Mario Lanza was a teenage idol even before Elvis Presley, I remember in 1958 Elvis was being interviewed. He was asked, "If you had a choice, who would you like to sing like? Without a hesitation, Elvis said, Mario Lanza.
According to Mario's friend, Terry Robinson, Elvis and Mario did meet. I give credit to Mario, because at a time when Elvis was being dismissed by the Establishment, he stood up and defended Elvis - which I'm glad about because I'm an equal fan of both singers.
@@joeblack8915 Priscila P..when she met Mario' s daughther told her ."when we were in Germany once Itold Elvis those Mario Lanza LP are not your mothers? Elvis answered yes but I neede more..The king stole ML LPs from mrs.Gladys!..what shame.lol
Who else but Mario Lanza could sing this with such passion? He was the most versatile tenor of all time. He sang lyric opera magnificently as he did popular songs; perform on the stage and screen, radio and television. There has never been anyone like him before or after who also had an amazing influence on singers and performers everywhere. A new, bestselling book, “A KID FROM PHILADELPHIA, MARIO LANZA, THE VOICE OF THE POETS,” is a wonderful homage to one of the greatest entertainers of all time. It is a must for anyone who loves Lanza and great music and great voices
Ни один оперный певец не сделал так много для популяризации оперного искусства , как это сделал Великий Ланца своим до сих пор непревзойденным голосом. Такого сильного, эмоционально окрашенного, выразительного и совершенного голоса не было и ,быть может, никогда не будет. Были и есть прекрасные теноры, но Ланца - это вершина, к которой надо стремиться.
Il successo e la popolarità di Lanza sono dovuti certamente alla sua bellissima duttile e musicalissima voce ma anche alla sua figura che i film della MG hanno portato in tutto il mondo! Di lui colpirono il suo sorriso, la luce dei suoi occhi e la vitalità che emanava e che erano così lontani dal modello di tenore che la gente era abituata a vedere ! Lui sentiva profondamente quello che cantava e questo arrivava a chi lo ascoltava e lo rendeva speciale!
Mario Lanza was and is still greatest tenor since Caruso. He had everything the looks, the voice and the charisma of charm that has never been equalled. He was able to sing arias and the popular music of the day. Always remembered-never forgotten.
Norma Hobson I saw and listen to all his movies,when I was 18 I picked Mario Lanza too,now I’m 80 l pick Franco Corelli as the greatest Opera Starr ever.
Jonas Kaufmann Appearing at Phoenix Opera Posted by David Porter on Sunday, January 20, 2013 · Leave a Comment This is a special sponsored post from the folks at Phoenix Opera. As a kid, my parents always had Mario Lanza playing on the phonograph in our home. After quite a few years passed, I not only could sing along with Mario, but I had developed a passionate love of a good operatic tenor. As it turned out many years later, I found that I possessed a lyric baritone voice (that’s a tenor wanna-be) that could also produce beautiful soaring melodies. But that is a story for another day. Today, we are very excited to share with you that German Tenor Jonas Kaufmann is coming to Phoenix to share his vocal talents at a special gala operatic concert. German Tenor Jonas Kaufmann to Appear in Gala Concert at Phoenix Orpheum Theatre Weniger anzeigen ANTWORTEN
mu initial interest in opera came from cartoons (check out largo al factotem by Woody Woodpecker!) but Lanza and his movies came a little later. Right away I started to hear the ancient argument about his serious musical abilities. The movies were the right path for him. Maybe he wasnt a REAL opera singer, but who cares? in the end, he was something greater: a movie star and a legend. He became Mario Lanza. There will always be only one. There will always be a supply of operatic tenors.
Mario Lanza: Singing to the GodsBY DEREK MANNERING University Press of Mississippi; 280 pp. $30 HE SANG, HE BINGED, HE DIED. That, in brief, is the sorrowful life of Mario Lanza, the gifted Philadelphia-born tenor whose definitive film role, as the title character in The Great Caruso, inspired a generation of opera singers, but whose indulgent lifestyle - short bursts of musical glory followed by gluttonous, alcohol-fueled benders - destroyed his career and ended his life in 1959 at age thirty-eight. Derek Mannering’s Mario Lanza: Singing to the Gods, recently reissued with additional material, offers a compelling if uneven portrait of a rapturous voice trapped in a fragile vessel. A cultist with a penchant for hyperbole, Manning dutifully presents the story of an immigrant grocer’s son turned self-destructive matinée idol, but the narrative is overwhelmed by the continuous shock-and-awe his writing reveals over so many boldface names. Read as a critical evaluation of mid-century classical/pop crossover artistry, Mannering’s book accomplishes the neat trick of putting Frank Sinatra, Licia Albanese and Queen Elizabeth in the same fan club. Reading it as a parable of celebrity self-immolation, the reader could easily substitute Judy Garland, Elvis Presley or Amy Winehouse.Though Lanza made (and lost) his fortune in movie musicals and studio recordings, Mannering mythologizes those choices as circumstantial diversions from a stellar career in opera, the totality of which comprised two student performances of Fenton in The Merry Wives of Windsor at Tanglewood and two professional performances as Pinkerton in Madama Butterfly with New Orleans Opera. Of a purported invitation, when he was thirty-six, from Rome Opera to sing Cavaradossi, Mannering offers a naïve assessment: “If the singer had managed to get his weight and his drinking under control, he could have undoubtedly made it the operatic portrayal of his career” - as if native talent and abstemiousness were sufficient for success as an opera singer. As Mannering himself reveals, Lanza was completely lacking in the other 99 percent of the job requirements - preparation, discipline and showing up. That Rudolph Bing would have nothing of him at the Met is presented as a slight, rather than good judgment.This new edition of Singing to the Gods, with additional interviews, photos and updated documentation of his films, recordings, live performances and television appearances, deserves a place on every Lanza-phile’s shelf. For the lay reader, the myth of the would-be opera legend is trumped by the real story of a failed movie star who destroyed his family as well as himself. Despite the author’s wish, a Hollywood ending to Lanza’s history is unlikely. “[I]t is surely only a matter of time,” Mannering writes, “before his event-filled life is told on the movie screen.” An odd statement from a fan who bemoans the stage career his subject should have had. With an outsized vocal talent and a death so tragically young, might not Lanza finally be ready for the opera stage? -Matthew Sigman
Where are all, Sugarbist , Henry Charles, + giampiero e 010, Labienus, son of Alba Steelman, Luifernal, the great expert ??? Not argue with Pappano, to say, M. L. is no great tenor ??? Pappano more idea in his little finger than you trolls together.
I'm right here Ursmue, never hiding from you or anyone else. Pappano mentions that Lanza was the first ever crossover artist, I agree, but when I mentioned that Lanza was a crossover artist, you criticized me. Pappano also says that Lanza hardly set foot on an opera stage but became one of the biggest movie stars of the 1950s by singing opera. I agree with this statement as well. Pappano says that Lanza was successful as a Pop star. I agree. I also agree with Carreras stating that Lanza did the life of Caruso who was the greatest tenor ever. I also agree with Papano's accurate decription about Lanza going through the Passaggio. I agree with Carreras stating that Lanza was influential for all of us and influential as well. I agree with Pappano, but I don't know what your talking about
let's talk about carreras' 1993 "tribute" to lanza. it was clearly ill-advised. he failed to transcend his formal training. his interpretations of both italian and american popular music lacked lanza's emotion. on top of that, his thick spanish accent was a clear distraction. lanza was truly an "american" tenor, able to sing in many languages, including english, without an accent. he was also able to perform in both the popular and art music arenas with equal ability. why didn't any of the "three tenors" consider the english language important enough to pronounce it properly?
During Carusos time and in the early days of radio, ALL opera singers were "crossover" singers. Lanza wasn't the first. He may have been the first movie star to sing opera (and the last)
Mario Lanza: Singing to the GodsBY DEREK MANNERING University Press of Mississippi; 280 pp. $30 HE SANG, HE BINGED, HE DIED. That, in brief, is the sorrowful life of Mario Lanza, the gifted Philadelphia-born tenor whose definitive film role, as the title character in The Great Caruso, inspired a generation of opera singers, but whose indulgent lifestyle - short bursts of musical glory followed by gluttonous, alcohol-fueled benders - destroyed his career and ended his life in 1959 at age thirty-eight. Derek Mannering’s Mario Lanza: Singing to the Gods, recently reissued with additional material, offers a compelling if uneven portrait of a rapturous voice trapped in a fragile vessel. A cultist with a penchant for hyperbole, Manning dutifully presents the story of an immigrant grocer’s son turned self-destructive matinée idol, but the narrative is overwhelmed by the continuous shock-and-awe his writing reveals over so many boldface names. Read as a critical evaluation of mid-century classical/pop crossover artistry, Mannering’s book accomplishes the neat trick of putting Frank Sinatra, Licia Albanese and Queen Elizabeth in the same fan club. Reading it as a parable of celebrity self-immolation, the reader could easily substitute Judy Garland, Elvis Presley or Amy Winehouse.Though Lanza made (and lost) his fortune in movie musicals and studio recordings, Mannering mythologizes those choices as circumstantial diversions from a stellar career in opera, the totality of which comprised two student performances of Fenton in The Merry Wives of Windsor at Tanglewood and two professional performances as Pinkerton in Madama Butterfly with New Orleans Opera. Of a purported invitation, when he was thirty-six, from Rome Opera to sing Cavaradossi, Mannering offers a naïve assessment: “If the singer had managed to get his weight and his drinking under control, he could have undoubtedly made it the operatic portrayal of his career” - as if native talent and abstemiousness were sufficient for success as an opera singer. As Mannering himself reveals, LANZA WAS COMPLETELY LACKING IN THE OTHER 99 PERCENT OF THE JOB REQUIREMENTS-PREPARATION, DISCIPLINE AND SHOWING UP. THAT RUDOLPH BING WOULD HAVE NOTHING TO DO WITH HIM AT THE MET IS PRESENTED AS A SLIGHT, RATHER THAN GOOD JUDGEMENT..This new edition of Singing to the Gods, with additional interviews, photos and updated documentation of his films, recordings, live performances and television appearances, deserves a place on every Lanza-phile’s shelf. For the lay reader, the myth of the would-be opera legend is trumped by the real story of a failed movie star who destroyed his family as well as himself. Despite the author’s wish, a Hollywood ending to Lanza’s history is unlikely. “[I]t is surely only a matter of time,” Mannering writes, “before his event-filled life is told on the movie screen.” An odd statement from a fan who bemoans the stage career his subject should have had. With an outsized vocal talent and a death so tragically young, might not Lanza finally be ready for the opera stage? -Matthew Sigman
sugerbist, do you want hoodwink me, you have to get up much earlier. You've forgotten essential." Mario Lanza was the most famous tenor there ever was, bar none, and together with Enrico Caruso certainly the most influential.
It must have been difficult for you to mention Caruso. Was Fleta influential with his elongated Filaturas and Mezza voce? Was Cortis influential when Caruso encouraged him to sing at the Met but Cortis declined for personal reasons? Was Schipa influential with his beautiful interpretations? Was Gigli influential when Bonci stated "we have finally found "Thee Tenor"? Was Corelli influential when he brought his spinto dramatic voice to the public with the ability to do a diminuendo off a B-flat, sing Mezza voce and had great facility in his upper register. Was Del Monaco influential when he brought his dramatic voice to the fore front with the ability to express anger and rage like no other tenor. Showing perdect diction great B-flats and an extensive amount of breath with a great bronze like quality. Resting 2 days before and 2 days after an operatic performance?Was Nicolai Gedda, Jan Peerce Richard Tucker influential by showing their dedication and fine musicianship? Was J. Bjorling influential with his beautiful quality of voice and great line of singing? i THINK YOU HOODWINK YOURSELF
None of the above were better than Lanza. He was lured from opera but not one of the other opera stars would have been so successful in films. Mario had it all.
I consider Lanza to have had the greatest voice period, including Caruso. Nobody thrilled like Mario and he was by far the most versatile of all tenors.
@@Mikep487 Such uninformed nonsense. Nobody said Lanza didn't have a great voice and influenced especially young kids of a much earlier generation; the real issue was that he was not an opera singer, and lacked all the other qualities that a great opera tenor requires. Hollywood didn't lure him away, he sold out. Note in the concert introduction referring to him as having starred on many opera stages around the world The truth is he starred on none! Yes, Lanza was influential in his time, but ask the "man on the street" to give a name of an opera tenor-they'll most likely say Pavarotti, or Caruso, or both. I'm afraid to say Lanza is know to us old timers, and those watch old Hollywood movies.
@@labienus9968 He lacked none of the qualities of a great opera tenor. He didn't sell out. Hollywood didn't offer anybody else what they offered Lanza because he had the combo of both great voice and great looks. And while Spencer Tracy can rest in peace, he wasn't a bad rudimentary actor either, which many opera singers lack. As to the number of opera stages, he starred in two I am aware of and you want to nitpick with that pedestrian statement, which only a pedestrian mind would complain about.
Böke Wilhelm - MGM, hat Lanza ein Angebot gemacht, kein Opernsänger hätte das abgelehnt. Ein Unglück war, dass er so früh verstarb. Gäbe es die Filme nicht, müsste man sich mit den RU-vid Schnipseln begnügen, aber so, kann man sich den großen Caruso ansehen und daran erfreuen, wann man immer es will. Lanza hat übrigens, zu Anfang seiner Karriere 2 Opernaufführungen absolviert, es wurde Lanza eine große Karriere in den Kritiken prognostiziert, aber er entschied sich anders.
