Customer Reviews

Mario Lanza: The Great Caruso and Other Caruso Favorites

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This piece is unquestionably the best work of Lanza's life. The CD, which takes its title from the movie of the same name, amply demonstrates the power for which Lanza is so famous. It is this CD, more than any other, to which you should refer when comparing the strengths of Caruso, Lanza and Pavarotti. It is a joy from beginning to end.

Lanza is my favorite tenor and certainly he there is nothing on this CD that diminishes my opinion of him in that regard. The CD is a classic of course because of the classic movie. Nonetheless, this particular array of music is not my favorite demonstration of Lanza's talent. I'd recommend the 1949-1959 Historical Recordings CD most of all for the best of Lanza.

This recording makes it clear that rumours at the time of Mario Lanza's death of his `deteriorating voice' were gossip. The Caruso-album reveals on the whole a large, strong and gifted voice that responds duly to Sir Peter Pears' saying `A violin is a violin, and a piano is a piano, but a voice is a person'. Lanza's egality is unstressed from top to almost bottom, and he appears so humble towards his material - no overextended pitch notes -, that one may wonder whether he should not have committed himself fully to the opera. The arias from the Caruso-film carry his fresh, lively personal trade mark which hyper-aesthetics may call bad taste as much as they like, but which in fact reveals the personality. The Caruso Favourites, however, recorded just shortly before his death vary notably in quality with some Morricone's arrangement of especially Tosti's and Gabriele d'Annunzio's `L'alba separa dalla luce l'ombra' (The dawn separates shade from light) as the bottom. This song which is perhaps the best, Tosti ever wrote, is disgracefully sweetened by violinistic candy-floss that makes one long fiercely for the interpretations by Jussi Björling (see below) or Carlo Bergonzi (Sony 01 060785-10). On top is Gastaldon's `Musica Proibita' which Lanza sings with so much warmth and genuine sweetness that it reminds one of Björling's lovely `Visa kring slånblom och månskära' (Ballad of blackthorn and moonlight) recorded in 1953 (EMI 7243 5 66306 2 8). Mario Lanza renders us himself purely and entirely, and it is RCAVictor who is to blame for the lack of texts in the cover and the unsuitabe arrangement mentioned above.

Some of Mario Lanza's best classical opera work is in this album. It shows the richness of his operatic voice and why he was the greatest tenor of all time. One who has listened to other great tenors needs to compare with Lanza for the depth and breath of his operatic talent. They will see that he was second to none as this set of recordings shows. It also proves that if he had taken the route to the stage he would have been among the greatest performers of opera of his generation and even ours. That he chose the silver screen, recordings and concerts is a benefit to us who can still enjoy his vast talent. I recommend this for Lanza lovers and those who want to hear the best.

This recording makes it clear that rumours at the time of Mario Lanza's death of his `deteriorating voice' were gossip. The Caruso-album reveals on the whole a large, strong and gifted voice that responds duly to Sir Peter Pears' saying `A violin is a violin, and a piano is a piano, but a voice is a person'. Lanza's egality is unstressed from top to almost bottom, and he appears so humble towards his material - no overextended pitch notes -, that one may wonder whether he should not have committed himself fully to the opera. The arias from the Caruso-film carry his fresh, lively personal trade mark which hyper-aesthetics may call bad taste as much as they like, but which in fact reveals the personality. The Caruso Favourites, however, recorded just shortly before his death vary notably in quality with some Morricone's arrangement of especially Tosti's and Gabriele d'Annunzio's `L'alba separa dalla luce l'ombra' (The dawn separates shade from light) as the bottom. This song which is perhaps the best, Tosti ever wrote, is disgracefully sweetened by violinistic candy-floss that makes one long fiercely for the interpretations by Jussi Björling (see below) or Carlo Bergonzi (Sony 01 060785-10). On top is Gastaldon's `Musica Proibita' which Lanza sings with so much warmth and genuine sweetness that it reminds one of Björling's lovely `Visa kring slånblom och månskära' (Ballad of blackthorn and moonlight) recorded in 1953 (EMI 7243 5 66306 2 8). Mario Lanza renders us himself purely and entirely, and it is RCAVictor who is to blame for the lack of texts in the cover and the unsuitabe arrangement mentioned above

***(*)