khankonchak's video: Mario Lanza at HOME- a passionate 1952 Tell Me Oh Blue Blue Sky Giannini-Flaster

Mario Lanza (1921-1959) Since I uploaded this to serve as a companion to Lanza's home recording of the Improvviso from "Andrea Chenier", which I uploaded a few months ago, I'm reposting the notes from that video (with a few small changes): Almost 50 years after his death at age 38, Mario Lanza continues to command a formidable, worldwide following. A brief scan of Youtube alone reveals nearly 20 pages of Lanza videos, from contributors of diverse nationalities. And I receive far more comments about him than any other singer that I've posted on my channel. Yet, Lanza has probably been the subject of more rumors and conjecture than any classically-trained singer in history. Some of this gossip, concerning both the singer's voice and private life, has wormed its way into the video commentary sections on Youtube: Lanza died penniless, Lanza was a drug addict, Lanza's discography was small, he never varied dynamics, his voice was weak and fickle, electronically manipulated, etc. To those of us who have tirelessly sought out biographical material on the singer and, more importantly, listened extensively to his records, such remarks are always irksome in their foolishness. At best, they demonstrate a casual carelessness on the commentator's part when it comes to details about the singer. At worst, they show an arrogant, almost impudent ignorance and refusal to familiarize oneself thoroughly with Lanza's legacy before posting critical observations. One of the most insidious myths about Lanza is that he had a weak, small voice. Well, here is a recording that alone makes a total hash of this critique: Vittorio Giannini's 1927 setting of the Karl Flaster poem "Tell Me, Oh, Blue, Blue Sky", recorded at HOME in 1952 (Yes, that means made at Lanza's residence. One man, one mic. Unedited.). This is the earlier of the two extant Lanza renditions of the song, the other being his January 16, 1958 concert recording from Royal Albert Hall. The latter has been released on RCA's horribly remastered "Live from London" CD where, despite the dry as dust, claustrophobic sound, Lanza's gripping performance still manages to shine through. But this 1952 recording evinces an even more passionate, deeply despairing, and searching interpretation.The instrument's heft, sweep, and squillo are immediately apparent and make a powerful impression, as do the gorgeous touches of mezza voce. Small voice? I'm sorry, but the evidence simply shows otherwise. Recordings like this and eyewitness statements are available today to those who take the time to search for them, and they present a voice that is full, ample, and powerful. It's not a matter of speculation, but rather incontrovertible, ESTABLISHED FACT. Was it the largest voice in recorded history? No. Nor was it flawless. To those who would say that I'm just a rabid fan who believes Lanza could do no wrong, I'll point out that there are a number of his recordings that I'm not crazy about. There are even entire albums that I dislike, i.e. his 1959"Caruso Favorites" and remake of "The Student Prince". But he also made a great many magnificent, nonpareil recordings that have stood the test of time. And I daresay he has not only grabbed countless opera and song aficionados by the heartstrings, but also inspired more tributes from established singers, and more students in their quests for operatic careers than any other single artist (I know for certain that I wouldn't be singing if it weren't for Lanza). I realize fully that timbral, stylistic, and interpretive preferences vary from one individual to the next, and that Lanza won't be everyone's favorite tenor, as he is mine. That's as it should be; it lends the operatic community much-needed variety. However, I will quarrel with anyone who plays loose with the facts or denies Lanza his rightful place in the pantheon of the greats.