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Recitar...Vesti la giuba
by ella (ex_lady_sara240)

"Torna A Surriento"
by ella (ex_lady_sara240)
at September 12th, 2007 (09:52 pm)

Mario Lanza on IMDb
by ella (ex_lady_sara240)
at September 12th, 2007 (07:46 pm)

Read about Mario Lanza on IMDb!

http://www.imdb.com/name/nm0487292/

  • Mini Biography
  • Awards
  • Filmography

First Reviews Of BBC Lanza Documentary
by ella (ex_lady_sara240)
at September 12th, 2007 (07:43 pm)

First Reviews Of
BBC Lanza Documentary
Mario Lanza - Singing To The Gods
Written and Produced by Mark Kidel

By Vincent Di Placido
11-24-5
 
Hi All! I've just finished watching the BBC documentary Mario Lanza:Singing to the Gods.
It was fantastic - well produced and it treated Mario with a lot of respect. It was amazing what was covered in the hour running time - all the important events & incidents were covered!
 
There were many many lovely stills of Mario & all the great clips from all the Lanza movies & The Student Prince! It demonstrated beautifully in one sequence the amazing seductive charm of Lanza The Singer & The Man & how he could use his eyes to such great effect - a very well-edited sequence! It was also lovely to see interviews with the street singer Luisa Di Mio talking today about events back in 1957 & how Mario befriended her. Sarita Montiel also spoke about her relationship with Mario - I think that under different personal circumstances they would have become lovers at the time.
 

Сообщество живёт и развивается.
by ella (ex_lady_sara240)
at August 27th, 2007 (12:12 pm)

После долгой отлучки (отпуск) возвращаюсь к святым обязанностям - то есть к работе, к Интернету (далее - ЖЖ и наше сообщество)
Приветствую новых участников, надеюсь, у нас получатся интересные беседы и сложится дружеская обстановка:) Как говорится, добро пожаловать!

Ученики
by ella (ex_lady_sara240)
at June 17th, 2007 (04:04 pm)

Многих теноров современности можно назвать "заочными учениками" Марио Ланца, настолько сильно повлиял  на их будущую жизнь пример великого тенора.
Думаю, стоит рассказать о наиболее выдающихся людях, пришедших в оперу во многом благодаря Марио Ланца. Этому будут посвящены несколько постов.

Первый из них:

Хосе Каррерас.

Хосе Каррерас родился 5 декабря 1946 года в Испании в провинции Каталония, знаменитой гордыми людьми и выдающимися личностями. Талант голоса Хосе Каррераса проявился еще в раннем возрасте, когда он пел под записи Марио Ланца и Джузеппе ди Стефано.

 

 

"Grand March" from "Aida"
by ella (ex_lady_sara240)
at June 17th, 2007 (03:38 pm)
Tags: , ,

La donna e mobile, Rigoletto, G. Verdi. (from "The great Caruso")
by ella (ex_lady_sara240)

Photo
by ella (ex_lady_sara240)
at June 13th, 2007 (08:09 pm)


frreya [userpic]
Mario Lanza: A Speech by Armando Cesari
by frreya (frreya)
at May 15th, 2007 (07:58 pm)
Tags:

Mario Lanza: A Speech by Armando Cesari

Note: The following speech by Armando Cesari, author of Mario Lanza: An American Tragedy (Baskerville, 2004), was given in Melbourne, Australia in May 2004.

The questions I'm most often asked are: "What made you write a book on Mario Lanza?" and "Why the title 'An American Tragedy?' " The answer to the former is really quite simple. There are two main reasons, actually -- the first is to play tribute to a great voice and a great talent. The second -- and more important one -- is to set the record straight by dispelling the myths, falsehoods, distortions, and exaggerations that have been perpetuated about Lanza over more than 50 years.

I thought the title An American Tragedy was appropriate, as it was indeed a tragedy that a talent of such magnitude was destined to remain unfulfilled.

"Yes, but why Lanza," you may ask, "as opposed to other great operatic singers, or for that matter film idols of the 50s?"

What was it about Lanza that set him apart -- that made him stand out? Why is it that he has been able to influence entire generations of up-and-coming opera singers? And why is he still listened to and talked about more than forty years after his premature death?

The voice, of course! But it was more than just an exceptionally beautiful voice.

As well as the voice, Lanza possessed all of the attributes that make a great singer: a solid technique combined with expression, perfect diction, and a feeling for the lyrics that made even the simplest of songs come alive.

He had, in effect, all that is required for a great operatic career. Yet today Lanza is remembered essentially as a movie star and, in particular, for The Student Prince -- a film in which he didn't even appear and for which he only provided his singing voice for the soundtrack.

So what happened? Why did Lanza end up making movies in Hollywood instead of conquering the operatic stage?

We will examine this shortly, but first I thought that I should give you a little background about myself and how the book came to be.

I discovered Mario Lanza in my teens. Music played a significant part in my family. My father, who died when I was two, played the violin, piano, and clarinet, so music and opera formed a natural part of our lives. The radio was always on and music (mainly operatic) was constantly being heard in the background. I would hear my mother and grandparents discussing various operas and opera singers, but at that stage I was mainly concerned with sport and didn't pay much attention to them.

It was not until a few years later that I discovered Lanza.


Comments:
I have to wonder how Lanza's fans here feel about Armando Cesari's speech and book. Does Cesari's work elicit a sense of compassion for Lanza the sensitive artist, or do SOLOists morally condemn Lanza as a weakling who drowned himself in alcoholic victimhood?

In reading about the tragedy of Lanza's unfulfilled life, I think we can easily recognize what "ought to" have been, but, unfortunately, I don't doubt that if Cesari's words had been written instead as a work of fiction, SOLOists would refuse to find any value in it and would eagerly denounce it for its main character's "excremental" sense of life.

Or, to put it another way, I think there's something very wrong with an ideology which judges (and quite often misjudges) art more severely than it does life -- an ideology which, on the one hand, appears to pardon a man's self destruction because he had a pretty voice and a pretty face, but on the other hand reserves its moralist vitriol for rock-and-rollers because their works include honest expressions of angst or rage, yet who, despite facing the same -- or greater -- pressures which defeated Lanza, vigorously maintain their physical and mental health, their drug and alcohol-free existence, and their creative integrity.

Jonathan

Jonathan - You've rather missed the point. Mario's sense of life was exemplary, not "excremental." It was *precisely* his sense of life, along with his unequalled voice & his mastery of it, that made him so great. In part, his conscious convictions let him down (meaning, yes, he let himself down. But hell - is it yet reasonable to demand of a genius that his genius be unbreached in every sphere of his life? - See my article, Titanic Trio). In part, he was the victim of the Dore Schary regime in Hollywood that penalised the good for being the good. And in part, he was the victim of hordes of insensitive clods who had not one whit of the beginning of an intimation of a flickering of a glimpse of an appreciation of how great he was. How the hell was he supposed to understand that? Is it any wonder that he became a Steven Mallory? (Equally, of course, he was *adored* by hordes with better taste & similar senses of life. For *that* he couldn't be forgiven either!)

Linz

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