the Creator called him back to home

Only a God could grant us such a gift, even if only to borrow
Thrilling us today .....and beckoning for tomorrow

As one who has read many, many biographies on the "Stars", I found Armando Cesari's tragic life story of my favourite tenor compelling reading. I waited a long time to read an account which did not overly-glorify and expound upon Lanza's excesses...again! Everyone who was remotely interested in Lanza while growing up in the fifties and knew how to read a newspaper or magazine, had already read the juicy titbits of Mario's very public life on a daily basis. Some of the other biographies on this singer have leaned heavily for information upon these stories (and, they are "stories" subject to all the flowering-up and exagerrations which keep these tomes on the best-seller lists.). Some of the accounts have been from well-meaning, but knowledge-shy Lanza "historians" (Mannering), from over-the-top, tall-tale-spinning cronies (Robinson) or last and certainly least, from a mean-spirited, non-musical individual whose vocation "supposedly" lent credence to the veracity of his written invective (Bessette). This book by a vocalist, music teacher and now, credible and talented author is none of the above. Mr Cesari has done himself proud in these pages.

While I find some things here which bother me they are not related to the written content but are more in the 'housekeeping' realm. i.e: lack of mention of the Preface by highly respected Opera star Placido Domingo on the front cover, lack of Chapter listings for quick reference etc. The few niggling typos I did encounter, which did not detract from the impact of the narrative, would be those of the publisher's data-entry person I would suspect? I am sure most of these things will be corrected during a second printing. Price-wise, between book price (from the publisher), US/Cdn exchange and shipping fees it set me back well over 70 dollars Cdn. Money well spent!
Perhaps the only story ommision that did bother me was the invisibility of Lanza's career-long friend, Terry Robinson. Mentioned only in a few lines (perhaps to give this biography more credence as a serious "musical" look at Lanza), he is completely missing from the marvellous photo gallery within. I found this a little disconcerting.

I tried to take in the narrative as slowly as possible, constantly flipping between story and bibliography to see who said what, and when; all the while trying not to break my concentration and the story's flow once I was 'into it'. I was pleased to see that many in the amazing list of sources were persons of note. I must admit I was a little surprised by the lack of "dirt" here. One always expects that in any Lanza tome I guess. As a magazine writer, I am used to colleagues and editors who record events upon which stories are built in a very dry, chronological way; almost newspaper-like. I found the book a little like that in some respects but obviously well-researched and above all, damned interesting. Lanzaphiles know how the story ends but the way in which events are presented make this book hard to put down (I am currently reading it for the second time).

The 'Discography' is second to none and is a first-rate reference. The CD was a real bonus, with meaty and introspective song notations from Cesari's friend, Derek McGovern. Where one would expect all the 'big ticket' Lanza showstoppers, this disc is simply a marvellous retrospective of Lanza's 'live' singing legacy. Unenhanced, straight from the heart (or top of his head!) sans 'smoke & mirrors', from the beginning to the end of his career. Marvellous! The recording quality was primitive in some cases and the mastering is a little off (minor pitch anomalies and some distortion on a couple of tracks) but what an unexpected collector's item.

We can only hope that this book receives the recognition it richly deserves and sparks a renewal of interest in the new generation of Opera and just-plain-singing aficionados (unfamiliar with Lanza and with minds open and un-poisoned by the pap from the 50's gossip mills). The book and the disc are stand-alone testaments to just what this American phenomenon was all about. Hedda Hopper once headlined "The Fantastic Mario Lanza had a Ticket to Destruction". This book sheds a lot more light on just how tragic his journey was. And, it does so with a lot of class and journalistic good taste. Let us hope that, if and when a definitive film biography on Mario Lanza is ever mounted, the talents of Mr. Cesari and associates will be employed by the screenwriters.

And...let us trust that Baskerville, Amazon et al promote and publicize "Mario Lanza: An American Tragedy" in a conscientious manner. This may be Armando Cesari's defining work...it deserves no less.

Having read a number of biographies on Mario Lanza, ranging from ludicrous to fairly competent, I wasn't quite sure what to expect. I was therefore pleasantly surprised to discover that this is one of those rare occasions where an author has done justice to his subject. Mr. Cesari brilliantly tells the tragic story of Mario Lanza and in so doing dispels the falsehoods and myths that have been perpetuated over the years. It is a well balanced account of this "bigger than life personality" warts and all. What emerges is a touching portrait of an incredibly gifted, but flawed human being who lived almost his entire life guilt ridden for having attained world renown with his movies and recordings at the expense of an operatic career. As a reader one immediately becomes involved with the subject and wishes one could have been there to guide Lanza into making the right choices where his career was concerned. I found the final chapters, incredibly moving. Mr.Cesari lifelong study of his subject is evident in his detailed description and analysis of the ill fated singer's life. Furthermore, and vitally important, the author discusses the musical aspects of Lanza's career competently and finally sets the record straight in revaluating Lanza and rightly places him among the great voices of the century. The book is beautifully presented, it contains a CD of rare live performances together with excellent informative notes by Derek Mc Govern. It also has a complete discography and a total of 270 photos.

Mario Lanza: An American Tragedy by Armando Cesari is a must read to know the real Lanza, musically and personally. This author, a musical authority, presents this great artists's life for the first time in both a sympathetic and knowledgeable way. He does not editorialize about what should have been, but instead focuses on things as they "were" and how they "came to be". First and foremost, Mario had probably what was the most unique and recognizable voice of any artist in the Twentieth Century. In fact, he possessed a voice that most likely will not be experienced again in our lifetimes.

Mr. Cesari brings to this work thirty years' worth of interviews and research and that, along with his expertise, gives us a valid picture of where the Lanza voice should be placed in the world of serious music. Mario's talent should be recognized as the phenomenon it is. From the lush pool of quotes, we become familiar with how critics and fellow artists felt about his natural gift. Mr. Cesari interviewed figures including friends, operatic artists, musicians, movie actors, family members, managers, conductors, and many other people who came into contact with Mario on a personal level. Every quote is substantiated by a footnote telling its source. Even though he did not follow an operatic career, there are many tributes from operatic artists attesting to the idea that he could have been one of the most successful divos of his day. And so, we get a well-rounded portrait of this man as well.

I especially liked reading some of the critics' accounts of his concerts from the beginning of his career until his last concert tour in Europe. From 1947, here is (in part) what Claudia Cassidy wrote after Mario's concert at Grant Park, in Chicago: "Lanza sings for the indisputable reason that he was born to sing. He has a superbly natural tenor which he uses by instinct, and though a multitude of fine points evade him, he possesses the things almost impossible to learn. He knows the accent that makes a lyric line reach its audience, and he knows why opera is music drama." Even toward the end of his life he continued to impress his listeners. This from his accompanist, Constantine Callinicos on what was Mario's last concert in Kiel, Germany in 1958: "He seemed that night to be at the height of his powers as a singer. His voice, "darker" and richer than I had heard it in years, thrilled me. Its volume and substance rivaled any male voice I had ever heard in my life." Of that same concert, music critic Dr. Kurt Klukist of the "Lubecher Nachricten", wrote: "(Lanza) really can sing. The material belonging to this wonderfully melodious tenor is a natural gift...It is difficult to know what to admire most. The faultless breathing technique, the elastic precision of his wording, the light "piano". The constantly desciplined "forte".. The well-synchronized join between registers. When he is not singing, he seems a little nervous. When he sings, he is fully relaxed...[there was] applause and more applause." This, indeed, was an artist to be reckoned with.

Mario has been often been touted as a difficult person to work with. Mr. Cesari spoke with John Green, the MGM Musical Director, and this is what he remembered about Mario: "I was convinced when I was working with Mario, and I still am, that the instrument itself, the voice itself was the voice of the next Caruso. Mario had an unusual, very unusual quality...a tenor with a baritone color in the middle and lower registers and a great feeling for the making of music. A great musicality. I found it fascinating, musically, to work with Mario. He had a sensational ear and he was bright..Mario was not stupid at all! I was very fond of him. He was capable of such warmth and he had a nice sense of humor. You could have great fun with Mario." It is a pleasure to read accounts like this because some of his previous biographers tended to focus on his negative behavior. Of course, some of Mario's playful antics are found in this work too, but they are not distracting.

Perhaps the most distressing event of Mario's life - his suspension and ultimate firing from MGM during the Student Prince filming is treated with as much sympathy as possible. Through interviews with those who were around Mario at that time, we are made aware of the extreme pressures that surrounded him. Mr. Cesari explains the various situations in Mario's life instead of just tossing out cold facts.

I found this book to be more than pleasurable to read. I believe it will do much to promote the musical legacy of Mario Lanza. I hope those who have never heard the voice will be enticed to listen to his many recordings still available today. The accompanying CD gives us a sampling of what he sounded like in home rehearsals and live performances. Hearing his voice as it "was" and not as a polished recording studio product is exciting. The sound quality is only as good as the recording technique of each venue allows it to be. Derek McGovern's liner notes reflect both his love and knowledge of Mario's music. He writes with humor and extraordinary sensitivity.

It is indeed, Mario's time once again to shine!

Permit me to declare my hand at the outset-it was I who first prevailed on Mr. Cesari to write this book, & I who wrote its Foreword. Naturally I'm predisposed to be favourable towards it. But readers should realise that Mr. Durso equally has an axe to grind, for reasons *he* should have disclosed, *against* Mr. Cesari, which accounts for his unjustly negative review above. To say the previous Mannering & Bessette reviews were far superior is to stretch the bounds of credulity to breaking point. Mr. Mannering's is a pleasant enough, once-over-lightly read, though with an unacceptable number of errors; Mr. Bessete's is more in-depth, but seems to have been written out of contempt for its subject. Mr. Cesari provides much detail & many perspectives not heard before, as well as an over-arching love for his subject that is all the more eloquent for *not* being uncritical. Mario's magnificent spirit shines through, even as the dark clouds are acknowledged.

The one aspect of this biography that stamps it as indisputably definitive is Mr. Cesari's musical literacy, which no previous biographer aside from Callinicos possessed. Mr. Cesari is able to discuss Lanza's voice, his technique, style & interpretation, in the informed manner of a professional musician, though without being obsessively clinical. In these pages you will find the most intelligent sustained discussion of Mario's actual singing that you will find in any other single publication to date. Derek McGovern's liner notes for the accompanying CD are also exceptional.

A couple of minor rejoinders to Mr. Durso - it is indeed Gale Sherwood on the Student Prince recording, & yes, Placido Domingo's Preface should have been listed on the cover. Perhaps the publishers might attend to that at the time of a second printing?

Overall, I would simply repeat the conclusion to my Foreword:

"Armando Cesari's biography is a fitting tribute to a beautiful voice & a beautiful soul. It explains the tragedies that stilled his voice far too prematurely. It is meticulously researched & scrupulously fair. I salute its author & its publishers on its timely release."

In his urge to even the score with me for having dismissed his pathetic attempt at writing a biography of Mario Lanza, Mr. Bessette raves and rants and accuses me of various misdemeanours. In doing so, Mr. Bessette, just as he did in his ridiculous so-called biography, is guilty of the cardinal sin of not getting his facts right.
He claims that I have dismissed all previous biographers by stating that the contents of my book come entirely from my own research.
This is not so. I have acknowledged the contributions made by previous biographers such as Callinicos, Mannering, and Durso. All three made significant contributions. Matt Bernard, a pseudonym for Al Teitelbaum, did not. His cheap paperback is pure trash. Terry Robinson's biography of Lanza, by his so called "best friend", is a worthless piece of sensationalism full of untruths and inaccuracies.
As for Mr. Bessette's misguided attempt, frankly there is nothing in it that warrants acknowledging. Musically, Mr. Bessette does not know what he's talking about. As far as the other aspects of the book are concerned, he should have done his homework by carrying out a lot more research and interviewing more people associated with Lanza, instead of relying primarily on Teitelbaum.
I have never heard Lindsay Perigo make the claim attributed to him by Mr.Bessette - a claim, incidentally, that Mr. Perigo strenuously denies having ever made. The onus is on Mr. Bessette to prove it. Nor has Mr. Perigo ever called Placido Domingo a mere "Lanza wannabe", although he acknowledges that Mr. Domingo is not among his favourite tenors.
Derek McGovern is anything but obsessed, as anyone who knows him will attest.He is extremely critical of anything that Lanza sang which is below par and equally enthusiastic when it's warranted. This is not the behaviour of a cultist, contrary to what Mr. Bessette would have people believe.
Mannering's book is an honest attempt to portray the life of Lanza, and there are many things in it that are praiseworthy, but I certainly did not have to borrow sources other than the one that I credited him for.
As for Mr. Bessette's claim that I used his book as an outline, he is obviously deluded. I have carried out my research over a period of almost 30 years, and would hardly have needed to refer to Mr. Bessette's attempt for inspiration.
Mr. Bessette further states that there is nothing new or accurate in my book. I will let the readers decide that.

The Callas remark that Mr Bessette disputes was, in fact, made to the RAI journalist Giovanni Viglione when he interviewed the soprano in 1973 and, furthermore, Callas is quoted in print calling Lanza "Caruso's successor". The is a matter of public record, and I am mystified as to why Mr. Bessette is unwilling to believe it. As for the precise details of the Viglione interview, I can inform Mr. Bessette that it took place at the Teatro Regio in Turin where, together with Di Stefano, Maria Callas was directing I Vespri Siciliani.
I acknowledge Callinicos' musical expertise on page 1.
As for my opinions of my "idol" being entirely subjective, hardly! I urge Mr. Bessette to read the book again as it's apparent that he's either missed or not understood the many instances in which I criticise Lanza's singing.
Where did I get the Presley quote? Mr. Bessette should read a few books on Presley; I'm sure he'll find it.
Barry Nelson was a close friend of Lanza and knew him before, during, and after Hollywood.
There is no unidentified friend of Doretta Morrow. The source is Lanza's manager Sam Weiler.
Sam Steinman was one of the nicest people I interviewed and far from a hanger-on. He was Lanza's European agent, not manager.
I do not belittle Caruso, Corelli, Di Stefano and Tucker. Far from it. Mr.Bessette must be reading a different book.
I do not invent a career but speculate on what might have been and try to understand, through the testimony of those that were close to him, what went wrong.
The drinking was a result of guilt feelings for an unfulfilled operatic career. Something that I clearly state in my book.
There were really only two people who refused to be interviewed. Both doctors, both connected directly or indirectly with Lanza's death. In view of what happened, it is hardly surprising that they both refused to be interviewed. As for the book being cold and arrogant, Mr. Bessette should take another look at his own dismal effort, which is not only cold, inaccurate, and musically incompetent, but is further hampered by his ridiculous attempt at amateur psychiatry.
Lastly, since Mr. Bessette seems to be fond of quotes, I will end with one for him: "Revenge is sweeter than life itself. So think fools."
Juvenal

WOW, I must say this book Mario Lanza: An American Tragedy (Great Voices) (Hardcover) by Armando Cesari sure ends depressing (but most of the book is a wonderful and fun part to read) and really does show what a great Tragedy both Lana's life and death was and is; (and the ending must be read to get the whole story). I knew of his untimely death and all the myths surrounding his life and death; but I did not know the real story. I just knew I love his voice, the power, the beauty, the range, the breath control, he was just terrific; Maybe the best singer of all time. Read Ceserir's Bio of Lanza and his family you will get his history and also more, you can see how and why he never fulfilled his promise of being a great opera star; and with his talent he could have, arguably, been the best. Ceseri uses quotes extensively of those who know Mario, well, both family friends, actors, singers, hangers on, etc., in relating the events of his life. He also shows the criticisms both good and bad, and he shows why many of the bad ones were unfounded. Ceseri shows how those who really knew music, and opera more so, were enthralled with Mario's voice. he dispells the Myths of any doctoring of Marios voice by RCA, and also dispells the myths of the hollywood rumor mill. At the same time Ceseri shows us all side's of lanza, he does not pull any punches, and he gives us a balanced view of lanza's life, the good and the bad. I would highly reconed this book to anyone who wants to know the real story of Mario lanza.

THE CD that comes with the book is fantastic!!!!!

Unless someone else betters it, I feel this is the best biography written about Mario Lanza to date! I have read it twice and compared it to ALL of the biographies written about the great singer. Those works include: 1-"The Mario Lanza Story", the very first one by his friend and pianist Constantine Callinicos in 1960, 2-"Mario Lanza: His Tragic Life", written by close personal friend and trainer Terry Robinson in 1980, 3-"Mario Lanza: A Biography" written by Derek Mannering in 1991, 4-"Mario Lanza: Tenor In Exile" written in 1999 by Roland Bessette, 5-"Mario Lanza: Singing To The Gods", a re-working and notable expansion by previous author Derek Mannering in 2001, 6-"Mario Lanza", a rather trashy paperback published in the seventies by Matt Bernard (the alias for Al Tietelbaum who once managed Mario), 7-"My Memories of Mario Lanza", a loving memoir written by Lanza's childhood friend Eddie Durso in 1992, 8-"The Man Who Loved Mario Lanza", a fictional story with many factual references to Mario by Phil Georgeff in 1997, 9-"Be My Love: A Celebration of Mario Lanza", an anthology of articles compiled and written by Damon Lanza, Bob Dolfi, and Mark Muller in 1999, 10-"Mario Lanza" written in German in 1962 by Hermann Hausner, 11-"Mario Lanza, Una Voce Un Artista", a critically acclaimed biography written in Italian by Edy Lovaglio in 2002, 12-"Have You Heard of Mario Lanza?" written in Japanese in 2003 by Eimei Hayano, and 13-an unknown German biography. That makes thirteen books...and while I have not read those in another language (since none have been translated!)...I would put Armando's fine work at the top of the list. Without going into long explanations of why I feel this book stands as the best so far, I would rather let famous singers speak. These people's opinions were seen by me for the first time in Armando Cesari's "Mario Lanza: An American Tragedy". Tito Schipa: "You have the greatest given throat ever heard in a young man." Giuseppe Di Stefano: "I don't think he realized how good he was." Renata Tebaldi: "Lanza has the finest natural tenor voice I've ever heard." Luciano Pavarotti: "He had a fantastic voice..not just wonderful..a fantastic voice." And my favorite quote spoken by Lawrence Tibbett in 1950: "In fifty years people will recognize Lanza for the great artist he is." The fact that this author brought these statements to light in his book for the first time since Lanza's death in 1959 tells you all you need to know about his dedication and research. I have met Armando in person and will attest to his integrity, talent, musicality, and sincere personality. This book is the seventh in the series of books called Great Voices published by Baskerville (I also recommend searching out the others in this series). No one who wants a complete portrait of Mario Lanza, the artist (not to mention an outstanding CD of his singing) should be without it!