Because You're Mine, (Best quote)

Finale singing:

I wish you the best of everything, until we meet again.

********************
Mama Rosano: Renaldo, 6 months ago I fired the maid.

Renaldo: Mama you didn't tell me. *laughs*

Mama Rosano: Someone has to say it, you make more money then to come but you spend it before it gets into your hands.

The more I spend the more I make. Next month I record an album of Rigoletto, it'll pay for a thousand maids.
**************
(After Bat attempts to sing an aria, badly.)

Briget: Would you say that manouver was somewhat obvious...

Renaldo: Obvious but delightful.

Briget: Thanks for being so the understanding with that.
Everybody ribs him, but... He really loves music, I'm glad you don't think it's odd.

Renaldo: Why should I think it's odd? The odd thing is, that lot's of people think good music is only for the "long-hairs." But do you know who my real fans are. The teenagers up in the galleries. There's a girl who sells stockings at Macy's, who's never missed a performance.

If people wonder why Mario Lanza preferred staying in Hollywood to work...one only has to remember: The Blizzard and Winter of 1947-1948. https://en.wikipedia.org/wiki/North_American_blizzard_of_1947
It may also have been the reason he moved his parents and purchased a house for them in California.
Concerts and Opera Houses didn't have a chance during that winter, very little transportation was going on, snow plows couldn't deal with the tons of snow, and water became a huge issue, with spring melt floods.
Mario's choices were sound and helped his close family members stay safe.

The Christopher Show Transcript, pt. 2.

Mario, before I forget it I wish you

would tell

our audience what you told me about your

mother and father

i think it's a very inspiring *Mario* First of

all uh

Father actually I'm I'm an only child

and this in itself brought me very very

close to mom and pop if I

may call them that *Father Keller*sure *Mario* and uh it's

astounding to me when I

review the past how many sacrifices my

mother and father

made and sacrifices really that were

tremendous sacrifice. For instance my

mother

when she did not have to go to work when

i was let's say

16 years of age, my mother realized that

at that time I needed all these lessons

so badly

to to to to to lay the foundation

for a career in the future she went and

worked in the quartermasters depot

in South Philadelphia which the

quartermasters depot made

made uniforms for the American soldiers

at that time we never knew a war was

coming but

in its way this was its function.

She worked very hard. She used to get up

at five o'clock in the morning

and be at work by six imagine that and

come home at six in the evening long

long hours you see

and then what would happen she

criticized my father's cooking

she left her, she left my father in
10:17
charge of the cooking go all through

all day long you know and she'd say now

Tony Tony that is not

that is not right that's... that gravy is

just not quite right because

this was my wonderful wonderful

experience for about six years

really I was 14 years of age when Mom

started working at the uh

quartermasters depot I mentioned... Father Keller: lost so much

your father. Mario: oh yes well we're coming

oh this is a great man so in my way my

eyes *Father Keller* he's handicapped his....yes I will oh

no

because i admire him so much as well as

your mother yes

he deserves admiration because he's

truly a wonderful man

my mother would come home and say Tony I

certainly would have done it this way

not the way you did it you know and he'd

always say but Marie

MarieI did everything you taught me to

do you know?

anyway mom was never satisfied but

that's only through here

in her heart she really was satisfied

with the way my father cooked

but getting back to my father,,, my father

was a

great World War One hero my father

actually was
11:26
the first man to capture what in those

days they called the Bosch prisoner

in the battle of the Aragon Forest uh

Bosch meaning a German prisoner at that

time

and in the process of capturing this
11:38
prisoner he was wounded and wounded for

life meaning 100 percent disability you

know

he was stabbed in the back, gassed and

also had one hand

torn off completely by a uh oh

what they used to call in those days a

dum-dum bullet you know

so now my mother who loved him dearly

married him and

with his handicap and uh and so

therefore you can very well see how Pop

had to take care of Freddie they used to

call me Freddy they never called me

Mario

and in the process of taking care of me

uh that that's how they re all these

arguments that i told you about the food

you know used to

use the result in but mainly Pop was

unable

as you know to to to uh to earn a living

other than

my own Father's uh uh disability pension

which he used to receive which was a
12:29
hundred percent disability

which as you know before you receive

that kind of a pension

you have to really be broken up as you

know. Father Keller: So well your mother

came to the rescue Mario: My mother came to the

rescue. Father Keller: She was responsible for you being a

singer

with your father. Mario: She is with my father

Father Keller: What you're going to do you're going to

Mario: I'm all ready to certainly it's my

pleasure Father Keller: while you're getting ready for

it i'm going to just

go to the audience for a moment and tell
12:56
them a little of what you said

reminds me of being a transmitter of

beauty

friends every single one of us can be a

transmitter

of beauty God has given each one of us a

talent

we may not be able to sing like Mr Lanza

does

uh but everyone no matter who the person

is

God has put a bit of his power his

goodness his truth his beauty into our

hands if we only apply it to the world

in which we live

do something whatever it may be to make

this world better for your being in it

and now let us all listen to Mr Mario

Lanza

[Music]
13:46
the brightest star I see looks of my

love

and then leaves me because you're mine

[Music]

because you're mine
14:03
because you're mine

the breeze that hurries by

becomes a melody and

[Music]

why

[Music]

I only know for as long as I may live

I only live for the

kiss that you alone

may give me....

[Applause]

[Music]
And when we kiss

it's only my full heart you

hear and it's

applause

because You're mine.

[Music]

Father Keller: that was really inspiring but don't

uh run away now because you promised to
15:28
bring Mrs Lanza
15:30
and so we could all have a visit with
15:31
her too now friends
15:34
while barrios bring ms lonzi in uh may i
15:37
just remind you
15:38
that you personally individually can do
15:42
something
15:42
with god's help to bring beauty into the
15:45
world bring it into your home
15:47
into your work into your office into
15:50
your farm
15:50
on the bus if you're a bus driver an
15:53
elevator
15:54
boy or girl there's something that you
15:55
can do that nobody else can do
15:58
and in your home particular that start
16:00
from their beauty is in the home
16:02
it will go out to the whole world god is
16:05
giving you
16:06
a bit of his beauty to bring to the
16:07
world you do your part
16:09
now let us have a visit with mrs lonza
16:12
as well as mario
16:17
well here we are now i want you've told
16:20
us
16:21
about to your mother and father and you
16:24
hinted about your wife
16:26
and i'd like to hear uh
16:29
not the whole stuff but what has she
16:32
done for you to make you because you
16:34
told me a little bit about it but i
16:36
think all of us would like to know
16:38
a little more oh father how are you
16:40
leave me suspended
16:42
you said hinted yeah i hated about my
16:45
wife
16:46
may i tell you in life
16:49
you know i told you about my mother and
16:50
father being so important
16:52
the beginning of my life but in life to
16:55
have a partner
16:57
a true lovable wonderful partner
17:00
is so important and aren't i the
17:03
luckiest guy in the world because
17:05
i've met a wonderful partner i really
17:07
love her and she's an irishman
17:11
where are your friends where are you
17:12
from i'm from chicago
17:15
good good how did you ever again
17:19
well i met mario through my brother
17:22
uh-huh
17:22
they were in the army together and
17:25
brought him home to dinner
17:26
and that's how it started there it is as
17:28
simple as that
17:30
it's not very complicated no her brother
17:33
and myself we were great army buddies
17:35
and he used to show me the picture he
17:37
used to show me the picture of a very
17:38
beautiful girl he used to say mario
17:40
used to say isn't that a beautiful girl
17:43
my goodness yes
17:46
he never told me it was the sister i
17:48
said it was his sister then finally one
17:50
day we were in wing victory together
17:53
and the great army air force show during
17:55
the war years and he said finally
17:57
as we approached los angeles he finally
17:59
said to me he said mario
18:02
that girl whom you loved so well whom
18:04
you thought was such a beauty
18:05
is really my sister and that's what it
18:09
turned out to be my own very betty
18:12
my father really a partner is so
18:15
important in life isn't it and
18:16
it too is a thing of beauty that's right
18:18
because looking back
18:21
over 13 years of marriage a little over
18:24
13 years of marriage i can only tell you
18:26
one thing
18:26
and one alone that it is
18:29
truly a thing of beauty our marriage
18:32
and all that ah i love herself poor
18:35
little beauty
18:37
we have the four beauties hey where are
18:40
they
18:53
they should have been here i hope they
18:54
do come well
18:56
now betty let's hear your side of it
19:02
what a question so no i mean
19:05
because you have uh as i envision it you
19:09
have been a partner in bringing
19:12
this gift to mario lanza's saw his voice
19:16
to the world you've done something there
19:18
oh thank you brother more or less i kind
19:20
of consider myself
19:21
moral support i think that's what every
19:24
wife should be
19:25
and well you've been more than mortal
19:29
i i laugh when i'm supposed to i
19:33
which is very often man very often
19:37
we go through all the trials and
19:38
tribulations with a smile
19:40
and uh with the four children we're very
19:43
close with them
19:45
and uh we do everything together that's
19:47
what's right
19:49
that is myself we do we do everything
19:51
together we really do
19:53
oh we have a wonderful time father we
19:55
really do like thank you
20:01
myself and betty we have a great life of
20:04
beauty
20:05
and i just wish everybody could enjoy
20:07
and experience the great great great
20:08
happiness that i do
20:10
with all these wonderful people well
20:12
betty you deserve a great blessing from
20:14
god
20:15
for not only uh all you've done for
20:19
mario to help him give his gift to the
20:21
world
20:22
but for your four children for making a
20:24
wonderful home and god bless you for it
20:26
i've been blessed
20:28
now mario uh before we finish
20:31
we want to have your ave maria
20:35
if you will sing that first we'd all
20:36
appreciate it and while you're getting
20:38
ready for the piano
20:40
uh getting your
21:00
oh
21:06
[Music] Be My Love

[Music]Ave Maria

Father Keller: oh
22:46
my
22:52
god
22:56
thank you marielanza bless you
23:00
and if everyone lit
23:04
just one was little
23:07
bright world
23:11
this would
23:17
be

Transcript: The Christopher Show with Mario Lanza and wife Betty, pt. 1
*He told that "promoting BEAUTY" into the world was his job...the reason he was given his God-given voice.*
https://www.youtube.com/watch?v=WsPTk0iqBZc

This is a television interview filmed in The Vatican in October 1957 in which Mario talks about his life, family, and career. He also sings 3 numbers, namely 'Santa Lucia', 'Because You're Mine' and 'Ave Maria'. Hosted by Father Keller of 'The Christophers' and accompanied by Paul Baron on piano for the musical numbers. Also interviewed is his wife Betty. Unfortunately, his children were not present. This is the only

this would be

[Music]

[Applause]

be

[Music]

[Applause]

[Music]

[Applause]

Santa Lucia

[Applause]

Hello friends I'm Mario Lanza I'm here

to help present

The Christopher Program here is Father

Keller

the founder of the christopher good to

have you Mario you're wonderful to be

with us

and I and all the audience want to hear

you sing that song in full well

thank you thank you Father surely thank

you

[Music]

Sancta Lucia

[Applause]

god bless you wonderful wonderful thank

you Father but uh

now i'm sure we'd all like to have a

little visit with you to hear how you
2:53
started being a singer maybe

I'm all ready to tell you about it all

Right please come over with me thank you

Mario come over here and

tell us in a few brief sentences how you
3:06
ever started to be a singer

I've heard a little bit about it but I

don't know the full story and I'm sure

all of our audience would love to hear

it

How you ever got your start *MarioI In a few

brief sentences well i'm not too brave

now

others uh actually it's a very unusual

story

and unique in that

when I did start an odd thing happened

I was an Alter boy in church and when I

when I had free moments i used to go out

and sit in the church

and look at the altar look at the little

red light above the altar with the

flame flickering and I used to

be fascinated by the flame and get lost

in thought

and in that let's say being lost in

thought

I had great visions visions of what was

to come in the future

and the odd part of all that I spoke

about is

that I saw my career happen

long before it actually did. How old were

you at the time.

All of nine, that was when I was an alter boy

this was in South Philadelphia, Father

and I was a an altar boy

in Saint Mary Magdalene de Pate church

which was as I understand the first

Catholic church in Philadelphia

and I lived only oh maybe

75 yards away from the church so

at nine years of age I became an Alter

boy there and these visions as I spoke

about earlier

took place I used to love to be alone in

the church and watch the altar and

be quiet that's the thing the quiet in

the church

affected me so much and I'd watch this

little flame flickering over the altar

and there is where I had my imagination

let's say that's where it

spun and in...in those...

in those moments in church I saw the

entire career take place

and this I said before is unusual

because

in speaking to so many other successful

opera singers or just

any performer in show business I found

that

no one had quite had quite, let's say

uh realized the entire career before it

actually
5:24
happened except myself. A lot of people

dream, but they never

well a dream is one thing exactly but in

my case

my goodness I actually went through the

whole career before it actually happened

and uh the great thing about my

experience in church was this.. that,

that I felt at that moment that I had

a message or a job to do. Let's put it

that way, down to basic facts.

My job was to bring, as an obligation to

the public

since I was simply and wholy the keeper

of a gift

right. My job was to bring...let's say...

greater beauty *Father Keller*wonderful. To the world

in my own little way since we all have a

job to do. In my way

a little bit of beauty and contentment

that was my my job and i realized that

at that very very early age.

Father Keller: well that's wonderful in church very

good you're you felt you could be a

transmitter of a bit of God's beauty he'd

given you a voice

and you wanted to use it. Yes and by the

way may I add again

please Father I feel that

we who have been given voices and

certainly it's

easily easily recognizable we are

purely and solely and wholy the keepers

of a gift. Father Keller: It is that's the way to put it very

good a keeper

of a voice. Mario: We have to guide it in our

obligation

to the public it belongs to them that is

our obligation

God lets you know in his wonderful way

that

you owe that voice to the public those

who who derive

joy excitement and as we discussed

earlier before

we got on on the camera huh or before

the camera

a beauty those who derive beauty from it

before that happens

uh well you've got to realize first that

it is a gift

and purely and wholy gift from God.

Father Keller: yes

that's wonderful And I knew that as a boy!

well what you mentioned there is so

important because the more young people

realize that God has given them

some gift even if it's not a voice it's

something he's given them

to transmit to the world.

Mario: Exactly. Exactly

and each time that you step onto the

stage and you feel you know first of all

it's an odd thing you feel the boards

the stage board below your feet you know

you

and you'll begin to sing to people uh

let's say that's the uh

that's the point where you feel solid

and from that point on

uh you're so excited about giving them

the very best and that's the way it is

in each and every concert

that I do it's exciting thing and

honestly it's amazing that

each and every time that we do go out on

the on the stage

i feel i say we i mean the the

Accompanist and my Wife and my wonderful

children my Mother and Father everybody

who

takes a part in this career um I feel

that

it's... it's such an exciting thing it's,

it's a thing that brings so much beauty

to those who

at the moment love what they're

experiencing that's right and in its way

isn't it true that it is beautiful

it's that moment of excitement and the

world needs beauty ah

you need to get away from sometimes from

reality

to the world of illusion.

Father Keller: well there's so

much uh so many people

uh emphasize the ugly who could

emphasize the beautiful

Mario: well may I say I'm very happy

that i'm part of something that

emphasizes the beautiful part

rather than the ugly part it's a lot of

fun it really is

With all the hassle many concert goers have battled for years with ticket scalping, (Taylor Swift etc. etc.) ordinary folks on limited budgets have not been able to obtain a ticket with such outrageous prices...one wonders if the same went on during the time Mario Lanza was doing his various concert tours, throughout the US and Europe.

If the "gallery" folks who scrimped and saved to buy his records, could nor get a ticket, because "street men" had gotten blocks of them and upped the price, could Mario have gotten wind of this from fans...and found out which theaters seemed to allow this to happen (maybe getting a kickback as well?)

Perhaps it may have been why his concerts got cancelled, due to illness/injury then curiously, Mario could be found, singing for free in various restaurants. He might have been trying to teach a lesson, sell tickets only for the original list price so all may attend...not just the wealthy few.

He knew who he was singing for...the folks way up in the top tiers of a theater balcony. The hard-working service people who loved his music so much yet couldn't see him LIVE due to price-gouging. Or the group at the Albert Hall, sitting on risers behind him, who had only watched the back of his head while he sang to the hall..he turned and sang "La Donna Mobile" especially for them. He didn't forget "his people."

Seems every other movie he made, his character would mention the common people "I'm one of them" singing on top of a taxi for those who couldn't buy a ticket *sold out.* (For The First Time)

Or a Seargeant who opened the army base speakers so everyone could hear "the voice" singing "You're the song angels sing."

As Doro said in "The Great Caruso"...there are more people in the gallery, Mr. Caruso....sing for them. Then Caruso's telling his theater manager he wasn't going to soften his singing for "The diamond horseshoe" wealthy's tender ears. He wanted his voice echoing throughout, so all could hear the words and music. Enrico took that to heart...keeping his hands in his pockets...to sing La Boheme.

So those who are always critical of Mario Lanza's habit of cancelling concerts, please, just give the above thoughts a bit of consideration. He may have had good reasons for cancelling...in the only way he knew how, an attempt to stop the abominable practice of ticket price hikes. I'm willing to give him the benefit of the doubt.

Would suggest putting it on E-bay, see how the auction goes.
UK ebay has Lanza cassettes too.
https://www.ebay.co.uk/b/bn_89310728

I have a Mario Lanza gala 1989 Cassette tape GL-6306 Historical Recordings (1949-1959) made in Portugal with songs in italian as part of my Lanza collection. I have searched online and can't find it anywhere. Looking for its value as I am selling the collection. Can anyone help me?

Dabok Y put a lovely tribute post, with "i'll Walk with God (both versions) playing in background.
https://www.youtube.com/watch?v=mm3xRD2eBqY

65 years ago, a glorious one-of-a-kind passed into the beyond. We miss Mario Lanza.
7 October 1959-7 October 2025
His acting and his voice will NEVER be forgotten.

Playbill Nov 1943
Mario Lanza is listend where his original birth name should be,
If you click on his name it shows Sgt. Alfred Cocozza.

He is listed as singing in both choral group and ensemble.

https://playbill.com/personlistpage/person-list?production=00000150-aea6-d936-a7fd-eef6ecf90003&type=op#cc

https://www.youtube.com/watch?v=A7p4EvZpYzI&t=308s
Ed Sullivan Oct 1957 interview transcription

Ed: Mario Lanza has made a return to movies in an MGM release, called 7 Hills of Rome, so I went on over, to see Mario, I hadn't seen him for a long time, and he sang a song to you, which you're going to hear right now.
I'll tell you about the picture itself, 7 Hills of Rome, playing in Rome now, breaking every boxoffice record in Italy. And I cabled Mario and told him how pleased I was and his American audiences would be.
The day I went over to see him, I went back to his dressing room and I asked him questions.
And question number 1 was this: I said, Mario, I hear you're doing comedy, and doing an impression of our friend, Perry Como, and here was what Mario told me about it.

Mario: Ha, ha, ha...yes I do actually, not only Perry but a few other singers...

Ed: Such as?

Mario: Oh, such as Frankie Laine, Dean Martin and believe it or not, Satchmo Armstrong.

Ed: Mario, this I want to see. You as Satchmo Armstrong.

Mario: That's right...

Ed: Mario, I know that La Scala often want to get you to open their season in Italy, as the first
American star now do you are...

Mario: Yes Ed, actually I was asked in 1949, to open, well to be the first American to open the Ls Scala season, but, huh, movie commitments and one thing and another prevented me from doing that. Now this year, I'll be able to fulfill, well, this suppressed desire.

Ed: Mario, I tell you that I met that little girl, with whom you're going to sing in the song right away, will you tell me about that nine-year-old you discovered?

Mario: Well, the first time I heard this girl sing, was from a hotel window, up on the 7th floor, and I knew immediately that she was a little Neopolitan girl that was before I saw her, and sure enough, each day I'd send down, oh, about a thousand Lira to keep her coming back every day, along about the 6th day, I had her come up to talk to me. And as I had thought, she was a Neopolitan and Ed as you know, as only a Neopolitan can sing so much expression in a 9 year old girl and eventually, what came what came to pass was that Georgie Stole liked her so much when I had her sing for Georgie, that they engaged her for the film, and I sing to the little girl and she, in turn, sings to me in one of the most important scenes in the picture. So, I was very very happy. I'd like to sing for you now, with the little girl, the beautiful song, Arivaderci Roma. (Song in Italian)

Ed: Another thing, before I go home, is there some message you'd like me to take back home for you?

Mario: Yes there is Ed. Uh...Number 1, Let me tell you, I'm really excited about having come over to Italy and about the Italians and all of Italy really, in fact, all of Europe, but one thing I really want to tell the Americans, *sighs*, Mama Mia, I'm homesick!!! I'm homesick. Heh heh heh, I really miss the United States, Ed. I really do, and, oh, by the way, Ed .. eh, a message to a fellow who is very close and dear to me, would you say a big hello to Rocky Marciano for me.

Ed: Oh...the champion.

Mario: A real champion.

I'm the former Stephen of Las Vegas. I couldn't log in for a while so I just established a new account. A few years ago I ran into an excellent female Japanese singer. Born in Japan...her English is perfect. Only a few examples on Youtube. Try this one:

https://www.youtube.com/watch?v=8s0jGhXl3OE

Here's some information on Wiki:

https://en.wikipedia.org/wiki/Seiko_Niizuma

And here's Linda Eder's rendition from her performance at Carnegie Hall in 1999:

https://www.youtube.com/watch?v=GpXNniqJml0

https://en.wikipedia.org/wiki/Linda_Eder

MARIO LANZA TRIBUTE WEEKEND (October 26-27, 2024)

Saturday October 26, 2024, 2:00pm

Mario Lanza Institute Scholarship Winner’s concert
Settlement Music School (416 Queen Street Philadelphia, PA 19147)

Come hear this year’s winners in a program of opera and song.

Admission price: $25 per person. Free parking on school grounds or on the street.

Saturday October 26, 2024, 6:30pm

Mario Lanza Tribute Dinner
Estia Restaurant (1405-07 Locust Street Philadelphia, Pa 10102)

Three course dinner with live entertainment. Mario Lanza’s recording will also be played.

Admission price: $110/person. Parking available at local garages.

Sunday October 27, 2024, 2:00pm

Mario Lanza ~ The Man & His Music Lecture/Presentation
Mario Lanza Museum (1214 Reed Street Philadelphia, PA 19147)

A one-hour lecture/audiovisual presentation by MLI president Bill Ronayne on the life and career of the legendary tenor. Clips include memorable musical performances from his film and television appearances. There will also be assorted goodies to enjoy. Admission price: $25/person. Street parking available.

Checks for the weekend should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street
Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691. No refunds or credits. No exceptions.

Street parking

Please RSVP by October 16, 2024, and let us know if you have any dietary restrictions.

THE ARTISTRY OF LENA HORNE LECTURE PRESENTATION
Saturday September 21, 2024, 2:00pm-4:00pm. Admission price: $25 per person.

Mario Lanza Museum
1214 Reed Street Philadelphia, PA 19147

A one-hour lecture/video presentation by MLI president Bill Ronayne on the life and career of the legendary song stylist.

Clips include memorable musical performances from her many film appearances. There will also be assorted goodies to enjoy. Lecture starts promptly at 2:00pm.

Checks should be made out to Mario Lanza Institute and mailed to

Mario Lanza Institute 1214 Reed Street Philadelphia, PA 19147.

For information or to make a credit card payment call 215-238-9691.

Seating is limited and on a first come first paid basis. Nor refunds or credits. No Exceptions. Street parking.

Please RSVP by September 13, 2024, and let us know if you have any dietary restrictions.

Re: Armando Cesari's Mario Lanza An American Tragedy.

Finally got a copy of this book, with CD, and in reading it, found
most inside is hearsay, but the part that put me on alert, was the telling of concert promoters (because of the high demand for tickets,) rushing to sell tickets to Mario's rehearsals, prior to any each concert, even those in the UK.

The knowledge of this, hammered me to my core.

Having once been a singer myself, rehearsals were for testing acoustics, wandering the stage to to find the best reverb back, allowing the voice to make mistakes, and taking the time to correct them.

Being allowed to walk about, making sure the stage itself didn't have seams or unadjusted holes from stage drops, to keep oneself from tripping.

Just how large and thick were the curtains, which could affect and prevent sound from leaving the stage.

Listening carefully to whomever was accompanying the performer and making sure those people were "following" the singing, not dragging the singer along for the ride.

It seems unfortunate, that Mario chose to allow those rehearsal tickets to be sold, and the various biographers made huge assertions, always saying "he desperately needed the money."

But, those tickets were far cheaper than the concert tickets themselves. Extra concert dates could have been added, with the higher ticket prices. Yet rehearsal tickets were sold.

Who were those tickets going to? "The Gallery," those folks who bought his recordings, and went to his films, time and again.

Mario always felt he had to be "perfect" for them during rehearsals, concert faultless.

He had to be "ON," not relaxed, not polishing and doing his pre-performance job.

Why did Mario have to be "On?"

Because the "press" was also in those rehearsal audiences, just waiting for a flub or mistake to write about salaciously, constantly digging at Mario's voice, body, and soul.

Mario deserved better, was owed adulation, commendation and accolades for his work.

What he got instead, was undeserved derision and ridicule. Even now, the nit-picking is still a constant.

***************

Mario Lanza gave so very much, and his memory should be honored as such.

Hopefully, his true fans, those who have found healing in his voice, through recordings, concerts and in his film performances, will continue to hold him in their hearts. And millions of new fans, will find joy in discovering him, once again.

MARIO LANZA MUSEUM LUNCHEON
Saturday August 24, 2024, 1:00pm-4:00pm

Mario Lanza Museum
1214 Reed Street Philadelphia, PA 19147

The afternoon features a complete showing of “The Great Caruso” starring Mario Lanza, Ann Blyth and Dorothy Kirsten. Lunch is from 1:00pm-1:45pm and the movie starts promptly at 2:00pm. Admission price: $35 per person.

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street
Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691. Seating is limited and on a first come first paid basis. No refunds or credits. No exceptions.

Street parking

Please RSVP by August 17, 2024, and let us know if you have any dietary restrictions.

Interesting memory of Lucia Albenese:"Lucia Albanese, with whom Mario sang the Otello duet in one of his films, (Serenade-1955) said he had the premonition of early death."

Quote on back of 1960 RCA Red Seal LP album
Back cover of "Mario Lanza sings Caruso Favorites"
Within Notes by : Francis Robinson "Caruso, His Life in Pictures"

Been trying to envision how much joy Mario Lanza would have had, had internet/cell-phones been available during his lifetime.

Just imagine, he would have had weekly zoom operas, with his favorite singers, and millions of fans could buy a ticket, not too expensive, and be right up close, watching/listening.

Of course, his e-mail inbox/messages fan-mail would fill up, and he have to hire a silicon valley fan to clean his phone after he read them all...saving those he wished to communicate with personally.

But my imagination pictures that big, huge smile on Mario's face as his voice could touch so many hearts...from his own living room. The mind boggles.

Wish someone techy could do a zoom concert with videos of his best songs/areas, as a fund-raiser for the Mario Lanza Institute. Then those who live far away, could participate.

Having just finished reading: The One Tenor" by Lindsay Perigo, a bit of perspective is needed.

1. Damon did the correct thing, tossing disingenuous biographies into a wall!!!

2. Totally disagree with any of those mentioned who criticized Mario's singing, even if they claim to be singers/musicians themselves. The jealousy was palpable. Nit picking his style or use of slight sharp to hit high notes squarely, and panning his passionate "musical" offerings, just seems cruel.
Most of those recordings show Mario pre-recorded them with no accompaniment and it was added later, many playing 1/2 note flatter, than the key he was singing in.

3. Trying to push mental illness on Mario's behavior, is pitiful.

Go through what he went through against studios/press corpse with a whole lot less talent, how would any performer fair? Not well.

Mario Lanza never declared defeat. After his firing from Metro, he waited those 3 years of contract, rehearsing constantly to stay vocally maintained, then bounced into movies/concerts.

When he was "fooled" by the first "Shower of Stars, 1954 that had planted newspaper/magazine critics sitting in the audience, rabidly waiting to pan him for mouthing-the-words.

Instead of folding up, Mario waited a month, then came back on the same show and sang LIVE, so powerfully it rattled the walls/ceilings.

4. His body-building with Terry Robinson produced pure muscle (which by-the-way adds as much, if not more "weight" to any body.) The scales should never be a judge of if anyone is "film-photo-ready."

Hope this doesn't offend, the book's only saving grace was the sweet memories of Jeff Pense's grandfather, Pastry Chef to the Stars.

Interesting interview Elissa Lanza Bregman with Neil Shaw.

https://www.youtube.com/watch?v=7Ugv0OfqJJo&t=67s

Which begs the question: With the "hints" Elissa and Neil mentioned, if Mario's severe nervousness wasn't fear OF singing, but fear, FOR THE SAFETY of his audience, while he was singing.

Having watched Mario's films, one comes away best-guessing that Mr. Lanza was leaving subtle messages to his "gallery" fans who loved music and his voice. Within the scripts he chose to bring to the screen or was forced to do, it seems bits of his personality like a bright light, speaks several hints, thoughout

1. Midnight Kiss (Hey, I can sing like Caruso!!!)
2. The Toast of New Orleans (Please sing so every word can be understood!!! Will sing like it's my last day on Earth. Becoming "genteel/Etiquette-trained" is not necessary for being a good man.
3. The Great Caruso (I learned there are more people in the gallery, and I sing for them!!)

4. Because You're Mine (Will sing for regular folks over "authorities'" demands.)

5. Serenade (To my loving fans who's letters kept me going, it was dreadful not to be able to sing, and this character brings the pain and overcoming adversity, to life.)

6. The Seven Hills of Rome (Watch this film for the key to why my voice never working in an Opera there.)

7. For the First Time (Help folks with disabilities at one's best, Otello death scene subtle message to prepare fans, probably diagnosed with something. This film was released 6 weeks before Mario passed away.)

8. The Student Prince recording 1958 (His vision of the stage version of the "original" Romberg Operetta.)

Opera Goes to the Movies Lecture Presentation
Saturday July 20, 2024, 2:00pm-4:00pm. Admission price: $25 per person.

Mario Lanza Museum
1214 Reed Street Philadelphia, PA 19147

A one-hour lecture/video presentation by MLI president Bill Ronayne on how opera has been presented in classic films of the 1930’s, 40’s and 50’s.

Clips include memorable performances by Lawrence Tibbett, Grace Moore, Beniamino Gigli, Lily Pons, Rise Stevens, Jeanette MacDonald, Nelson Eddy and Mario Lanza to name a few. There will also be assorted goodies to enjoy. Lecture starts promptly at 2:00pm.

Checks should be made out to Mario Lanza Institute and mailed to

Mario Lanza Institute 1214 Reed Street Philadelphia, PA 19147.

For information or to make a credit card payment call 215-238-9691.

Seating is limited and on a first come first paid basis. Nor refunds or credits. No Exceptions. Street parking.

Please RSVP by July 13, 2024, and let us know if you have any dietary restrictions.

One take Lanza, newspaper article San Diego Union, 8 August, 1955, about recording sessions for Serenade. Very believable showing the musicianship of Mario Lanza!!!

Just some perspective of fans of the 1950s, and their sacrifice to buy RCA Victor "Red Seal" albums.

UC Santa Barbara library (California)

https://adp.library.ucsb.edu/index.php/mastertalent/detail/103442/Lanza_Mario


Company Matrix No. Size First Recording Date Title Primary Performer Description Role Audio
Victor D9RC-1257 12-in. 8/23/1949 They didn't believe me Mario Lanza ; Ray Sinatra Tenor vocal solo, with orchestra vocalist, tenor vocal
Victor D9RC-1258 12-in. 8/23/1949 I know, I know, I know Mario Lanza ; Ray Sinatra Tenor vocal solo, with orchestra vocalist, tenor vocal
Victor D9RC-1259 12-in. 8/23/1949 Mattinata Mario Lanza ; Ray Sinatra Tenor vocal solo, with orchestra vocalist, tenor vocal
Victor D9RC-1282 12-in. 10/28/1949 O sole mio Mario Lanza ; Ray Sinatra Tenor vocal solo, with orchestra vocalist, tenor vocal
Victor D9RC-1283 12-in. 10/28/1949 Lolita Mario Lanza ; Ray Sinatra Tenor vocal solo, with orchestra vocalist, tenor vocal
Victor D9RC-1284 12-in. 10/28/1949 Granada Mario Lanza ; RCA Victor Orchestra Tenor vocal solo, with orchestra vocalist, tenor vocal
Citation

Chicago Style

Discography of American Historical Recordings, s.v. "Lanza, Mario," accessed June 13, 2024, https://adp.library.ucsb.edu/names/103442.

DAHR Persistent Identifier
URI: https://adp.library.ucsb.edu/names/103442

External Sources
Wikipedia: Mario Lanza

Discogs: Mario Lanza

Allmusic: Mario Lanza

Grove: Mario Lanza

IMDb: Mario Lanza

Linked Open Data Sources
LCNAR: Lanza, Mario, 1921-1959 - http://id.loc.gov/authorities/names/n82006511

Wikidata: Mario Lanza - http://www.wikidata.org/entity/Q299331

VIAF: http://viaf.org/viaf/59263552

MusicBrainz: Mario Lanza - https://musicbrainz.org/artist/09fa3805-2477-4944-9d30-e4e75fc92954

FAST: http://id.worldcat.org/fast/85559

****************

https://en.wikipedia.org/wiki/RCA_Red_Seal_Records
RCA Red Seal Records

Parent company
Sony Music Entertainment (2008–present)
Bertelsmann Music Group (1987–2008)
Radio Corporation of America (1929-1986)
Victor Talking Machine Company (1902-1929)
Founded
1902
Founder
Eldridge R. Johnson
Distributor(s)
Sony Masterworks
www.sonymasterworks.com
RCA Red Seal is a classical music label whose origin dates to 1902 and is currently owned by Sony Music Entertainment.

History

Victor Red Seal record circa 1940
The first "Gramophone Record Red Seal" discs were issued in 1901.[1] Later in 1902 the practice was adopted by the home office in the United Kingdom, which preferred to refer to the records as "Red Labels", and by its United States affiliate, the Victor Talking Machine Company, in 1903. Led by the great Italian tenor Enrico Caruso, then just at the beginning of his worldwide fame, Victor Red Seal records changed the public's valuation of recorded music. Caruso's first records, made by the Gramophone Company in Milan, Italy in 1902, earned prestige as well as profits for the company and its affiliates. Five of Caruso's Milan records were issued by Victor on the Red Seal label in the United States in March, 1903 and soon other famous opera stars and classical instrumentalists were attracted to the studios of both Victor and the Gramophone Company, consolidating the positions of these firms as the market leaders in the field of serious music by famous artists. The first Red Seal discs recorded by Victor in the United States were of the Australian contralto Ada Crossley on April 30, 1903.[2]

In 1950, RCA Victor began issuing vinyl LPs (originally introduced by Columbia Records in 1948), because they were losing artists and sales due to the company's resistance to adopting the new format.[3]

2. Drowne, Kathleen Morgan; Huber, Patrick (2004). The 1920s. Greenwood. p. 217. ISBN 978-0-313-32013-2. ... appeared on Victor's prestigious Red Seal label, whose records cost as much as *$7 A PIECE* (or almost 10 times as much as the company's pop records). During the 1920s, Victor spent millions of dollars advertising its premium-priced classical.

($7 was a fortune in households just coming out of two wars and a depression. It means he sold 18.5 MILLION records from "Be My Love/Because/Because You're Mine and Opera arias albums) when he won the gold records awards from RCA Victor, for both pop/classical albums) he had Hedda Hopper hand to him the gold records, with publicity shots. Millions more were sold after his other movies)

https://fiftiesweb.com/pop/prices-1950/
Prices in 1950

$1 in 1950 is worth $12.68 today if you factor in inflation.

House: $7,150
Average income: $3,216
Ford car: $1339-$2262
Philco model 1403 TV: $199
Admiral “home entertainment” TV system: $549.50
12″ records: $4.85
10″ records: $2.85
Milk: $.82
Gas: $.20
Bread $.14
Postage stamp: $.03
Pumpkins : $.02 cents a lb
Campbell’s Pork & Beans – (2) 1 lb. cans: $.25
Sirloin steak: $.77 lb
Kraft Mayonnaise – quart jar: $.62.

Mario Lanza, himself on the subject of his musical interests and his record collection:

"I get disgusted with fanatics on both [the classical and popular] sides who can't appreciate anything but their own narrow field. Whichever side they're on, they're missing a lot of good music.

"People who drop in [to my home] are sometimes surprised to find me listening to Duke Ellington or Frankie Laine, or Lena Horne or Bing Crosby. I don't see anything illogical in this. The next night they'd likely find me listening to Beethoven, Sibelius or Caruso." ---Lanza, 1952

And for those who have great-grandchildren or one day will:

The Great Caruso Transcript

Enrico: (After Because is played on record) "It's a wonderful thing. When the little Piccina is a beautiful old lady, she can play this for her great-grandchildren. You like when Papa sing? Huh?
When you are in love, it's the loveliest night of the year...stars twinkle above..."

It seemed that Mario Lanza said these words from a script, but never, ever forgot them.
Almost a mantra for his life.

Transcript from: The Great Caruso

Gatti: "One last thing, Enrico. Don't give so much, the Diamond Horseshoe prefers dignity, to passion. And take your hands out of your pockets."

Caruso; "No, Gatti, last time I tried to play the gentleman, I'm no gentleman so I do what you tell me. But today I learned something. America's full of people who sit in the galleries, and I can sing for them. Tonight a play a man who is cold, without a penny, and hungry. Up in the galleries, they know this man, I know this man, too. He keeps his hands in his pockets, whether the Diamond Horseshoe likes it or not!"

Enrico: “Yes, we must sing. It’s a funny thing. A man thinks he has a voice. The truth is the voice has the man. All my life it is this way. The day my mother died, I sang in a procession. and then all the important times in my life, when I want to be somewhere, the voice has to be somewhere else. It's a funny thing, a voice."

Just bits of trivia to put things in perspective, the artist Mario Lanza.

https://www.imdb.com/name/nm0487292/quotes/?ref_=nm_dyk_qu

I sing from the heart... I sing the words of a song and really feel them, from the top of my head to the tip of my toes... I sing as though my life depends on it, and if I ever stop doing that then I'll stop living
All my life I liked fun. I'm young and alive. I like people with heart. Even today when people get gloomy around me, I swear in high C and say, 'Let's get going ... you're fracturing me with this misery!'
I sing each word as though it were my last on earth.


https://www.imdb.com/title/tt0043599/?ref_=nm_flmg_t_7_act

*Lovely quote from "The Great Caruso"*

Enrico Caruso: It is true, Señor Barretto, that right now I sing for pennies. Pennies are not very important in a big house like this. But the singing, that is important everywhere. It makes people feel good inside, takes away the ugliness, the sadness, and it fills the empty place here. That too is something Señor, isn't it?

https://www.imdb.com/title/tt0043053/awards/?ref_=tt_awd
1951 Nominee Oscar
Best Music, Original Song
Nicholas Brodszky (music)Sammy Cahn (lyrics)

https://www.imdb.com/event/ev0000537/1952/1?ref_=nmawd_ev_3
Photoplay Awards
USA
1952 Awards
Gold Medal
WINNER
The Great Caruso, Most Popular Male Star
Mario Lanza

https://www.imdb.com/title/tt0050140/awards/?ref_=tt_awd
1959 Nominee Golden Laurel
Top Musical

https://www.imdb.com/title/tt0052817/awards/?ref_=tt_awd
1959 Nominee Grammy
Best Soundtrack Album, Original Cast - Motion Picture or Television
Mario Lanza
5th place.
For the song "Be My Love"

https://www.imdb.com/name/nm0487292/awards/?ref_=nm_awd
Walk of Fame
Mario Lanza
1960 Winner Star on the Walk of Fame
Motion Picture
On 8 February 1960. At 6821 Hollywood Blvd.
Mario Lanza
1960 Winner Star on the Walk of Fame
Recording
On 8 February 1960. At 1751 Vine Street

https://en.wikipedia.org/wiki/Mario_Lanza
Lanza was the first RCA Victor Red Seal artist to win a gold disc and the first artist to sell two and a half million albums.


https://nadiasmelser.com/discover-mario-lanza-superstar-tenor-who-took-hollywood-by-storm/
He was the first singer ever to earn gold records with million-plus sales on both the classical and pop categories.

Hedda Hopper interviews with Mario can be found here:
Sept 1951
https://vintagepaparazzi.com/is-mario-lanza-hollywoods-biggest-headache
Sept 1953
https://vintagepaparazzi.com/mario-lanza-answers-back/

Mario Lanza's "For the First Time" seems to be another premier type of film dealing with a disability.

Not many movies discussed invalids of any type.

Back in the 50s, families were encouraged to institutionalize children with handicaps, so as not to affect other children in the home, especially if those children needed constant care.

I often wonder if Mario received letters from partially-deaf people who could actually hear him on the radio, because his voice was so powerful.

Who knows but down the road in time, someone could have seen that film and encouraged the invention of "cochlear implants" which millions have gained hearing using that surgery. I like to think so, anyway.

Mario's film seemed to open a door, as in 1962 "The Miracle Worker" with Anne Bankroft and Patty Duke told of a nearly blind teacher that managed through incredible patience and sheer luck to "wake up" Helen Keller, who became an international sensation. The movie was Oscared and brought disabilities even further into the limelight.

Those of us who've raised children with disabilities and kept them in the home, with aid and services from schools/state health departments etc. find the rewards innumerable.

Thank you, Mario, for having the courage to be in a film, with such hope for the future.

Having read Cyril Ormadel's horrific criticism of Constantine Callinicos mouthing the words while Mario rehearsed with "HIS" orchestra. He sounds like the typical "orchestral conductor, who very seldom worked with soloists, and if he did, ran over them, drowning them out, or "forcing" any singer to follow the orchestra's pace.

He accused Mario of being dependent on Costa to get through a song, because his memory was faulty? NOT TRUE!!!

For those who have never sung with an orchestra, Mr. Callinicos, was making sure the British orchestra was following Mario's singing, not overwhelming or attempting to drown him out. It's common practice with opera/oratorio/operetta/musical orchestras, to rehearse ahead of time with the soloist.

Each word was to be heard clearly, and Callicos mouthed to the orchestra, to hold during long notes and allowed Mario to breathe easily. Costa was merely helping this orchestra follow the singers' requirements.
Cyril Ormadel probably never heard such a glorious voice as Mario Lanza possessed, which couldn't be drowned out by any orchestra.

It is sad that the interview containing that British conductor's faulty observation hasn't been refuted, more vehemently. It merely showed what a power-hungry musician he was, not having any consideration for an artist of Mario Lanza's caliber. Thank goodness Mario was used to having a musical advisor as part of his crew, to prepare the venue properly.

In memory of Mario Lanza's forever generosity, make a donation to:

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street
Philadelphia, PA 19147

It's been 65 years since the passing of Mario Lanza, yet I find myself constantly defending him, regardless of impressive resumes of others on various sites.

Using the only press diva that Mr. Lanza trusted, and gave credit to for helping get him the job in "the Great Caruso, after singing on her radio show, Hedda Hopper was one women he trusted.
https://vintagepaparazzi.com/is-mario-lanza-hollywoods-biggest-headache

Hedda Hopper interviews Mario, after the horrible Times Magazine article with "friends" accusing him of bitterness.
Photoplay magazine, January 1952.
Mario Lanza: So many columns say he should
change his favorite song to "Be my lunch,"
Mario Lanza has sent a script back to
producer Pasternak unopened, Mario
Lanza's head also needs reducing,
How big can you get?
The vicious whispering campaign against Mario,
whispering my hat bellowing would be
more like. It started during the
production of The Great Caruso.
It reached an explosive climax when Mario
refused to make "Because you're mine"
originally titled "The big cast." Mario's
studio accused him of being egotistical,
uncooperative, temperamental and
ungrateful. In short a headache.
Mario, I said over the phone the day he returned
from Oregon, I hear you're a prize
headache.
No Hedda No!! he shouted I'm not,
I'm not. Don't believe those horrible
things you hear about me. They're not
true!
Mario, don't you dare try to tell me that
you're not conceited, because I know you
are. You're no shrinking violet, my boy,
but who wants shrinking violets.

It was agreed that we would get together at
Mario's huge rented house in Beverley
Hills, the following afternoon.

If you have to take off weight, heaven forbid,
there's certainly no better place in the
world to do it than at Ginger Roger's
Rogue River Ranch near Medford, Oregon.

Ginger doesn't usually rent her ranch
which is her pride and joy,but when
Mario asked her, she relented . With his
attractive wife Betty, his manager, Sam
Weiler and his press agent, Jack Keller,
he spent four weeks there. He rode
horseback, he chopped wood, he fished and
he sweated over woodland trails in a
heavy rubber reducing suit.

When he left Hollywood he weighed 234 pounds. He was
down to 204 when he returned, 190 pounds
is his goal. He swears to me that he will
keep his weight down to this figure if
it kills him.

Well mario, I said after his
big effusive italian hug, what about this
hassle with your studio, who's calling
who what *as if i didn't know.*

Peace has been declared and peace, it's
wonderful!! said Mario happily. We got
together, they admitted their mistakes, I
admitted mine and now we're friends. It
was like this, Hedda. When I read the
script of "Because you're mine" i didn't
like it. However for the record, when
that item appeared in the columns, that I
had sent the script back to Joe
Pasternack unopened, i hadn't even
received it. I'd never do a rude thing
like that. But eventually i did get it
and when i read it i knew it was not for
me. I just couldn't follow Caruso with
that turkey! How do i get out of it, I
thought. I wracked my brain. I know, I'll
be the male Judy Garland.

The studio took Judy out of a picture when she became
overweight. I started eating everything
rich, something i like to do anyway and
soon I have gone up to 200 pounds but
the studio kept saying you look
wonderful, we'll start the picture next
week. Hedda, i looked awful and I realized,
I had figured it all wrong. I couldn't
let the public see me so fat and I
couldn't do that picture. I had the
nervous jim jams. I was moody, irritable
and then my wonderful wife, Betty took
charge. She asked the big boys at the
studio, Dori Schary, Eddie Mannix and Joe
Pasternak to come to our house, one by
one, so we could get to know each other
better. That afternoon Dore came. He said
he could only stay a few minutes.

Look you goon, I said. I want to be your
friend, I like you, I want you to like me
He stayed three hours. Dore and I
discovered we have much in common.
Mario continued, Dore Schary is his boss now
that Lewis B. Mayer has left the studio.
We have the same background, we were
brought up in poor neighborhoods of big
cities and we learned when we were kids
that we had to fight for everything we
got in this world. As kids, our instinct
was to fight first and think later. The
only trouble is, Mario grinned, I still
fight first and think later.

It was agreed finally, that Mario would be given
eight weeks in which to get into picture
trim and that the script of "Because your
mine" would be rewritten. Mario is on a
high-protein diet, this is a real hardship for a fun-loving,
food-loving fellow like Mario

I made a mistake in letting myself
get so fat Mario says with a sigh. I've
made a lot of mistakes but things happen
so fast. My greatest fault I have is, that
I do everything too much!!

That I believe. There's nothing halfway
about you, Mario.

Mario believes that much
of his bad publicity stems from the boys
at the studio who do not like him.
His trouble with the publicity boys, he
believes must have started in a midwest
city where he was giving a concert. The
studio press agent 2000 miles from home
base, imbibed rather freely and Mario
had to shove him none too gently, out of
the auditorium. He returned to the studio
with his knife sharpened.

Mario also got
off to a bad start with others of his
fellow workers when he promised to sing
at the studio party, given by the
technicians. He was in the midst of
production of "Toast of New Orleans" at
the time. It was a cold raw day and all
day, Mario had done one take of a scene
which showed him being hauled out of the (water)
studio tank. By three o'clock, his voice
was getting hoarse.

Look Joe, he said to the producer. I've
got to sing at the studio party tonight
let me go home and dry out.
It's more important that I get a scene finished
then that you sing for the studio boys,
said Pasternack. It was arranged with
Katherine Grayson that she would make a
lengthy announcement at the party
explaining that Mario had been dunked
all day and was completely waterlogged,
but instead Kathryn merely said Mario
can't be here tonight. The technicians didn't like it.
Mario was a snob and a stuffed shirt.
They thought, he could sing
at producers' parties, but he couldn't
sing at theirs.

Oh, oh i said, so that's
what started your feud with Kathryn
Grayson??

No Hedda, it isn't true. Mario insisted
Kathryn is one of my wife's best
friends. I like her very much and besides
I'm sentimental. I'll always have a soft
spot in my heart for Kathryn because
she was in my first two pictures.

Actually, Mario hadn't sung the producers'
parties for some time, though i can see
why the grips and technicians were
pretty sore.

As soon as a studio signs a
player on a term contract, they
immediately assume that they own him,
lock, stock and barrel. Soon after he
signed with Metro, Mario was asked to
sing at eight of Louis B. Mayer's parties,
Mario's motto is: don't put it in the
living room, put it on the screen. But he
wanted to be agreeable right away.

Other producers and directors started asking
him to sing at their parties. His real
blow-up came one night, when Mario was
having some of his good friends in for
one of mom's spaghetti dinners.
The phone rang and a very prominent hollywood
director insisted that he come over
right away and sing for his guests.
I,too, have guests!!!! exploded Mario.
Why don't you come over here and amuse my guests by
directing a picture.

It was thereby decided by many of the Metro biggies
that Mario was uncooperative and ungrateful.

Last fall, Mario was making his
first radio appearance on my air show.

He sang "Be my love," that started the
avalanche. Over a million records of "Be
my love" have been sold since then.

On tour, Mario wrote me. I am eternally
grateful to you, Hedda and you know, I
believe him. When he was given a gold
record for the one millionth sale, he would
allow no one to present it, but myself.

I read in an article lately. It said that an
army buddy of yours, Johnny Silver told a
magazine writer, that when you were at
the air base of Marfa, Texas, you didn't
take a bath for six months and you
didn't change your socks for six months,
true or false?

Hedda, said Mario quietly,
have you ever seen anybody who hasn't
taken off his socks for six months? I'd
like to see socks that hold up that well.

It's said in the same article that
Johnny Silver pasted your name on a
Frederick Jaggel record and not a Caruso
record and played it for Peter Lynn
Hayes, when he was recruiting soldier
talent for an army, air force show.

So help me Hedda, it was a Caruso record and I
pasted the label on it.

Mario was hurt that some of his former pals have turned
against him in print. Most of them were
friends to whom he had loaned money,
after he had gotten into the chips.

I even cook steaks for them, added Betty,
indignantly.

When one of his former pals
was approached by a reporter, he is
supposed to have said, i wouldn't have a
thing to say about that son of a
so-and-so.

It could well be, this man was
extremely disappointed because Mario
didn't get him a part in Caruso.

I tried to get a lot of the boys parts in my
films, said Mario, but Joe Pasternak has
his own ideas about casting.
Why should these guys turn on me?
There's only one word for it, Mario, I said.
Jealousy!

Our conversation was interrupted by the
appearance of Mario's two little girls
Colleen and Alyssa all dressed up in
ribbons and bows, to see Auntie Hetta. They're
little beauties with Daddy's dark limpet
eyes. Mario is simply crazy about them. He
had intended staying in Oregon, a month
longer but he couldn't bear to be away
from his babies. Twice a day, said Betty,
we'd have to drive the 35 miles to
Medford, so Mario could call home.

Mario is especially annoyed with an item that
recently appeared which said, Mario Lanza
wants out of his contract. This is very
ungrateful of him, as Metro discovered
him and made him the big name he is.

Mario wants it known that he has never
asked to be let out of his contract. He
considers his contract quite fair.
However he wants it known that Metro
didn't discover him. The concert that Ida
Coverman arranged for him at the
Hollywood Bowl, was his 76th concert.
He had been pretty well discovered before
then.

He loves being in pictures, is the
first to admit that they are the
backbone of his great success.

Pictures travel all over the world and
so fast. Through them, he's had many
concert dates, bigger and better radio
contracts and record contracts. He's
become so popular that a concert hall
can no longer hold the crowds that want
to hear him. When he goes on tour next
spring or summer, he will sing in
stadiums. Whereas he used to sing perhaps
to 2500 people now between 10, 000 and 15, 000
people a night, fight to get in to hear
that golden voice,
not only golden but powerful. A mirror
hanging on his living room wall bears
witness to its power. Mario, waiting for
his lunch, was listening to a recording
of tenor, Aurelino Pertile singing, "Adriana
Le Coeuver. Enthusiastically, he started
taking the high notes along with Pertile.
He was holding a "D" when his butler
entered the room. There was a shattering
sound. The mirror cracked from the
vibration of Mario's high tone. The
butler dropped his tray. Boss, he said. I
seen it with my own eyes.

And I can add,
that's a truthful man, I've seen it too!

Photoplay magazine, January 1952.

Hedda Hopper Sep 1953 Photoplay:
You've read many times and in many places how impossible and tempermental and big-headed Mario Lanza has become. He won't work, he won't report to the studio, won't do this won't do that, they report. Everybody has his say but Mario. Now here is his story.

But before I begin, I must go back several months to New Jerse, where Ra Fasano lay dying. She was ten ears old. An there wasn't much to distinguish her from thousands of other little girls except she was suffering from an incurable disease and she loved a movie star and he returned that love. He called her regularly; sang to her over long-distance; entertained her in Hollywood with her mother and nurse. But she was puzzled. She read so much criticism about her idol. "Why," she repeatedly asked him, "do people write such bad things about you?"

He could not explain; and for this child, and explanation wasn't really necessary. When Ray died, she was clutching a photograph of Mario Lanza, and it was buried with her. In Hollywood, the brawny battling tenor received the news and wept. I write of thhis incident because it is pertinent to my story of Mario, who for over a year has been the Mystery Man of Hollywood.

Little girl had photo of Mario and it was buried with her, he wept.

I write of this incident because it is pertinent to my tory of mario who for over a ear hhas een the mystery man of Hollywood. During that time, I've traveled extensively; everywhere I've gone people have wanted to know what was happening to Lanza. Why would he not answer the whacky stories and charges made against him> Was he having a nervous collapse? Had he gone high hat? Most of all, his fans wanted to know when Mario would sing again? Last winter, for example I was walking along a street in Mexico City, thinking I was incognito, whan a native stopped me and said, "You're Mario Lanza's friend. Can't youu persuade him to return to the screen and sing for us again?" I told him I'd try.

Frankly, I was puzzled too, because Mario had been a confiding friend long before he landed in pictures. He even put himself on the spot with other Hollywood reporters by publicity naming me as one of the three people responsible for his movie success. But when I thought he needed help most, he wouldn't answer my telephone calls. I wanted to tell his side of a stor that had assumed more ugly angles than a centipede has legs. I got flowers from him, yes, and notes too. But not one shred of information did he give me about his fight with Metro.
Finally I gave up. His fans didn't. Letters asking about Lanza continued to pour into my office. The most touching came from invalids, who depend much on radio for enjoyment. They simply couldn't understand why they were being deprived of the pleasure of hearing the Lanza program.

There were some tragic cases. A mother wrote that her small daughter had lost the use of her hands, but wouldn't exercise them to ge the strength ack. So she had to resort to a heartbreaking device. The child worshipped Mario; and ust before Lanza went on the air, a radio, with the volume turned down very low, was moved near her bed. To hear Lanza, the child had to use her hands to turn the dial, bringing the sound up.
Well, you can't skip or ignore a gu with inflence for good like that. Finally I got Mario on the telephone and said, "Listen youu big lummox, I'm getting hundres of letters from people who are really concerned about you. They need their faith in you reaffirmed. You owe it to them.
That did it. "Hedda," he said, " who don't you come on out to me houuse? I'll tell you anything you want to know.

I didn't waste any time in getting out to his beautiful Bel Air home. It's on a quiet street which is necessary because Mario's a light sleeper. He averages about 5 hrs of slumber a night under the best conditions. According to his wife Betty, loss of sleep caused by traffic noise so exhausted Mario that he couldn't start "The Student Prince" on schedule. But the new home, built on a hillside is as quiet as a country meadow.
Upon entering the house I noticed a ribbon earing this inscription: "The lion is dead. Long live the tieger,: and asked the meanig of it. Mario roared with laughter. "don't you get it?" he said. "Leo's the lion. I'm the tiger. The ribbon came off a wreath of flowers a friend sent me the day Metro fired me--that is, to put it legally, terminated my contract."
He led me into the living room, where "Betty, his wife and Constantine Callinicos his accompanist, and conductor were waiting for us.

Mario was in a happy bubbly mood that verred to half-mocking anger only when a person he loathed was mentioned. His face was completely relaxed. He was overweight, but this appearance was partially an illusion. Because of his rather short height, his huge chest and broad shouldres make him look heavier then he actuall is. But he has developed a pouch, and I said, "Too much red wine, my boy."

"No, Hedda, food," he declared "and speaking of food..." As if on cue a maid entered with a huge try of hors d'oeuvres.

"You idiot!" I sceamed. "I told you I was on a diet and not to tempt me."

"I got it all for you," he howled" and only the best--caviar, pate de foie gras, cheese, shrimp. Compe on. Let's live it up a little. I'm going into a strict training for a concert tour. I'll be gone eight weeks. And wouldn't you know it? I picked July and august, the hottest months of the year."

"Why didn't you go to England for the Coronation?" I asked."

"T. thought," he said, "it was more important to sell myself back to my own country first. I've taken a lot on the chin, but I feel that I owe lots to people who've remained loyal to me through all this trouble. I had a fabulous offer from England--$300,000 to sing there during the coronation week. You must bear in mind that I am not humble about myself, but also I am very honest. I don't believe in the malarkey of a person's being modest about his career. I've spent thousands of dollars to find out how valuable I am at the boxoffice. I want to show you something."

He left the room and returned with an armload of magazines from various countries. "I buy these every day and study them to see what my pictures are doing everywhere. If I don't deserve what I ask for, I don't want to lay claim to it. I'm not worth $300,000 offered me to sing a week in England; and I told the bidder so. I took that lesson from Caruso. When he was asked to sing for several times his average salary, he always declined, saying he "wasn't worth it."
"but I do know what my pictures have done. It was flattering when Metro sued me for $13,500,000. That was what the figured that my pictures would have made during my suspension. Did you know that 'The Great Caruso' brought in $19,000,000 the first year of it's release? I've got the facts; and the four pictures I've done took in $40,000,000. I don't maintain that I'm the greatest star; but I'm among the first three top draws in ever country.
"For a year I screamed about not wanting to do 'Because You're Mine,' and delayed it as long as possible. In it I was made a little boy and something of an idiot. It was not the kind of picture to follow 'Caruso' and foisting it on the public wasn't fair. I was right. Critics the world over said, 'This is no vehicle for Lanza.' I personally got 'The Lord's Prayer' number into that film. An that, I think, gave it some dignity and helped save it.

My biggest beef with Metro was that the studio wanted to be commercial, and I wanted artistic betterment. Put them together; they don't mix. I rebelled because my sincerity to the public and my career. I believe I'm qualified to speak. While we were making 'Caruso,' most of the big brass at Metro thought I had no chance of making a success with it. They said it had no exploitation value. Doing that picture was and inspiration and all through it, we worked under pressure. The picture shot in 31 days. I was in all but 12 minutes of the film. If I could do that, I figured I was qualified to speak out m views. I wanted to follow 'Caruso' with another big artistic picture with boxoffice value. But the front office didn't dig my angle. I was told, 'You were successful the last time out. So just keep on being successful. Just keep doing pictures."

"But, Hedda, of all the millions of people in the world, God gave this voice to me. Let's say it's not really mine. I'm just the keeper of it. And to the keeper goes the responsibility, which is not easy to shoulder. I love smoking and wine, for instance, but I had to give them up because they affected the voice. My thrill is in performing. When I sing, I like to think that tired people are transported into a world of illusion, for a little while, escape reality."

I was beginning to understand Mario. I saw him as a man who would sacrifice a fortune, battling the heads of a powerful studio for the sake of artistic integrity. Yet, he was the same fellow who used his God-given voice to sing, without pay, for a dying child. And for the first time I noticed he never said "my voice." It was always" the voice." It was as though he considered "the voice" something apart from the man.

Why didn't you do 'The Student Prince'?" I asked.

"I loved the script," he said. "Usually one is allowed 12-14 weeks for the musical recordings alone. We made them in 2 weeks. Most every number was done in just one 'take.' That has never happened before. Ask Costa." (This is his nickname for Collinicos.)

"It was the greatest thing Mario ever did," said Costa.

"Metro wanted to make a few bucks, and I wanted to make a good picture," said Mario. "The worst thing that can happen to a man is that those in control of his distiny fail to believe in him. I say, 'Take back your money, but believe in me.' The producers used to listen to my advice. But, when I became a big star, they said, 'We'll take the reins in on this so-and-so.' Did you know that no technical advisor was going to be used on the picture until I got hold of Costa myself?

Then I was asked to play the part as a Prussian. Such a character didn't match the voice. You don't just toss a song in a picture. You sing to what's later going to appear on the screen. But the studio couldn't see it that way. Call me immodest. But I felt that I was being treated cheaply when I was box-office Tiffany.

"Why did you keep silent and refuse to be interviewed all this while?"

"Because I had nothing to defend." Mario said. "If I'm honest, I don't defend. Had I made a statement, it would have confused people even further. Even now, I can't tell the entire truth because so many things are still in litigation. Haskin and Sells, one of the best auditing firms in America, is now going over my business records. It says that they're the most mixed-up accounts the firm's ever seen. But what was I to say? I've not been tied up in any scandals. I don't do night clubs. Primarily, I'm a family man."

"Well, what have you been doing with our time the past year?" I asked.

"Putting together one of the greatest repetoires you've ever heard," He said. "Let Costa tell you about it."

"Most people in the operatic field sing mostly well-known numbers," said Costa. "But in masterpieces, there are page and pages of unknown and wonderful material. Somebody has to be interested enough to find it. You can't buy the music, but many libraries have these selections. Mario has an instinct for looking through music and recognizing great but unfamiliar material. Most famous singers wouldn't dare take a chance on these numbers. But Mario, with his following, can. Wasn't he the guy that sold an aria from 'Aida' to the bobby-soxers?"

"If I find something wonderful that a man has written, isn't it my duty to present it to the public?" asked Mario. "We've spent a whole year putting a concert program together. The work, my children, and of course, Betty, have kept me from going off my rocker during all this trouble.
"Okay," said I, "let me hear what you've done with the voice. Go on, sing."

After a mild protest, he pawed through a stack of music, selected "Call me Fool" and "If you were mine"; and then with Costa at the piano cut loose as only Mario can. I was amazed. The voice was better than ever. The whole room shook with the vibrations from it. When he had finished, Lanza turned to me, looking like a little boy faking coyness over a job well done. "Why, you big baboon!" I exclaimed. "Your voice has the quality of Caruso's--plus an added element, excitement."

Mario flopped to a chair. "For those kind words what should I do for you? Drop dead?" Then continuing on a serious note, he added. "I wanted you to hear me sing and tell my side of the story so that you would understand what I've been fighting for. Mannie Sachs (Vice-president of RCA records) dropped by here the other day. He thought he knew me rather well, but he hadn't heard me sing in a year. So I sang for him. The guy cried. He seemed to be at a loss for words. All he kept saying was, "Why, you so-and-so,' which is cleaning it up because Mannie never cusses. Now let's have some pink champagne.

"No champagne, I said. I thought you weren't drinking."

"But this is a special occasion," he argued. "We started this thing together. Remember, way back in 1943 you were yelling about me and opera. You gave me a magnificent challenge by writing in your column that I could do 'Caruso.' And I did. Now we're starting over again together. We've got to toast the occasion."

I relented. We clinked glasses. Mario started playing back the score from "The Student Prince." "These are only working records, which I was to use in helping synchronize my singing with my acting. But listen, and you'll hear that each of them starts with 'Take one.' Then you'll believe that we made all the recordings in a single try." He seemed to be completely familiar with every detail of the picture before each record, he would explain the scene, graphically and warmly, that led up to the singing. Often, as if thinking I didn't quite believe him, he would turn to his conductor, "Wasn't that right, Costa?" Always Costa nodded his agreement.
The music seemed to transport Mario to another world. I don't think he cared who's voice he was listening to, so long as it was good. But the voice happened to be his own. Frequently he would point out something especially beautiful in the lyrics, or at some especially good note raise his fist to gesture subconsciously victorious achievement. Suddenly he yelled, "We've got caviar, champagne, friendship, music. Who needs anything else?"

His mood was infectious. We got to shouting "Bravo" and applauding each record. "Now comes a number called 'Serenade,'" said Lanza.

"Ann Blyth and I held hands while we did it. You see the boy and girl are in a boat. I sing softly at first, but I can get louder later. "That I can guarantee," I said, which touched off another storm of laughter from Mario. "Girl, you do dig me!" he exclaimed. " And they wanted me to play an arrogant Prussian to this kind of music!

"Curt Bernhardt (who was to have directed the film) told me to be more restrained--less emotional. But it's the only way I can sing," said Mario.

"That's the secret of Mario's great appeal," said Costa. "He's a romantic, unrestrained singer. Did you ever hear a Caruso record without a sob in it? I defy you to name one."

"You appreciate the lyrics as well as the music," I said to Mario.

"I live by words," he said. "A song must be a happy marriage between the lyrics and the music. My job is to tell the story of the words. Caruso is a legend because he sang every word. A critic once wrote about me: 'He sings every word as if it were his last on earth.' And I can't do otherwise."

"When are you returning to pictures?" I asked.

"I've got to get back on the road and meet people again first. I'll do only two concerts a week. So I'll have as much time to talk with reporters as they wish. This time," he said glowering at some memory, "the press won't be handpicked for me. I'll talk to everybody and answer any question I'm able to at the time. I'll be back in Hollywood in September. That's when I think everything will start popping. All our legal trouble should be straightened out. I love pictures because they reach the greatest number of people. I've been offered 'The Vagabond King' at Paramount; Serenade at Warners' and another musical at Universal-International. But the concert tour comes first. I've got to go out and show the public what I can do. When I sell myself to live audiences, I'll be ready to return to films. So far I've been working in silence. You have no idea how many albums of records I send out to hospitals each month. I'm going to give one concert in the memory of Ray Fasano. You spoke to her on the phone just before she died. The cute little monkey with the big brown eyes and questions that came at you as fast as machine-gun bullets. Hodgkins disease, which killed her, is a form of blood cancer. So I'm going to give the money I raise at the concert to the Damon Runyon Cancer Fund in her name."

"What about a career in Opera?" I asked. "You always said that was what you were aiming for."

"If you've seen Cinerama, you'll know that it's the greatest scene is that done by the LaScala Opera Company. It gave me an idea. I'd like to do an opera in it's entirety in that medium, using subtitles or good English translations of the lyrics so that everyone can understand the words. You could do that in Cinerama, eliminating the usual repetitions of opera. I think I could see such an opera, because I'm the first classical singer who ever sold a million copies of one record, and the first singer of any type to sell a million album records. We all had the same crack at the market. Finally, I want you to understand that my quarrel has not been with artists, but with executives who try to make you perform according to their way of thinking. I can sing to people only when they believe in me. You always have; and I hope you don't change. An artist needs the faith of his audience."

I closed my notebook and was preparing to go when Betty said, "Hedda, you can't leave without saying hello to our little girls. They've been waiting to see you." Colleen and Elisa, dressed primly in organdy and with red ribbons in their hair, were ushered in. Elisa, aged three, immediately went into a ballet dance. "She's a tough one," Mario said. "Listen to what a deep voice she has. Say 'Be quiet,' to Aunt Hedda, Elisa." The child replied. And hearing the deep voice coming from such a tiny little girl broke Mario up. She kissed her father and resumed her ballet step, whirling about the room with her hands held over her head. Then Betty brought in their newest, the son and heir, Damon. "He's already wearing clothes made for two-year-olds," said Mario proudly. "And look at that back--strong as steel. His life is already dedicated to being an executive hunter. But instead of Africa, he'll do his hunting in Culver City. Now I've got to show you one thing more," he continued. "Come down to the garden with me." I followed him down a flight of steps to his gym. Weights, dumbbells and other exercise equipment were stacked everywhere. Mario ducked into the boxing ring and pointed out that the ropes were made of white velvet. "We go all the way," he laughed. The whole family followed me to my car. Betty was carrying the baby. The two little girls waved. The California sun was sinking low over the scene; but for all it's brilliance, it was not as bright as the smile on Mario's face. And my own heart was smiling too.

"They got him down for a spell, but didn't lick him," I thought. "He's got his turbulent moments always, because he's a highly emotional guy; otherwise he couldn't sing as he does. He's learned his lessons the hard, expensive way. But he's gained a new integrity. Hollywood will never be able to destroy him; he'll be back bigger and better than ever.
He puts goose flesh up and down your arms and gives a tingle to your spine when he sings, and those top notes are no longer strained. As I drove down the hill toward home, I wished that little Ray Fasano had lived to glory in his future, which I feel will be far greater than anything he's done in the past. THE END

I come to these conclusions. Since not many are posting on forums much if at all, this probably won't be read, but:

1. Lack of sleep (Mario Lanza had extremely sensitive ears, could hear traffic miles away, slept only 5 hrs. a night normally. They had to find a home so far away from other humans, to find silence for those perfect-pitch ears Mario Lanza possessed.
2. Rehearsed six hours a day every day. For anyone who has sung at all, that's a punishing schedule. The damage to a larynx (tiny cuts that later grow scar tissue/polyps, Julie Andrews, prime-example) diaphragm, (stretching/retracting this muscle can produce tears/holes near the stomach-esophagus junction, that never heal properly) and lungs, (constant oxygen hyperventilation causing dizziness) is unimaginable. Is it any wonder Mr. Lanza would take time off to recover and probably still would be rehearsing.
3. Picking songs for his radio show, 55 performances, 110 pieces of music, many that had little air-time anywhere else. The same with choosing pieces for his concert tours, going to libraries that contained music never performed and finding gems to sing. He used his God-given talent with no-holds-barred performances.
4. How does one reward oneself for a job well-done. There are very few ways. Massage/chiropractic is one, stretching is another, and food is another. With six hours a day of tears, sweat and strain on every organ to produce perfect vocal sound, food/drink is a way to re-energize. No other way works.
5. Donating his recordings to hospitals, and proceeds from some of his performances to cancer research *Damon Runyon Cancer Research now part of St. Jude's) after being so kind to a dying child, Little Rafella Rasano.

Spontaneously singing in streets for free to fans around the world. And probably we may never hear or know about any of them.
6. No one will never know the sorrow and damage to a broken heart, that of being blamed for the demise of "The Student Prince." Mario Lanza wanted to produce a superior product, not just fluff, missing libretto and stiff-dialogue. He may have been promised a Cinerama version on a full stage, singing Romberg's original operetta. When he came back from tour, he was "forced" to do an army propaganda movie to promote the draft during Korean War starting up. He was tired of the lack of seriousness his singing was being used for in movies. His first three films had fight scenes ruining cantinas/bars or in two films, tearing up dressing rooms (one petulant over-weight tenor, did it twice in the same film.) Mario did not like characters that were weak, brutal or dismal, (over-weight immature singers with attitude/vicious jealousies and phony Italian accents.) He wanted his films to show his audience how important classical operatic/operetta/Neopolitan songs were, He even told of his dream of doing LaBoheme, with Ezio Pinza, LIcia Albenese and himself, in Cinerama. He no longer wanted the classics to be the butt of bad jokes.
7. The biographies do tell that Mario Lanza had pneumonia, that particular disease makes one cough endlessly almost non-stop, never able to catch a breath, constant choking phlegm that never leaves, these actions tearing more diaphragm muscle. No sleeping during coughing jags. Lungs filling with liquid that almost drowns the victim. Can last up to two years with very little doctors can do. The suffering is horrifying, both for the sufferer and his family, unable to help. The loneliness of illness for those who've had it is killing in it's effects. How do I know? I was a singer, for 20 years, local Oratorio soloist, and had just joined the local Opera Company (Dramatic Coloratura) when disaster from the Hong Kong Flu, struck. Tore the diaphragm into holes coughing for 2 years straight, turned to asthma. Managed to survive, but the voice didn't survive. Could still sing but without breath-control...all was lost. I have very deep empathy if indeed Mario had contracted that first pandemic in 1958-1959 referred to as the Asian Flu. Many people coughed so hard they broke ribs, and the death tole was awful.

Perhaps, one day, defending Mario Lanza will not be necessary...just helping his memory contain his vision, showing the importance of Classical arias using actual lyrical Music, with it being portrayed on-the-silver-screen, once again.

Albert Hall Concert

RAH 3

RAH 2

Royal Albert Hall photos

Re: The Prince Albert Hall Concert album and defending Mario Lanza from critics who said he wasn't a musician.

In my humble opinion, one of the best albums available to us.
Wish there had been a filming of it...(The BBC destroyed all their black x white films to make room for color ones. Australia/Canada still had the old copies, which is why years of BBC productions of bxw films are available.)

The admiration I have for the people on the stage risers, behind Mario...not moving/coughing/sneezing and keeping their feet quiet during the recording. Absolutely amazing. They probably were told not to applaud with their hands, to avoid recording microphone squeal, but toward the end, they did use feet on risers to applaud.

In appreciation for their silence on all the songs previous, Mario gifted them with "La Donna Mobile" sung facing them. They'd only seen the back of his shoes/suit and head for the entire performance...he wanted his "gallery" to see and hear him fully. He called them his family, one wonders if they weren't students from various musical/opera academies around London, as they followed the "silence" instructions so well, one could hear a pin drop. "The cheap seats" got his attention, as he always knew who his true audience was...the common people, not the diamond-horseshoes. Those who saved meager wages to buy his RCA victor record albums.

It was also quite enlightening to hear Mario falsetto-warm his voice/larynx while Costa played the introduction to his first song. It's so high one could almost miss it, but it's there..ringing like a bell.

RE: Those who've criticized Mario Lanza, claiming he wasn't a musician...what?? I highly protest!!!

For a man who was blind in one eye from suffering a convulsion as a baby, he probably had huge difficulty reading sheet music containing any treble/bass line with very tiny notes.

How do I know? I have developed Macular Degeneration in one eye, the other was saved via the shots...and preserved the peripheral of the blinded eye. Trying to see anything on a written page is a struggle, many times starting headaches. Can totally empathize with an struggle Mario had in attempting to learn to read music.

Who makes the judgement that "learning by rote" is a less-than way of attaining musical skills?

It amazes me how brilliant Mario Lanza was in being able to hear a song/aria once, memorize it and reproduce all the words, and sing them with such power and passion. Then continue to retain them full, on radio shows, in concerts and movies. His private rehearsal time, the development of all the nuances of each piece of music certainly proved itself in all he produced. Hollywood didn't call him "one-take" Lanza for nothing.

So yes, ruinous publicists, supposed fans, old friends and co-workers, read carefully. Mario Lanza was a superb musician, hands-down the greatest tenor who ever lived.

MARIO LANZA MUSEUM LUNCHEON
Saturday June 22, 2024, 1:00pm-4:00pm

Mario Lanza Museum

1214 Reed Street
Philadelphia, PA 19147

Featuring a lunch of hoagies, salads and assorted goodies plus a complete showing of “The Toast of New Orleans” starring Mario Lanza, Kathryn Grayson and David Niven.

Lunch is from 1:00pm-1:45pm and the movie starts promptly at 2:00pm. Admission price: $35 per person.

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street
Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691. Seating is limited and on a first come first paid basis. No refunds or credits. No exceptions.

Street parking

Please RSVP by June 15, 2024 and let us know if you have any dietary restrictions.

Thank you, have loved Mr. Lanza since age 5, watching "The Great Caruso" in theater.

Thank you, David. You're so right in noting this anniversary. Talk about a STUPENDOUS day in the studio!

Mario served notice to the planet with those recordings. In fact, he had the world at his feet from that point forward. On the other hand, how can any one human being be expected to easily handle such a vocal gift from the Gods and the staggering acclaim that was to come next? As history shows, his peerless passion, physical gifts and emotional commitment to 'the voice' - and to each song - also revealed the extreme sensitivity that made him so magnificent. And prone to being conned and taken advantage of.

The raw, unmatched emotional soul that made him the greatest voice of the last century also contributed enormously to the conflicts that were to come. The whole Shakespearean storyline is so full of 'could have'...'should have' and 'would haves' it's overwhelming. Thank God, we do have the audio and video to celebrate this unmatched vocal instrument. And just for fun, I suspect many of you realize that AI audio and video are opening doors of astonishing technology.

I suspect Mario will sing again...soon.

Today is a significant milestone in the history of music and Mario Lanza. It was 75 years ago today, May 5, 1949, that Mario made his first four commercial recordings in Manhattan Center in New York City, with Constantine Callinicos conducting. They are shown here, looking at the sheet music for one of the two Neapolitan songs they recorded that day, "Mamma Mia, Che Vò Sapé?" They also recorded "Core 'Ngrato" and two arias - "Che gelida manina" and "Celeste Aida."

Those four tracks, along with two popular songs Lanza recorded in Hollywood that August, "They Didn't Believe Me" and "I Know, I Know, I Know," with Ray Sinatra conducting, were released that fall on Lanza's first RCA Victor Red Seal album, "That Midnight Kiss." It reached #2, Lanza's first appearance on the Billboard album charts.

Just following on from Bill's post below about the new Sepia Records Lanza CD "Golden Days," here is a wonderful video by Vince Di Placido that perfectly explains the unique process known as Digitally Extracted Stereo (DES) that was used on this exciting disc:

https://www.youtube.com/watch?v=txhw9jsDRxc&t

The wonderful new all DES CD from Sepia, "Golden Days" is number 10 on the Billboard Traditional Classical Albums Charts this week! A great achievement for all concerned and especially Mario! It can be purchased in person at the Lanza Museum (1214 Reed St Philadelphia, PA 19147) or by mail order. It's $15 + $5 S & H. Send a check made out to Mario Lanza Institute to the museum address or call 215-238-9691 to place a credit card order or when ordering more than one CD. USA orders only. A track listing can be found at the following link: www/mariolanzainstitute.org/store/CDs. Best, Bill

MARIO LANZA MUSEUM BENEFIT DINNER

May 22, 2024, starting at 6pm.

The Victor Cafe
1303 Dickinson Street
Philadelphia, PA 19147


3 course menu with a cash bar per table. $80 per person

Come join us as we enjoy the wonderful cuisine of this legendary restaurant and the fine voices of the singing wait staff all in support of the Mario Lanza Museum.

Checks should be made out to Mario Lanza Institute and mailed to

Mario Lanza Institute
1214 Reed Street
Philadelphia, PA 19147.

For information or to make a credit card payment call 215-238-9691.

Seating is limited and on a first come, first paid basis. No refunds or credits. No exceptions. Valet and street parking. Please RSVP by May 15, 2024, and let us know if you have any dietary restrictions.

Best, Bill

NEW SEPIA CD NOW AVAIABLE FROM MARIO LANZA MUSEUM!

Golden Days ~ Mario Lanza

This all Digitally Extracted Stereo CD features a collection of some of Mario Lanza's finest recordings of opera, operetta and song in the best possible sound. A full track listing can be found on the MLI's web site https://www.mariolanzainstitute.org/store/cds/.

$15 plus $5 shipping and handling.

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691.

Please disregard the mention of The Victor Cafe in the previous post. 


NEW SEPIA CD NOW AVAIABLE FROM MARIO LANZA MUSEUM!

Golden Days ~ Mario Lanza

The Victor Cafe
1303 Dickinson Street
Philadelphia, PA 19147

This all Digitally Extracted Stereo CD features a collection of some of Mario Lanza's finest recordings of opera, operetta and song in the best possible sound. A full track listing can be found on the MLI's web site https://www.mariolanzainstitute.org/store/cds/.

$15 plus $5 shipping and handling.

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691.


SERGIO FRANCHI ~ THE ROMANTIC TENOR LECTURE PRESENTATION
Saturday April 20, 2024, 2:00 pm – 4:00 pm

Mario Lanza Museum


1214 Reed Street
Philadelphia, PA 19147

Featuring a look at the life and career of the legendary Italian tenor with performance clips from many of his television appearances. There will also be assorted goodies to enjoy.

Event starts promptly at 2:00pm.
Admission price: $25 per person.

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691.
Seating is limited and on a first come first paid basis.
No refunds or credits. No exceptions.

Street parking.

Please RSVP by April 13, 2024, and let us know if you have any dietary restrictions.

MARIO LANZA MUSEUM LUNCHEON
Saturday March 23, 2024, 1:00 pm – 4:00 pm.

Mario Lanza Museum
1214 Reed Street Philadelphia, PA 19147

Featuring a lunch of hoagies, pasta salad and assorted goodies plus a complete showing of “That Midnight Kiss” starring Mario Lanza and Kathryn Grayson.

Lunch is from 1:00pm- 1:45pm and the movie starts promptly at 2:00pm.
Admission price: $35 per person.

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691.
Seating is limited and on a first come first paid basis.
No refunds or credits. No exceptions.

Street parking.

Please RSVP by March 16, 2024, and let us know if you have any dietary restrictions.

What is Bel Canto? Lecture/Presentation

Saturday February 24, 2024, 2:00 pm - 4:00 pm

Mario Lanza Museum
1214 Reed Street
Philadelphia, PA 19147

Admission price: $25 per person

A one-hour lecture/video presentation by MLI president Bill Ronayne on the operatic singing style. Clips include a discussion with Joan Sutherland, Marilyn Horne, Luciano Pavarotti and Richard Bonynge as well as performances featuring Maria Callas, Carlo Bergonzi, Alfredo Kraus and Teresa Berganza among others. There will also be assorted goodies to enjoy.

Lecture starts promptly at 2:00pm.

Checks should be made out to Mario Lanza Institute and mailed to Mario Lanza Institute 1214 Reed Street Philadelphia, PA 19147. For information or to make a credit card payment call 215-238-9691.

Seating is limited and on a first come first paid basis. No refunds or credits. No exceptions. Street parking. Please RSVP by February 17, 2024, and let us know if you have any dietary restrictions.

Mario Lanza Birthday Remembrance Party
Saturday January 27, 2024, 1:00 pm – 4:00 pm

Mario Lanza Museum
1214 Reed Street
Philadelphia, PA 19147

Join us for special afternoon as we commemorate the 103rd anniversary of Mario Lanza’s birth.
The afternoon features a special performance by soprano Dominika Zamara and guitarist Stanley Alexandrowicz, a Mario Lanza video presentation plus hoagies, pasta salad and birthday cake.
Party starts promptly at 1:00pm.

Admission price: $35 per person.

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691.
Seating is limited and on a first come first paid basis.
No refunds or credits. No exceptions.

Street parking.

Please RSVP by January 20, 2024, and let us know if you have any dietary restrictions.

MARIO LANZA MUSEUM CHRISTMAS PARTY
Saturday December 2, 2023, 1:00 pm – 4:00 pm

Mario Lanza Museum
1214 Reed Street Philadelphia, PA 19147

Join us for special afternoon as we ring in the holidays. The afternoon includes pizza and other goodies, a memorabilia donation presentation, a commemoration of the 100th anniversary of the birth of Maria Callas and the playing of Mario Lanza’s recordings of Christmas songs and carols.

Party starts promptly at 1:00pm.
Admission price: $25 per person.

Checks should be made out to Mario Lanza Institute and mailed to:
Mario Lanza Institute
1214 Reed Street Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691.

Seating is limited and on a first come first paid basis.
No refunds or credits. No exceptions.
Street parking.

Please RSVP by November 25, 2023, and let us know if you have any dietary restrictions.

MARIO LANZA IN GREAT MOMENTS FROM ITALIAN OPERA LECTURE PRESENTATION
Saturday November 11, 2023, 2:00 pm – 4:00 pm

Mario Lanza Museum
1214 Reed Street Philadelphia, PA 19147

Join us for lecture/presentation given by MLI president Bill Ronayne featuring Mario Lanza in clips from his films of arias, duets and an ensemble from Italian opera. Light refreshments will be served.

Lecture/presentation starts promptly at 2:00pm.
Admission price: $25 per person.

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691.
Seating is limited and on a first come first paid basis.

No refunds or credits. No exceptions.
Street parking.

Please RSVP by November 4, 2023, and let us know if you have any dietary restrictions.

MY FRIENDS I AM SOON GOING TO HAVE A MAJOR CHANGE IN MY LIFE. YOU SEE I AM 74 NOW AND AM GOING TO ENTER WHAT IS CALLED "INDEPENDENT LIVING" AT A SENIOR CENTER I HAVE FOUND AFTER LOOKING A GOOD BIT. I NEEDED PLENTY OF SQUARE FOOTAGE TO HOLD MY STEINWAY PIANO, MY HUGE STEREO SYSTEM, AND MY VIDEO PROJECTOR. I ALSO JUST ADDED A PROJECTOR THAT SHOWS THE OLD 3D VIEW-MASTER SLIDES. I DIDN'T EVEN KNOW SUCH A PROJECTOR EXISTED UNTIL I STARTED LOOKING AT 3D TITLES ON EBAY. IN SHORT THE "SUITE" I HAVE CHOSEN FILLS ALL MY WANTS. IT HAS TEN FOOT CEILINGS SO I CAN PUT MARIO'S MOVIE POSTERS WAY UP HIGH WHERE HE'LL BE LOOKING DOWN AT ME AND ANY GUESTS I INVITE IN. THE PLACE WELCOMES MOVIES AND HAS A VERY NICE THEATER WITH PLUSH SEATS AND EVEN A STAGE TO PERFORM ON. I ASKED THE TOUR GUIDE IF I COULD SING ON THAT STAGE AND SHE SMILED AND SAID "OF COURSE" AND MAYBE I CAN EVEN HOLD A KARAOKE SESSION FOR OTHERS TO SING.

I WAS WHAT I CALLED MYSELF "EUPHORIC" WITH SUCH WARM FEELINGS IN MY HEART AND HEAD. SOME COMPARE THE PLACE I AM GOING IN TO BEING ON A CRUISE SHIP DAILY! I WON'T KNOW FULLY UNTIL A FEW WEEKS GO BY AND I AM MORE FAMILIAR WITH MY SURROUNDINGS AND HOPEFULLY NEW FRIENDS I WILL MAKE. ANNA IS ALSO GOING INTO A SENIOR CENTER BUT NOT THE SAME AS ME. SHE SAVED HER MONEY FOR THE HIGHEST RATED CENTER IN THE MEDIA PA AREA. WHILE I BOUGHT LOTS OF COLLECTIBLES, MY MONEY WAS INVESTED IN THEM. I CAN'T SAY WHO WAS THE SMARTEST BUT TIME WILL TELL.

I WATCHED A WONDERFUL DOCUMENTARY ON THE BEATLES TONIGHT. ACTUALLY IT IS PART OF A FOUR DVD SET THAT INCLUDES ALMOST ALL OF THEIR GREATEST HITS. I AM UP TO THE POINT WHERE JOHN LENNON MEETS YOKO ONO.

THEN I PUT ON "THE GREAT CARUSO" LOUDER THAN LOUD AND I WAS THRILLED TO THE CORE. PERFECTION IN SINGING BY MARIO AND A SOUNDTRACK THAT ACTUALLY WON AN ACADEMY AWARD FOR BEST RECORDING!

HOWEVER, I STILL CAN'T SEE THAT DAMNABLE FLY!!!

IF ANYONE WOULD LIKE TO HEAR THE ALTERNATE "SERENADE" OPENING, ALL I NEED IS YOUR EMAIL ADDRESS. HAPPY TRAILS!

I WONDER IF YOU GUYS KNOW THAT IN THE EARLY RELEASES OF "SERENADE" MARIO SINGS WHILE THE OPENING TITLES ARE RUNNING? I FOUND AN OLD VHS CASSETTE AND SCREENED IT AND THERE HE IS SINGING FOR TWO MINUTES AND TWENTY TWO SECONDS. IT IS A FASTER TEMPO SO IT FITS THE TITLES PERFECTLY. HIS SINGING IS BOISTEROUS TO SAY THE LEAST. HE SINGS IT WELL BUT YOU HAVE TO BE READY FOR HOW DIFFERENT THIS IS FROM THE TWO OTHER TIMES HE SINGS THE TITLE SONG IN THE MOVIE. I ASSUME THAT BY THE TIME "SERENADE" CAME OUT ON DVD, HIS VOICE WAS REMOVED AND ALL YOU HEAR IS THE SONG WITH ORCHESTRA ONLY AND NO VOICE.

THE ANSWER IS THAT MARIO'S CHARACTER'S NAME IN "TOAST OF NEW ORLEANS" IS PEPE AND HIS CHARACTER'S NAME IS PEPE IN "SEVEN HILLS OF ROME".

I HOPE BILL RONAYNE'S SHOW TODAY AT THE MUSEUM WAS SUCCESSFUL. I AM SURE ALL HAD A GREAT TIME.

I HAVEN'T GOT MUCH NEW TO SAY FOLKS. BUT I DO HAVE A QUICK QUESTION. WHERE DOES THE NAME "PEPE" APPEAR IN MARIO'S MOVIES? IF NO ONE POSTS AN ANSWER, I'LL TELL YOU TOMORROW!

JUST A REMINDER THAT SATURDAY (SEPTEMBER 16TH) PRESIDENT BILL RONAYNE WILL BE ON HAND TO DO ANOTHER MUSEUM SHOW. THIS ONE WILL FEATURE HIS TALK AND THEN HE WILL SHOW "THE SEVEN HILLS OF ROME" TO ALL FANS THERE. I FEEL THAT SEEING THE FILM, NO MATTER HOW OFTEN YOU HAVE SEEN IT BEFORE, TAKES ON A NEW MEANING WHEN YOU ARE IN THE COMPANY OF FELLOW MARIO LANZA FANS. THE SHOW STARTS AT 1 PM AND WILL END AROUND 4 PM. FOR 35.00 YOU GET ADMISSION AND THE FINE LUNCHEON THAT INCLUDES HOAGIES, A PASTA SALAD, AND MORE.

NOTE THAT IF ANYONE IS NEAR THE MEDIA, PA. AREA I NEED A RIDE TO GET TO THE MUSEUM AND OF COURSE A RETURN RIDE. RIGHT NOW MY PA. DRIVER'S LICENSE HAS BEEN REVOKED (A LONG STORY!). WHEN I AM REINSTATED I WILL BE ABLE TO DRIVE AGAIN AND ESPECIALLY APPRECIATE THE GREAT TESLA MODEL S (SOR SAM!) I OWN.

HOPE TO SEE EVERYONE SOON!

TONIGHT I WATCHED AN ACTION MOVIE WITH MUCH SUSPENSE AND EXCITEMENT. THE TITLE IS "BROKEN ARROW" AND STARS JOHN TRAVOLTA AND CHRISTIAN SLATER.

AFTER THAT I WANTED TO PLAY ONLY THE SONGS FROM "THE TOAST OF NEW ORLEANS". THIS IS EASY WITH YOUR REMOTE CONTROL IN HAND.

I HAVE ONE OBSERVATION TO MAKE, WHICH I DON'T THINK I HAVE EVER EXPRESSED HERE. IN MARIO'S FIRST TWO MOVIES, HE USES HIS HANDS VERY LITTLE WHEN SINGING. IN "CARUSO" YOU SEE THE START OF THIS FEATURE THAT MAKES HIM UNIQUE AMONG TENORS PAST AND PRESENT. BY "BECAUSE YOU'RE MINE", HE IS IN FULL SWING. THE BEST EXAMPLE IS "GRANADA", WHERE HE TAKES WHAT HAS BEEN CALLED "THE PRIZEFIGHTER STANCE".

OUR BOY HAD IT ALL: LOOKS, ACTING SKILL, LIP SYNCHING, REACTING TO OTHER CAST MEMBERS, AND OF COURSE THE GREATEST TENOR VOICE EVER.

I CANNOT BELIEVE THE POOR VERSION I WROTE HAS APPEARED AGAIN. I WILL GIVE IT ONE MORE TRYDEAR READERS,PLEASE FORGIVE THE LAST (AND AWFUL)POST BELOW. IT STARTED OUT OKAY BUT THEN WENT IN LEFT FIELD. I LOVE THIS SHOW SO MUCH AND WAS ASHAMED OF THE MESS BELOW. DON'T TRY TO TACKLE ANYTHING LIKE THIS ON ONLY FOUR HOURS OF SLEEP!F

I SHIFTED GEARS TONIGHT AND INSTEAD OF WATCHING A LANZA FEATURE, I PULLED OUT THE BLU RAY OF "THE GREAT CARUSO" AND AMONG THE "EXTRAS" IS THE GREAT DOCUMENTARY DEREK MANNERING DID. IT'S TITLE IS "SINGING TO THE GODS". IT IS ONE OF THE BEST OF ITS KIND. IT STARTS RIGHT IN WITH JEFF RENSE SPEAKING VERY WELL ABOUT THE LANZA VOICE BEING SO HARD TO DESCRIBE, LIKE A WALL OF SOUND. FROM THERE WE SEE INTERVIEWS WITH DEREK (HIS STYLE IS LAID BACK AND COMFORTING) AS HE SPEAKS OF THE MANY EVENTS IN MARIO'S LIFE. BRAVO DEREK!!

WHAT MAKES THIS DOCUMENTARY MORE SPECIAL THAN THE LAST ONE NAMED "THE BEST OF EVERYTHING" OR SOMETHING CLOSE TO THAT, IT DOES ONE THING WITH THE RATIO THAT NORMALLY A PURIST LIKE ME WOUKD AVOID, BUT I LIKED HOW THE ENGINEERS INCREASED THE RATIO FROM THE USUAL SMALL AND SQUARISH ONE IN FAVOR OF THE EXPANDED LOOK!

IT GOES ON SELECTING PEOPLE TO INTERVIEW THAT WERE KNOWLEDGABLE ABOUT MARIO WHETHER SINGING OR AT HOME ENJOYING HIS KIDS AND BETTY. IT GOES BACK IN TIME TO WHEN TERRY ROBINSON WAS HIRED BY NGM TO BE IN SHAPE FOR HIS FIRST MOVIE "THAT MIDNIGHT KISS". THIS WAS UNBEKNOWNST BY THE VIEWERS WOULD SET THE STANDARD (A DANGEROUS ONE) THAT LASTED TO HIS END.

HOW NICE TO SEE HIM COMPLETELY AT EASE IN THE EARLIEST PAARTS OF HIS MOVIE CAREER. YET IT WAS COMPARATIVELY SHORT. AFTER ONLY A COUPLE YEARS HE WAS UP AND DOWN. THEN COMES A FILM LIKE"BECAUSE YOU'RE MINE". HE WOULD DO CHILDISH THINGS LIKE EATING GARLIC BEFORE A KISSING SCENE WHICH REQUIRED HIM TO KISS CO-STAR DORETTA MORROW. OF COURSE SHE HAD CONSTANT BAD BREATH BECAUSE SHE WAS A CHAIN SMOKER. PLUS HE ARGUED WITH THE THEN MGM HEAD DORY SHARY. FIRST HE SAID HE WANTED ANOTHER DIRECTOR SINCE THE CURRENT ONE HAD THE NERVE TO CRITICIZE THE MOVIE AND DOWN HIS SINGING. YOU JUST DON'T DO THAT TO SINGER LANZA. NEITHER WOULD BACK DOWN AND THAT STARTED A FIGHT THAT AFFECTED THE REST OF HIS LIFE. ACTOR EDMUND PURDOM TOOK OVER HIS ROLE WHILE MARIO ENDED UP BEGRUDGINGLY THE RIGHT TO USE HIS VOICE IN THE MOVIE. THE ROLE OF THE STUDENT PRINCE WOULD HAVE BEEN A TOUGHING ONE FOR MARIO WHO WOULDN'T PLAY HIMSELF FOR A CHANGE. SADLY LANZA WOULD END UP WITH NO WORK AND HE WASTED TWO PRECIOUS YEARS OF HIS LIFE EATING AND DRINKING UNTIL WARNER BROTHERS TOOK A CHANCE ONO HIM AND PAID WELL FOR THE RIGHTS. A GREAT FILM IT WAS, BUT A LOSER FINANCIALLY. I SPEAK OF COURSE ABOUT "SERENADE", A GREAT ACCOMPLISHMENT FOR MARIO BUT ONE WITH FINANCIAL TROUBLES.

MARIO TOOK THE FAMILY TO ITALY AND WAS CONVINCED THIS WOULD BE A NEW START FOR HIM. HE NEVER WENT BACK TO THE UNITED STATES. HE DID WORK ON TWO MOVIES AND TOURED WITH CONCERTS THAT SPREAD HIS GENIUS FOR ALL TO SEE HIM LIVE AND NOT DUBBED. HE STILL BLEW A LOT OF POSSIBILITIES LIKE THE OPERA STAGE FOR ONE. AND NOT ENOUGH TELEVISION WORK. IN HIS LAST DAYS, THE DOCUMENTARY FOUND ONE MAN IN THE CLINIC MARIO ADMITTED HIMSELF TO FOR A NEW TREATMENT. HE WAS DRIVEN TO TEARS RECALLING HOW HE DIED THERE OF A PULMONARY EMBELISM THAT WOULD TRAVEL TO HIS HEART. THE DOCUMENTARY GOES ON TO TELL ABOUT THE THREE FUNERALS HE WAS GIVEN. ONE QUICK SHOCK SHOWED HIM ALL BLOATED AND STUFFED INTO A CASKET TOO SMALL. THE SAD ARIA PAGLIACHI ENDS THE FINE DOCUMENTARY. IT'S TIME TO SAY HERE BRAVO DEREK!

I SHOULD MENTION HERE THAT THROUGHOUT THE FILM MANY KNOWLEDGABLE PEOPLE SPOKE OF WHAT THEY KNEW. LIKE HIS DAUGHTER ELISSA COMPARING HER FATHER TO A RACEHORSE LET OUT OF THE STABLE RUNNING TO BUILD A CAREER. MANY MOVIE AND RELATED EXCERPTS TOLD HIS STORY IN THIS WORK BUT SO SO SADLY THERE WAS NO DENYING THAT HE WAS RESPONSIBLE FOR THE ACHINGLY SHORT CAREER OF 38 AS HIS LEGACY....

I SHIFTED GEARS TONIGHT AND INSTEAD OF WACTHING A LANZA FEATURE, I PULLED OUT THE BLU RAY OF "THE GREAT CARUSO" AND AMONG THE "EXTRAS" IS THE GREAT DOCUMENTARY DEREK MANNERING DID. IT'S TITLE IS "SINGING TO THE GODS". IT IS ONE OF THE BEST OF ITS KIND. IT STARTS RIGHT IN WITH JEFF RENSE SPEAKING VERY WELL ABOUT THE LANZA VOICE BEING SO HARD TO DESCRIBE, LIKE A WALL OF SOUND. FROM THERE WE SEE INTERVIEWS WITH DEREK (HIS STYLE IS LAID BACK AND COMFORTING) AS HE SPEAKS OF THE MANY EVENTS IN MARIO'S LIFE.

WHAT MAKES THIS DOCUMENTARY MORE SPECIAL THAN THE LAST ONE NAMED "THE BEST OF EVERYTHING" OR SOMETHING CLOSE TO THAT. IT DOES ONE THING WITH THE RATIO I APPROVED OF EVEN THOUGH I AM LEFT THEM THERE MAKING IT FEEL LIKE THEY WANTED TO BE DONE WITH REPAIRING EVEN THOUGH A COUPLE MINOR REPAIRS WILL BRING IN MORE MONEY. FOR EXAMPLE, ON EBAY THERE IS AN LP OF "BYE BUY BIRDIE", A MUSICAL I LOVE. WELL, THE LP SOUNDS LIKE THEY ARE DOING AN ENTIRELY DIFFERENT SHOW. AND DESPITE THE FACT THAT BOTH VERSIONS HAVE THE SAME PLAYERS. IN THIS INSTANCE WE HAVE CHITA RIVERA PLAYING THE JANET LEIGH ROLE, PAUL LYNDE PLAYING THE LOSER, A TEEN WITH A NICE VOICE PLAYING KIM, AND DICK VAN DYKE PLAYING ALBERT. DICK SOUNDS LIKE HE DOESN'T CARE FOR THE SHOW, THE PRETTY TEEN SOUNDS UNINTERESTED, AND EVEN PAUL LYNDE WHO PLAYED HIS ROLE IN BOTH THE BROADWAY AND MOVIE VERSIONS, SOUNDS CRAPPY.

THERE ARE ALSO TWO "NEW" SONGS ON THE BROADWAY ALBUM THAT DO NOT APPEAR ON THE MOVIE DISC. I DIDN'T CARE FOR THE NEW SONGS, AND IT'S POSSIBLE THE FILM MAKERS JUST "JUNKED THEM". AND WHO COULD REPLACE BOBBY RYDELL? LOOKS LIKE I MADE IT THROUGH---AS THEY SAY IN BIRDIE---WITHOUT A MODVIE CAST MEMBER SAYING (CRAZY SOUNDING) "THE NAME".THE NAME WHICH HAS THE WHOLE LITTLE IOWA TOWN DOING THINGS THEY NEVER WOULD HAVE OTHERWISE.

MARIO LANZA!!! THERE, I SAID "THE NAME" THAT YOU KNEW I COULDN'T AVOID......

THE ANSWER TO A LANZA MOVIE THAT REALLY ISN'T A LANZA FILM IS.....TA DA...."THE STUDENT PRINCE"!
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I STARTED MY MOVIE NIGHT WITH BRIAN DEPALMA'S FRIGHTFUL "DRESSED TO KILL" WITH ANGIE DICKENSON AND MICHAEL CAINE. IT WAS VERY CREEPY AND HAD TWO SHOWER SEQUENCES IN HONOR OF "PSYCHO". ONE WITH ANGIE, FULL NUDITY SHOWING (IF INDEED THAT WAS HER TORSO!) AND KAREN ALLEN WITH A DREAM SHOWER SCENE AND MORE NUDITY.

THE SECOND MOVIE WAS A MARIO LANZA FILM THAT ISN'T A MARIO LANZA FILM. THAT'S ALL I AM SAYING UNTIL SOMEONE TELLS ME WHAT I MEAN....

UNCLE NICKY'S BOAT BEARS THE NAME "MINOU". WATCHING TONO AS I DID LED ME TO SEE SOMETHING ELSE NOTABLE IN THE MOVIE: MARIO SMILES A LOT. AND PROBABLY MORE THAN IN ANY OF HIS OTHER FILMS. PERHAPS IT WAS THE FUN HE HAD MAKING IT. OF COURSE SOMETIMES THE PLOT CALLED FOR SMILING. SING ALONG WITH ME:"THERE ARE SMILES THAT MAKE YOU HAPPY, THERE ARE SMILES THAT MAKE YOU BLUE, ETC"

I HOPE EVERYONE HAD A NICE HOLIDAY. IT WAS VERY HOT HERE SO WE STAYED INSIDE MOST OF THE TIME. DID I WATCH ANOTHE LANZA FILM? YOU BET! I SAW AND ENJOYED "THE TOAST OF NEW ORLEANS". I WASN'T THINKING IN TERMS OF A QUIZ BUT I DID SEE SOMETHING I NEVER NOTICED BEFORE, SO IT WILL BE MY QUESTION TO YOU:

WHAT WAS THE NAME OF UNCLE NICKY'S BOAT?

I WILL GIVE THE ANSWER UNLESS SOMEBODY BEATS ME TO IT!

WHY NOT WATCH "SERENADE"? I TALKED TO MY FRIEND RON IN ST. LOUIS TONIGHT. I HAVE TOLD SOME OF YOU BEFORE THAT IT WAS HE WHO INTRODUCED ME TO MARIO IN 1964, ONLY A FEW YEARS AFTER HIS PASSING.

I TOLD HIM TONIGHT THAT I WATCHED AN EXCITING FILM CALLED "FIRESTORM" BASED ON REAL PEOPLE WHO FIND BIG FIRES AND PARACHUTE DOWN TO THEM AND SAVE PEOPLE FROM BURNING ALIVE, TRY TO CONTAIN THE FIRES, ETC. THE CAST WAS GOOD, WITH SCOTT GLEN AND WILLIAM FORSYTHE BEING HTE MOST RECOGNIZABLE. IT GOT PRETTY EXCITING AFTER WE DISCOVER THAT FORSYTHE IS NOT ONE OF THE REGULAR FIRE FIGHTERS BUT AN ESCAPEE FROM A PRISON WHO SLOWLY BUT SURELY MURDERS ALMOST EVERYONE IN THE CAST--SO BY THE VERY END WHEN HIS HEAD BURST INTO FLAMES I WAS CHEERING. AND HAPPIER THAN THAT WAS THE THE MAN AND WOMAN IN THE FILM WHO ADMIRED EACH OTHER AND KISS AS THE FILM FADES OUT.

SO, BACK TO THE QUESTION, "WHY NOT WATCH SERENADE". SIMPLE ANSWER--BECAUSE I WANTED TO. AFTER ALL IT'S MY SECOND FAVORITE LANZA MOVIE AND I TOLD RON (WHO TAUNTED ME BY SAYING I HAVE THOUSANDS OF DVDs AND I SHOULD WATCH SOMETHING ELSE. SORRY RON, I CAN WATCH MARIO EVERY DAY IF I WERE SO INCLINED.

IN FACT I NOTICED A FEW THINGS I WANT TO SHARE.

1-THE PICTURE QUALITY IS SHARP AND THERE ARE SOME VERY COLORFUL SEQUENCES BUT OVERALL THE FILM HAS TOO MANY BROWN AREAS THAT A NEW BLU RAY OR EVEN A NEW STANDARD DVD WOULD CORRECT.]

2-DAFFY DUCK USED TO SAY "SUFFERIN' SUCCOTASH" AND THAT APPLIES TO MARIO. HE SUFFERS, I MEAN HE REALLY, REALLY SUFFERS IN THIS MOVIE. WE FEEL HIS PAIN BECAUSE HE IS SO CONVINCING.

3-HIS SPEAKING VOICE IS LOWER THAN USUAL. THIS FITS THE TONE OF THE FILM.

4-SARITA MONTIEL IS, ALONG WITH ANN BLYTH, ONE OF THE BEST ACTRESSES WHO WORKED WITH LANZA. MANY HAVE SAID THAT DIRECTOR ANTHONY MANN PADDED HER PARTS SINCE HE WAS SEEING HER ON THE SIDE. I SAY NO TO THAT. SHE DESERVED THE LONGER ROLE BECAUSE SHE WAS SIMPLY EXCELLENT IN HER PERFORMANCE.

5-WHO ELSE BUT SARITA WOULD BE A GOOD MATCH FOR THE BITCH OF BITCHES JOAN FONTAINE?! ALL MARIO'S OTHER CO-STARS WERE BASICALLY NICE GIRLS.

6-THE SINGING IS EXCELLENT THROUGHOUT. THE ECHO, THANKFULLY, IS ONLY IN SOME SONGS OR ARIAS.

7-I LOVE THE LINE "TUGBOATS" OR "TUGBOAT WHISTLES" WHEN REFERRING TO TENORS WHO AREN'T VERY GOOD .IT GIVES LARDELLI A CHANCE TO SMILE AND STOP WITH HIS "GO AWAY, I AM BUSY" WWILE HE DOES HIS BOOKKEEPING.

8-VINCENT PRICE SHINES IN HIS ROLE AS A "WIT". HE HAS MORE FUNNY OR SARDONIC LINES THAN EVEN J.CARROL NAISH HAS IN TWO FILMS.

9-"MY" DESTINY" AND "SERENADE" WERE WRITTEN FOR THE FILM BY NICHOLAS BRODSKY (OF "I'LL WALK WITH GOD FAME") AMD SAMMY CAHNK WHO WAS A VERY PROLIFIC SONG WRITER. HE WROTE MANY SONGS FOR FRANK SINATRA, AND IF SINATRA APPROVES OF A SONG, YOU CAN BE PRETTY SURE IT'S A WINNER.

10-THIS IS THE ONLY FILM IN WHICH MARIO CRIES. IT IS THAT HEARTBREAKING SCENE WHERE HE IS LOSING HIS VOICE AND PUTS HIS HANDS OVER HIS EYES AND EARS.

11-THRE ARE TWO EXTENDED HIGH NOTES IN THE MOVIE. ONE IS WHERE HE IS DOING SCALES FOR THE MAESTRO BUT IS INSTEAD CONCENTRATING ON THE PHOTO OF JOAN FONTAINE. INSTEAD OF DOING THE SCALES AS THE MAESTRO ASKED, HE HITS A VERY HIGH NOTE AND HOLDS IT FAIRLY LONG. IT IS POSSIBLE THAT THIS WAS DONE LIVE. THE OTHER SCENE IS WHERE ALL THE PEOPLE WHO HAVE HELPED HIS CAREER ARE SEATED AROUND THE TABLE. MARIO SINGS TO PROVE HIS EXPERT TRAINING WAS GOOD ENOUGH NOT TO BLOW OUT THE CANDLES ON THE CELEBRATORY CAKE RIGHT IN FRONT OF HIM. I BELIEVE THAT IS LIVE ALSO. BOTH ARE JUST A TAD WOBBLY.

12-THE "COME BACK TO SORRENTO" DONE FOR LARDELLI IS THE FINEST "SORRENTO" I HAVE EVER HEARD AND IT ONLY HAS PIANO ACCOMPANIMENT.

13-"O PARADISO" IS THE SONG CHOSEN BY DAMON (WE KNOW MARIO USED HIS SON'S NAME FOR HIS CHARACTER'S NAME) TO RETURN TO LARDELLI AS THE SINGER WHO HAS A HARD TIME FINDING A JOB AFTER THE DEBACLE IN NEW YORK WHEN HE WASKED OUT ON AN OPERA LEAVING POOR LICIA ALBANESE ON STAGE SINGING ALONE. IN REAL LIFE MARIO AND ALICIA WERE GOOD FRIENDS AND TO HER DYING DAY SHE PRAISED HIM AS BEING AS GOOD OR BETTER THAN ANY TENOR SHE HAD SUNG WITH (AND SHE GOES WAY BACK!). I TOLD YOU NOT LONG AGO THAT SHE CAME TO A COUPLE LANZA BALLS AND THE LAST ONE SHE STARTED SINGING RIGHT ON THE FLOOR WITH POWER AND VERY NICE TONE.

14-DEREK McGOVERN AND MOST SERIOUS LANZA FANS FEEL THAT THE OTHELLO ARIA "DIO ME POTEVI" IS THE SINGLE BEST RECORDING HE EVER SANG. I THINK SO!

15-HE DID TWO TAKES OF NESSUN DORMA FOR THE MOVIE. BOTH ARE EXCELLENT BUT THE ONE THEY CHOSE IS A LITTLE SHORTER. ALSO MARIO USES THE WORLD "TREMONTANTE" IN STEAD OF "TRAMONTANTE". NOT A BIG DEAL.

16-DON'T YOU WANT TO STICK THE SWORD INTO THE NECK OF KENDALL HALE!? WHEN MARIO SAYS "SHE DIDN'T HAVE TO KILL YOU, YOU'RE DEAD" YOU FEEL LIKE CHEERING!

17-THE SONG "SERENADE" SUNG BY THE CREAM COLORED CONVERTIBLE THAT WILL TAKE MARIO TO THE CITY HE WILL BE SINGING IN, THIS VERSION IS SOFTER AND MORE PLEASANT THEN THE SAME SONG IS SUNG AT THE FILM'S END. THAT VERSION IS MORE DRAMATIC AND I LIKE IT BEST. HIS HIGH ENDING NOTE IS A CLEAR AND RINGING ONE WITH ONLY TWO EXTREMELY SHORT WABBLES.

18-MARIO'S HAIR DRESSER MUST HAVE BEEN CRAZY TO LET SO MUCH HAIR STICK UP RATHER THAN TAMING IT LIKR IN ALL HIS OTHER FILMS. IT COULD BE MISTAKEN FOR A HAT, LOL.

19-HIS WEIGHT IS FAIRLY CONSISTENT THROUGHOUT WITH THE ONLY NOTICEABLE OVERWEIGHT SEQUENCE BEING WHEN HE IS SLEEPING IN BED BEFORE WAKING UP AFTER A TWO WEEK MALARIA SCARE.

20-THE "AVE MARIA" IN THE CHURCH IS THE MORE MELODIC THAN THE BACH-GONOUD VERSION IS BUT THE BACH-GONUOD IS MORE DRAMATIC. I PREFER THAT ONE. AS A MATTER OF FACT I JUST SANG IT IN OUR LOCAL TOP FLIGHT ITALIAN RESTAURANT. THEY HAVE "OPERA NIGHT" EVERY MONDAY IN MEDIA, PA. THE LEAD SINGER IS HEIDI AND SHE BRINGS IN USUALL ANOTHER GIRL TO FEATURE WITH HER. THE MALES HAVEN'T BEEN SINGING THERE MUCH, SO I DID BY SIMPLY ASKING IF I COULD AND THEY WELCOMED ME. I "STROLLED" A BIT WHILE SINGING SO I NEVER HAD MY BACK ALWAYS SHOWING TO ANY SECTION OF THE ROOM. THE ONLY LESSER PART OF SINGING THERE IS THAT YOU MUST DO IT ACAPELLA. THE GIRLS HAVE THEIR BACKGROUND TRACKS TO SING WITH. ALSO, YOU NEED TO FIND THE RIGHT NOTE TO START SO YOU CAN SING WITHOUT STRAIN. LUCKILY I DID. BYE!

HELLO AGAIN. SINCE THE RENSE SITE DOES NOT ALLOW CORRECTIONS BY CHANGING WORDS ALREADY WRITTEN, I AM DOING THE NEXT BEST THING AND CORRECTING MY MISTAKES. MY THANKS TO DEREK MCGOVERN AN DEREK MANNERING FOR POINTING OUT MY GOOFS. HERE GOES:

1-"GAFF" IS NOT THE RIGHT WORD TO USE FOR A MISTAKE OR BLOOPER. THE CORRECT WORD IS "GAFFE".

2-I WAS WAY, WAY OFF THE MARK WHEN IN POINT NUMBER FIVE, I STARTED WRITING ABOUT A SCENE THAT WAS IN "TOAST OF NEW ORLEANS"INSTEAD OF "THAT MIDNIGHT KISS". THIS IS SHAMEFUL FOR SOMEONE WHO HAS WATCHED BOTH MOVIES AS MANY TIMES AS I HAD. MY ONLY EXCUSE IS THAT MUCH OF WHAT I WROTE WAS DONE AROUND 3 AM, WHEN I SHOULD HAVE BEEN IN BED.

3-IN POINT NUMBER 6, I USED THE WRONG TITLE FOR THE SONG. IT IS "ONE LOVE OF MINE" AND NOT "ONE NIGHT OF LOVE"(WHICH MARIO ALSO SANG IN I THINK A COKE RECORDING.)

4-THIS SONG IS BASED ON A CLASSICAL MUSIC PIECE BY TSCHAIKOVSKY.

5-THE FINAL PRODUCTION NUMBER IS ALSO BASED ON A CLASSICAL PIECE OF MUSIC, WHICH AGAIN IS BASED ON TSCHAIKOVSKY.

I ALSO MADE A FEW SPELLING MISTAKES AND FOUND TWO SENTENCES THAT DIDN'T MAKE SENSE AND/OR USED BAD GRAMMAR.

LET ME GO NOW, WITH MY TAIL BETWEEN MY LEGS, LOL!

HELLO FANS! I HAVE A BRAND NEW CRITIQUE FOR YOU. BASED ON WHAT I WATCHED LAST NIGHT, "THAT MIDNIGHT KISS" HAS MUCH TO OFFER---MORE THAN I EVER APPRECIATED BEFORE. THE DISC I USED WAS THE DOUBLE DVD SET THAT ALSO INCLUDES "THE TOASTS OF NEW ORLEANS". THE QUALITY OF BOTH IS EXCELLENT AND ARE ONLY ONE NOTCH BELOW THE BLU RAY OF "THE GREAT CARUSO".

WHY THIS "EPIPHANY" ABOUT THE FIRST MOVIE MARIO APPEARED IN? IN THE CREDITS WE SEE "INTRODUCING MARIO LANZA". I LOVE SEEING THIS AND WONDER HOW AUDIENCES WHO WERE ALREADY FANS OF LANZA RECEIVED THE BILLING. NOW CONSIDER THAT HE IS A SINGER AND HAD NO ACTING EXPERIENCE BUT LIKE MANY OTHER SINGERS (DENNIS MORGAN, FRANK SINATRA, ETC)l HE ESSAYS THE ROLL QUITE COMPETENTLY.

BUT I AM HERE NOT TO CRITICIZE HIS ACTING, HIS WEIGHT, HIS FIGHTS WITH THE STUDIOS, OR HIS AVERSION TO SOME OF HIS CO-STARS. NO, I AM HERE TO ANALYZE HIS SINGING WHILE INSERTING INFORMATION OF THE PLOT. IN 1949, THE DATE OF THE FILM'S RELEASE, MARIO HAD JUST COME BACK FROM MUCH TIME SPENT WITH VOICE TEACHERS AND VOCAL COACHES. IT IS NO WONDER THEN THAT HIS SINGING PERFORMANCES ARE TOP NOTCH. I WILL LIST ALL OF THE SINGING HE DOES SOLO OR DUET WITH KATHRYN GRAYSON.

1-"MAMMA MIA CHE VO SAPE": HE SINGS THIS WITH HIS BACK TO THE CAMERA AND KATHRYN WHO IN THE ROOM CAN ONLY SEE HIS BEHIND. HE IMITATES PLAYING THE PIANO BUT THE SINGING IS TRULY GREAT. KATHRYN APPROVES AND STARTS MAKING PLANS TO HAVE HIM JOIN PIANO ARTIST AND ORCHESTRA CONDUCTOR JOSE ITURBI IN HIS LOCAL PHILADELPHIA CONCERTS.


2-UNA FURTIVA LAGRIMA: HE SINGS THIS IN THE TRUCKING COMPANY FOR JOSE ITURBI WHO IS IMPRESSED AND SAYS HIS VOICE IS "VERY AGREEABLE AND HAS WARMTH". LANZA CO-WORKER KEENAN WYNN SUPPORTS "JOHNNY"COMPLETELY AND IMMEDIATELY JUMPS INTO HIS NEW ROLE OF MANAGER. ("DO WE PAY YOU OR DO YOU PAY US"?) MARIO SINGS THIS WITH VERVE. I WILL ARGUE WITH ANYONE WHO THINKS MARIO'S VOICE IN THIS MOVIE ISN'T AS RICH OR EXCITING AS WHAT FOLLOWED. I HOPE YOU WILL SEE THAT IS EQUAL TO AND OFTEN BETTER THAN HIS MOVIES THAT FOLLOWED.


3-"CELESTE AIDA": A REVELATION SINCE MARIO SINGS THIS TO PERFECTION AND DOES BETTER HERE THAN IN HIS BEST MOVIE "THE GREAT CARUSO". HIS VOICE IS RICH AND POWERFUL. AND HE IS HEARD IN A PARTIAL VERSION PRACTICING IT AS KATHRYN DRIVES A TRUCK. (FOOTNOTE: THE ACCOMPLISHED CHARACTER J. CARROL NAISH WORKS IN TWO DISTINCTLY DIFFERENT ROLES. FIRST, HE IS PAPA DONNETTI IN "THAT MIDNIGHT KISS" AND THEN HE IS UNCLE NICDKY IN "THE TOAST OF NEW ORLEANS". (HE VIES WITH KNOWN SCENEN STEALER VINCENT PRICE IN THE DRAMATIC"SERENADE". IN REAL LIFE NAISH ACTUALLY WAS MUSICAL AND HAD A DECENT VOICE.YOU WOULD NEVER KNOW THIS IF WATCH THE SCENE WHERE HE LOOKS UP AT THE CHANDELIER MARIO HAD JUST STARTED TO SHAKE AND HE LETS OUT HIS BEST FOGHORN VOICE TO NO AVAIL.


4-"THE DIDN'T BELIEVE ME": MARIO SHIFTS GEARS AS FEW OTHER TENORS PAST AND PRESENT COULD. HE "CROONS" THE JEROME KERN SONG "THEY DIDN'T BELIEVE ME" TO KATHRYN AND WITH KATHRYN. HE SOUNDS AS IF HE WERE PERRY COMO! THE LANZA VOICE IS JUST PLAIN DELIGHTFUL. IT IS AT THE CONCLUSION OF THIS SONG WHERE THEY FIRST KISS (AT MIDNIGHT OF COURSE!)


5-"I KNOW, I KNOW, I KNOW": YOU AREN'T HEARING DOUBLE OR TRIPLE, YOU ARE HEARING MARIO SINGING DELICATELY THIS LESSER SONG. HE MAKES THIS SONG HIS SECOND ATTEMPT TO "SERENADE"(NO PUN INTENDED) KATHRYN AND ALSO HER GRANDMOTHER, THE VETERAN ACTRESS ETHEL BARRYMORE. IT'S ANYONE'S GUESS WHY SHE BEARS THE NAME "ABIGAIL" AND KATHRYN THE NAME "PRUDENCE". WHILE THIS SONG IS INFERIOR TO THE KERN PIECE, MARIO SINGS IT EFFORTLESSLY, JUST RELAXED AND AT THE SAME TIME ENTICING. NOTE THAT HE REPRISES THE SONG IN THE SCENE WHERE KATHRYN IS SUPPOSEDLY STUDYING MUSIC IN THE ADJOINING ROOM AND DELIGHTS IN FOOLING MARIO INTO THINKING SHE HEARD HIM. HE MAKES UP FOR THAT LATER WHEN HE PRETENDS TO SHOW OFF THE SOCIAL GRACES HE HAS LEARNED FROM A VERY RECOGNIZABLE MAN WHO WILL REMAIN NAMELESS BECAUSE I JUST CANNOT THINK OF HIS NAME. THEY HAD BEEN PRACTICING WHICH PIECE OF SILVERWARE TO USE FOR EACH COURSE OF FOOD. THE DESSERT FORK IS NOT THE RIGHT ONE TO USE SINCE IT IS FOR THE ENTREE. MARIO PLAYS THE BAD BOY WHEN HE EATS HIS DESSERT FIRST. HE IS CORRECTED BUT SAYS "I KNOW, I'M EATING THAT FIRST"! MARIO THE SINGING COMEDIAN. FOOTNOTE: THIS SONG IS USED ORCHESTRALLY UNDER THE CLOSING CREDITS.

6-THOMAS GOMEZ. THROUGHOUT THE MOVIE EXCERPTS OF ARIAS SUNG BUT NEVER COMPLETED BY THE ACTOR WHO MORE OFTEN PLAYS MENACING AND SCARY ROLES. HE IS COMIC RELIEF AS HE SINGS "HEY, HEY" WHILE KATHRYN IS TRYING EARNESTLY TO SING AN ARIA. WHEN GOMEZ SINGS SHORT SOLOS OR DUETS HE IS DUBBED BY SOME LYRIC UNKNOW TENOR WHO IS QUITE CONVINCING. HE ALSO HAS A CHANCE TO BE A COMEDIAN. WHEN HE LITERALLY JUMPS UP AND DOWN YELLING TO HIS MANAGER JULES MUNSHIN AS PEMBERTON THAT "I AM NOT-A CALM-A" HE BETELLI TO A-BLOW OFF STEAM AND B-TEARS UP HIS CONTRACT. FOR AHWILE HE IS "THE GREAT BETELLI" OR HIS FULL CHARACTER NAME "GUIDO ROSSINO BETTELLI".

6-"ONE NIGHT OF LOVE": CUT FROM THE MOVIE BUT INCLUDED IN DVD RELEASES OF "THAT MIDNIGHT KISS", THIS LOOKS TO BE A SONG MARIO AND KATHRYN ARE PRACTICING IN THE MOVIE. IT IS A VERY LIKABLE SONG THAT IN MY OPINION HAD NO REASON TO BE CUT. THE FACT THAT THE PICTURE AND SOUND QUALITY ARE AS GOOD EXTANT AS THE REST LEADS ONE TO BELIEVE THAT THIS WAS CUT LATE IN PRODUCTION.

7-LANZA HIGH NOTES DIRECTED AT BOTH MADAME BUGET AND ARTHUR TREACHER IN TWO SEPARATE SCENES. THIS IS NOT DUBBED FOLKS. IT IS LANZA AT HIS LIVE, EXCITING, HIGH B SOUNDING BEST. TREACHER SHOWS SOME AVERSION TO LANZA WHEN HE DROPS HIS SERVING TRAY. BUT IT'S ALL IN GOOD FUN.

8-"LOVE IS MUSIC": THE PRODUCTION NUMBER THAT ENDS THE MOVIE. IT IS A VERY NICE COMPOSITION THAT I BELIEVE IS BASED ON ANOTHER WORK. IT IS SOMEWHAT SERIOUS AND SUNG WITH A SIZABLE CHORUS USING A TAD OF CHOREOGRAPHY. DON'T ASK WHY THE WORK HAS NO BEARING ON WHAT WAS REHEARSED BEFORE! SINCE SOME OF THE PRINCIPALS HAVE GIVEN BETELLI A COSTUME THAT WON'T FIT, IT FITS PERFECTLY ON MARIO AS HE COMES OUT--DELIGHTFULLY SURPRISING KATHRYN. THE SET IS COLORFUL AND MARIO LOOKS GRAND IN HIS BLUE COSTUME.

WELL, I THINK I HAVE COVERED ALL THE MUSIC AND PARTS OF THE PLOT FOR "THAT MIDNIGHT KISS". I HOPE THAT I HAVE PROVED MARIO'S FIRST HOLLYWOOD MOVIE TO BE AS GREAT AS ANY OF HIS MOVIES IN GENERAL. AND I HOPE THAT YOU HEAR THAT HIS VOICE IS EXCEPTIONAL!!

I WAS JUST MESSING WITH YOU! THE LAST SONGS OR ARIAS I CAN THINK OF ARE 1-THE PIECE WHICH LASTS ONLY ONE MINUTE TOTAL (DON'T KNOW THE NAME), ONE MORE ARIA EXCERPT, A GREAT ARIA BUT IT IS FAIRLY SHORT BUT THAT I CANNOT IDENTIFY EITHER THE VERY LAST SOLO SONG AT THE END IS WORTH THE PRICE OF ADMISSION ALONE. THIS IS THE GREAT "GRANADA". NOW I ASK YOU, WITH ALL THAT I HAVE LISTED, SHOULDN'T "BECAUSE YOU'RE MINE" EARN THE HIGHEST ACADEMY AWARD RATING FOR MUSIC IN A MOVIE?!!

JEEPERS CREEPERS! I WAITED SO LONG FOR THIS QUIIZ THAT I HAVE FORGOTTEN THE ANSWER---AN EVEN THE QUESTION! THE DMV PEOPLE WOULD SAY "HE'S INCOGNICENTLY IMPAIRED. RIGIHT NOT IT FFEELS LIKE IT. DO YOU KNOW I HAVE REALIZED THAT THIS FILM ALONG WITH TONO ARE VERY VERY DNNY. I SEE NOTHING SO WRONG TO WON'T EMBARASSMENT. SO WOULD YOU FORGIVE ME? BTW, THIS FILM WAS MY FATHER'S FAVORITE OF THE LANZA MOVIES. YES, WE FANS WILL LIKELY BUT IT WAY DWN ON THE LIPS, BUT THE SHEER ENTERTAINMENT VALUE. MY FATHER WAS IN THE ARMY AND SO THIS FIM RESONATED WITH HIM. HE LOVED MARIO'S VOICE ALL THTE TIME BUT THIS TITLE IS THE OLY ONE HAVE GAVE A PASS GOO, I AM GOING TO FELLWI IN THE KITCHEN TO GET SOME POPCORN THAT I WILL LOAD UP ON. THE SONGS HE LIKED BEST WERE ADDI ALLA MMADFR, KEE AH LOO, AND I'M GONNA SING IT AGAIN TOO. LET'S SEE: WE STILL HAVE "BECAUSE YOU"RE MINE", SONG MARIO SANG LIVVE MANY TIMES IN HIS CAREER. ALONG WITH "THE LOVELIEST NIGHT OF THE YEAR". CURIOUS HOW THESE AND "BE MY LOVE" HAVE ALL WON HIM THE COVETED GOLD RECORD. THE STORY SAYS THAT MARIO HATED THIS MOVIEF DESPITE HOW GOOD IT REALLY IS. FOR EXAMPLE--HOW FINE "SONG ANGELS SING" IS, AND THEN WE HAVE "ADDIO". AND THEN THERE IS LEE AH LOO WITH ITS LYTHE MELODY, AND DON'T LEAVE OUT "BAYOU LULLABYE, AND WHILE ARE AT IT,THERE ARE PARTIALS LIKE "QUESTA O QUELLO", "MAMMA MIA CHE VO SAPE", LET US NOT FORGET A COUPLE THAT ONLY USED HIS FRIENDS IN THE FILM. I REFER TO "RIGOLETTO QUARTET"WHICH HIS ARMY BUDDIES SING WHILE HE PEELS POTATOES, BOBBY VAN'S WONDERFUL DANCE IN THE BARRACKS. IN ONE SEGMENT HE DANCES ON THE WALLS JUST AS IF HE WAS ON THE FLOOR, HOW ABOUT THE MOVING "LORD'S PRAYER" AND THE GREAT SINGING PROWESS HE DISPLAYS IN THE BEGINNING OF THE FILM. I DON'T KNOW THE TITLE OF THE EXCERPT BUT I DO KNOW THAT IT IS FROM "CAVALERIA RUSTICANA". FINALLY, "FLUFFY FOAM" AND "GUMMY FOR YOUR TUMMY".

BY NOW I KNOW YOU HAVE GOTTEN THE POINT I WAS TRYING TO MAKE ABOUT BYM! I WILL BE BACK WITH A PIECE THAT I HAD TO DO RESEARCH TO FINISH!

NO ONE SOLVED THE LAST PUZZLE QUIZ, SO I WILL TELL YOU THE ANSWER. WHEN MARIO SINGS THAT GREAT SONG"GRANADA" IN "BECAUSE YOU'RE MINE", HE IS AT AN EXCELLENT ANGLE FOR ALL IN THE AUDIENCE TO SEE HIM. THEN HE DOES WHAT IS GENERALLY RARE IN HIS MOVIES, WHICH IS HE "MOLDS" THE SONG USING HIS ARMS , HANDS AND FACE. HE DOES THIS A LITTLE IN FILMS LIKE "THE GREAT CARUSO" BUT NOWHERE NEAR THIS EXTENT. WATCH CLOSELY AND YOU WILL SEE HIS MOUTH MUSCLES IN RETROPHY. THIS CAN HAPPEN SO MANY TIMES IN HIS MOVIES. HE DOES NOT EMPLOY IT IN "THAT MIDNIGHT KISS", "THE TOAST OF NEW ORLEANS", A BIT OF TIMES WHEN HE MADE "THE GREAT CARUSO", AT TIMES IN "SERENADE", NOT IN "THE SEVEN HILLS OR ROME", JUST A TAD IN "FOR THE FITST TIME". BUT HE DOES IT THROUGHOUT IN "BECAUSE YOU'RE MINE". I CAN'T THINK OF ANOTHER TENOR PAST, PRESENT AND I GUESS FUTURE. I AM NOT SURE TECHNICALLY HOW THIS WORKS UNLESS IT IS STAGED. IF HE IS REALLY SINGING WITH HIMSELF, HOW WOULD THE MICS NOT PICK IT UP? IN ANY EVENT THIS IS A GREAT THING FOR MARIO AND HIS FANS.

I HAVE AVOIDED WATCHING "SEVEN HILLS" BECAUSE THAT IS THE FILM OUR BILL RONAYNE IS USING FOR THE MUSEUM GET TOGETHER. HOW EVER "BECAUSE YOU'RE MINE" USES IT IN SPADES. AND I NEED TO APOLOGIZE FOR THINGS I HAVE STATED ABOUT IT ARE FALSE. ONE, THE COLOR IS RICH AND BEAUTIFUL. THERE ARE NO LINES OR SCRATCHES IN IT, THE VOLUME IS NORMAL, AND OVERALL THIS IS ARGUABLE HIS MOST LIGHTHEARTED MOVIE. THERE IS AN EASE TO IT. HE DOES FLUCTUATE IN WEIGHT MORE THAN ANY OTHER. THE SCENE BEFORE EASTER HE IS WALKING ALONE WITH THE SERGEANT AND HE IS AT A PERFECT WEIGHT. HE ENTERS THE CHURCH AND BANG---HE HAS GAINED SIXTY POUNDS. THIS LIKELY DROVE THE COSTUME DEPARTMENT BATTY! SINCE FILMS ARE OFTEN SHOT NOT IN ORDER THIS IS MORE REPETITIVE. HE SINGS WITH ABANDON TOO. AND HIS ACTING IS FINE. THERE ARE RUMORS THAT TELL US HE DIDN'T LIKE THE MOVIE. SINCE IT FOLLOWED THE GREAT CARUSO, THIS IS WORRISOME AD TERRY ROBINSON, HIS TRAINER, MUST HAVE GONE BATTY. SO, PLEASE KEEP THESE FACTORS IN MIND WHILE WATCHIN BYM. INCIDENTALLY, THIS WAS MY FATHER'S FAVORITE MOVIE SINCE HE WAS IN THE ARMY TOO. HE WOULD LAUGH WITH MARIO AND THEN FEEL SAID ABOUT MARIO.

ONE MORE COMMENT: I WATCHED BYM LAST NIGHT AND FOUND VERY LITTLE TO CRITICISE AS HIS SINGING IS FLAWLESS. I ONLY IDENTIFIED ONW GLARING GAFF. I AM GIVING NO HINTS THIS TIME. I WILL WATCH FOR ANY RESPONSES.

I AM ANTZY TONIGHT DO I DECIDED TO GIVE YOU THE ANSWER TO THE GAFF IN "FOR THE FIRST TIME"--- WHEN MARIO AND HIS MANAGER ARE TALKING ABOUT THE NEXT CITY HE SHOULD TRAVEL TO. JUST THEN ON THE LEFT YOU SEE THE SHADOW OF THE BOOM MICROPHONE. IT LAST ONLY A COUPLE SECONDS. USUALLY THE LIGHTING PEOPLE ARE THERE TO SEE THAT THID SORT OF THINH DOESN'T APPEAR.

ON ANOTHER NOTE, I SCREENED "BECAUSE YOU'RE MINE" TONIGHT JUST FOR FUN AND A FUN MOVIE IT IS AND ALSO A HAPPY ONE OVERALL. FANS USUALLY KNOW THAT MARIO HATED MAKING THIS MOVIE. SINCE IT FOLLOWED HIS FINEST MOVIE, "THE GREAT CARUSO", HE WAS HEARD TO SAY "YOU CAN'T PUT CARUSO IN THE ARMY". IT WAS RUMORED TOO THAT HE HATED HIS CO-STAR DORETTA MORROW BECAUSE SHE WAS A HEAVY SMOKER AND THIS MADE KISSING HER UNPLEASANT. IT WAS ALSO RUMORED THAT MARIO ATE GARLIC FOR THEIR KISSING SCENES TO GET EVEN WITH HER.

THE LAST QUIZ I THINK I AM GOING TO DO IS A QUESTION OF WHAT MARIO DOES WHEN HE SINGS THE GREAT SPANISH SONG "GRANADA". JUST PICTURE HIM STANDING IN FRONT OF HUNDREDS OF PEOPLE IN THE AUDIENCE AND SEE IF YOU CAN ANSWER MY QUESTION.

OKAY, IT IS TIME FOR AN ANSWER TO MY LAST QUIZ QUESTION ABOUT "SERENADE"THAT ASKS WHAT DOES MARIO DO IN THIS MOVIE THAT IS VERY NOTICEABLE PHYSICALLY? IT IS SOMETHING HE DID IN OTHER FILMS OF HIS BUT NOT NEARLY AS PRONOUNCED.

THE ANSWER IS THAT YOU SEE HIS THROAT MOVING AS IF HE WAS SINGING LIVE. I AM NOT SURE BUT IT IS POSSIBLE THAT HE WAS SINGING ALONG WITH THE PRE-RECORDED TRACKS. I WATCHED "FOR THE FIRST TIME" TONIGHT TO FIND ANOTHER QUIZ QUESTION AND I NOTICED HIS THROAT (OR IS IT THE EPPIGLOTIS (SP)HARDLY EVER MOVES.WE ALSO TALKED ABOUT MARIO'S ACTING WHICH I ALWAYS FELT WAS QUITE GOOD FOR A NON-ACTOR SINGER. HOWEVER IN "FOR THE FIRST TIME" THERE ARE SCENES WHERE HE OVERACTS AND HE LOOKS A BIT DUMB. ONE SCENE IS AFTER CHRISTA HAS HAD HER SUCCESSFUL EAR OPERATION AND SHE IS TALKING VIA PHONE TO HER FAMILY AT HOME. SO MARIO SAYS SOMETHING LIKE "LET'S HAVE A BIG PARTY, INVITE EVERYONE" AND IT IS WAY OVER THE TOP.

I WILL LEAVE YOU WITH ONE NEW QUESTION, THIS TIME FROM "FOR THE FIRST TIME". WARNING: THIS MAY BE HARDER THAN THE FLY QUESTION! HERE GOES: WHEN MARIO IS TALKING TO HIS MANAGER ABOUT WHAT CITY HE SHOULD TRAVEL TO AND REMAIN "INCOGNITO"---JUST THEN SOMETHING HAPPENS THAT YOU COULD CALL A GAFF. WHAT IS IT?

TONIGHT I WATCHED MY SECOND FAVORITE LANZA MOVIE--"SERENADE". THIS MOVIE MORE THAN ANY OTHER SHOWS HIS ACTING "CHOPS". HERE IS A MAN WHO WAS BASICALLY A SINGER EMOTING AS GOOD AS WELL KNOWN ACTORS. MARIO INSTINCTIVELY KNEW HOW TO ACT. THERE WERE TIMES HE OVERACTED (AS IN SOME SCENES FROM "FOR THE FIRST TIME" TO NAME ONE) BUT EVEN IN THAT MOVIE YOU BELIEVE IN HIS PERFORMANCE.

I WANTED TO ENJOY THE MOVIE SO I DIDN'T LOOK FOR BLOOPERS. HOWEVER THERE IS ONE QUESTION I HAVE FOR YOU. WHAT DOES MARIO DO IN THIS MOVIE THAT IS VERY NOTICEABLE PHYSICALLY? IT IS SOMETHING HE DID IN OTHER OF HIS MOVIES BUT NOT NEARLY AS PRONOUNCED. THE ANSWER WILL COME IN TWO DAYS UNLESS SOMEONE SOLVES THE QUIZ BEFORE THAT.

SPEAKING OF BUGS, I WAS SCREENING "RAIDERS OF THE LOST ARC" WITH HARRISON FORD AND WHILE HE WAS TALKING TO ONE OF THE BAD GUYS, I SAW THE FLY GO INTO THE ACTOR'S MOUTH AND HE NEVER EVEN FLINCHED! MAYBE HE LIKES FLY ALA MODE. OH, IS THAT EVER A BAD JOKE!!

I HAVE ONE MORE INTERESTING THING. MY FRIEND RON IN ST.LOUIS INTRODUCED ME TO MARIO IN 1964, ONLY A FEW YEARS AFTER MARIO'S DEATH. I WILL ALWAYS BE GRATEFUL TO HIM FOR THAT. HE LIKES TO FIND MISTAKES IN MOVIES. WHAT THEY CALL FLUBS, OR GAFFS, ETC. I FOUND ONE WHILE WATCH "GREAT CARUSO" TO ANSWER YOUR FLY REPORT AND SAW A VERY GOOD GAFF. YOU SEE MARIO RECORDING "BECAUSE" BY SINING INTO THE BRASS HORN AND THEN IT SEGUES TO MARIO LISTENING TO THAT SAME RECORDING WHILE HE HOLDS HIS BABY.LOOK AT THE VICTROLA PLAYING THE RECORD. THE RECORD ON THE TURNTABLE IS NOT A PERIOD RECORD, BUT RATHER IS AN LP WITH THE FAMOUS RCA RED SEAL. THERE IS NO WAY THAT RECORD COULD BE PLAYED ON THE UPRIGHT VICTROLA. I THINK WHAT THEY DID WAS HAVE THE TONEARM PLACED AN INCH ABOVE THE RECORD SO IT COULD NOT BE HEARD.

GOTTA RUN SINCE I AM GOING TO WATCH MY SECOND FAVORITE LANZA MOVIE--SERENADE---AND WILL POST ANY MISTAKES OR POSSIBLE HAVE A ONE QUESTION QUIZ.

Hello, once again, everyone. I’d like to make one final comment concerning the flying insect in The Great Caruso. That is, as sharp as the blu-ray release is, it is extremely doubtful that it would have picked up something as tiny as a fly. Judging by the insect’s flight pattern, I’d say that in all likelihood it is a moth. One might say that it was just one of the extras, and had a fly-on role.

DEAR FANS,

I AM SORRY TO SAY THAT MY QUIZ HAS EXACTLY THREE THINGS I DIDN'T REMEMBER. SO MY NEW QUESTION SHOULD READ: "IN WHAT FILM DOES MARIO DO SOMETHING HE DOES IN NO OTHER MOVIE. THE ANSWER IS SIMPLE, BUT THEN AGAIN COULD BE VERY EASY DEPENDING ON YOUR ATTITUDE.

I AM VERY APPRECIATIVE THAT BILL RONAYNE HAS MAPPED OUT THE EVENTS I SO MUCH WANT TO ATTEND. MY ONLY DRAWBACK IS THAT I NEED THE PA DIVISION OF MOTOR VEHICLES TO RECANT SOME OF THE UNTRUTHFUL THINGS THEY SAID AND ALLOW ME TO HAVE THEM REINSTATE MY DRIVER'S LICENSE.I MEAN "LOSS OF CONSCIOUSNESS"? THAT HAS NEVER HAPPENED TO ME FROM THE TIME I FIRST GOT MY LICENSE AT AGE 18 UNTIL RIGHT UP TO THE PRESENT. WISH ME LUCK!

Mario Lanza Ball Weekend in Philadelphia October 21-22, 2023

Saturday October 21st 5pm Pizza and a Movie at the Lanza Museum (1214 Reed Street) featuring a complete showing of "For the First Time." $35/person. Bring your own wine to share.

Sunday October 22nd at 6pm Mario Lanza Ball at the IATSE Ballroom (2401 S. Swanson Street) Cocktail hour with butlered hors d'oeuvres, buffet dinner with stations, scholarship winner performances, silent auction, video presentation and dancing to Over the Top Entertainment. $130/person includes wine, beer and soft drinks. Mixed drinks are cash bar. This is for the entire evening. Free coat check and onsite parking.

For more information or to make a credit card payment call 215-238-9691. Plese let us know if you have any dietary restrictions. For those that cannot attend and would like to make a contribution, donations may be made on our website (www.mariolanzainstitute.org)or by sending a check to Mario Lanza Institute 1214 Reed Street Philadelphia, PA 19147.

As for the September event at the museum, scroll down to my post from a few days ago.

Best, Bill

HELLO THERE FOLKS! FIRST I THANK MY FELLOW LANZA FAN FOR LETTING ME KNOW WHERE THE FLY IS. I WILL LOOK AT THE TIMES YOU SUGGESTED. YOU ARE RIGHT ON TARGET ABOUT THE SMOKE. THE SECOND SMOKE SCENE COMES WHEN CARUSO AND HIS WIFE START TO DISCUSS THE AWARDS HE HAS COLLECTED FROM WELL KNOWN PEOPLE. APPARENTLY A PERSON NEARBY WAS SMOKING AT THAT TIME. THE SMOKE COMES FROM THE LEFT SIDE.

NOW, I PROMISED LAST NIGHT THAT I WOULD HAVE SOMETHING INTERESTING TO TALK ABOUT, SO HERE IT IS: I SCREENED "THE TOAST OF NEW ORLEANS" TONIGHT JUST TO BE SURE WHAT I WANTED TO SAY WOULD BE ACCURATE AND IT WAS. I FEEL THAT THERE IS A VERY SILLY SONG MARIO SINGS IN THE MOVIE. CERTAINLY ONE NOT UP TO THE PAR OF THE OTHERS. THE TITLE IS "BOOM BIDDY BOOM". IT WAS WRITTEN BY THE OTHERWISE MASTER OF SONGS, SAMMY CAHN. I GUESS HE WAS A BIT SLEEPY WHEN HE WROTE THIS ONE, LOL.

AND IN SCREENING THE FILM I CAME UP WITH TWO OTHER THOUGHTS. FIRST, I FEEL THAT THIS IS ONE OF MARIO'S MOST ENTERTAINING FILMS. IT GIVES HIM THE CHANCE TO SING A GREAT SELECTION OF SONGS AND ARIAS, IT MOVES WELL, IT HAS TOP NOTCH SETS, IT HAS FINE COMEDY (J.CARROLL NAISH PRACTICALLY STEALS EVERY SCENE HE IS IN JUST LIKE VINCENT PRICE DOES IN "SERENADE") AND IT IS SECOND ONLY TO THE GREAT CARUSO IN PICTURE QUALITY. FOR SOME REASON THE SOUND IS LOW BUT NOT WEAK. ALL YOU NEED DO IS TURN UP THE VOLUME. ANOTHER QUALITY OFTEN NOT SPOKEN ABOUT IS THAT MARIO SINGS THE TITLE SONG WHILE THE CREDITS ARE BEING DISPLAYED.HE DOES THIS IN ONE OTHER FEATURE. PLEASE NAME IT. (A SIDE NOTE: THE OLD VHS VIDEOTAPES OF "SERENADE" HAVE MARIO SINGING AT THE VERY BEGINNING) NO DVDS HAVE IT.

WELL, I HAVE ANOTHER TEASER WHICH IS THIS: "WHAT IN THIS FILM DOES MARIO DO THAT HE DOES ONLY IN THIS PICTURE?" HINTS: IT IS NOT SAILING A BOAT OR PADDLING A CANOE. I WILL WAIT TWO DAYS BEFORE GIVING THE ANSWER. I WILL ALSO SAY THAT THE ANSWER IS EITHER VERY EASY OR SOMEWHAT HARD DEPENDING ON YOUR VIEWPOINT.

Hello, everyone. Here is the answer as to where a flying insect can very briefly be seen in the blu-ray release of The Great Caruso. It comes immediately preceding Dorothy Kirsten’s rendition of the aria Numi Pieta. You should see it if you look near the top of the frame just to the left of center. On the time counter this insect takes its brief on-camera flight between 31.36 and 31.38. It’s definitely there. As for smoke, the one place I can think of is when Mario Lanza sings Mattinata atop the open carriage just outside of the Metropolitan Opera House. The smoke comes from one or more smokers who are standing around the carriage, enjoying his encore. As for the second time smoke appears, I don’t recall. I’ll have to watch the movie again very attentively.

UNFORTUNATELY, MY LATEST POST DIDN'T COME THROUGH AND IT SILL MIGHT BUT I WILL TRY REGARDLESS RE-CREAT AS FOLLOWS.

HERE I AM AT ANOTHER DAY POSTING AND I THINK THAT IS GOOD SINCE I SAID I WOULD NOT POST AGAIN UNTIL THE NEXT DAY. HERE IS SOMETHING CLOSE TO WHAT I WROTE;:

1-IF YOU LOOK ABOVE AT THE GREAT PHOTO OF MARIO, YOU WILL SEE THE WONDERFUL RCA MODEL 44 MICROPHONE (WHICH WEIGHS EIGHT POUNDS!) THAT MARIO LANZA AND FRABK SINATRA BOTH USED TO RECORD WITH. THE MIC IS KNOWN FOR ITS INCREDIBLE QUALITY THAT GOES FROM THE LOWEST NOTES TO THE HIGHEST. NOT ONLY IS IT STILL DESIRABLE (IT WAS INTRODUCED IN THE FORTIES) FOR RECORDING USE BY CURRENT VOCALISTS BUT IT IS ALSO SOUGHT AFTER BY COLLECTORS I HAVE THE MIC IN MY OWN COLLECTION THAT HAS BEEN METICULOUSLY RESTORED AND LOOKS LIKE NEW. IT EVEN HAS THE VERY RARE "FLAG" THAT SITS ABOVE THE MIC AND HAS STATION NUMBERS THAT SIT ABOVE THE PIECE.

2-PLEASE ENLIGHTEN ASAP ON THE FLYING FLY SEEN IN "THE GREAT CARUSO".

3-WHEN IT COMES TO MARIO'S SINGING, I HAVE SEVERAL REMARKS TO SHARE WITH YOU. LIKE WHEN MARIO WAS SINGING IN HIS EARY DAYS HIS VOICE DID NOT HAVE THE MATURITY AND "FULL" SOUNDING RECORDINGS HIS VOICE SHOWED IN PLACES LIKE THE "COKE RADIO SHOWS" AND CONTINUING.

4-SPEAKING OF HIS VOICE, I HOPE MANY OF YOU HAVE PURCHASED THE INCREDIBLE RECORDINGS RELEASED BY THE BRITISH COMPANY NAMED "SEPIA RECORDS". GO TO THEIR WEBSITE AND YOU WILL SEE THEIR TWELVE CDS ON LANZA. THE RECORDINGS RELEASED ARE 1-THE BEST SOUNDING THANKS TO THE ADEPT SEPIA ENGINEERS 2-THEY CONTAIN RECORDINGS THAT ARE ALTERNATE TAKES. SOME ARE BETTER THAN THE TAKES WHICH WERE ACTUALLY USED AND ONE WONDERS WHY THAT IS. 3-THE BEST QUALITY OF THE CDS IS THE AMOUND OF THE NEVER EVER BEFORE RELEASED RECORDINGS THAT THRILL ME AND HOPEFULLY WILL THRILL YOU AS WELL. THE GUIDING FORCE OF THE CDS IS DEREK MCGOVERN. HE HAS WORKED TIRELESSLY TO PRODUCE THESE UNMATCHED RECORDINGS AND HAS SEARCHED OUT AND FOUND THEM. PLUS HIS LINER NOTES ARE EXPERTLY WRITTEN AND WILL GIVE YOU INFORMATION ABOUT EVERY SINGLE TRACK AND WILL TELL YOU ABOUT THINGS I BET YOU NEVER KNEW. JUST GO TO "SEPIARECORDS.COM" AND SEARCH "MARIO LANZA". WONDERFULLY, THE PRICES ARE CHEAP IN MY OPINION.

5-I HAVE ONE MORE THING TO POST ABOUT WHICH I THINK YOU WILL FIND VERY INTERESTING. STAY TUNED!

PS. BILL RONAYNE, OUR TIRELESS MUSEUM BENEFACTOR HAS A SHOW COMING UP SOON IN SEPTEMBER. I KNOW HE WILL TELL YOU THE SUBJECT MATTER. I HAVE GONE TO MANY AND HAD A GREAT TIME AND HAVE MET FANS I NEVER KNEW. ALSO, THEY OFTEN INCLUDE IN THE LOW PRICE SOME DELICIOUS FOOD AND DRINK.

LET ME ALSO SAY TONIGHT THAT ANN BLYTH'S LONGEVITY IS WELL DESERVED. HER ACTING IS STELLAR AND SO VERY SENSITIVE. I WAS THRILLED TO MEET HER CIRCA 2002 OR SO WHEN SHE WAS AT THE MET TRIBUTE TO MARIO WITH HER HUSBAND. I WAS FLOORED AS SHE LOOKED EXACTLY LIKE SHE DID IN GREAT CARUSO. NO DISCERNABLE AGING AT ALL. I HAVE SEEN LATER PHOTOS OF HER AND SHE STILL LOOKED GOOD. 95 YEARS WOULD BE WELCOMED BY ALL OF US I'M SURE. THERE IS ONLY ONE OTHER LANZA CO-STAR STILL ALIVE AND THAT IS SEVEN HILL'S MARISA ALLASIO. I GUESS WE CAN GIVE MENTION TO THE LUISA DI MIO WHO IS THE STREET URCHIN IN THE DUET SHE DOES WITH MARIO. OH, AND FOR THE FIRST TIME"S CO-STAR JOHANNA VON KOCZIAN HAS ALZHIMERS DISEASE. UNFORTUNATE SINCE THERE WERE RUMORS YEARS AGO THAT SHE WAS GOING TO WRITE HER AUTOBIOGRAPHY.

WELL ONE OF OUR MEMBERS CHALLENGED US AS TO WHERE A FLY GOES ACROSS THE SCREEN IN THE FABULOUS BLU RAY OF "THE GREAT CARUSO". WELL YOU CONVINCED ME TO WATCH THE FILM (LIKE I REALLY NEED CONVINCING!)AND KEEP IN MIND I HAVE AN EIGHT FOOT PROJECTED PICTURE. UNHAPPILY,EVEN THOUGH I WATCHED EVERY SCENE LIKE A HAWK SCANNING THE PICTURE ALL THE TIME (ESPECIALLY THE BACKGROUNDSAND OUTDOOR SEQUENCES) FOR THE FLY I MUST SAY I AM BAFFLED HE, SHE, OR IT ELUDED ME. I WILL BET THAT EVEN OUR FIVE GREATEST LANZA EXPERTS---DEREK MCGOVERN, DEREK MANNERING, BILL RONAYNE, ARMANDO CESARI, AND VINCE DI PLACID0 WOULD NOT BE ABLE TO ANSWER YOUR QUIZ QUESTION. LET'S BLAME THE DIRECTOR FOR NOT DIRECTING OUR FLY TO APPEAR LESS NOTICEABLE, LOL.

SO,PLEAS DO GIVE US THE ANSWER ASAP.IN THE MEANTIME I HAVE ONE QUESTION FOR YOU AND OTHERS. WHERE IN THE FILM IS THERE SMOKE? (I WILL GIVE A HINT BY TELLING ALL THAT IT IS ON THE LEFT SIDE AND OCCURS TWICE DURING THE MOVIE).

WHILE WE ARE TALKING LANZA DVDS, THE BLU RAY IS THE ABSOLUTE BEST AND THERE IS NO QUESTION THAT "THE GREAT CARUSO" CAN'T BE BEAT WITH ITS RICH COLOR, CLEAN PICTURE, LACK OF SCRATCHES OR WHITE SPECKS. THE BETTER QUALITY IS NOTICEABLE IN THE VERY BEGINNING WHEN YOU SEE THE CAMERA PANNING THE OCEAN. THE PICTURE IS CLEAN AS A WHISTLE WHILE OTHER OLDER STANDARD DVDS OF THE SAME TITLE ARE FULL OF PICTURE NOISE AND LINES AND SCRATCHES. NOTE THAT THE DOUBLE MGM SET OF "THAT MIDNIGHT AND "THE TOAST OF NEW ORLEANS"ARE EXCELLENT AND THEY ARE FOLLOWED BY"THE "THE SEVEN HILLS OF ROME" AND "FOR THE FIRST TIME". VERY FINE TRANSFERS WITH ONLY SOME WHITE SPECKS IN SPOTS. THE ONLY FAIR QUALITY MARIO MOVIE IS "BECAUSE YOU'RE MINE" IT HAS VIDEO NOISE, IS FUZZY AT TIMES, AND DESPITE VERY GOOD COLOR, IT NEEDS AN UPGRADE. I HOPE WARNER BROTHERS HOME VIDEO ARE READING THIS!

YOU HAVE GOOD EYES TO SEE THE BUG. MY ONLY GUESS IS THAT IT HAD TO BE DURING AN OUTDOOR SCENE. SEE HOW SMART I AM? LOL.


I AM BACK TO THIS SITE AFTER MANY MONTHS OF YET ANOTHER LONG DEPRESSION. OH IF ONLY I COULD BE FREE OF THIS "CURSE"!

A BIT OF NEWS IS THAT I AM MOVING TO A VERY NICE SENIOR CENTER IN A FEW MONTHS. THE SUITE I LIKED BEST HAS ENOUGH ROOM FOR ME TO BRING MY VIDEO PROJECTOR AND LOTS OF DVDS, MY STEINWAY PIANO, MY HUGE STEREO SYSTEM, AND SOME TASTEFULLY CHOSEN ANTIQUES. I CAN ALSO FIT A 78 INCH FLAT SCREEN TV. MY PROJECTED PICTURE WON'T BE AS BIG AS THE 8 BY 14 FOOT I HAVE NOW BUT I CAN GET A PICTURE THAT IS 97 INCHES WIDE AND 57 INCHES TALL. ALL I NEED IS A 13.00 SCREEN FROM EBAY.

CAN'T SAY I HAVE MUCH TO ADD ABOUT MARIO EXCEPT THAT I KEEP PLAYING THOSE GREAT SEPIA CDS. I HAVE A NEWCOMER TO MARIO WHO JUST HAPPENS TO BE A GIRL I DATED 40 YEARS AGO AND JUST FOUND HER AGAIN LIVING WAY DOWN IN FLORIDA. SHE LIKES MARIO'S VOICE, HAS A TRAINED AND EXCELLENT VOICE HERSELF, AND WE STAY UP NIGHTS SENDING AUDIO AND VIDEO FILES OF OUR SINGING, ETC.

CIAO, SAM

MARIO LANZA MUSEUM LUNCHEON
Saturday September 16, 2023 1:00 pm – 4:00 pm

Mario Lanza Museum
1214 Reed Street Philadelphia, PA 19147

Join us for a delicious lunch of hoagies, pasta salad and more plus a complete showing of “Seven Hills of Rome” starring Mario Lanza, Marisa Allasio and Renato Rascel.

Lunch will be from 1:00pm-1:45pm. Movie starts promptly at 2:00pm.

Admission price: $35 per person.

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691.

Seating is limited and on a first come first paid basis.
No refunds or credits. No exceptions.

Street parking.

Please RSVP by September 9, 2023, and let us know if you have any dietary restrictions.

Here’s wishing a heartfelt happy ninety-fifth birthday to Ann Blyth, Mario Lanza’s last surviving American leading lady. At this point she has outlived her costar by sixty-four years! She must be doing something right!!!

Hello, everyone. As we all know, it’s been about two and a half years since The Great Caruso was released in the Blu-ray format, and everyone has agreed as to what a vast improvement this release has been over the standard DVD version. The clarity is simply uncanny. I would like to submit a quiz question concerning this Blu-ray version. This is a question that not even Samuel Samueleon (sp?) with his super-duper projection set-up has included in any of his quizzes on Mario Lanza’s movies. This is my question: At what point in the movie can an insect clearly be seen flying across a portion of the frame? Just think of it! A lowly insect forever immortalized in a Metro-Goldwyn-Mayer Technicolor A picture! Everyone who is game is welcome to participate in trying to answer this question. Keep your eyes peeled and good luck! I’ll wait at least a week or two before I supply the correct answer, unless of course someone else gets it.

GREAT OPERATIC VOICES ON THE ED SULLIVAN SHOW
Saturday August 19, 2023 2:00 pm – 4:00 pm

Mario Lanza Museum
1214 Reed Street Philadelphia, PA 19147

A one-hour lecture/video presentation by MLI President Bill Ronayne featuring a collection of some of the finest operatic voices to have appeared on this famous variety program in opera and song.

Singers include Lauritz Melchior, Roberta Peters, Robert Merrill, Maria Callas, Richard Tucker, Rise Stevens, Mario del Monaco and Renata Tebaldi to name just a few.

Lecture starts promptly at 2:00pm and includes light refreshments.

Admission price: $25 per person.

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691.

Seating is limited and on a first come first paid basis.
No refunds or credits. No exceptions.

Street parking.

Please RSVP by August 12, 2023, and let us know if you have any dietary restrictions.

HEY JEFF,

IT'S THE SAME OLD SAM! WE MUST COMMUNICATE VIA EMAIL. I WILL EXPLAIN THAT NOW IF YOU LOOK IN YOUR EMAIL.

I have been trying to reach Sam for at least a couple of years.
Sam, if you see this, please call me and leave your number.
I have the same number as always. Best, Jeff

Review of the Sepia Records CD "Mario Lanza: The Quintessential Tenor."

Derek McGovern has provided all Lanza fans both new and old with a CD that can be cherished. It is available on Amazon for only 13.99 plus a couple dollars shipping. Also, it is available at the Mario Lanza Museum for just a couple dollars more. You can buy one when director Bill Ronayne comes into Philadelphia for the retrospective programs he makes up for music loving people. He does more than just show Lanza films. He has had programs about Judy Garland, Frank Sinatra, and The Three Tenors. And he posts upcoming shows on the Jeff Rense Mario Lanza forum.

In "The Sound of Music", Julie Andrews sings "Let's start at the very beginning, a very fine place to start". So that is what I am doing below using the track numbers.

1-The CD starts with a great choice, a tiny title with a big reward called "If". This song is not heard much and that makes it desirable to have. Let me tell you that not only is the song a great one but the sound is also great. If you are aware, there is a somewhat new process called "DES" that stands for "digitally enhanced stereo." It basically adds more punch to music using this process. And it also gives the music more dimension.

2-"They Didn't Believe Me". This is a film acetate of the song that also features Kathryn Grayson, Mario's co-star in his first two movies. This song is a fine one and is even better as a duet. The balance between the two singers in DES is perfect.

3-"Bayou Lullaby". This is from an original acetate. It is not the version heard in Mario's second movie "Toast of New Orleans". It is decidedly more robust while the movie version is more serene. The melody is appealing. I always get a laugh when watching Mario and Kathryn paddling down the river since it cuts from close ups to long shots and the long shots are very obviously not the real Lanza and Grayson. The guy playing Mario looks a lot older too. So let's just say these stand ins are among the worst on film.

4-"The Toast of New Orleans". This song is the same title as the movie and is Mario's second film. It comes from an original acetate. The music is pleasant enough and so is the song. It has its soft and loud moments but the end features notes that have a real kick to them.

5-"Because You're Mine". The title is Mario's fourth film and his co-star is Doretta Morrow. He sings the first part of the song over the credits. Most people have never heard the song in its entirety, making it desirable to hear. In it Mario varies his singing from full voice to soft voice. It is a good version of a song Lanza sang live at different times in his career from the "Christopher film" to the Royal Albert Hall concert to the Sunday Night at the London Palladium on TV. Each version is excellent. You could say it is a song that never fails to appeal. There is also a version released by RCA on 78 rpm records. All versions end with a note in his range that is perfect for grabbing an audience with a ringing sound.

6-"You and the Night and the Music". We have here another DES version. The song is a lovely one which I believe was sourced from the Coca Cola shows that were recorded when Mario was in his prime and they all feature some of the best engineered of his releases. They were made at the Radio Recorders studio. The Coke songs allowed RCA to release quite a few songs that were sold from the time of his death to many years later. We are lucky to have them since I believe they doubled the number of songs he sang. As to his performance I rate it a strong 10 out of 10.

7-"The Hills of Home". This is a previously unreleased outtake. It's a song that very few tenors have attempted to sing. Both this and the more familiar version are excellent. I give the gold ribbon to the familiar version. It could be that I like it better since I am used to hearing it. To my ears it is definitely more powerful. Allow me to make an observation. In general, the majority of vocalists sing songs the same way when performing. Mario does not. You can always tell when he does this. Then again audiences prefer to hear a song the way they are used to hearing it.

8-"Danny Boy". This track starts with Mario introducing it. I believe this is one of only two Irish songs he sang. He does this one with panache. It is not the easiest song to sing but when Lanza tackles it one feels it isn't hard at all.

9-"When You're in Love". DES My wife often says to me that Mario should sing love songs like this more tenderly. I am not going to play this track to her since Mario is a gangbuster here.

10-"If You Were Mine". An outtake done with DES. Have you ever noticed that Mario sings the great majority of his pop songs using a technique that is hard for me to describe. Say he is singing a word that has been sung "straight" with no change in the melody. This is what you hear many singers do. But Mario will take a note and sing it downward, trailing the melody down. Capisci? Don't worry, tell me not to make observations that are hard to describe, just sit and enjoy the performance! With all that I said above, I almost forgot to say the song is a fairly nice one and his singing is a bit on the strong side.

11-"Serenade". This is a previously unreleased outtake. There is a bit of surface noise but nothing to complain about. Lanza gives it his full voiced reading. It is in a difficult tessitura to sing but you don't feel it was too much for him to sing. The song was written by Brodszky who composed a number of Mario's songs.

12-"This Land". I was so glad to see this song included on this CD because its melody has been haunting me for quite some time and hearing it sung was not only a moving performance but also interesting when you hear how it rises higher and higher as it goes along and at the end has a stimulating final note.

13-"The Donkey Serenade". This was released originally on the wonderful album called "Cavalcade of Show Tunes." This is a fun song that was popularized by Allan Jones. As well as it is fun, it is also hard to sing. The phrase that starts with "senorita don......."goes by fast and takes a lot of breath. There is a second phrase that takes even more breath and that is the one that starts with "is she oh..........".

14-"Come Prima". This is not the complete song, only the reprise. This is a film acetate and is the first time it appears on a CD. I find this version to be more delicate and sweeter than the movie version.

15-"One Alone". Another DES restored acetate. This is a late Lanza recording that amazingly sounds fresh. Some of the songs recorded then have Mario sounding on the tired side. Not this one! A great melody from a great show and done by a great voice. That is a lot of greats for one song!!!

16-"O Mon Amour". From an acetate. When this song comes in on one of the times when Johanna and Lanza are on their honeymoon, I am always pleased since it is so smooth and you feel the joy the happy couple are enjoying being surrounded by musicians. As the saying somewhat goes, the partial song is short but sweet.

17-"Santa Lucia". This is from a previously unreleased film acetate. One of the most popular Neapolitan songs, it is so nicely done that when it ended I wanted more.

18-"Marechiare". From an original film acetate. This is heard in "The Great Caruso" but only part of it. Since every song and aria from "Caruso" are gorgeous it isn't much of a stretch for this one to be the same, and it is.

19-"Parlami d'Amore, Mariu.” A typical Lanza performance--meaning it is so very nice and ends with a secure final note. A side remark here: Mario sings very few notes sharp throughout this CD.

20-"Libiano, Ne' Lieti Calici." This long title has Mario doing yet another duet with his longtime friend and co-star Kathryn Grayson. Hearing this fine duet takes me back to high school where I was an "A" student but just could not tackle physics--so I dropped it and spent the open hour with my friend and favorite music teacher ever---Clyde (Bud) Dengler, jr. We'd talk music and any other subject we had in common each hour and I looked forward to our "meetings". My high school had just gotten a shiny new RCA stereo with two separate cabinets allowing for very good stereo separation. One fine day I brought in my newly purchased Lanza CD, the great "Cavalcade of Show Tunes". We sat listening to it in its entirety. I will never forget Mr. D's remark after the last track: "Sam, I am emotionally wrung out!" I think every true Lanza fan would agree.

21-"Miserere"- from a film acetate. A rare treat since Mario is reunited with one of his Metropolitan opera acquaintances Lucine Amara. The track takes us beyond what we hear in "The Great Caruso". Amara brings her hefty voice to the movie. This only runs one minute and 32 seconds. Quite good.

22-"Nessun Dorma". From film outtake in DES. This aria has been heard many times on shows like "America's Got Talent" and invariably contestants make their mark. This differs from what is heard in the movie but not by much. It runs a bit faster in the film version and Mario sings one word incorrectly. I believe he sings "tremontate" instead of "tramontate". No matter what the word, Mario nails it both times. This also is an excellent way to end the CD.

Encore tracks. There are six timeless works:

23-"E Lucevan le Stelle". From an original 1950 acetate. This has a smoother feeling than his many other recordings of the same title. His going a little sharp near the end is not even worth mentioning (even though I just did!). Quite enjoyable and Mario can do no wrong here with an aria he sang many times in his career.

24-"E Voi Ridete". From the original film acetate. This is heard in his last movie ironically entitled "For the First Time". Very rare Lanza since it is a Mozart piece and is sung with two other vocalists. A short and happy sing.

25-"Serenade"-remastered in DES. This is one of the many great pieces Sigmund Romberg has written for "The Student Prince". I have often called Lanza's singing of this operetta "Mario lite" as his voice is not as full sounding as other recordings from the same time period. I was never a fan of the general score except for "I'll Walk with God" and the remake of "Beloved". However, as time has passed I am now liking these "lite" songs more. Mario was lucky to be able to sing a Romberg score. Listen to his diction here. It is excellent and a standout. But Mario almost always had great diction.

26-"Tu ca nun Chiagne"!- I have Enrico Caruso on 78 singing this. It's hard to choose which tenor does it better. Suffice it to say both are excellent in their respective recordings. A top Neapolitan piece. Mario is giving his all in the many passages heard.

27-"Vaghissima Sembianza"- This is a late Lanza recording that shows off his voice with its deeper sound than, say, "Funiculi, Funicula". The song originates from the "Caruso Favorites" LP. While some don't like the Lanza voice sounding deeper, I'm not one of them. The Sepia engineers hopefully will convince the naysayers to be yea sayers.

28-"Nessun Dorma". It was sheer genius to choose and also to end this outstanding CD with this aria. Here Mario sings in the time period when he was getting voice coaching and it shows. Unlike some songs that came later in his career and weren't as controlled like just some Coke songs. Here he is more studied yet the tenor still brings energy and quality to this opera staple. This is a live performance from the Hollywood Bowl venue. The ending is what thrills me every time I hear it. His last two notes are chilling and show great breath control. You might be thinking "how long can this new tenor hold this note?" (vin) cero!........................."oh my word this is exciting. Is he going to have any breath left for the very last note?" "Here it comes "Ooooooooood" "My word he did it." Huge audience applause from the Hollywood Bowl audience! and huge applause from yours truly for this great CD. Can Derek outdo this one? Tune in..........

MARIO LANZA MUSEUM LUNCHEON
Saturday July 22, 2023 1:00 pm – 4:00 pm

Mario Lanza Museum
1214 Reed Street Philadelphia, PA 19147

Join us for a delicious lunch of hoagies, pasta salad and more plus a complete showing of “Serenade” starring Mario Lanza, Joan Fontaine, Vincent Price and Sarita Montiel.

Lunch will be from 1:00pm-1:45pm. Movie starts promptly at 2:00pm.

Admission price: $35 per person.

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691.

Seating is limited and on a first come first paid basis.
No refunds or credits. No exceptions.

Street parking.

Please RSVP by July 15, 2023, and let us know if you have any dietary restrictions.

I SAID I WOULDN'T POST AGAIN BUT I WANTED YOU ALL TO KNOW THAT I CONTACTED JEFF RENSE. YOU WILL READ ABOUT IT BELOW. I ALSO ADDED THE REVIEW I WROTE LAST NIGHT AND SENT TO DEREK MCGOVERN.

1-MARIO CLOSES HIS EYES QUITE A BIT WHEN HE SINGS--- UNLIKE ANY OTHER OF HIS FEATURES. I'M NOT SURE WHY HE DOES THIS BUT I LIKE IT.

2-HIS BEST SINGING EVER IN CLASSICAL FORMAT IS "DIO MI POTEVI" WHICH YOU ALREADY KNOW.

3-JOAN FONTAINE IS QUITE A BITCH!

4-HIS LAZY EYE IS NOT NOTICEABLE. I SAW "TONO" TONIGHT AND IN THIS IT IS NOTICEABLE. BTW, AS I AM SPEAKING OF TONO, IT SEEMS TO ME HE PROBABLY HAD MORE FUN MAKING THIS FILM THAN ANY OTHER. PLEASE CORRECT ME IF I AM WRONG.

5-HIS HIGH NOTE BEFORE BLOWING OUT THE CANDLES ON HIS CAKE HAS A BIT OF THE WOBBLE LIKE HIS FINAL NOTE IN THE MOVIE.

6-THERE HAS NEVER BEEN A BETTER "TORNA SURRIENTO" THAN HIS.

7-I THINK HIS RENDITION OF "SERENADE" BY THE OLD CAR IS TRULY EXCELLENT.

8-I FORGOT THIS ONE SINCE I HAVE"TOO MUCH FLOUR IN THE BRAIN", LOL.

I ALSO SAW DISNEY'S "SNOW WHITE" AND ADORE IT. IT WAS HIS FIRST FEATURE FILM FROM 1937 AND IT IS JUST LOADED WITH TUNEFUL SONGS LIKE "HI HO, HI HO", "WHISTLE WHILE YOU WORK", "SOME DAY MY PRINCE WILL COME" AND MANY MORE.(WHEN I WAS SELLING FEATURE FILMS IN 16MM WE HAD A JOKE WHICH WENT "SOME DAY MY PRINTS WILL COME".) THE FIRST 40 MINUTES OF THE MOVIE PLAYS OUT ALMOST LIKE AN OPERA WITH SO MANY SHORTER TUNES THAT EVEN THE BIRDS SING.I ESPECIALLY LIKE THE DELICATE SOUNDS OF SNOW WHITE SINGING THE HIGH NOTES. I LIKE ALL THE DISNEY FEATURES (LADY AND THE TRAMP, SLEEPING BEAUTY, BEAUTY AND THE BEAST, ETC) BUT MY FAVORITE WILL ALWAYS BE "SNOW WHITE".

ANOTHER DAY HAS PASSED WITH NO NEW POSTS SO I MAKING THIS MY LAST POST UNTIL SOMEONE, ANY ONE, WRITES IN.

I WATCHED"SERENADE"TONIGHT, SO TONIGHT IS ABOUT "SERENADE". I LEARNED A FEW THINGS WHILE WATCHING THE MOVIE AS IF I WERE SEEING IT "FOR THE FIRST TIME"!

FIRST, MARIO'S LOWEST NOTES ARE DEEPER AND RICHER THAN IN A FILM LIKE "TOAST OF NEW ORLEANS". EVEN HIS SPEAKING VOICE IS LOWER AT TIMES. SECOND, YOU SEE HIS THROAT MOVING AS IF HE MIGHT HAVE SUNG ALONG WITH THE TRACK. THIRD, HIS ACTING IS ABOVE AVERAGE. FOR EXAMPLE, IN THE "IL ME TESORO" DONE WHEN HE FEELS SO CONFLICTED, YOU CAN LITERALLY FEEL HIS PAIN. FOURTH, THE WARNER BROTHERS SOUNDTRACK HAS THE WIDEST RANGE IN COMPARISON TO THE MGM FILMS WHOSE TRACKS ARE OFTEN NOT AS RICH. WITH MY LARGE SPEAKERS I NOTICED THE THRILLING BASS NOTES OF THE ORCHESTRA. FIFTH, I DON'T REALLY THINK DIRECTOR ANTHONY MANN GAVE MS. MONTIEL MORE SCREEN TIME SINCE HE WAS HAVING AN AFFAIR WITH HER. PROBABLY MARIO SHOULD HAVE WITH HIS TASTE IN WOMEN. SARITA IS QUITE A BEAUTY AND HAS A GREAT FIGURE. SIXTH, THE VERY LAST NOTE IN THE MOVIE THAT YOU AREN'T A FAN OF IS A FINE NOTE AND HAS GOOD SUPPORT AND RING TO IT. I RAN IT TWICE AND CAN ONLY COMPLAIN THAT THE NOTE WOBBLES FOR TWO SHORT SECONDS TWICE. SEVENTH, HIS SINGING IS QUITE CONSISTENT AND THERE ARE NO SHARP NOTES. EIGTH, THERE IS DEFINITELY A GAP WITH HIS SINGING AT THE MAESTRO'S STUDIO. HE GETS TROUBLED MUCH TOO QUICKLY IN HIS LOVE FOR JOAN FONTAINE. NINTHT-HE DOES A LOT OF LOWERING HIS FACE TO ADD TO THE DRAMA I'M SURE. TENTH, I THINK HE OVERALL LOOKS LOOKS GOOD IN IT WITH THE EXCEPTION OF THE SCENE AT NEW MEXICO UPON HIS FIRST AWAKENING AFTER HIS ILLNESS IN THE CITY I CANNOT SPELL. WHEN HE LOOKS EVEN HEAVIER AND ALSO IN NEW MEXICO IS WHEN HE CRIES AT NOT BEING ABLE TO SING AS HE HOLDS HIS FAT FINGERS UP TO HIS FAT FACE. ENOUGH ABOUT WEIGHT. I DON'T WANT TO BE IN THE SAME LEAGUE IN THE FIFTIES WHEN ALL MANY PROS WROTE ABOUT WAS HIS WEIGHT OVER HIS TALENT.ELEVENTH, HIS FINAL NOTE IN THE MOVIE HAS A BIT OF WOBBLE THAT COMES TWICE FOR A FEW SECONS EACH. (THIS IS A PET PEEVE OF OUR FRIEND DEREK MCGOVERN) TWELLF, IS THAT "SERENADE" HAS OVERALL MUCH MORE NOTICEABLE GRAIN THAN IN ANY OTHER OF HIS FILMS. HOWEVER, IF SEEN ON A SMALL SCREEN THIS WOULD NOT BE AS NOTICEABLE. TWELFTH AND LASTT, IS THAT I THINK VINCENT PRICE'S WIT IS A SCENE STEALER! BYE FOR NOW.....

STILL NO ONE IS POSTING. WELL I STILL AM! SOME OF YOU MAY KNOW I WAS TRYING TO REACH LANZA CO-STARS STILL ALIVE FOR POSSIBLE INTERVIEWS. WELL THERE AIN'T MANY LEFT. SO, I DECIDED TO SEARCH IMDB (INTERNET MOVIE DATABASE--A WONDERFUL SITE) AND LOOK INTO SUPPORTING ACTORS AND ACTRESSES NO MATTER HOW SMALL THEIR PART IN MARIO'S MOVIES.

FIRST THE CO-STARS YOU MAY LIKELY KNOW THAT ARE STILL LIVING:1-ANN BLYTH AT 93  2-RITA MORENO AT 92 3-I EVEN CHECKED OUT "THE STUDENT PRINCE".4-MARISA ALLASIO 5-JOHANNA VON KOCZIAN 5-BETTA ST. JOHN (STUDENT PRINCE)

THE OVERWHELMING RESULTS ARE PEOPLE WHO DIED IN THE LATE SIXTIES THROUGH THE NINETIES.
LUCKY ONES WHO HAD LONG LIVES INCLUDE: 1-JAMES WHITMORE AT 2009 2-ZSA ZSA GABOR IN 2016 3-JOAN FONTAINE AT 2013 (I DON'T KNOW IF YOU REMEMBER I TALKED TO HER SECRETARY MANY YEARS AGO JUST TO BE TOLD "MISS FONTAINE NO LONGER GIVES INTERVIEWS") 4-SARITA MONTIEL IN 2008 5-LICIA ALBANESE IN 2014 (I LOVED IT WHEN SHE CAME TO ONE OF THE LANZA BALLS AND LOOKED GOOD AND EVEN SANG OH YES, KATHRYN GRAYSON ALSO CAME TO A FEW BALLS WHEN WE PAID HER PLANE FARE.

SO THERE YOU HAVE IT. I WILL ONLY BE ABLE TO TRY FIVE PEOPLE. WE WILL SEE....
CIAO,
SAM

GREETINGS TO ALL. I AM BACK AFTER A SICKENING FIVE MONTHS OF DEPRESSION AND ANXIETY. THERE IS NO CURE FOR BIPOLAR DISORDER.

I WAS SO SORRY THAT MY POST WAS THE ONLY ONE AFTER BILL RONAYNE'S. THIS SHOULDN'T BE. WHERE ARE MY LANZA FRIENDS? I AM WELL AWARE HOW HARD IT IS TO NAVIGATE THIS SITE, BUT FEEL THAT IF I WITH SO LIMITED COMPUTER SKILLS CAN LEARN IT SO CAN YOU.I DO KNOW THAT MANY ONLY READ THE POSTS HERE, SO THERE IS SOME COMFORT IN THAT. ONLY JEFF CAN CHANGE THE FORMAT AND I DO HOPE HE WILL SOONER THAN LATER.

I SCREENED "THE GREAT CARUSO" LAST NIGHT IN OUR WONDERFUL HOME THEATER. THE BLU RAY VERSION IS STUNNING. THIS IS MARIO AT HIS BEST IN BOTH HIS SINGING AND ACTING. I WAS SO EXCITED AND THRILLED WIH THE VOLUME UP AS HIGH AS POSSIBLE THAT ANNA SAID THE HOUSE IS SHAKING! THERE IS NO QUESTION THAT OUR MARIO IS KING OF TENORS. I HAD GOOSEBUMPS!!

NOTE THAT MY WORDS MAY NOT APPEAR SINCE I WROTE THIS TWICE.

THE THREE TENORS ~ A RETROSPECTIVE
Saturday June 24, 2023 2:00 pm – 4:00 pm

Mario Lanza Museum
1214 Reed Street Philadelphia, PA 19147

A one-hour lecture/video presentation on the famous trio concerts featuring Jose Carreras, Placido Domingo and Luciano Pavarotti by MLI President Bill Ronayne. Clips include solo and medley performances from several of their concerts.

Lecture starts promptly at 2:00pm and includes light refreshments.

Admission price: $25 per person.

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691.

Seating is limited and on a first come first paid basis.
No refunds or credits. No exceptions.

Street parking.

Please RSVP by June 17, 2023, and let us know if you have any dietary restrictions.

Please note that the previous post is for USA orders only. The Mario Lanza Institue no longer ships outside of the USA. Too many problems. Best, Bill

The Mario Lanza Museum now has the new CD from Sepia, "The Quintessential Tenor Mario Lanza" in stock. It will be available for in person purchase starting on Saturday May 6th at 1pm. You can also order it by calling 215-238-9691 or by sending a check to Mario Lanza Institute 1214 Reed Street Philadelphia, PA 19147. The CD is $15 plus $5 S & H. The museum has a special sale of 2/$25 on all Sepia CDs including the new one. Please call the museum if you're ordering more than one CD for the proper S & H. Best, Bill

MARIO LANZA MUSEUM LUNCHEON
Saturday May 20, 2023 1:00 pm – 4:00 pm

Mario Lanza Museum
1214 Reed Street Philadelphia, PA 19147

Join us for a delicious lunch of hoagies, pasta salad and more plus a complete showing of “Because You’re Mine” starring Mario Lanza, Doretta Morrow and James Whitmore.

Lunch will be from 1:00pm-1:45pm. Movie starts promptly at 2:00pm.

Admission price: $35 per person.

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691.

Seating is limited and on a first come first paid basis.
No refunds or credits. No exceptions.

Street parking.

Please RSVP by May 13, 2023, and let us know if you have any dietary restrictions.

The April 2023 issue of "The Legacy of Mario Lanza" has just been published and mailed out. It includes coverage of several events at the Lanza Musuem, a remembrance of Carole Shea, several articles on Mario including one on his various recordings of "The Loveliest Night of the Year," a promotion of the forthcoming CD release from Sepia and so much more. For subscription information contact me at wjronayne@optonline.net. Best, Bill

Our next event at the Lanza Museum will be a lecture/video presentation entitled "Tony Bennett ~ Classic Songs by a Classic Performer" on Saturday April 22nd from 2pm-4pm. Admission is $25 per person and light refreshments will be served. Seating is limited and on a first come first paid basis. The museum is located at 1214 Reed Street in Philadelphia. For more information or to make a credit card payment, please call 215-238-9691.

HELLO FOLKS. JUST WHEN I THOUGHT I WAS RUNNING DRY ON THINGS TO DO REGARDING MARIO, I CAME UP WITH WHAT I CALL "LANZA MOVIES BEGININGS AND ENDINGS". THIS WILL TELL YOU HOW EACH FILM OF HIS STARTS AND STOPS. THEY ARE IN THE ORDER OF WHEN THEY WERE RELEASED.I MIGHT MAKE A FEW COMMENTS ABOUT THE FILM IN PARENTHESES. ALSO, A COUPLE OF THE DVDS WOULD NOT ALLOW ME TO FAST FORWARD TO THE END SO I WROTE FROM MY MEMORY. IF YOU SPOT ANYTHING WRONG PLEASE TELL ME.

1-"THAT MIDNIGHT KISS" BEGINNING: MGM LION STARTS THE MOVIE AND IMMEDIATELY AFTER THAT WE HEAR THE "I KNOW, I KNOW, I KNOW" THEME. ENDING: AFTER THE "LOVE IS MINE" PRODUCTION, MARIO AND KATHRYN KISS, AND THE END TITLES ARE SEE WITH TWO PAGES OF CREDITS ENDING THE FILM WHILE PART OF "I KNOW, ETC" IS HEARD. (NICE TO SEE "INTRODUCING MARIO LANZA" AMONG THE CREDITS AS I BELIEVE IT MAKES YOU FEEL GOOD KNOWING THIS WAS THE START OF HIS CAREER)

2-"THE TOAST OF NEW ORLEANS" BEGINNING: THE MGM LION IS FIRST, THEN MARIO SINGS THE TITLE SONG. ENDING: THE END TITLES COME UP AND TWO PAGES OF CREDITS FOLLOWS. (NOTE THAT THIS IS ONE OF THREE OF HIS FILMS THAT HAS HIM SINGING OVER THE TITLES. THEY ARE TONO, BYM, AND ON VHS TAPE MARIO SINGS OVER THE TITLES AND IF MEMORY SERVES THE SINGING IS NOT UP TO PAR)

3-"THE GREAT CARUSO" BEGINNING: THIS FILM HAS A THEME I ALWAYS ENJOY. IT GOES DAH, DAH, DAH, DAH AND IT REPEATS THAT. THEN THE MUSIC OF THE ARIA "VESTI LA GIUBBA" FOLLOWS. ENDING: THE SONG "BECAUSE" ENDS THE FILM WITH THREE PAGES OF CREDITS--THE LAST ONE BEING THE METROPOLITAN OPERA STARS. (THIS IS MY FAVORITE LANZA FILM AND I NEVER GET TIRED OF WATCHING IT.)

4-"BECAUSE YOU'RE MINE" BEGINNING: THE MGM LION IS FOLLOWED BY MARIO SINGING THE TITLE SONG (MAKING IT THE THIRD TIME THE SONG IS SUNG IN THE MOVIE!) ENDING: THE BYM SONG ENDS THE FILM WITH TWO PAGES OF CREDITS. (NOTE: I LIKE HOW MARIO SAID AT THE TIME "YOU CAN'T PUT CARUSO IN THE ARMY' THAT SHOWS HIS DISDAIN OF THE STUDIO FORCING HIM TO MAKE THE FILM)

5-"THE STUDENT PRINCE" BEGINNING: THE MGM LION IS FOLLOWED BY CREDITS WHICH INCLUDE "AND THE SINGING VOICE OF MARIO LANZA" WHICH PARTLY EXPLAINS WHY HE DOES NOT APPEAR IN THE FILM. ENDING: THE END TITLES COME UP WHILE WE HEAR THE STRAINS OF "GAUDEAMUS IGITUR". (THIS IS THE FIRST TIME CINEMASCOPE WAS USED IN A LANZA FILM AND AFTER THAT ALL THE REST OF HIS MOVIES ARE IN THIS FORMAT THAT MOVIE STUDIOS HOPED WOULD PUT MORE PEOPLE IN THE THEATER SINCE TV COULD NOT SHOW THIS FORMAT)

6-"SERENADE" BEGINS WITH THE WARNER BROTHERS SHIELD LOGO AS WE HEAR SNIPPETS OF THE MUSIC OF THE SONG "SERENADE". THIS IS TECHNICALLY NOT WIDESCREEN BUT RATHER A 1:85 RATIO THAT FILLS THE ENTIRE SCREEN. ENDING: AFTER MARIO'S COUSIN TONIO SAYS "SHE'S GONNA BE ALRIGHT" REFERRING TO SARITA MONTIEL'S RECOVERY AFTER BEING HIT BY A BUS, A SIMPLE END TITLE CLOSES THE FILM. (NOTE THAT THIS IS THE ONLY FILM MARIO DID THAT WAS IN THE HANDS OF THE WARNER BROTHERS. INTERESTING ALSO TO NOTE THAT CURRENTLY WB OWNS THE RIGHTS TO ALL MARIO'S MOVIES)

7-"SEVEN HILLS OF ROME": IT BEGINS WITH THE MGM LION. THEN THE FILM GOES IMMEDIATELY TO MARIO SINGING THE ENDING OF "ALL THE THINGS YOU ARE". ENDING: THE CAMERA CAPTURES MARIO AND MARISA ALLASIO SKIPPING DOWN STEPS AND YELLOW END TITLES COME ON. (THE START OF THIS MOVIE IS UNIQUE AMONG LANZA'S FILMS. INTERESTING THAT TODAY FILMS SOMETIMES START THIS WAY. LANZA WAS AHEAD OF HIS TIME!)

8-"FOR THE FIRST TIME" BEGINS WITH THE MGM LION WITH THE "COME PRIMA" MUSIC UNDERNEATH THE CREDITS THAT ARE SHOWN ON A RED AND GOLD CURTAIN. ENDING: MARIO SINGS WITH THE PEOPLE FROM THE ROME OPERA HOUSE. THEN A QUICK FADE TO AN END TITLE. (THE MOVIE TITLE IS IRONIC SINCE THIS WAS MARIO'S LAST MOVIE. PEOPLE ARE SURPRISED HIS VOICE SOUNDS SO GOOD HERE WHILE OTHER RECORDINGS MADE THE SAME YEAR OFTEN DO NOT HAVE THE SAME LANZA SINGING QUALITY)

THIS ENDS MY "BEGININGS AND ENDINGS" WORK AND I HOPE YOU ENJOYED READING IT.

HERE ARE MORE OF THE NEW DES STEREO RECORDINGS. I HAVE SPENT TIME GATHERING THEM ALL TOGETHER TO MAKE HEARING EASY WITH ONE CLICK PER SONG!

1-NESSUN DORMA FROM HOLLYWOOD BOWL: https://www.youtube.com/watch?v=FwjLhqzllYw WHAT GREAT BREATH CONTROL AT THE END.

2-THE SONG ANGELS SING FROM BYM. GEEZ, THIS IS A TOTALLY DIFFERENT RECORDING I NEVER HEARD BEFORE!
https://www.youtube.com/watch?v=tnT1aUIkBRs

3-1957 LONDON PALLADIUM. MORE "LIVE" SOUNDING TO ME.
https://www.youtube.com/watch?v=9HSpC_BeNic I NOTICED THAT IN "E LUCEVAN LE STELLE"THERE IS SOME FLUTTER IN THE ORCHESTRA BUT THE VOICE SOUNDS FINE.

4-O HOLY NIGHT. THIS ONE JUST CANNOT BE IMPROVED DUE TO HIS SINGING AND THE FAST SPEED. WELL, IT IS A LITTLE BETTER AFTER LISTENING A SECOND TIME.
https://www.youtube.com/watch?v=3teiIPyPY3U

5-GRANADA FROM BYM. DEFINITELY BETTER SOUNDING!
https://www.youtube.com/watch?v=AohXkletGl0

6-NEVER TIL NOW. BETTER.
https://www.youtube.com/watch?v=-CGbYgH1riA

7-ONE ALONE PARTIAL. IT IS CLEANER.
https://www.youtube.com/watch?v=VqtPnjYhECM

8-COME DANCE WITH ME. THE ORCHESTRA TRULY STANDS OUT. VOICE QUALITY QUITE GOOD.
https://www.youtube.com/watch?v=QUxf1eWuB6Q

9-VIRGIN'S SLUMBER SONG. HAVEN'T HEARD THIS SONG IN GENERAL FOR SOME TIME. IT'S GOOD.
https://www.youtube.com/watch?v=-pJTVy4D13kD

10-LYGIA. I LIKE THE PRESENCE. THE SONG ITSELF IS ONLY "OKAY".
https://www.youtube.com/watch?v=RgwOcCSQt2U

11-1948 THINE ALONE. NOT NEARLY AS GOOD AS THE LATER ONE ON "CAVALCADE" BUT THE SOUND QUALITY IS VERY GOOD.
https://www.youtube.com/watch?v=XtOmIGQkrHE

12-DO YOU WONDER. NOT BAD. NOT A FAVORITE OF MINE.
https://www.youtube.com/watch?v=iGPCAnkReFo

13-THE WORLD IS MINE TONIGHT. EXCELLENT PRESENCE. (BY THE WAY THERE ARE A FEW XMAS CAROLS CONVERTED THAT I DIDN'T BOTHER TO PUT IN THIS GROUP.
https://www.youtube.com/watch?v=fV0TjFIfwug HIGH C FINAL NOTE.

14-1959 STUDENT PRINCE. "OVERHEAD THE MOON IS BEAMING". SUNG TOO FORCEFULLY IN MY OPINION.
https://www.youtube.com/watch?v=cgWaAFxf1YI

15-1948 E LUCEVAN LE STELLE. I DON'T KNOW WHY IF THE DES PROCESS TAKES SO LONG TO MAKE WHY THEY BOTHER WITH EARLY STUFF LIKE THIS. MAYBE THAT'S NOT FAIR TO SAY......
https://www.youtube.com/watch?v=TzJifPcYn4c

16-CAVALCADE YOURS IS MY HEART ALONE. THE ORIGINAL SOUND TO ME IS ABOUT THE SAME.
https://www.youtube.com/watch?v=-QdgV5u8Rx4

17-MY MARGO GOOD HIGH NOTE FOR SUCH A LATE RECORDING
https://www.youtube.com/watch?v=aoHclEYw3XQ

IT'S HARD TO FIND ANYTHING "NEW" ABOUT MARIO LANZA. WELL, I AM HERE TO DISPROVE THAT. THERE ARE A COUPLE DOZEN MARIO LANZA RECORDINGS THAT HAVE HAD WHAT IS CALLED THE "DES" TREATMENT. DES TURNS MONO RECORDINGS INTO STEREO RECORDINGS AND THE RESULTS ARE SURPRISINGLY GOOD. JUST GO TO YOUTUBE AND PUT IN A SEARCH FOR "MARIO LANZA DES" AND YOU WILL GET THEM. THERE ARE DES RECORDINGS FOR EARLY PIECES LIKE THE HOLLYWOOD BOWL "NESSUN DORMA" , MANY COKE SHOW PIECES LIKE "BEGIN THE BEGUINE", CHRISTMAS PIECES LIKE "O HOLY NIGHT", AND MUCH MORE.

DES RECORDINGS GIVE THE MONO TRACKS PRESENCE, THEY GIVE THEM A FRESH SOUND, AND THEY IMPROVE ORCHESTRA AND CHORAL SOUND.

HAVE FUN LISTENING TO THESE. HERE IS JUST ONE EXAMPLE YOU CAN CLICK ON. IT IS "GRANADA" FROM "BECAUSE YOU'RE MINE".
https://www.youtube.com/watch?v=AohXkletGl0

Our next event at the Mario Lanza Museum will be a luncheon on Saturday March 25th from 1pm-4pm. It will feature hoagies, pasta salad and more plus there will be complete showing of "The Great Caruso." Admission is $35 per person. For more information and to make a payment by credit card, call 215-238-9691. Seating is limited and on a first come, first paid basis. The museum is located at 1214 Reed Street in Philadelphia and street parking is available. Best, Bill

It won't let post the photo.

From the February 25th Fred Astaire & Ginger Rogers Lecture/Presentation at the Lanza Museum. The 150th anniversary of the birth of Enrico Caruso was remembered with the playing of his 1907 recording of "Vesti la giubba" and then the afternoon was dedicated to the memory of Carole Shea who recently passed away with the playing of Mario Lanza's recording of "I'll Walk with God." The presentation followed and included biographical information on both Astaire and Rogers followed by clips from the 10 films that they made together. Attendees enjoyed coffee and hot chocolate as well as assorted goodies. It was another successful afternoon at the museum.

HELLO ALL! I HAVE A VERY RARE MARIO LANZA PROGRAM ON DVD THAT WAS MADE IN PHILADELPHIA. I CAN MAKE COPIES FOR ANYONE INTERESTED FOR $12.00 PLUS SHIPPING. HERE IS THE PERTINENT INFORMATION ON IT:

I JUST FINISHED WATCHING THIS 2008 DVD AND WAS PLEASANTLY SURPRISED AT HOW GOOD IT IS. PROFESSOR MOYLAN MILLS SPOKE QUITE WELL AND WAS COMPLETELY ACCURATE IN EVERYTHING HE SAID. THEY OF COURSE WENT INTO THE USUAL "HE SHOULD HAVE GONE INTO OPERA" STUFF AND THEY HAD A TENOR NAMED RICHARD TROXEL WHO IS A LIFELONG FAN OF LANZA SING "GHE GELIDA MANINA AND HE FINISHES THE PROGRAM WITH "BE MY LOVE". LIKE PAVAROTTI, HE SOUNDS LIKE AN OPERATIC VOICE TRYING TO SING WITHOUT ACCENT AND FAILS.

THEY HAD A WONDERFUL SEGMENT WITH CAROLE SHEA SPEAKING SO LOVINGLY ABOUT THE LARGE FAMILY SHE CAME FROM AND HOW SHE WAS ONLY IN JUNIOR HIGH WHEN SHE SAW MARIO FOR THE FIRST TIME. IT IS EVEN MORE POIGNANT NOW THAT SHE HAS PASSED AWAY. BILL RONAYNE WAS ALSO INTERVIEWED WHEN AT THE TIME HE WAS VICE PRESIDENT OF THE MARIO LANZA INSTITUTE WHEN MARY PAPPOLA WAS PRESIDENT.

THEY ALSO INTERVIEWED PEOPLE IN THE AUDIENCE. ONE MAN SPOKE OF THE THREE FUNERALS HELD FOR MARIO AND HOW NEARLY 20,000 PEOPLE PASSED BY HIS COFFIN AND THE FUNERAL DIRECTORS KEPT THE PLACE OPEN ALL NIGHT AND INTO THE DAY. A LADY WAS INTERVIEWED AND SPOKE OF HER ADMIRATION FOR MARIO. TROXELL HELD THE DREADFUL 1959 LANZA CHRISTMAS ALBUM UP FOR ALL TO SEE. AND THERE WAS A SENTIMENTAL PART WHEN IT WAS MENTIONED THAT MARIO SANG "GUARDIAN ANGELS" TO HIS KIDS EVERY NIGHT EVEN IF HE WAS OUT OF TOWN.

OF COURSE THE BEST PART IS THAT THERE ARE PLENTY OF MARIO LANZA CLIPS FROM MOVIES AND OTHER SOURCES. THE SOUND QUALITY IS EXCELLENT AND I WOULD RATE THE DVD QUALITY AS GOOD. YOU CAN POST HERE OR USE MY EMAIL ADDRESS OF SMS5565@GMAIL.COM

SO, I THINK I HAVE COVERED THE HIGHLIGHTS!

CIAO,

SAM

THIS ANALYSIS IS OF FOUR MARIO LANZA SONGS HE SANG USING "MAMMA QUEL VINO CHE GENEROSA OR ENTITLED SIMPLY "ADDIO ALLA MADRE".

1-1944 PRIVATE RECORDING: I CAN'T COMMENT ON THIS RECORDING BECAUSE I SIMPLY COULD NOT FIND IT ON YOUTUBE. BUT I KNOW ENOUGH ABOUT THE SOUND, QUALITY, AND PERFORMANCES TO ASSUME THIS IS EITHER ANOTHER OF THE PRIVATE RECORDINGS WITH PIANO ACCOMPANIMENT THAT MARIO MADE ESPECIALLY FOR HIS FRIEND MARIA MARGELLI, OR THAT IT IS ONE FROM ANOTHER SOURCE. EITHER WAY WE CAN EXPECT MARIO TO HAVE A VERY YOUTHFUL SOUND, TO HAVE CONFIDENCE IN HIS SINGING, AND HAVE THE TENDENCY TO THIN OUT AT THE UPPERMOST REGISTER.

2-1950 RCA RECORDING: I AM ASSUMING THIS IS ONE OF THE RECORDINGS MARIO MADE FOR RCA NOT AS A TEST LIKE THE FIVE WE HAVE DISCUSSED BEFORE, BUT RATHER AS A RECORDING RCA RELEASED. THE SINGING IS EXCELLENT, A LITTLE LESS CONTROLLED THAN THE BYM VERSION. https://www.youtube.com/watch?v=JAvT1zumr0Y

3-BECAUSE YOU'RE MINE MOVIE SOUNDTRACK: I HAVE ALWAYS THOUGHT THIS RECORDING TO BE THE BEST ONE THE FILM HAS TO OFFER. IF YOU LISTEN CLOSELY YOU WILL NOTICE THAT HIS TONE IS RICHER, HIS SUPPORT IS AMAZING, AND HE IS IN GREAT PHYSICAL SHAPE. YES, IT HAS A REASON TO BE IN THIS POSITION AS IT HELPS ADVANCE THE PLOT REGARDING WHETHER OR NOT THE ARMY WILL GET THEIR HANDS ON LANZA. https://www.youtube.com/watch?v=jBF5uQ7X2ys



4-COCA COLA RADIO SHOW: THIS VERSION IS DECIDEDLY TAKEN AT A FASTER TEMPO (A GOOD MANY COKE SHOW RECORDINGS SHARE THIS COMMON TRAIT). MARIO IS IN EXCELLENT VOICE AND SEEMS READY TO BURST HIS SEAMS SINCE HE HAS SO MUCH "FIRE" IN THIS PERFORMANCE. https://www.youtube.com/watch?v=wk4mzOgu6CM

AS USUAL, I THANK COLLECTORS WORLD WIDE WHO HAVE SHARED RECORDINGS THEY HAVE IN THEIR LIBRARIES WITH YOUTUBE!

THIS IS MY ANALYSIS OF THE ARIA "O SOAVE FANCIULLA" FROM "LA BOHEME" I THINK I'M GETTING ADDICTED TO THIS WONDERFUL WORLD OF COMPARISONS OF THE LANZA VOICE. I WILL REVIEW IN CHRONOLOGICAL ORDER.


1-1942 PRIVATE RECORDING WITH LOIS MACMAHON: THE RECORDING IS OF SUCH POOR QUALITY THAT IT MAKES JUDGEMENT HARD. PIANO ACCOMPANIMENT. THERE IS NO DOUBT THIS IS MARIO. HE KEEPS IT ALL UNDER CONTROL. AS IN OTHER RECORDINGS THIS EARLY, HIS TOP NOTES THIN OUT TO A DEGREE. I FOUND THE ENDING TO BE A SCREAMING MATCH.
https://www.youtube.com/watch?v=CGcqIq9iAYc

2-1947 HOLLYWOOD BOWL WITH SOPRANO FRANCES YEEND: MAKE NO MISTAKE, THIS IS A DIFFICULT ARIA TO SING SINCE IT IS IN SUCH A HIGH REGISTER BY THE END. MARIO WAS COMFORTABLE WITH YEEND SINCE THEY SANG TOGETHER AND WITH GEORGE LONDON AS THE "BEL CANTO TRIO". WE HEAR MARIO IN A PERFORMANCE THAT IS RESERVED. BRAVO! THE TWO HIT THE ENDING RIGHT ON AND WITH NONE OF THE VOCAL STRAIN AS ABOVE. https://www.youtube.com/watch?v=7xlpBhzHydg

3-1948 HOLLYWOOD BOWL WITH SOPRANO KATHRYN GRAYSON:
THIS WAS SUNG ON WHAT WAS CALLED "THE MGM NIGHT OF JULY 24TH, 1948. GRAYSON WAS A FAN OF HIS VOICE AND WOULD LATER THAT YEAR CO-STAR WITH HIM IN "THAT MIDNIGHT KISS".
THIS IS VERY SIMILAR TO THE VERSION WITH YEEND. IT IS POSSIBLY MORE SUBTLE AND SLOWER. THE END? A GOOD BIT BETTER THAN THE YEEND VERSION! https://www.youtube.com/watch?v=3I0lP9GgaPQ

4-1955 "SERENADE" SOUNDTRACK VERSION". THIS IS MARIO AT HIS BEST FOR THE MAJOR PART OF THE PIECE. JEAN FENN DOES FINE. WAITING FOR THE ENDING IS A TEASE SINCE I HAVE SEEN THIS SO MANY TIMES WHILE WATCHING MARIO'S ARGUABLY BEST FEATURE. PIANO ONLY. I WOULD SAY THE ENDING WINS "BEST DUET" IN THE CONTEXT OF THE MOVIE. YOU CAN HEAR MARIO GEARING UP ON THE FIRST "AMOUR" AND IT IS OBVIOUS HE IS PUSHING. THE FINAL "AMOUR" HAS THEM BOTH PUSHING. DESPITE THIS I STILL AWARD "THE BEST DUET" TO THEM. CAN'T YOU JUST HEAR VINCENT PRICE SAYING FENN SOUNDED LIKE THE "BRAKES ON THE ROME EXPRESS?!!

AS ALWAYS, I THANK YOUTUBE FOR MAKING THESE RECORDINGS SO AVAILABLE TO US!

SORRY, I FORGOT TO SAY WHICH ARIA I AM WRITING ABOUT! IT IS "CHE GELIDA MANINA"!

I HOPE YOU ARE NOT GETTING TIRED OF MY CONTINUING ANALYSIS OF MARIO'S RECORDINGS THAT WERE DONE MULTIPLE TIMES.

AS BEFORE I WILL LIST THE ARIA IN CHRONOLOGICAL ORDER.

1-1947 MGM TEST RECORD: QUITE A WORTHY CONTENDER FOR A RECORDING THIS EARLY. MARIO USES HIS DYNAMICS WELL. AND THE SOFT PEDAL IS THERE. ONLY PIANO ACCOMPANIMENT. THE HIGH NOTES DO NOT THIN OUT LIKE OTHERS FROM THIS TIME PERIOD. THIS ARIA IS CHALLENGING ANY WAY YOU SLICE IT. NICE HIGH NOTE AND HELD LONG. https://www.youtube.com/watch?v=JvV70is5Ee0

2-1949 RCA RECORDING: RECORDED MAY 5, 1949 AND IS THE OFFICIAL FIRST RECORDING RELEASED BY RCA FOR THE TENOR. THIS WAS FOUR YEARS AFTER HE DID THE TEST RECORDINGS FOR THE RECORD GIANT. FINE WORK BY LANZA WITH THE VOCAL FIREWORKS ON DISPLAY. MAKE NO MISTAKES ABOUT IT----IT IS A VERY DIFFICULT ARIA TO SING! GREAT HIGH NOTE! https://www.youtube.com/watch?v=XOPvS5mYX70

3-TWO PARTIAL TAKES FROM "THE GREAT CARUSO" SOUNDTRACK. ANYTHING FROM "CARUSO" IS GREAT AND THIS DOESN'T DISAPPOINT. WATCH HOW HE SQUEEZES DOROTHY KIRSTEN AS IF FOR EMPHASIS. WELL SUPPORTED AND A SOARING HIGH NOTE. I DID NOT FIND THE SECOND TAKE, BUT WHO'S COMPLAINING?!! https://www.youtube.com/watch?v=y2awXYZKGl0

4-1952 COCA COLA RADIO SHOW RECORDING: AT THE RISK OF REPEATING MYSELF HERE IS YET ANOTHER GREAT RECORDING FROM THE COKE SHOW. I WOULD HAVE TO SAY THIS ONE IS MY FAVORITE (FROM THE RECORD RELEASED AFTER HIS DEATH CALLED "HIS FAVORITE ARIAS"). EXCITING, EXCITING, EXCITING. FROM THE FIRST NOTE TO THE LAST. https://www.youtube.com/watch?v=-ZhCdcO2_s0https://www.youtube.com/watch?v=-ZhCdcO2_s0

ONCE AGAIN, I THANK YOUTUBE FOR MAKING THESE RECORDINGS AVAILABLE FOR US TO HEAR!

THIS IS MY ANALYSIS OF MARIO DOING THE ARIA FROM "ANDREA CHENIER" CALLED "UN DI ALLAZURO SPAZIO", ALSO KNOWN AS THE "IMPROVVISO".

THERE ARE FOUR RECORDINGS AND I WILL LIST THEM IN ORDER OF DATES.

1-1944 PRIVATE RECORDING: THIS IS ONE OF THE SMALL NUMBER OF RECORDINGS HE MADE JUST FOR HIS FRIEND MARIA MARGELLI TO HEAR. HE DID IT TO PIANO ACCOMPANIMENT. HE SOUNDS RICHER THAN YOU'D EXPECT WITH THE EXCEPTION OF THE HIGH NOTES WHERE HE THINS OUT SOMEWHAT. NICE TO HEAR HIM ADDRESS HER TOO. https://www.youtube.com/watch?v=5N_dgHOctMI

2-1947 HOLLYWOOD BOWL PERFORMANCE WITH EUGENE ORMANDY CONDUCTING: SURPRISINGLY HE DOESN'T SOUND AS YOUTHFUL AS I SUSPECTED. IT IS VERY WELL SUNG AND YOU CAN HEAR THE INFLUENCE OF HIS HAVING COACHING BEFOREHAND. IT IS DEFINITELY EXCITING. THE RECORDING IS EXCELLENT OVERALL. I COULD NOT FIND A SINGLE NEGATIVE. https://www.youtube.com/watch?v=_9QcmWEJycE

3-1950 RCA. YET ANOTHER RECORDING FROM HIS FIRST SESSION WITH RCA I SUSPECT. I LOVE HOW HE EMPHASIZED NOTES LIKE "DISTERNO". CALLINICOS DIRECTED THIS. AND, OF COURSE, HE GETS IN TWO SHARP NOTES. THANKFULLY NOTHING AS BAD AS "HOUSE ON THE HILL" FROM HIS LIVE CONCERT AT ROYAL ALBERT HALL. HE COULD NOT SAVE THAT ONE! HIS DYNAMICS ARE QUITE GOOD AND FITTING. https://www.youtube.com/watch?v=EjzO9WmAdhM

4-1952 HOME RECORDING. THIS IS ONE OF THE MOST EXCITING RECORDINGS MARIO EVER SANG. HIS VOICE SOUNDS LIKE THIS GIGANTIC WALL OF SOUND. A SHAME THAT IT HAS SOME DISTORTION BUT THIS RECORDING SOUNDS LIKE SOMEONE CLEANED IT UP. TO USE A WORD CALLINICOS ONCE DID IN HIS BIOGRAPHY OF MARIO, IT IS "OROTUND". THAT TAPE RECORDER HE PURCHASED WAS A GOOD INVESTMENT! https://www.youtube.com/watch?v=gEHittE-gLo

5-1952 COKE SHOW: AS WITH MOST COCA COLA RECORDINGS, MARIO IS IN TOP FORM. THIS SHOW WAS POPULAR AND LASTED FROM 1951-TO 1952. THE VOICE IS EVEN BUT HE GOES SHARP SEVERAL TIMES. BREATH CONTROL IS TOPS. EXCELLENT DICTION AND A "BROAD" RECORDING THAT LEAVES YOU WANTING MORE. https://www.youtube.com/watch?v=F1i1o2jGBkc

AGAIN, MY THANKS TO YOUTUBE FOR MAKING THESE RECORDINGS POSSIBLE FOR US TO ENJOY!

THIS IS MY ANALYSIS OF MARIO'S KNOWN RECORDINGS OF "CELESTE AIDA" FROM THE OPERA "AIDA"

1-JOSE ITURBI "CELESTE AIDA" FROM "THAT MIDNIGHT KISS" SOUNDTRACK: KATHRYN GIVES MARIO A KISS THAT PUMPS HIM UP FOR HIS PERFORMANCE. THE ARIA IS VERY EVEN AND MARIO SINGS IT WELL WITH HARDLY A MISS. HIS LIP SYNCHING IS TRUE. HIS VOICE IS FULL EVEN THOUGH LATER RECORDINGS SHOW HIS GROWTH "LIVING" WITH THE ARIA.  https://www.youtube.com/watch?v=YJ8GbDpPT1k

2-1949 RCA RECORDING: IF I AM NOT MISTAKEN, MARIO RECORDED FIVE DIFFERENT RECORDINGS FOR RCA AND OFFERED HIM A CONTRACT QUICKLY FOLLOWING. DESPITE THE "THAT MIDNIGHT KISS" RECORDING LIKELY RECORDED IN 1948, THIS VERSION HAS MORE "MEAT" ON ITS BONES. TRULY EXCELLENT AND EXCITING. https://www.youtube.com/watch?v=_ElajpJVbQo

3-"THE GREAT CARUSO" RECORDINGS. THERE ARE TWO BUT I WILL ONLY REVIEW THE ONE I FOUND. THIS INCLUDES THE RECITATIVE. IT IS TRULY MORE EXCITING SINCE YOU CAN SEE HIM AS HE SINGS. HE GOES SHARP IN ONE SPOT, ONE OF HIS "TRADEMARKS". IT IS NOT SUNG AS FORCEFULLY AS THE TMK RECORDING., THOUGH THE PASSION WE HAVE COME TO EXPECT IS IN FULL ARRAY. I NOTICED HIS CHEST ISN'T MOVING TO THE MUSIC. MANY OF HIS ARIAS FEATURE THIS BUT NOT HERE.  https://www.youtube.com/watch?v=FZAgkjfg94s

4-FROM THE COCA COLA RADIO SHOW: THIS HAS A DEGREE OF ECHO, WHICH IS FINE AS IT MAKES THE RECORDING MORE PRESENT. HE ALMOST GOES SHARP IN THE SAME SPOT HE DID PREVIOUSLY. AS A GROUP, THE COKE SHOW RECORDINGS ARE PRIME MARIO LANZA AT THE TOP OF HIS FORM. HE SPEAKS SOME OF IT NEAR THE END IN PERFECT BLEND WITH THE ARIA. BEST FINAL HIGH NOTE OF THEM ALL. THIS IS PROBABLY MY FAVORITE OF THE GROUP OF FOUR. https://www.youtube.com/watch?v=UhdnHDAGwIo

I HOPE YOU HAVE ENJOYED ANOTHER VISIT TO MARIO'S MULTIPLE RECORDINGS. YOUTUBE IS INVALUABLE.

MY ANALYSIS OF MARIO'S FOUR RECORDINGS OF "LOLITA"

THR RECORDINGS YOU WILL HEAR ARE ALL OF "LOLITA", A SONG MARIO SANG MULTIPLE TIMES. WE HAVE FOUR HERE FOR YOUR INSPECTION. I HAVE ADDED LINKS FOR YOUR EASE IN FINDING THEM TO HEAR.

1-RCA RECORDING: HE SINGS IT AS IF IT WERE EASY. RELAXED. BEAUTIFUL TONE WITH A YOUTHFUL BENT. SOME PHRASES ARE STRETCHED OUT A BIT, WHICH ADDS TO THE EASY FEEL. https://www.youtube.com/watch?v=bY2agS6_T-0

2-COKE SHOW RECORDING. JULY 1951. DARKER THAN MANY OF THE COKE RECORDINGS. THIS HAS LESS FINESSE THAN THE OTHERS. FALSETTO IS EMPLOYED. SOME MINOR SLIDING UP AND DOWN. HE EMPHASIZES WORDS AS ONLY LANZA COULD DO. https://www.youtube.com/watch?v=p7FXwCcVQpU

3-SEVEN HILLS OF ROME. A SOMEWHAT SLOWER TEMPO. THE VOICE IS EXCELLENT AS ARE ALL OF THE SHOR RECORDINGS. HE USES FALSETTO AND EMPLOYS DELICATE PHRASES THAT ARE STAND OUTS COMPARED TO THE OTHER THREE RECORDINGS. https://www.youtube.com/watch?v=rORV4pLVBck

4-1959 FROM "CARUSO FAVORITES". WE HEAR A RICHER AND DECIDEDLY DARKER VOICE BUT NOT AS MUCH AS YOU'D THINK. IT IS NOT ONE OF THE 1959 RECORDINGS THAT WAS MARRED BY DISTORTION AND POOR RECORDING. THERE IS NO LACK OF PASSION. https://www.youtube.com/watch?v=ZmO9mHwHUkQ

I AM HAVING A HARD TIME PINPOINTING MY FAVORITE OF THE FOUR. SUFFICE IT TO SAY HE DOES VERY WELL WITH ALL OF THEM!

THE ARIA "E LUCEVAN LE STELLE" SERVED MARIO WELL FROM ONE OF THE EARLIEST RECORDINGS TO MUCH LATER ONES. LET'S START WITH THE EARLIEST.

1-1940 PRIVATE RECORDING. HE SINGS IT TO PIANO ACCOMPANIMENT. HIS VOICE IS VERY YOUTHFUL AND HIS VIBRATO IS SOMEWHAT "SHOTGUN" IN ITS SPEED. HIS WELL KNOWN ITALIANATE EMOTION IS EVER PRESENT.

2-1944 PRIVATE RECORDING FOR HIS FRIEND AND OFTEN BENEFACTOR MARIA MARGELLI. THIS WAS RECORDED MAY OF 1944 WHEN HE WAS ONLY 23 YEARS OLD. ONE CAN HEAR THE MATURITY HE DEVELOPED IN THE FOUR YEARS SINCE THE ABOVE. HIS VOICE IS RICHER AND HIS VIBRATO IS NORMAL. THE HIGH NOTES ARE VERY GOOD.

3-DONE ON 10/24/1945, THE ARIA (WHICH TRANSLATES TO "THE STARS WERE BRIGHTLY SHINING), THE LANZA VOICE HASN'T CHANGED MUCH SINCE THE ABOVE. HOWEVER, HAVING AN ORCHESTRA GIVES IT MORE "CLASS".

4-1948 HOLLYWOOD BOWL CONCERT. DIRECTED BY FAMED CONDUCTOR EUGENE ORMANDY. THIS IS ONE OF THE PERFORMANCES THAT BROUGHT LOUIS B. MAYER CLOSER. THIS WAS THE THIRD AND LAST OF HIS OUTPUT THAT EVENING. HE USES MORE "SOFT PEDAL" HERE AND SWELLS WHEN NEEDED. VERY FINE PERFORMANCE.

5-COCA COLA SHOW OF 1951. WITH HIS FLAWLESS DICTION, HE IS AT HIS BEST HERE, WHICH IS TRUE OF MOST OF THE COKE SHOWS OF THIS YEAR. LANZA AT HIS MOST PROFESSIONAL AS WELL. LISTEN TO THE LASTS FEW WORDS, THEY GO STRAIGHT TO YOUR HEART IN THEIR INTENSITY.

6-1954 "THE SHOWER OF STARS" TV SHOW. THIS IS FROM THE SECOND SHOW (THE FIRST WAS THE FIASCO OF WHETHER OR NOT HE USED RECORDINGS ON THE PARTICULAR NIGHT). HERE HE SINGS LIVE AND SO VERY, VERY WELL. THE VOICE HAS MORE MATURITY THAN THE COKE SHOW RECORDINGS. WHAT A WONDERFUL TREAT SINCE WE CAN SEE HIM THANKS TO A KINESCOPE RECORDING. EXCEPT FOR THAT CRAZY TIE AROUND HIS NECK, THIS IS AS CLOSE TO FLAWLESS AS THEY COME. THE ITALIANATE EMPHASIS ON PERTINENT WORDS IS USED OFTEN. I LOVE THE WAY HE USES HIS HANDS FOR EXTRA INTERPRETATION AND HE OPENS HIS ARMS WIDE. HE DOES A NEAT LITTLE "TRICK" IN WHICH HE "THROWS" THE SONG INTO THE AIR.

7-LONDON PALLADIUM SHOW. MARIO MOVES HIS LEGS OFTEN, A SIGN THAT THE PHLEBITIS IS BOTHERING HIM. HE IS VERY TRIM AND GOOD LOOKING HERE. A BIT UNUSUAL FOR HIM, HE LEANS BACK ON HIS FEET. THIS IS PRIMA VOCE AND BEL CANTO TO THE FULLEST. NOTE THAT HE DOES NOT USE THE MICROPHONE EXCEPT TO SPEAK. HIS ENTHUSIASM IS INFECTIOUS AND HE GOES SHARP A BIT WITH EXCITEMENT. THIS IS NOVEMBER OF 1957.

8-ROYAL ALBERT HALL. THIS IS LIKE WE HAVE BEEN SAVING THE BEST FOR LAST. THE FAMOUS ROYAL ALBERT HALL IS GIGANTIC YET MARIO WITHOUT A MIC FILLED IT WITH HIS SINGING. HIS VOICE IS DARK AND EXCITING IN THIS 1958 CONCERT.

THIS BRINGS OUR ANALYSIS TO A CLOSE. THANKS TO ALL THOSE WHO CONTRIBUTED OF THEIR TIME AND EFFORTS. WITHOUT YOUTUBE THHIS WOULD HAVE BEEN VERY DIFFICULT TO WRITE.

MY ANALYSIS OF THE MARIO LANZA RECORDINGS OF THIS FAMOUS ARIA.I WILL NOW ANALYZE MARIO'S RECORDINGS OF "NESSUN DORMA" PLUS HOW IT WAS DONE BY A FEW OTHER SINGERS YOU MAY KNOW.

1-THE HOLLYWOOD BOWL. THIS IS THE FIRST TIME I BELIEVE MARIO SANG THIS IN PUBLIC. IT IS WELL DONE AND YOU CAN TELL HE IS PROUD TO SING THIS. HIS VOICE HAS A MORE YOUTHFUL SOUND THAN LATER RECORDINGS. HIS FINAL NOTE IS HELD LONGER THAN YOU WOULD EXPECT AND IS THRILLING.

2-SERENADE--TAKE ONE: THIS IS EXCELLENT AND MARIO HARDLY MISSES A BEAT. HIS VOICE IS RICH AND HIS PERFORMANCE IS TOO.

3-SERENADE--TAKE TWO: THIS ONE IS SUNG FASTER, ALMOST LIKE THEY NEEDED TO CUT TIME FROM THE MOVIE. IT IS SO CLOSE TO THE FIRST THAT I DARE ANYONE TO TELL THE DIFFERENCE.

SAM:I TRIED "NESSUN DORMA" MYSELF WAY BACK IN 2002 AS "NESSUN DORMA" FOR BARITONE AND LOWERED IT SIX HALF STEPS. THE HIGH NOTE WAS STILL HARD TO HIT BUT I THINK I DID A COMPETENT RENDITION. SOME CALLED IT "NESSUN DORMA" LITE OR A LA BING CROSBY. I HARDLY THINK SO.

MY INSPIRATION FOR THE PIECE IS THE GREAT SOPRANO ANNA MARIA. SHE PUT IT IN A SOPRANO KEY AND DID A GREAT JOB. I WOULD HAVE LIKED TO HAVE HER HOLD THE LAST NOTE LONGER.

THEN THERE IS THE RECORDING BY DOMINIC MANTUANO, A LANZA FAN AND THE MAN WHO ONCE HOSTED THE MARIO LANZA PRE-BALL ACTIVITIES (NO NOW LONGER A PHART OF THE BALL). HE PERFORMS IT WELL BUT IT IS CURIOUS HOW HIS VOICE IS RIGHT ON THE MARK FOR THE "O" IN "VINCERO"THAT IS THE VERY LAST NOTE. BUT THE NOTE RIGHT BEFORE THAT ONE IS WEAK AND NOT NEARLY AS BOLD. 

PAV: ONE OF THE LAST ONES I CAN THINK OF WHO ESSAYED THIS ARIA IS LUCIANO PAVAROTTI. HE SANG IT IN MANY CONCERTS AND ALSO IN THE ONLY MOVIE HE EVER MADE CALLED "YES GIORGIO". EXCELLENT PERFORMANCES. HE IS A LYRIC TENOR WHILE MARIO IS A "SPINTO" WITH A RICHER VOICE

LAST BUT NOT LEAST, THE MANY SINGERS WHO GAVE THEIR ALL IN SINGING IT ON THE FAMED TV SHOW "AMERICA'S GOT TALENT". SIMON AND THE OTHER JUDGES ARE TO BE COMMENDED FOR HEARING IT SO MANY TIMES AND YET STILL BEING MOVED BY IT.

THAT'S ALL FOLKS!

OH BILL,

WHAT A LOSS. WHAT A GREAT LOSS! THERE WILL NEVER BE ANOTHER LIKE CAROLE. I WILL PLAN ON BEING AT THE FUNERAL.I CANNOT WRITE ANYMORE. THE USUALLY VERBOSE SAM SAMUELIAN IS COMPLETELY OUT OF WORDS....

The Mario Lanza Institute mourns the loss of its dear friend, supporter and Mario Lanza's cousin, Carole Shea. She was a wonderful, caring and generous woman and will be missed by many. Our condolences to her family and friends. May she always walk with God. Services for Carole take place on February 11th in Wallingford, PA. Visitation: 10:00am, Funeral Mass: 11:00am at St. John’s Chrysotom Church 617 S Providence Rd. Wallingford, PA 19086. Best, Bill

TONIGHT I HAD FUN FAST FORWARDING TO ALL THE MUSICAL NUMBERS IN "FOR THE FIRST TIME". HIGHLY ENTERTAINING AND MARIO IS IN EXCELLENT VOICE. I NOTICED ONE THING I HAD NOT NOTICED BEFORE. HIS SHOES! WHEN HE IS WALKING AROUND SINGING "COME PRIMA", HE HAS RISERS ON THAT MUST ADD FROM ONE TO TWO INCHES IN HEIGHT! THAT IS ONE WAY TO MAKE MARIO STAND OUT!!

MY GOOD FRIEND DEREK MCGOVERN SUGGESTED I TAKE A SONG OR ARIA MARIO SANG MULTIPLE TIMES AND ANALYZE THEM. THIS WILL TAKE MORE TIME SO NEEDS TO WAIT SOME. RIGHT NOW I AM BUSY LEARNING ABOUT AND DRIVING MY "NEW" TESLA MODEL S ALL ELECTRIC VEHICLE THAT WAS ON MY BUCKET LIST. BUT NOT ANYMORE NOW THAT I OWN ONE.

OUR VERY LAST FILM IN THIS QUIZ SERIES IS "THE STUDENT PRINCE". EVEN THOUGH IT IS A FILM MARIO DOES NOT APPEAR IN, IT IS VERY SIGNIFICANT SINCE IT AFFECTED HIS LIFE A LOT. THE NUMBER OF QUESTIONS ARE LOWER THAN MOST OF THE OTHRS. ONLY 27, BUT AS BEFORE THEY VARY FROM EASY TO VERY HARD. IF YOU WOULD LIKE TO POST ANSWERS HERE PLEASE DO SO. IF YOU WANT TO GIVE THEM TO ME PRIVATELY, JUST EMAIL ME AT SMS5565@GMAIL.COM. THIS 1953 MOVIE IS AN EARLY CINEMASCOPE PICTURE. CINEMASCOPE WAS A WELCOME NEW PROCEDURE AS THE FILM PEOPLE WERE TRYING HARD TO COME UP WITH SOMETHING WHICH WOULD GET PEOPLE BACK INTO THE THEATERS. TV COULD NEVER MATCH THE GRANDEUR OF WIDE SCREEN. GOOD LUCK AND PLEASE DON'T CHEAT!

1-THIS FILM USES EXCELLENT CHORAL WORK AND VOICES, ALL MALE AS THE INN IS POPULATED BY THEM. LUTZ, A VALET FOR THE KING, ARGUES WITH HERR PROFESSOR RUDER, AS PLAYED BY EDMUND GWEN. IN WHAT FILM DID HE ACHIEVE FAME AS SANTA CLAUS? 

2-THE KING IS SEEN AFTER THE MEN SING A HYMN. YOU CAN HEAR MARIO'S VOICE IN THE BACKGROUND.THE KING TALKS TO HIS SON KARL. HE DOESN'T WHITEWASH ANYTHING AS HE TELLS HIM THAT A MARRIAGE IS BEING "ARRANGED". KARLSBERG NEEDS THE MONEY, WHICH HAS BEEN TEETERING FOR OVER 200 YEARS. PRINCESS JOHANNA WALKS IN REGALLY AND CROSSES OVER THE FLOOR TO DANCE WITH KARL. HOW DOES SHE ASSESS HIS DANCING?

3-SHE TRULY WANTS TO BE KISSED IF THIS IS THE MAN SHE WILL SPEND THE REST OF HER LIFE WITH. THEY DO KISS AND SHE ASSESSES IT AS "TYPICAL KARLSBERG, WELL TRAINED AND PRECISE". SHE GOES ON TO TELL KARL WHAT SHE THINKS ABOUT KINGS. WHAT DOES SHE DIVULGE?

4-PROFESSOR JUTNER AND KARL ARE CALLED LATE AT NIGHT TO BE STOOD AT THE SIDE OF THE KING. THEY DON'T KNOW HOW TO EVALUATE HIM.  HE WAS ONLY TRAINED AND NOT GIVEN INTO THE WORK THAT COMES WITH PASSION. THE DECISION IS MADE TO SEND HIM AWAY. WHERE WILL HE BE LIVING?

5-THE FIRST DAY IS A HAPPY ONE AS STUDENTS ARE SINGING AND PRANCING ABOUT. PROF. JUTTNER SEES HIS OLD FRIEND WILLIE KLAUBER WHO HE HASN'T SEEN IN YEARS. KLAUBER HAS SINCE THEN FOUND NOBEL PRIZE SUCCESS. A SIGN OF RESPECT IS SOMETHING UNUSUAL WHEN A PROFESSOR OF HIS STATUS APPROACHES. WHAT IS THIS?

6-THE "TROOPS" DO A ROUSING SONG AS THEY WALK TOWARD THE ACME. THE SONG IS "TO THE INN WE'RE MARCHING" (I THINK). SOON THEY SPOT KATHIE, PLAYED BY ANN BLYTH WITH HER HAIR LOOKING RAVISHING IN A DIFFERENT COLOR. WHAT IS IT?

7-WE ALSO MEET INNKEEPER JOSEPH RUTER, WHO IS PLAYED WITH INTENSITY BY S.K. "CUDDLES" SAKALL. SAKALL USUALLY STEALS THE SHOW WHEN HE APPEARS. WHY IS THIS?

8-CUDDLES THINKS HE IS CARRYING THE KING'S LUGGAGE UNTIL HE FINDS OUT THAT LUTZ IS THE KING"S VALET. HE DROPS THE LUGGAGE LIKE HOT CAKES! AND HE HAS FEW CHOICE WORDS WHICH WERE?

9- MANY OF THE ORIGINAL SONGS WERE DISCARDED FOR THE MOVIE, BUT THREE WERE WRITTEN. CAN YOU NAME TWO OR THREE?

10-THROUGHOUT THE FILM ANN SINGS VERY WELL. WHY DO YOU THINK THIS IS?

11-KATHIE'S UNCLE HAS WRITTEN SPECIAL WORDS TO GO WITH A SIGMUND ROMBERG ORIGINAL. WHY DID HE DO THIS?

12-THE NEXT FINE SONG IS HEARD. THESE MAY BE NEW BUT THEY MATCH UP QUITE WELL TO THE ORIGINALS. WHICH OF THE THREE NEWLY WRITTEN SONGS IS PERFORMED?

13-WHAT IS THE SONG AND WHAT ADDED IMPORTANCE DOES IT HAVE?

14-COMES DINNER AND THE PRINCE WANTS TO EAT. KATHIE BRINGS A PLATE OF KRAUT AND KNOCKWURST RIGHT OVER. HE LOOKS AT IT AND TURNS IT AWAY. SHE URGES HIM TO TRY IT AND HE LIKES IT. WHAT DID SHE SAY WOULD MAKE IT TASTE EVEN BETTER?

15-LATER WHILE TALKING SHE POINTS OUT ONE OF THE TWO CLUBS REPRESENTING THE INN. IT IS THE FRIENDLY "WESTPHALIAN" GROUP. COUNT VON ASTERBURG PLAYED BY JOHN ERICSON FINDS OUT THAT KARL HAS NO TITLE AND THE COUNT JUST LEAVES. BY NOW ALL HAVE DEVELOPED QUITE A THIRST AND THEY SING ONE OF THE BEST KNOWN AND LOVED SONGS FROM THE SCORE. PLEASE NAME IT.

16-EDMUND PURDOM WAS AN EXCELLENT LIP SYNCHER. HE IS SO PRECISE THAT IT IS HARD TO BELIEVE MARIO IS NOT SINGING. ONLY ONE OTHER ACTOR WAS THIS GOOD AND THAT WAS LARRY PARKS WHO DUBBED FOR AL JOLSON. WHY SHOULD SERIOUS ACTORS TURN DOWN ROLES LIKE THESE TWO MEN HAD?

17-THE COUNT OVERHEARS KARL BEING REFERRED TO AS "THE PRINCE". RUTER FEELS KATHIE SHOULD LEAVE RATHER THAN BE PUT THROUGH MORE GRIEF BY THE PRINCE. HE SENDS HER TO A RESTAURANT OWNED BY A FRIEND OF RUTER. SHE IS DOING FINE UNTIL KARL SHOWS  UP  (RUDER LET THE CAT OUT OF THE BAG.) THE RESTAURANT IS ACROSS THE RIVER SO THE HOPE IS NO ONE WILL FIND HER. THIS WOULD BE A GOOD POINT TO STOP AND TALK ABOUT SOMETHING I HAVE ALWAYS LOVED ABOUT WATCHING  "CUDDLES" ACT. HE ESSAYS HIS ROLES SERIOUSLY, EVEN WHEN COMIC. AND HE COMES WITH HIS OWN SET OF  "NOISES". EVERYTIME I HEAR HIM SAY "SHEESH" ( AN EXCLAMATION OF WONDER) OR "NOCK, NOCK" (AN EXCLAMATION THAT HE WANTS TO BE HEARD), I GO INTO HYSTERICS! NAME ONE THING HE DOES THAT IS NOT VERBAL BUT PHYSICAL.

18-BY THIS TIME BOTH THE PRINCE AND KATHIE HAVE DECLARED THEIR LOVE FOR EACH OTHER. IT WOULD HAVE BEEN SMOOTH SAILING  BUT THE COUNT DOESN'T TAKE REJECTION WELL. HE ASKED THE PRINCE TO JOIN HIS CLUB, THE SAXO-BARUTIANS, AND WAS INSULTED WHEN THE PRINCE SAID NO. HE INSISTS ON A DUEL. THEY ARE BOTH GOOD SWORDSMAN, SO WATCHING THEM IS A BIT UNNERVING. THEN THE PRINCE BREAKS THE ICE BY NICKING HIS EAR AND PART OF HIS JAWLINE. JUST OUTSIDE OF THE DUELING AREA OUR KATHIE WAITS FOR THE RESULTS. SHE FEARS THE WORST WHEN THE PRINCE DOESN'T APPEAR FIRST. HER  TEARS WERE IN VAIN, HOWEVER, AS HE COMES OUT AND HUGS HER TIGHT. CUE THE MUSIC. HE SINGS A TRULY GREAT SONG FOR HER IN THE FOGGY FOREST. NAME THE SONG.

19-A VERY COLORFUL AND EXCITING EVENT TAKES PLACE. THAT IS THE BALL. .GAIETY AND LAUGHTER AND MUCH DANCING ABOUNDS. THEY ENJOY THEMSELVES BUT THEN REALITY HITS AND THEY MUST MAKE PLANS FOR THEIR "ESCAPE" FROM LIFE AS THEY KNEW IT. WHAT HAPPENS WHEN KATHIE COMES DOWN TO EARTH?

20-DESPITE WHAT HAS HAPPENED, THE PRINCE TAKES HIS LAST SHOT AT CONVINCING KATHIE TO RUN AWAY WITH HIM WHEN HE SERENADES HER OUTSIDE OF HER DOOR. WHAT SONG DOES HE SING AND WHY WAS THIS SONG SO NOTEWORTHY?

21-WITH LUGGAGE LITERALLY JUST BEEN PLACED, THEY RUN INTO PRIME MINISTER VON MARK. HE TELLS KARL THAT THE KING IS VERY SICK. KARL DOESN'T WANT TO HEAR THIS BUT WITH PRESSURE HE RETURNS TO HIS HOME. HOW DOES THE KING APPEAR TO HIM?

22-THE PRINCE PREPARED TO RETURN TO HEIDELBERG, FEELING HE HAS BEEN LIED TO BUT VON MARK TELLS HIM THAT IT IS NOT HE THAT IS BEING LIED TO BUT THE KING. HE IS FAR SICKER THAN ANYONE KNOWS. HIS DOCTORS HAVE SAID WHAT?

23-DEATH COMES SOON AND WE SEE KARL STANDING AT THE FUNERAL WITH THE KING'S COFFIN ABOVE. HE SINGS ONE OF MY FAVORITE SONGS NAMED "I'LL WALK WITH GOD". IT HAS MEANING FOR ME PERSONALLY SINCE I PLAYED IT AT MY OWN FATHER'S  FUNERAL. AND IT HAS MEANING TO OUR BILL RONAYNE AS HE USES IT HOW?

24-FULLY SOBER, THE PRINCE BOARDS THE TRAIN THAT WILL TAKE HIM TO THE PLACE WHERE HE WILL BE MARRIED. IT IS THE CITY OF NORDHAUSEN (SP?). DURING THE RIDE HE AND JUTTNER DRINK TO THE FUTURE. A VERY TENDER SONG, SUNG VERY SWEETLY BY MARIO IS PERFORMED. WHAT IS THE SONG?

25-KARL'S MIND IS HAUNTING HIM AS HE HEARS IN HIS HEAD THE STRAINS OF STUDENTS SINGING THE SONGS HE HAS COME TO LOVE. WHAT DOES HE DO?

26-KATHIE IS SURPRISED TO SEE THE PRINCE. SHE WAS SURE HE WOULD NEVER RETURN TO HER. HE GENTLY TELLS HER OF HIS UPCOMING WEDDING. SHE HAS READ THE NEWSPAPER AND NODS AS HE CONTINUES TO SPEAK. SHE BLOCKS THE TEARS WITH A MONUMENTAL EFFORT. HE TELLS HER SHE IS HIS "ONLY LOVE". SHE COUNTERS WITH "YOUR FIRST LOVE". HE TURNS TO LEAVE AND WHAT HAPPENS?

27-THE PROFESSOR AND THE KING BOARD THEIR CARRIAGE AND THE CLIP CLOP OF HORSES IS HEARD. THE CHORUS STARTS SOFTLY AND SWELLS WITH A FAMOUS SONG. WHAT IS THE SONG AND WHAT IS ITS MEANING?



Answers:
1-The Miracle On 34th Street
2-As strictly Prussian--firm and controlled. She doesn't want this, she wants to be held and loved.
3-That kings bore her, she wants true human feelings
4-Heidelberg, the city Professor Juttner cherishes
5-The students stamp their feet until the professor appears
6-She has gone blonde
7-Even though people think of "Cuddles" as a comic actor, he is truly also a serious one. He slaps his own face, he contorts his expressions.
8-He informs Lutz that he thought he was at least a Prime Minister.
9-"Summertime in Heidelberg", I'll Walk With God", and "Beloved"
10-Ann Blyth studied singing. In fact, she almost became one and left behind acting. Thankfully for us, she chose the latter.
11-To welcome the Prince to the Inn in his humble manner
12-To good songwriters who hear the originals and then mimic the style and then use them in the film
13-"Summertime in Heidelberg". This song is also significant as it was chosen by Ruder to be sung with special words he wrote for The Prince. 
14-If it were to be eaten with beer.
15-"Drink, Drink, Drink"
16-Because the actors could run the risk of being typecast, which actually happened in Larry Parks's case.
17-Using his hands he slaps his face or holds his face with his hands
18-"Overhead the Moon is Beaming"
19-She freezes and can't go through with the escape plan
20-The song is "Beloved". It just so happens that this is the very song that started the feud between Mario and Dore Schary. Mario was right in feeling that in matters of acting he should take orders but in matters of singing that this was his domain and only his. Ironically, Schary ultimately hired another director (Joseph Thorpe) who Mario liked and would have gotten along with.
21-He appears to be perfectly normal but has hidden any signs of medicine or ill health.
22-That he could die in a month, a few days, an hour
23-Bill starts every Mario Lanza Ball with the track of Mario singing it.
24-"Golden Days"
25-He pulls the cord to stop the train so that he could keep his promise to Kathie and return.
26-Blyth shows how good an actress she is. She holds back the tears well but the minute The Prince leaves, her lips tremble and she cries.
27-The song is "Gaudeamus Igitur". It means (and the professor says while in their carriage) "let us rejoice while we are young".

THIS IS THE NEXT TO LAST QUIZ THAT I AM DOING. THE VERY LAST WILL BE "THE STUDENT PRINCE" WHICH ALL OF US KNOW HE DIDN'T APPEAR IN. THE STUDIO LET HIM OUT OF HIS CONTRACT AND TROUBLES BY USING HIS PRE-RECORDED VOCAL TRACKS. THE FILM SAID IN LARGE LETTERS "AND THE SINGING VOICE OF MARIO LANZA". EDMUND PURDOM PLAYED THE PRINCE AND DID AN INCREDIBLE JOB LIP SYNCHING. THIS WAS AROUND 1953 AND BY 1954 MARIO WASTED TWO YEARS OF HIS SHORT LIFE BY SITTING AROUND EATING, DRINKING, AND ABUSING HIMSELF. BY 1956 HE MADE "SERENADE", A GREAT FILM BUT ONE THAT DIDN'T DO WELL AT THE BOX OFFICE. LIKELY SINCE IT HAD TOO MUCH OPERA AND WAS A VERY "DARK" STORY. A YEAR LATER MARIO TOOK HIS FOUR KIDS, HIS WIFE, AND MOVED TO ITALY. HE NEVER CAME BACK TO THE USA ALIVE AND DIED IN 1959. HE WAS ONLY 38 YEARS OLD!

SO HERE GOES. LIKE I HAVE SAID BEFORE, YOU MAY POST ANSWERS ON RENSE OR EMAIL ME DIRECTLY AT SMS5565@GMAIL.COM. THERE ARE A RECORD NUMBER OF QUESTIONS. FORTY TWO TO BE EXACT. HAVE FUN BUT DON'T CHEAT!!

1-THE BLU RAY DISC OF "THE GREAT CARUSO" IS SOMETHING TO BEHOLD. AFTER PROMISING MARIO'S OLDEST DAUGHTER ELLISA TO RELEASE THIS WB HOME VIDEO FINALLY DID AFTER YEARS HAD GONE BY. THE FILM STARTS WITH THE GREAT ARIA "VESTI LA GIUBBA". WHAT DID MARIO CALL THIS ARIA?

2-THE SCRIPT WAS WRITTEN BY A TEAM AT MGM AND THE ONLY CREDIT GIVEN TO DOROTHY (CARUSO'S WIFE THEN) WAS THAT IT WAS "SUGGESTED" BY DOROTHY'S BOOK ON ENRICO. THE FILM STARTS AS A NARRATOR TELL US THE YEAR HE WAS BORN. WHAT YEAR WAS THAT?

3-WHEN HE WAS BORN HIS MOTHER SAID "THIS ONE IS STRONG MARCELLINO, HE WILL LIVE". OBVIOUSLY SHE HAD LOST OTHER CHILDREN. SHE CONTINUED WITH "WE CALL HIM ENRICO--KING OF THE HOME". LATER HER HEALTH WENT FROM OKAY TO BAD. SHE HAD FAINTING SPELLS. AS A VERY YOUNG BOY, ENRICO RUNS HOME TO HIS MOTHER AFTER HE HEARS ABOUT HER HEALTH WORSENING. HE CRIED, PROMPTING HIS MOTHER TO SAY WHAT?

4-WE SEE A BELL RING THE YEARS BY IN THE BACKGROUND AND CARUSO AS A TEENAGER IS SEEN DOING SCALES. BUT THEN THE SCENE SHIFTS TO THE WONDERFUL MARIO LANZA DOING A QUICK PARTIAL OF "MARECHIARE". HE IS SINGING IN THE CAFE OF A RESTAURANT AND HIS REWARD IS COINS PEOPLE THROW. HIS GIRLFRIEND MUSETTA SITS WHILE SHE HEARS HIM SINGING TO HER "A VUCHELLA", A NEAPOLITAN SONG THAT IS ABOUT THE RUBY RED LIPS OF HIS LOVE. MUSETTA'S FATHER IS PLAYED BY NESTOR PAIVA, AN EXCELLENT CHARACTER ACTOR, WHOSE NAME IN THE FILM IS "EGISTO BARRETO". WHAT DOES HE SAY TO CONVINCE MARIO TO COME TO WORK FOR HIM AT HIS FLOUR MILL?

5-TIME PASSES AND ENRICO IS SEEN RIDING THE HORSE AS HE SITS ATOP HUGE BAGS OF FLOUR. HE IS INSIDE THE RESTAURANT CHATTING WITH OLD FRIENDS AND DOES NOT SEE THAT IT STARTS TO RAIN HARD. WHEN HE DOES IT IS TOO LATE AND THE FLOUR IS TOTALLY RUINED. FOR YEARS I HAVE LIKED (AND MEMORIZED) WHAT EGISTO SAYS AS HE RUNS INTO THE RESTAURANT MAKING GRUNTING NOISES. IT GOES LIKE THIS: "AH-HA DERE YOU ARE YOU GOOD FOR NOTHING LOAFER YOU" (MARIO SLAPS HIS CHEEK AND EXCLAIMS "THE FLOUR". EGISTO CONTINUES "THE FLOUR, THE BUSINESS, THE CUSTOMERS, I AM A RUINED MAN. YOU KNOW WHY? I WILL ANSWER THAT. I USED MY HEART NOT MY HEAD. I TOOK HIM INTO THE MILL, I TREATED HIM LIFE A SONG AND-DUH SEE WHAT HAPPENED. YOU WERE BORN A BEGGAR AND YOU WILL DIE A BEGGAR, YOU SINGER FOR PENNIES". (AT A LANZA BALL MANY YEARS AGO MY WIFE ANNA AND I REPRISED THIS SCENE. I WAS EGISTO AND SHE WAS MARIO. IT IS ON YOUTUBE FOR YOU TO SEE! AS EGISTO STORMS OUT WHAT DOES HE SAY TO MARIO?


6-MARIO ENTERS THE RESTAURANT WITH A BIG BUCKET OF FLOUR AND THE OWNER SAYS TO HIM "YOUR MOTHER WOULD BE PROUD OF YOU", PROMPTING THE REPLY "I WONDER ABOUT THAT". HE SPOTS HIS OLD FRIEND FUCITO, A PIANO PLAYER. FUCITO POINTS OUT TWO OPERA STARS, THE CHIEF ONE BEING ALFREDO BRAZZI. HE AND HIS FRIEND ARE EATING WHAT LOOKS LIKE A WONDERFUL DINNER. FUCITO SAYS "HE ENRICO, WHY DON'T YOU LET THEM HEAR WHAT A REAL SINGER SOUNDS LIKE? MARIO REPLIES "TOO MUCH FLOUR IN THE THROAT". FUCITO HANDS HIM A BOTTLE OF WINE. MARIO TAKES SOME AND DOES A SCALE. SENSING HE NEEDS MORE, HE DRINKS DOWN THE WHOLE BOTTLE AND LETS OUT A PRE-RECORDED HIGH NOTE. ALFREDO SAYS "HE'S A GOOD" AND ASKS HIM TO SING. HE DOES A GREAT RENDITION OF "LA DANZA" LOOKING VERY HANDSOME DESPITE THE FLOUR ON HIS SHIRT. BACKING UP, THE OUTBURST BY EGISTO HAD FINISHED BUT NOT BEFORE HE SAYS SOME HARSH WORDS TO LANZA. WHAT DOES HE SAY?

7-THUS BEGINS CARUSO'S CAREER. HE STARTS AT THE BOTTOM RUNG AND IS SEEN IN THE CHORUS, THEN HE IS SEEN DELIVERING ONE LINE, THEN HIS DEBUT IS PRINTED ON THE THEATER BILLBOARD. IT IS "CAVALLERIA RUSTICANA". HE IS A SUCCESS AND COMES HOME AFTER TOURING, SEEN IN A BEAUTIFUL SUIT. HE GOES INTO THE BARBER SHOP AND SEES HIS FATHER GETTING A SHAVE. HE TELLS THAT THERE ARE GIFTS FOR EVERYONE AND HIS FATHER WILL GET A GOLD WATCH. HE SAYS "A MILLIONAIRE"? MARIO TAKES OUT A WAD OF CASH AND SHOWS HOW MUCH HE CAN MAKE IN JUST ONE PERFORMANCE. HE SAYS HE KNOWS BARRETfTO, SAYS HE ONLY CARES ABOUT ONE THING "MONEY, MONEY, MONEY". AND "HE IS NOT LIKE MUSETTA". HIS FATHER NEARLY CHOKES ON THE WORDS "MUSETTA IS MARRIED". MARIO STORMS OUT AND THE BARBER'S SON GINO RUSHES TO CATCH HIM. HE POINTS OUT THAT CARUSO HAS IT ALL, THAT HE CAN SEE THE WORLD. MARIO ASKS IF HE WOULD LIKE TO GO WITH HIM. AND THE ANSWER IS "I'M JUST A BARBER, WHAT CAN I DO FOR YOU?" MARIO'S QUICK ANSWER IS WHAT?

8-NEXT HE HANDS A WAD OF MONEY TO HIS FRIEND AND SAYS OF BENJAMIN "TELL HIM THE FLOUR IS PAID FOR". HOW WAS IT PAID FOR?

9-MARIO SNAPS HIS CANE AND CONTINUES WITH A RENEWED VIGOR. WHY DOES HE WANT A BARBER TAGGING ALONG? WHAT DOES HE TELL GINO THE BARBER?

10-MARIO'S ENTOURAGE IS STARTING AS GINO LEAVES WITH HIM TO "SEE THE WORLD". AN IMPORTANT VENUE IS COVENT GARDEN. MARIO WALKS IN TO THE VENUE TO FIND A SOPRANO WITH A FIERCE TEMPER NAMED "MARIA SELKA". SHE HAS THE NERVE TO CALL MARIO NAMES AND GRABS HIS HAT OFF HIS HEAD AND TOSSES IT ASIDE SAYING "WHEN YOU MEET A LADY, TAKE YOUR HAT OFF". MARIO IS SPOUTING IN ITALIAN BUT CAN'T FIND THE WORDS HE WANTS AND REFERS TO HIS BOOK OF TRANSLATIONS. FRUSTRATED, HIS SAYS "IN ITALIAN I KNOW THE WORD". THE IMPRESARIO THERE BREAKS THE ICE BY TELLING MARIO "AFTER THE PERFORMANCE YOU HAVE MY PERMISSION TO KILL HER"!! THE NIGHT OF THE PERFORMANCE MARIO IS ONSTAGE WHILE BACKSTAGE SELKA HAS GONE CHANGED HER TUNE AND IS SWOONING OVER HIM. WE SEE MARIO IN A BRILLIANT GOLD OUTFIT (THIS USED TO BE A MUDDLED ORANGE IN THE PRE-BLU RAY DISCS). HE IS SINGING "LA DONNA E MOBILE" WHILE SHUFFLING CARDS. HE SINGS IT VERY WELL (ARGUABLY ONE OF HIS BEST INTERPRETATIONS OF IT).AND THEN FOR ADDED DRAMA HE TOSSES THE CARDS IN THE AIR AND THEY FALL ALL OVER. AFTER THE PERFORMANCE A MAN IN THE AUDIENCE SAYS IRONICALLY "NO FLOUR IN THE THROAT TONIGHT". WHO SAID THIS?

11-THAT MAN BECOMES HIS BUSINESS MANAGER. BUT AT FIRST HE TELLS MARIO THAT "YOU HAVE A FOUND YOUR VOICE BUT I HAVE A LOST MINE". MARIO IS VISIBLY DISTURBED AND ASKS HIM IF HE IS WORKING. HE SAYS HE WORKS IN A BAND. "SCUSA" LANZA SAYS, "A BANKER"! THE MAN SAYS "I OPEN-A-THE DOOR FOR THE BANKER". MARIO PUFFS "TELL HIM TO OPEN HIS OWN DOOR. AMICO YOU HAVE SAVED MY LIFE". WE SEE THE TOUR STARTING AS MANY BIG TRUNKS LABELED WITH VARIOUS OPERAS ARE PILED ONTO THE SHIP. THEY EACH HOUSE COSTUMES FROM THE VARIED OPERAS. THE IMPRESARIO WHO ONCE PLAYED MARIO'S MANAGER IN "BECAUSE YOU'RE MINE". WHAT IS THIS VERSATILE ACTOR'S NAME (HE IS FONDLY CALLED "GATTI" BY HIS PEOPLE)?

12-BACK AT THE BENJAMIN RESIDENCE AT WHAT LOOKS LIKE A PRIVATE CONCERT, KIRSTEN SINGS A LOVELY "SWEETHEARTS" ACCOMPANIED BY MUSICIANS AND STANDING IN FRONT OF A PIANO THAT HAS GORGEOUS INLAY ALL AROUND. MARIO CONCURRENTLY KNOCKS ON THE DOOR AND THE VALET TELLS THEM THERE IS AN IMPORTANT MEETING. MARIO SAYS "THIS IMPORTANT TOO". HE OVERHEARS BENJAMIN INSIST THAT THE OPERA WILL FAIL WITH CARUSO AS PART OF IT. HE WAITS UNTIL HE HEARS PARK BENJAMIN SAY THAT THE OPERA WILL FAIL WITH CARUSO AS PART OF IT. GATTI REMINDS HIM THAT HE IS THE DIRECTOR AND MAKES THE DECISIONS. BENJAMIN, LIKE A DOG WITH A BONE, TELLS GATTI TO GET JEAN DE RETZKE TO SING. GATTI: HE IS RETIRED HE DOESN'T WANT TO SING. BENJAMIN INSISTS THAT FOR THIS EMERGENCY HE WILL SING. HEARING THAT MARIO COMMENT MARIO BURSTS THROUGH THE DOOR, STATES HE WILL NOT SING IN AMERICA AND SAYS A FEW THINGS COMPARING HIM TO DERETZKI, THE MOST TELLING OF WHICH IS "HE'S A GENTLEMAN AND I AM A PEASANT". HE EXITS---RESOLUTE IN SAYING "I DO NOT LIKE FIGHTS". HE IS VERY SAD AND FEELS ALL ALONE. WHAT HAPPENS TO CHANGE THIS?

13-AS HE IS SOMEWHAT COMFORTED, HE HAS GOOD COMPANY IN THE FORM OF ANN BLYTH. WHILE COMMISERATING WITH HER, A MAN BURSTS OUT OF THE HOUSE AND SAYS TO DOROTHY "MISS DOROTHY, I QUIT". DOROTHY ASKS WHAT HAPPENED AND THE MAN TELLS HER OF HIS QUARREL WITH HER FATHER OVER MUSIC AND AMERICAN HERITAGE. SHE LOOKS OVER AT MARIO AND SMILES SAYING THAT THERE ARE MORE SEATS IN THE GALLERY AND TO NOT LOSE HIS RESOLUTION AND SING FOR THOSE PEOPLE. WHAT DOES THE MAN SAY TO THEM?

14-SO, MARIO WILLINGLY TAKES A SHOT AT SINGING IN AMERICA. HE WALKS INTO THE REHEARSAL HALL BRISKLY AFTER EXCUSING HIMSELF FOR HIS LATENESS IN FRONT OF EVERYONE. HE IS INTRODUCED TO DOROTHY KIRSTEN WHO ASSURES HIM (UNLIKE MARIA SELKA) THAT SHE IS OFTEN LATE HERSELF. MARIO JOKINGLY SAYS "YOU CANNOT BE A PRIMA DONNA"!

15-THEY START REHEARSING AND THE IMPRESARIO ASKS KIRSTEN TO SING. HER CHOICE IS "NIUMI PIETA" WHICH SHE DOES IN A STUNNING BLACK GOWN WITH GOLD ACCENTS. WHAT HAPPENS WHEN SHE IS DONE?

16-IT IS MARIO'S TURN AND THE IMPRESARIO ASKS HIM TO DO "CELESTE AIDA" BUT WITH THE RECITATIVE INCLUDED. I NOTICED THAT IN SOME SPOTS MARIO'S CHEST IS NOT MOVING IN TIME TO THE MUSIC. LET'S JUST SAY HE FORGOT TO USE HIS METHOD OF SINGING ALONG TO THE PRE-RECORDED TRACK. PARK BENJAMIN HAS BEEN SITTING LISTENING. HE SAYS HE WILL TAKE KIRSTEN HOME BUT LANZA OFFERS TO DO THIS ADDING THE FATEFUL WORDS "OF COURSE WITH THE PERMISSION OF YOUR FATHER". FATHER? MR. BENJAMIN IS A PATRON OF THE ARTS AND GATTI TELLS MARIO WHAT?

17-MARIO IS ADVISED BY ALFREDO THAT HE MUST APOLOGIZE TO MR. BENJAMIN. MARIO REHEARSES WHAT HE WILL SAY, RINGS THE DOORBELL AND FOR THE FIRST TIME MEETS YOUNG DOROTHY. SHE ASKS HIM TO COME IN AND OFFERS TEA WHICH CARUSO ACCEPTS. HE SEES A PIANO AND SITS DOWN AND SINGS A VERY LOVELY, LOW KEYED VERSION OF "TURNA A SURRIENTO". HIS FALSETTO IS BEAUTIFUL. THIS IDYLLIC SCENE IS INTERRUPTED WHEN PARK AND KIRSTEN ENTER. MARIO STARTS TO APOLOGIZE BUT TOTALLY BUNGLES IT. HE STARTS TO LEAVE WHILE BENJAMIN SAYS "THE MAN IS INSANE". DORO ASKS FOR AN EXPLANATION WHICH MARIO GIVES AND THEN SAYS "DO YOU KNOW HIM". WHAT DOES SHE ANSWER?

18-PREPARATIONS ARE BEGUN TO REHEARSE FOR "AIDA", CARUSO'S FIRST AMERICAN APPEARANCE. WHAT SONG DO THEY SING?

19-KIRSTEN GETS PLENTY OF APPLAUSE WHEN IT IS OVER BUT MARIO GETS THE COLD SHOULDER. HE READS THE NEWSPAPER REVIEWS THAT NEXT DAY. THE KILLER SENTENCE OF THE REVIEW IS "THE DIAMOND HORSESHOE USED TO THE DELICATE POLISH OF JEAN DERETZKI WAS TOO BOURGEIOSE TO BE" HIS FRIENDS COMMISERATE AND WANT TO GO OUT WALKING WITH HIM. BUT CARUSO SAYS WHAT?

20-WHILE OUT HE MEETS DORO SEATED AT THE STEPS OF HER FATHER'S HOME. SHE IS NEARLY IN TEARS AND CARUSO SAYS "I SIT AND CRY WITH YOU". THEN WE HEAR A BURST OF SOUND AS THE VALET WITH HIS PACKED SUITCASE WALKING BRISKLY DOWN THE STREET. HE TELLS HER HOW HE ARGUED WITH HER FATHER ABOUT THE OPERA AND SAYS "I'M AS GOOD AN AMERICAN AS HE IS AND I KNOW JUST AS MUCH ABOUT OPERA". DORO LOOKS OVER AT CARUSO AND SAYS "THERE YOU ARE, YOU NEED TO SING IN AMERICA ENRICO". CARUSO ASKS "DO YOU KNOW ANYTHING ABOUT DRESSING AN OPERA SINGER AND TULIO ANSWERS "ARE THEY DIFFERENT THAN ANYONE ELSE? LAUGHTER FOLLOWS AND TULIO, THE VALET, FLUMMOXED, SAYS "CARUSO---YOU'RE ONLY HERE A FEW WEEKS, DO YOU EXPECT TO BE PRESIDENT ALREADY". WHAT HAPPENS THEN?

21-CARUSO IS READY AND IN HIS DRESSING ROOM DOES HIS LITTLE "RITUAL" WHILE SPEAKING "SNUFF TO CLEAR THE HEAD (HE PUTS SOME IN EACH NOSTRIL), "WHISKEY TO RELAX THE THROAT" (HE DRINKS A SMALL AMOUNT) WHAT HAPPENS NEXT?

22-PARK THE ASSHOLE EXPECTS TO SEE DERETZKI BUT DERETZKI ASKS IF HE CAN STAY AND LISTEN AND PARK SAYS "ANYTHING, ANYTHING" TO HIM. DERETZKI (WHO PLAYED THE CARETAKER IN THE BATMAN SERIES (!) SAYS "AH DOROTHY MY CHILD, I AM VERY GLAD TO SEE YOU HERE. DOROTHY ANSWERS "THANK YOU, I'M VERY GLAD TO SEE YOU....HERE". THE OPERA RUNS AND A GREAT, RICH ARIA IS CARUSO'S TURNING POINT. WHAT HAPPENS IMMEDIATELY FOLLOWING THE ARIA?

23-SEGUE TO THE NEXT OPERA. GATTI WALKS CARUSO TO THE STAGE ENTRANCE. HE SAYS "DON'T GIVE TOO MUCH, THE DIAMOND GALLERY PREFERS MUCH LESS PASSION, AND TAKE YOUR HANDS OUT OF YOUR POCKETS". CARUSO PROTESTS "NO GATTI, TONIGHT I PLAY A MAN WHO IS COLD AND HUNGRY. I KNOW THIS MAN. HE KEEPS HIS HANDS IN HIS POCKETS WHETHER THE DIAMOND HORSESHOE LIKES IT OR NOT". WHAT DOES HE ULTIMATELY DO?

24-THE FAMOUS ARIA "CHE GELIDA MANINA" IS HEARD AND CARUSO GIVES IT HIS ALL, SQUEEZING KIRSTEN AS HE SINGS A GLORIOUS HIGH NOTE. WHAT HAPPENS NEXT?

25-CARUSO LEAVES THE BUILDING AND SPOTS DOROTHY. HER HANDS ARE COLD (LIKE KIRSTEN'S IN THE ARIA I JUST MENTIONED" MARIO GIVES ANN HIS GLOVES, QUESTIONS THE PATRONS WHO SAID THEY COULD NOT GET IN. HE SAYS "YOU COULD NOT GET IN? I'LL SING. WHAT SONG DOES HE DO A CAPELLA?

26-A SECOND MONTAGE FOLLOWS GOING THROUGH ARIAS LIKE "THE PRISON SCENE", "RIGOLETTO QUARTET", " THE ARIA WHERE HE IS SEATED AND SINGING IN A WHITE RUFFLED SHIRT". HE ARRIVES AT THE OPERA HOUSE AND A CUB REPORTER ASKS IF HE MAY TAKE A PHOTO SINCE THIS IS HIS FIRST ASSIGNMENT. CARUSO TELLS HIM TO ASK LATER. THEN HE IS SEEN IN WHAT HE REFERS TO AS "THE MOST IMPORTANT ARRANGEMENT OF MY CAREER". HE IS SEEN DRESSED AS A CHUBBY SANTA CLAUS. MOST KIDS GET THEIR PRESENTS. ONE LITTLE CHILD TELLS HIM "I DIDN'T GET ANY PRESENTS". CARUSO ANSWERS "OH BAMBINO, I FORGOT YOU. HERE". WHAT GIFT DOES THE CHILD GET?

27-AFTER THE TOUR ENDS MARIO AND ANN ARE WALKING DOWN THE STREET DRESSED TO THE NINES. THE REPORTER TAKES A PICTURE AND SAYS AGAIN "THAT'S A PIP". CONCURRENTLY CARUSO AND DOROTHY SAY "THAT'S A PIP" LAUGHING. THEY WALK TO A FAVORITE RESTAURANTS OF CARUSO. NAME THE ESTABLISHMENT.

28-THEY SIT AT THE TABLE AND ARE SERVED BY OWNER HUSBAND AND WIFE. CARUSO VERY SERIOUSLY PROPOSES TO HER. BUT ANN HESITATES AND THINKS. CARUSO SAYS "DORO, PLEASE TELL ME OR I'LL GO CRAZY". DORO ANSWERS "DO YOU THINK I WILL MAKE YOU HAPPY". AND CARUSO SAYS SOMETHING VERY BASIC. WHAT IS IT?

29-WE GO BACK TO THE BENJAMIN RESIDENCE WHERE LOUISE (KIRSTEN) IS SINGING A LOVELY SONG CALLED WHAT?

30-DOROTHY TELLS HER FATHER SHE WANTS TO SEE CARUSO AND ASKS IF LOUISE CAN SERVE TEA TO THE GUESTS. BENJAMIN TELLS HER THAT WOULD BE OUT OF THE QUESTION AND THAT IT WOULD EMBARRASS LOUISE. ANN PLAYS WHAT SHE CALLS "A MODEL HOSTESS" VERY WELL. THE PARTY OVER, SHE TELLS HER FATHER SHE IS MEETING CARUSO AND HAS AGREED TO MARRY HIM. HE SHE SAYS "DOROTHY YOU'RE HYSTERICAL"!! DOROTHY SAYS "THE MOST IMPORTANT THING ABOUT A MARRIAGE IS WHAT"?

31-HAPLESS BLYTH IS IN HER BEDROOM AND LOUISE COMES AND TELLS HER SHE WILL FULFILL A BIG NEED IN HIS LIFE BUT WHAT ABOUT HER LIFE? SHE CONTINUES ASKING WHAT ABOUT HER LIFE? SHE SAYS "WHERE IS HE NOW, WHY ISN'T HE WITH YOU? DOROTHY WHISPERS "HE HAD TO SING TONIGHT" LOUISE SAYS "I GAVE UP EVERYTHING FOR A VOICE BUT AT LEAST IT WAS MINE". ANN BLYTH COMMENTS HOW?


32-CARUSO HAS SUNG AND WALKING WITH HIS ENTOURAGE HE SPOTS DOROTHY. HE ASKS WHAT HAS HAPPENED AND SHE SAYS VERY SINCERELY "WHAT DOES IT MATTER? I'M HERE"! CARUSO ENJOYED CALLS HIS FRIENDS BACK AND SAYS "WE GET MARRIED MY FRIENDS, WE GET MARRIED" THE JOY IS PALPABLE. ENRICO IS TO SING AT THE MET THAT IS SOLD OUT. HE WALKS ONSTAGE AND THE ORCHESTRA STARTS THE STRAINS OF "VESTI LA GIUBBA" AND THE HOUSE LIGHTS GO OFF. ENRICO SINGS "VESTI LA GIUBBA" AND A FAMOUS THING HAPPENS AS HE HOLDS THE TOP OF HIS TUXEDO. DO YOU KNOW WHAT THAT IS?

33-HE IS READY TO JOIN HIS INTENDED BUT ALFREDO TELLS HIM HE PROMISED TO SING MIDNIGHT MASS IN CHURCH. MARIO SAYS HOW FUNNY A VOICE IS SINCE WHEN HE HAS TO BE SOMEPLACE THE VOICE HAS TO BE IN ANOTHER PLACE. HE LIKENS THIS TO HOW HE WANTED TO STAY WITH HIS DYING MOTHER, BUT ULTIMATELY COULD NOT. WHO STANDS NEXT TO CARUSO (HAVING MORE WHITE SHOWING IN HIS HAIR). THEY SING THE MUCH USED BACH-GOUNOD "AVE MARIA" STANDING NEXT TO A YOUNG BOY SOPRANO". WHAT IS UNUSUAL ABOUT THE BOY?

34-THE PRESS PHONES AND ASKS BENJAMIN IF HE IS "IN". BENJAMIN TELLS THEM VIA HIS VALET THAT HE IS IN BUT HAS NO COMMENT TO MAKE. MARIO AND BLYTH FIND THAT EVEN PRESIDENT WILSON HAS WRITTEN TO WISH HIM WELL. DOROTHY WANTS TO GO BACK TO THE RESTAURANT WHERE ENRICO PROPOSED TO HER. HE SAYS THE RESTAURANT IS CLOSED. ANN TURNS THE KNOB AND IT OPENS WHILE CANDLE LIGHTS GO ON AND THEY ALL SING "HAPPY BIRTHDAY" TO OUR BOY, WHO SAYS THIS IS THE BEST SURPRISE. THE THE MUSICIANS START TO PLAY AND ANN DANCES ROUND AND ROUND WHILE SINGING ONE OF MARIO'S GOLDEN RECORD HITS "THE LOVELIEST NIGHT OF THE YEAR". MARIO IS A BIT CONFUSED TO HEAR HER AND SAYS HE THOUGHT SHE COULDN'T SING. WHAT DOES SHE REPLY?

35-MARIO GOES BACK TO THE MET TO SING HIS LUCKY FAMOUS ARIA? WHICH ONE?

S36-WHILE SINGING HIS FRIENDS BRING OUT A BLACKBOARD AND ON IT IN CHALK IS WRITTEN "IT'S A GIRL". THE GOSSIP TRAVELS FROM THE FIRST LEVEL AND ALL THE WAY UP TO THE STANDING ROOM ONLY AT THE VERY TOP OF THE HALL.
I LOVE THE WAY MARIO'S EYES GLISTEN AT THE NEWS. NEAR THE END HE HAS THREE PROMINENT HIGH NOTES THAT REVERBERATE. AS A COLLECTOR OF CARUSO 78s I CAN TELL YOU THAT HE SOLD SCADS OF THIS RECORD. JUST LIKE HE SOLD ANOTHER SIMILAR ARIA. WHAT IS IT?

37-THE STODGY NURSE TAKES THE BABY INTO THE BEDROOM WHERE ANN LIES. MARIO SITS ON THE BED AND THEY SING THE OLD CHESTNUT CALLED WHAT?

38-THE NURSE SAYS THE NEWSPAPERS WANT TO KNOW WHAT THEY WILL NAME HER. AT FIRST MARIO SAYS "YOU ARE THE STAR OF THIS OPERA". ANN SAYS "SUSAN IS A NICE NAME" MARIO SAYS "THAT'S LOVELY BUT WE NAME HER GLORIA (BECAUSE YOU ARE MY CROWNING GLORY), "GRAZZIANA" (IN GRATITUDE AND IN MEMORY OF HIS MOTHER, "VITTORIA" BECAUSE WE WIN THE WAR (FIRST WORLD WAR) "AMERICA" (BECAUSE SHE WAS BORN IN AMERICA), "CARUSO". ASKS ANN "YOU LIKE"? WHAT IS HER ANSWER?

39-SEGUE TO ENRICO IN THE RECORDING STUDIO AND HAVING CUT SOME RECORDS HE SAYS TO THE ENGINEER "WE TAKE ONE MORE FOR MY LITTLE GIRL". WE SEE THE FASCINATING WAX MASTER BEING CUT WHILE THE STROH VIOLINS PLAY. (THESE VIOLINS HAVE SMALL HORNS ON THEM. WE SEGUE TO A PARTY AT THE CARUSO HOME AND SEE THE VERY SAME RECORDING PLAYING ON AN UPRIGHT VICTOR VICTROLA. WE SEE THE LABEL WHICH IS INCORRECT. WHY?

40-ENRICO STARTS COUGHING AND HANDS THE BABY TO THE NURSE. DOROTHY IS CONCERNED AND KNOCKS ON THE BATHROOM DOOR. HE OPENS THE WINDOW AND ASSURES HER EVERY THING IS ALRIGHT. DOROTHY KNOWS BETTER AND FINDS OUT HER HUSBAND HAS BEEN USING ETHER IN A SPRAY TO RELAX THE THROAT. LOUISE QUESTIONS ALFREDO ABOUT THIS AND SAYS "OH I KNOW". ALFREDO SAYS "I WISH HE WOULDN'T HAVE A TO SING TONIGHT". THIS IS PROPHETIC. DOES ANN AGREE? AND WHAT DID MARIO TELL HER WHEN ASKED?

41-HE GETS THROUGH THAT ARIA SOUNDING GREAT BUT ALFREDO SAYS "HOW LONG CANNA YOU SING ON ETHER"? THE SUPREME TEST COMES WHEN MARIO NEEDS TO DO THE ARIA THAT IS KNOWN IRONICALLY AS "THE LAST ROSE OF SUMMER". HE STARTS COUGHING AGAIN AND LEANS ON LOUISE. HE SINGS THE LAST NOTE AND HIS EYES GLAZE OVER AND HE FALLS TO THE FLOOR EXACTLY WHEN THE CURTAIN CLOSES. WHAT HAPPENS AFTER THIS?

42-A FEW MEN STAND BEFORE A STATUE OF CARUSO'S HEAD AND PUT A WREATH THERE. THE ORCHESTRA STARTS PLAYING "BECAUSE", THE END CREDITS THAT ARE LONG COME UP. THE LAST PAGE LISTS WHAT?


Answers:

1-His lucky aria
2-1873
3-Tears help the singing
4-When my savior calls me, everything I have will be yours if you use your head. Musetta is my only child, is this unreasonable?
5-You were born a beggar and you will die a beggar, you, you singer for pennies
6-Ah-ha, dere you are you good for nothing loafer you, etc.
7-I need a friend. I do not want to see Musetta.
8-Tell Barretto the flour has been paid for....from singing!
9-That's business. I need a friend.
10-His friend and mentor Alfredo
11-Eduard Franz
12-Dear Ann Blyth comes to him and sits by his side
13-Caruso? What's you hurry, you're here a couple of weeks, do you expect to be President already?
14-Louise played by Dorothy Kirsten
15-Brava, it will be a pleasure to sing with you
16-You've made a big mistake
17-He'a my Father
18-O terra addio
19-I have to go alone my friends
20-Caruso decides he will go sing
21-He lets out with an incredibly great high note this is done live.
22-Caruso is placated and agrees to sing at the Metropolitan Opera Company
23-He keeps his hands in his pockets
24-Jean Deretzki starts applauding and yelling "Caruso"!
25-Mattinata
26-A very nice pull toy in the form of a wagon
27-Ristorante Toscano
28-Do you love me?
29-"Sweethearts"
30-That you're in love
31-She just looks out dazed
32-He puts each hand on the tuxedo jacket and holds onto them while acting
33-The boy is ordinary. What is extraordinary is that the boy is dubbed by a female singer you to sound like the unique quality that only a boy soprano can make
34-She dances well and then adds "I think every mother ought to know how to do a library.
35-He feels he cannot perform but does "Vesti la giubba"
36-"The Rigoletto Quartet"
37-"Under the Bamboo Tree"
38-I like
39-It is a Red Seal label and a 33 1/3 record that would have been chewed up if trying to play it
40-Not at all. Mario weakly tells her "I brushed my teeth too hard" suggesting his throat is bleeding.
41-The camera does a very slow zoom to the closed curtains
42-The truly real opera stars who sang in the film

Remembering Mario Lanza on what would have been his 102nd birthday.

https://www.youtube.com/watch?v=mhyvD05nD2U

Best, Bill

Fred Astaire & Ginger Rogers ~ The Personification OF Grace, Elegance & Class Lecture/Video Presentation
Saturday February 25, 2023 2:00 pm – 4:00 pm

Mario Lanza Museum
1214 Reed Street Philadelphia, PA 19147

A one-hour lecture/presentation on the lives and careers of the greatest movie dance team of all time by MLI President Bill Ronayne. Clips include classic musical moments from all ten of their films.

Lecture starts promptly at 2:00pm and includes light refreshments.

Admission price: $25 per person

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691.

Seating is limited and on a first come first paid basis.
No refunds or credits. No exceptions.

Street parking.

Please RSVP by February 18, 2023 and let us know if you have any dietary restrictions.

THIS NEW QUIZ IS FOR "BECAUSE YOU'RE MINE". WE ARE HEADING FOR THE HOME STRETCH AS ONLY "THE GREAT CARUSO" AND "THE STUDENT PRINCE WILL HAVE THEIR OWN QUIZZES. THERE ARE A LOT OF QUESTIONS AND AS ALWAYS WILL VARY FROM EASY TO VERY HARD. YOU CAN ANSWER HERE ON THE RENSE SITE OR WRITE TO ME AT SMS5565@GMAIL.COM. THERE ARE A WHOPPING 38 QUESTIONS. STHE GOOD LUCK!

1-THIS IS ONE OF ONLY TWO FILMS THAT MARIO MADE WHICH HAVE THE SAME THING IN COMMON. WHAT IS IT?

2-THERE ARE THREE SONGS WHICH WERE MADE JUST FOR THIS FILM. NAME JUST TWO.

3-IN THE BEGINNING WE ARE TOLD BY THE NARRATOR ABOUT THE TYPES OF DRAFTS THERE ARE LIKE A CHILL IN THE BREEZE, THE HEAD OF A BEER. WHO GETS DRAFTED  ARE DECIDED BY "SLIGHTLY OLDER" MEMBERS OF CONGRESS. ONE HAS TO BE 25 YEARS OLD OR YOUNGER. HOW CLOSE DID MARIO COME TO NOT GETTING DRAFTED? AND HOW DID HE GET TO BE 1-A?

4-MARIO'S CHARACTER IN THE FILM HAS WHAT NAME?

5-IN THE OPENING SHOTS WE SEE A VERY, VERY THIN LANZA (HE IS TOO THINK IN MY HONEST OPINION. HE IS WITH FRANCESCA LANDERS, HIS PARTNER IN OPERA PERFORMANCES. THE FIRST ONE IS "ADDIO ALLA MADRE" FROM "CAVALLERIA RUSTICANNA". THIS IS ONE OF THE FINEST BITS OF SINGING MARIO DOES. LISTEN TO HIS RICH, SUPPORTED VOICE. HIS IMPRESARIO IN THE FILM IS ALBERT FOSTER, PLAYED BY EDUARD FRANZ. WHAT OTHER OF MARIO'S FILMS DID HE PLAY IN?

6-HE SPEAKS TO THE AUDIENCE TELLING THEM HE WON'T BE SEEING THEM AS HE STARTS A NEW ROLE THE NEXT DAY (THE ARMY). HE GOES HOME TO HIS MOTHER'S APARTMENT AND BRINGS THEIR DOG ALONG. WHAT IS THE DOGGIE'S NAME?

7-HE TRAVELS BY TRAIN TO AN AREA WHERE A SERGEANT HEADS THEM UP. AS HE TALKS TO THEM, WHO STOPS TO GET AN AUTOGRAPH? (ALSO TERRY ROBINSON, MARIO'S TRAINER AND BEST FRIEND CAN BE SEEN THERE).

8-THE SERGEANT TELLS MARIO HE NEVER HEARD AN OPERA. MARIO OBJECTS TO SINGING WITHOUT AN ORCHESTRA. BUT HE IS ORDERED TO DO SO AND THE FIRST HALF OF "QUESTA O QUELLA" IS DONE LIVE AS YOU SEE MARIO'S CHEST GO IN AND OUT. THE SECOND HALF IS RECORDED. THEY GET TRUCKED TO THE NEXT SERGEANT. WHO IS HE?

9-THE SERGEANT CALLS THEM "MONKEYS". THEY ENTER A VERY DIRTY BARRACKS WITH COBWEBS AROUND. SERGEANT BATTERSON (BAT FOR SHORT) TELLS THEM HE WANTS TO SEE THE PLACE SHINE LIKE THE WINDOW OF CARTIER'S. HE SEES MARIO FROM A DISTANCE BUT MARIO DOESN'T SEE HIM AND SAYS HE HAS STUDIED SOME PSYCHOLOGY AND THAT THIS SERGEANT AS A HEAD SHAPED LIKE AN ACORN! THEN HE WALKS OVER, PUTS ON HIS GLASSES AND STARES AT LANZA BEFORE SAYING "PAGLIACCI"! WHAT HAPPENS NEXT?

10-BAT TELLS MARIO HE HAS A SISTER WHO IS A SINGER. HE SAYS HE COULD HAVE AN AUDITION SCHEDULED FOR HER AS LONG AS HE CAN GET UP TO NEW YORK TO MAKE RECORDINGS CONCURRENTLY. IS MARIO BEING SOMEWHAT DISHONEST HERE?

11-BAT TELLS HIM TO ENTER HIS OFFICE SINCE THE DUSTY AIR IS BAD FOR THE LANZA THROAT. THE FIRST THING HE ASKS FOR IS AN AUTOGRAPH. THEY SHAKE HANDS AND MARIO SINGS THE FIRST ORIGINAL SONG FOR THE MOVIE. THE TITLE?

12-BAT CALLS HIS SISTER BRIDGET TO COME JOIN THEM FOR EASTER. SHE DEMURS BUT THEN AGREES TO GO. WHAT DOES HE SAY TO CONVINCE HER.

13-AN ANGRY CAPTAIN LORING ENTERS AND TELLS MARIO TO GET INTO HIS FATIGUES. LATER WE SEE MARIO PHONING FRANCESCA TELLING HER HOW TO SING AN ARIA. WHAT IS THE ARIA?

14-BAT AND MARIO GO TO BAT'S GIRLFRIEND'S STORE. HIS GIRL IS PATTY WARE. SHE IS HUNGRY AND TELLS ALL HER NOSE IS HER BEST FEATURE. MARIO WANTS TO HEAR BRIDGET SING. SHE SITS AT THE PIANO AND PLAYS THE SONG JINGLE SHE SINGS ON THE RADIO. NAME THE SONG. MARIO DOES HIS OWN JINGLE. NAME THAT SONG AS WELL.

15-HE WANTS TO HEAR HER "REAL VOICE" AND SHE PLAYS PIANO WHILE SINGING WHAT SONG?

16-I WANT TO NOTE HERE THAT BRIDGET IS PLAYED BY DORETTA MORROW, WHO WAS KNOWN TO BE A HEAVY SMOKER. MARIO DID NOT LIKE SMELLING HER STALE BREATH. IN REAL LIFE HOW DID SHE PASS AWAY??

17-THEY MAKE PLANS TO GO TO A NICE RESTAURANT. NAME THE PLACE.

18-MARIO DOES YET ANOTHER SONG WRITTEN FOR THE MOVIE. IT IS CALLED "LEE-AH-LOO". HE SINGS IT WHILE DANCING WITH BRIDGET. THE PEOPLE AROUND ARE SWAYING TO THE NUMBER. THEN IN COMES CAPTAIN LORING. HE APPROACHES JAMES WHITMORE AND ASKS WHY MARIO IS THERE. WHITMORE HAS TO DO SOME QUICK THINKING. WHAT DOES HE DO?

19-LATER WE SEE BOTH PRINCIPALS WALKING ALONG OUTSIDE. MARIO IS VERY TRIM. THEN THEY ENTER THE CHURCH AND MARIO IS VERY LARGE. HOW MUCH WEIGHT DID HE GAIN?

20-MARIO SINGS TO THE ORGAN ACCOMPANIMENT THE WONDERFUL "THE LORD'S PRAYER". THIS SEGUES TO THE CHURCH FULL OF PEOPLE HEARING HIM. WE SEE IN THE AUDIENCE GENERAL MONTVILLE PLAYED BY CURTIS COOKSEY. HE IS SEATED WITH MARIO'S MOTHER AND HIS WIFE PLAYED BY SPRING BYINGTON. WHEN THEY LEAVE THE CHURCH WHAT HAPPENS?

21-BACK AT MARIO'S MOTHER'S APARTMENT THE FRIENDS ARE ALL GATHERED TO HAVE DINNER. LASAGNA, WHICH MOM ADMITS IS MADE BY HER NEIGHBOR. A SALAD IS PREPARED AND EACH TIME BAT COMES OUT OF THE KITCHEN TO TOSS IT, MARIO AND DORETTA ARE SEEN KISSING. THEN THEY DO A LIGHT VERSION OF "BECAUSE YOU'RE MINE". THE JOKE IS THAT WHITMORE THINKS HIS SISTER AND MARIO ARE JUST SINGING. BUT THEY ACTUALLY ARE DOING SOMETHING ELSE. WHAT IS IT?

22-WE SEE SGT BATTERSON TRYING TO SING AN ARIA. HE SOUNDS PRETTY BAD BUT AT THE LAST NOTE WHAT HAPPENS?

23-LATER MARIO CALLS EDUARD FRANZ AND FRANCESCA OVERHEARS HIM ON THE PHONE WHILE MARIO ADMITS HE IS CRAZY ABOUT BRIDGET. MARIO AND WHITMORE MAKE PLANS TO TO TO NEW YORK SO BRIDGET CAN AUDITION AND MARIO CAN MAKE A RECORDING WITH FRANCESCA. THIS IS "ADDIO, ADDIO". IT LASTS HOW LONG?

24-PREVIOUSLY BRIDGET SINGS A SONG THAT IS A SURPRISING CHOICE AS IT IS IDENTIFIED WITH MARIO. WHAT IS THE SONG?

25-UNFORTUNATELY, ALL PASSES FOR THE WEEKEND ARE WITHDRAWN SO THE TROOPS MIGHT PREPARE FOR ALL THE FOREIGN GUESTS COMING. LORING CANCELS THE PASSES BUT MRS. MONTVILLE ASKS HER HUSBAND TO GIVE BACK THE PASSES TO MARIO AND BAT. ONCE IN THE STUDIO IN NEW YORK, FRANCESCA AND RENALDO SING A SONG THAT LASTS EXACTLY ONE MINUTE. WHAT IS THE TITLE OF IT?

26-FRANCESCA STARTS MAKING HER NEFARIOUS PLANS BY TELLING BOTH BRIDGET AND HER BROTHER THAT THEY WILL GET ALL THEY WANT SINCE IT IS SO IMPORTANT FOR HER AND MARIO SO MAKE MONEY SINGING. WHAT HAPPENS TO BROTHER AND SISTER?

27-MARIO RETURNS FROM NEW YORK STILL IN HIS BLUE SUIT. BAT ASKS HIM IF HE ARRANGED THE NEW YORK TRIP JUST SO HE COULD MAKE MONEY. MARIO SAYS IT COULD NOT BE ANSWERED BECAUSE IT IS A LOADED QUESTION. WHAT QUESTION DOES HE REFER TO?

28-BAT STARTS HIS PLEDGE TO MAKE MARIO'S LIFE MISERABLE. FIRST HE HAS TO TAKE CARE OF EMPTYING GARBAGE PAILS AND THEN HE HAS TO PEEL MANY SACKS OF POTATOES. HIS THREE FRIENDS COME BY AND SING WHAT SONG USING NEW WORDS?

29-LATER MARIO IS SEEN SLOGGING THROUGH THE MUD AND RETURNS TO BARRACKS ONLY TO HAVE WHITMORE TELL HIM HE HAS TO GO OUT FOR WAR EXERCISES. MARIO IS EXHAUSTED AND WHAT DO HIS FRIENDS DO?

30-LATER THE CAPTAIN READS A LETTER TO WHITMORE. THE LETTER IS A LIST OF SONGS IN ALPHABETICAL ORDER THAT MARIO HAS BEEN ORDERED TO SING. WHITMORE TELLS PORTER THAT LANZA WILL NOT SING. THEY BOTH GO AND SEE MARIO ON THE STAGE SINGING. HE TELLS HIS AUDIENCE THAT HE WILL SING HOW MANY SONGS?

31-WE SEE MARIO WALKING SENTRY WHILE MORROW WALKS ALONGSIDE HIM AND TELLS HIM SHE LOVES HIM. MARIO TELLS HER WHAT SHE ONCE SAID TO HIM ABOUT THEIR FUTURE. WHAT WAS IT?

32-MARIO TELLS WHITMORE OF HIS WALKING SENTRY AND THAT THE SERGEANT HAS A YELLOW STREAK. THIS TRIGGERS SOMETHING PRETTY BAD. WHAT IS IT?

33-BEFORE THE ABOVE, BOBBY VAN DOES A UNIQUE DANCE NUMBER THAT STARTS WITH HIM LYING IN BED AND DANCING AGAINST THE WALL, WHICH IS FOLLOWED BY HIS DANCING AROUND THE ROOM SHOWING OFF HIS SKILLS. WHAT IS WHITMORE'S REACTION TO THE DANCE?

34-MARIO AND WHITMORE ARE THROWN IN JAIL AND MARIO REFERS TO THE CREAMED CHIPPED BEEF THAT GETS SERVED A GOOD BIT. WHAT NAME DO SOLDIERS CALL THIS DISH?

35-THE THREE ARMY BUDDIES WALK TO THE JAIL AND WHITMORE ADVISES THEM NOT TO HANG AROUND. MARIO LOOKS OUT THE WINDOW AND SEES HIS OLD FRENCH FRIEND PIERRE MONTAL. HE SINGS AN ARIA SUITABLE FOR GETTING OUT OF JAIL AND PIERRE RUNS OVER TO HIM EXCITEDLY. WHAT DOES WHITMORE SAY THAT IS VERY RELEVANT?

36-WE SEE MARIO BEFORE A LARGE AUDIENCE AND HE STARTS SINGING A SONG USING HIS BEST "PRIZE FIGHTER'S STANCE. THE SONG IS A GREAT ONE AND MARIO SINGS IT VERY WELL. NAME THE TITLE.

37-WE SEE THE ENTIRE BATTALION MARCHING AS PLANES FLY OVERHEAD. MARIO TELLS WHITMORE HE DID A WONDERFUL JOB WITH THE TROOPS. MARIO IS READY FOR HIS NEXT SONG. HE SPOTS MORROW HIDING IN THE REAR. HE ANNOUNCES HE WILL DO "BECAUSE YOU'RE MINE" ADDING WHAT TO HIS ANNOUNCEMENT?

38-HE STARTS SINGING AND THEN MORROW WALKS OVER AND BOTH ARE IN HARMONY AND SINGING WITH RICHNESS. THE VERY LAST SHOT SHOWS THE LOVERS SINGING AND WE HEAR MARIO'S HIGH NOTE RING OUT OVER HERS. THEY KISS AND THE END CREDITS COME UP WITH THE USUAL "THE END, MADE IN HOLLYWOOD, USA BY METRO GOLDWYN MAYER. WHAT FOLLOWS?

39-I DEFER TO TELL YOU OF MY PERSONAL STORY ABOUT "BECAUSE YOU'REMINE". I USED TO SHOW IT TO MY FATHER IN 16MM FORM. HE LOVED THE FILM AS HE COULD RELATE IT TO HIS OWN ARMY EXPERIENCES. I WILL ALWAYS REMEMBER HIM SAYING WHAT A GREAT VOICE MARIO HAD. HE ADDED A SAD NOTE THAT MANY HAVE SAID OVER THE YEARS. CAN YOU GUESS WHAT THAT WAS?


Answers:
1-He sings the title song
2-The Song Angels Sing, Lee-Ah-Loo
3-Only a couple of weeks. We see Mario with his great looking chest and the doctor barely touches him before declaring "1-A".
4-Renaldo Rossano
5-The Great Caruso as Gatti.
6-Carmen
7-His real life Mother and Father Mr and Mrs Cocozza.
8-James Whitmore
9-He takes Mario into his office where there is no dust to affect his throat.
10-Yes, he is scheming
11-The Song Angels Sing
12-That he never knows if this will be his last chance to see her during the war
13-Casta Diva
14-"Gummy For the Tummy" and "Fluffy Foam"
15-You Do Something To Me
16-Cancer
17-The Blue Owl
18-He chastises Mario while making a face of remorse
19-An estimated sixty pounds
20-Mario's Mom whistles and an army car picks them up
21-They are kissing
22-Mario finishes the high note for him
23-Exactly one minute
24-Be My Love
25-Addio, Addio
26-They leave disgusted since it is not Bridget's talent that got them this far
27-Do you still beat your wife?
28-The Rigoletto Quartet
29-They tell the sergeant to stop badgering Mario
30-Forty or fifty more
31-That they don't fit into each other's plans.
32-They break out into a fight
33-He smiles in delight
34-S.O.S. or "Shit on a Shingle
35-"And some people said the United Nations wouldn't work"
36-"Granada"
37-"And Bridget it's much better as a duet"
38-Two"pages of acting credits
39-"What a shame that he abused himself"

Yesterday's sold-out Mario Lanza Birthday Remembrance Party at the Lanza Museum was another great and successful afternoon with quite a few new faces. We enjoyed hoagies, pretzels candy, cookies and of course birthday cake. There was a presentation commemorating the 25th anniversary of the Mario Lanza Mural which included footage of the mural being painted, the dedication ceremony and some commentary from Ellisa Lanza Bregman. Linda Romanowski read a section from her new book that included a segment on Mario, and we also listened to Mario Lanza recordings throughout the afternoon. Our good friend Sam was in attendance, and he donated some delicious hoagies, and pretzels, for everyone to enjoy. I don't seem to be able to post any photos, but they will be on our website very soon. Best, Bill

HERE I AM BACK WITH ANOTHER QUIZ. THIS TIME WE ARE GOING TO TACKLE "THAT MIDNIGHT KISS". HAVING JUST WATCHED IT, IT IS FRESH IN MIND AND THAT WILL MAKE COMING UP WITH QUESTIONS A LOT EASIER. THERE ARE SIXTEEN TOTAL.  QUESTIONS WILL VARY FROM EASY TO VERY HARD. AS BEFORE, POST ANSWERS ON THIS SITE OR EMAIL ME AT SMS5565@GMAIL.COM. GOOD LUCK!

1-THIS WAS MARIO'S FIRST MOVIE. THE TITLES COME UP AND SAY "INTRODUCING MARIO LANZA". FOR ME THAT IS ALWAYS A THRILL TO SEE. WHAT YEAR WAS THIS FILM MADE AND RELEASED?

2-MARIO ALWAYS HAD A GREAT HEAD OF HAIR AND IT WAS BLACK. FOR THIS MOVIE THEY DIED IT. WHAT COLOR WAS USED?

3-EASILY 15 MINUTES PASS BY BEFORE WE SEE OUR STAR. WHEN HE APPEARS HE IS SEATED AT THE PIANO HE AND HIS FRIEND HAVE JUST DELIVERED. YOU SEE HIS BACK BUT ONLY AFTER A MINUTE OF HIM SINGING "MAMMA MIA", HE IS SHOT FROM THE FRONT. HE IS SEEN BY KATHRYN GRAYSON. WHAT HAPPENS THEN?

4-KATHRYN BECOMES HIS MENTOR. SHE "ENLISTS" JOSE ITURBI THE FAMOUS ACTOR/PIANO PLAYER TO HEAR MARIO. THEY GO TO THE RESTAURANT OWNED BY MARIO'S DAD (PLAYED BY THE GREAT CHAMELEON ACTOR J. CARROLL NAISH). RECOGNIZING ITURBI, NAISH GOES INTO A CHORUS OF "O SOLE MIO". JOSE APPLAUDS MUCH MORE THAN WAS NECESSARY TELLING KATHRYN "REMEMBER YOUR PROFESSIONAL COURTESY. THEY LEAVE AND GO WHERE?

5-THE TRUCKING COMPANY WHERE MARIO AND PAL KEENAN WYNN WORK HAS AN OFFICE THAT SERVES AS A PLACE TO SING WITH A PIANO THERE. JOSE AND KATHRYN LISTEN TO ABOUT SEVEN MEN SINGING IN BARBERSHOP STYLE. OF COURSE NONE ARE OUR STAR. JUST WHEN JOSE IS ABOUT TO LEAVE, MARIO'S TRUCK IS HEARD PULLING UP. HE IS SURE THAT A JOKE IS BEING PLAYED ON HIM, BUT KEENAN DRAGS HIM OVER AND THE LOOK ON MARIO'S FACE IS PRICELESS. JOSE PLAYS WHILE HE SINGS. WHAT ARIA DID HE SING PARTIALLY?

6-KATHRYN IS ALREADY IN LOVE WITH MARIO AND MARIO BRINGS A BAND TO HER HOME TO SERENADE HER WITH "THEY'LL NEVER BELIEVE ME", A GREAT LOVE SONG. SHE APPEARS OUT HER WINDOW AND SINGS ALONG. LATER SHE IS WALKING DOWN HER GARDEN PATHWAY. WHAT HAPPENS THEN AND WHEN DOES IT HAPPEN?

7-IT IS DECIDED TO AUDITION MARIO (CHARACTER NAME JOHNNY DONNETTI) BY USING HIM FOR ONE OF JOSE'S MANY LOCAL CONCERTS. MARIO STUDIED AND LEARNED "CELESTE AIDA" AND DID A BANG UP JOB SINGING IT. WHAT HAPPENED RIGHT BEFORE HE WAS ABOUT TO WALK ONSTAGE?

8-KATHRYN'S GRANDMOTHER (ETHEL BARRYMORE) HAS ESTABLISHED HER OWN OPERA COMPANY. SHE IS QUITE WEALTHY. SHE GOES ON THE RADIO TO TELL EVERYONE ABOUT THE "NEW CIVIC OPERA COMPANY". SHE HAS ENLISTED WELL KNOWN TENOR GUIDO BETTELLI UNDER CONTRACT. HE IS QUITE THE CHUBBY SINGER. WHEN THEY REHEARSE, SOMETHING FUNNY HAPPENS. WHAT IS IT?

9-ITURBI DECIDES THAT MARIO ONLY NEEDS A FEW MONTHS MORE TRAINING BEFORE BEING ELIGIBLE FOR THE OPERA STAGE. KATHRYN IS CHOSEN TO DELIVER THE GREAT NEWS. BUT AT THE TRUCKING COMPANY SHE SEES MARJORIE REYNOLDS, WHO HAS ALWAYS LOVED MARIO AND IS THRILLED TO HEAR THE NEWS. HOWEVER, WHEN SHE TELLS KATHRYN HOW EXCITED SHE IS FOR "THEIR" FUTURE, KATHRYN CLAMS UP AND WALKS AWAY DISHEARTENED. MARIO JUST CAN'T SEEM TO HOOK UP WITH HER. WHY IS THAT?

10-MARIO TRIES AGAIN TO ROUND UP A BAND TO SERENADE HER. THIS TIME SHE IS ANGRY AND TELLS HER GRANDMOTHER WHAT HAS HAPPENED. HE SINGS "I KNOW, I KNOW, I KNOW", A SONG NOT THAT POPULAR OR GOOD. WHAT HAPPENS AT THE END OF IT WHEN HE IS PLAYING THE PIANO ENDING IN THE HOUSE?

11-THE FAMILY RESTAURANT IS CLOSED TO CELEBRATE MARIO'S GOOD LUCK. NAISH SINGS "IT'S THREE O'CLOCK IN THE MORNING" WHILE DANCING WITH HIS WIFE. HE SINGS IT VERY SWEETLY AS OPPOSED TO THE FIRST TIME WE HEAR HIM SING. I WONDER IF HE WAS DUBBED. ANYWAY, THE WHOLE FAMILY IS THERE--INCLUDING HIS TWO YOUNGER SISTERS. JOSE WALKS IN JUST AS MARIO'S MOTHER MAKES THE ANNOUNCEMENT THAT HER SON IS ENGAGED TO MARJORIE. JOSE IS DISHEARTENED. EVERYONE IS SOMEWHAT CONFUSED. THE WORST CASE OF DEPRESSION,
HOWEVER, IS THAT FELT BY WYNN WHO IS IN LOVE WITH MARJORIE HIMSELF. WHAT HAPPENS AFTER THAT?

12-EARLIER IN THE MOVIE JOSE IS SEEN PLAYING THE PIANO IN HIS APARTMENT. ADJACENT TO HIS PIANO IS ANOTHER. THE PLAYER IS JOSE'S SISTER. WHAT IS HER NAME?

13-IN THE MEANTIME JULES MUNSHIN AS MR. PEMBERTON GOES INTO BETTELLI'S ROOM A SECOND TIME TO TRASH IT. GUIDO GETS INTO THE ACT. THEN HE TRIES ON HIS PANTS AND JACKET AND THEY ARE WAY TOO SMALL HAVING BEEN MADE FOR MARIO. WHAT HAPPENS NEXT?

14-A VERY ODD PLOT DEVICE TAKES PLACE. MARIO, KATHRYN, AND CAST HAVE BEEN REHEARSING OPERA  ARIAS FOR WEEKS, BUT THE SHOW THAT WILL BE PERFORMED IS KNOWN AS A UNIQUE OPERA. NAME THAT SHOW.

15-WHAT DOES MARIO DO TO ARTHUR TREACHER AND MADAME BOUGET EVERY TIME HE LEAVES THE ROOM?

16-WHEN KATHRYN SEES MARIO COMING ON STAGE SINGING, SHE IS DELIGHTED. AT THE END OF THE MOVIE THEY DO SOMETHING FAIRLY COMMON IN ALL LOVE STORIES. I'M SURE YOU CAN GUESS THAT......


Answers:
1-1949
2-Oddly a brownish color
3-He sees her, turns around and gives her a mini biography of his singing career. I like when he says "you're a nice girl but you have my pencil"!
4-To the shipping company where Kathryn is pretty sure she will see Mario
5-Una furtiva lagrime
6-They kiss for the first time as the clock strikes midnight
7-Kathryn comes behind him and gives him a good luck kiss
8-Kathryn moves away from him often since she is trying hard not to laugh
9-Since she thinks he is already "taken" by Marjorie, the love she felt for Mario is tarnished
10-He is inside the house and Mrs. Budell walks behind him and tells him he'd better go. Mario is mystified. 
11-Wynn and Marjorie go for a walk and the impression is that they will find each other in love
12-Amparo
13-The pants are retrieved and given to Mario
14-The Princess
15-He stands tall and sings a quick, great, and live note into their faces
16-They kiss and then the MGM "Made in Hollywood, USA" titles end the film and the last thing we see are all the acting credits appear in two "pages".

THIS IS THE NEXT QUIZ I HAVE PREPARED. I HAD DECLARED I WAS DONE WITH THE QUIZZES BUT NOW WANT TO SEE ALL MARIO'S FILMS QUIZZED. ALL REFERENCES ARE FOR "FOR THE FIRST TIME". THIS WAS MARIO'S VERY LAST MOVIE AND WAS RELEASED IN 1959. AS IN THE OTHER QUIZZES THE QUESTIONS VARY FROM EASY TO VERY HARD. THERE ARE 25 QUESTIONS, THE MOST OF ANY QUIZZES I HAVE WRITTEN TO DATE. YOU MAY POST ANSWERS HERE ON THIS SITE OR WRITE TO ME AT SMS5565@GMAIL.COM. THE ANSWERS ARE IN SMALL LETTERS FOLLOWING THE QUESTIONS. BEST OF LUCK!
1-"FOR THE FIRST TIME" WAS DIRECTED BY RUDOLPH MATE. HE WAS MORE THAN A DIRECTOR. WHAT WAS HIS OTHER TALENT?


2-THERE ARE SOME ORIGINAL SONGS IN THIS FILM THAT COMBINE PLENTY OF OPERA  ALONG WITH CLASSIC SONGS AND SONGS ORIGINAL TO THIS MOVIE. NAME ONE OR TWO OF THE ORIGINAL SONGS.

3-THE MOVIE STARTS IN THE POURING RAIN WITH MARIO ON TOP OF A CAR SINGING TWO ARIAS FROM RIGOLETTO. THE FIRST WAS "LA DONNA E MOBILE. NAME THE SECOND. 

4-THE AUDIENCE FOR THE OPERA (SOME 3,000 PEOPLE!) LEARN THAT LANZA IS SINGING FOR FREE OUTSIDE WHILE THEY ARE WAITING FOR HIM INSIDE. ZSA ZSA GABOR IN A VERY RED DRESS TAKES UP FOR MARIO BUT THE OTHERS LEAVE LITTLE BY LITTLE. MARIO'S MANAGER IS MR. TABORY. WHAT IS HIS FIRST NAME?

5-MARIO HAS COME IN FROM LONDON AND HAS NOT CHANGED HIS WATCH TO COMPENSATE FOR THE TIME DIFFERENCE. TABORY THINKS HE COULD GET PNEUMONIA SO WIPES HIS HAIR DRY AND SPRAYS HIS THROAT WITH AN ATOMIZER. LATER WE LEARN WHAT WAS IN THAT ATOMIZER. WHAT WAS IT?

6-TABORY AND TONY COSTA (MARIO) MULL OVER PLACES MARIO CAN GO TO GET SOME REST. ONE SUGGESTION WAS PARIS, ANOTHER SPAIN. MARIO SAYS NO TO THEM BUT SUDDENLY TABORY COMES UP WITH THE PERFECT HIDEAWAY. NAME THE CITY HE SELECTS.

7-THE BEAUTIFUL COUNTRYSIDE, THE RIVERS, THE HOMES BUILT INTO ROCK FORMATIONS ALL ARE LIKE PICTURE POSTCARDS IN BEAUTY. TO ARRIVE MARIO COMES INTO THE CITY IN WHAT VEHICLE?

8-HIS FIRST SONG IS "COME PRIMA". HE IS SUPPOSEDLY LIVING "INCOGNITO" BUT HIS COVER IS BROKEN WHEN HE SITS AND READS A NEWS MAGAZINE THAT HAS HIM ON ITS COVER IN THE SAME SUN GLASSES. THE SONG STARTS WITH A VERY UNUSUAL INTRO, A FIRST FOR MARIO OUT OF ALL HIS FILMS. WHAT IS IT?

9-MARIO'S FIRST MEETS KRISTA, A LOVELY YOUNG GIRL WHO IS DEAF, WHEN SHE IS WALKING AWAY AND HE FOLLOWS HER, TURNS HER AROUND, AND DELICATELY TRACES HIS FINGERS AROUND HER FACE. WHAT IS KRISTA'S REAL NAME?

10-MARIO FEELS BAD THAT HE DIDN'T KNOW KRISTA WAS DEAF, SO HE GOES TO THE FLOWER SHOP AND PRACTICALLY BUYS THEM OUT. HE BRINGS THE FLOWERS ALONG A ROAD FOLLOWING THE RIVER. OUT OF THE BLUE, WE SEE KRISTA'S UNCLE BRUCKNER WALKING FAST AS HIS HOUSEKEEPER MATILDA USES HER BROOM TO TRY SWATTING BRUCKNER'S PET GOAT. NAME THE THE ANIMAL?

11-WE LEARN THAT THE GOAT ATE MANY OF THE FLOWERS FOR A WEDDING OF THE BRUCKNER'S FRIENDS ANGELO AND "LA BELLA". SO, THE FLOWERS MARIO DELIVERS SAVE THE DAY. HE IS INVITED TO THE WEDDING. THERE THE BRIDE IS TOLD MARIO IS A SINGER. SHE KISSES HIM ON THE LIPS AND INTRODUCES HIM. MARIO SINGS WHAT I FEEL IS THE BEST VERSION OF A FAMOUS NEAPOLITAN SONG EVER RECORDED. WHAT IS THE SONG? AND ALSO NAME THE ARIA MARIO OFTEN CALLED HIS "LUCKY ARIA" AND IS ALSO ONE OF THE BEST HE EVER RECORDED.

12-MARIO WANTS TO GET CLOSER TO KRISTA AND RENTS A VILLA NEXT TO HERS. BUT HE FINDS OUT THAT KRISTA CRIED MUCH OF THE NIGHT BEFORE. WHY WAS SHE CRYING?

13-LANZA SINGS ANOTHER GREAT ARIA PERFORMED BY THE BEDSIDE OF A YOUNG ACTRESS WHO IS DEAD. WHAT IS THE ARIA IN ENGLISH TERMS?

14-MARIO ASKS TABORY TO BOOK HIM INTO CONCERTS IN CITIES WHERE HE CAN ALSO FIND DOCTORS WHO MIGHT BE ABLE TO OPERATE AND RESTORE KRISTA'S HEARING. IN ONE CITY HE SINGS MOZART AND IN ANOTHER HE DOES EXCERPTS OF "ICH LIEBE DICH". WHAT IS THE ENGLISH TITLE OF THIS PIECE?

15-TWO DOCTORS TELL KRISTA THEY CANNOT OPERATE BUT PROFESSOR BESSART AGREES TO DO THE PROCEDURE AFTER FINDING OUT THAT KRISTA IS IN LOVE BUT WILL NOT MARRY TONY UNLESS SHE CAN HEAR. IS THE OPERATION A SUCCESS?

16-MARIO WALKS INTO THE HOSPITAL AND TAKES A TRAY TO KRISTA WHOSE HEAD IS BANDAGED. HE SINGS A SONG HE HAS USED IN SEVERAL OF HIS MOVIES WHEN DRAMATIC EFFECT IS NEEDED. THE SONG IS AVE MARIA. FOR "SERENADE" MARIO USES THE SCHUBERT VERSION. FOR "THE GREAT CARUSO" AND FOR THIS FILM WHAT VERSION DOES HE SING?

17-KRISTA FEELS LIKE A BUTTERFLY LET OUT OF ITS CAGE AND AFTER AGREEING TO BE CAREFUL ABOUT HER HEALTH (ESPECIALLY COLDS AND FLU THAT ATTACK THE RESPIRATORY SYSTEM), SHE AND HER HUSBAND GET STARTED ON THEIR HONEYMOON. A ROUSING GERMAN SONG IS SUNG WITH KRISTA, TONY, AND OTHERS AROUND A LARGE TABLE. THE SONG GIVES MARIO A CHANCE TO STAND AND HIT A LONG HELD AND RINGING NOTE. WHAT IS THE PIECE?

18-ANOTHER SONG IS SEEN THAT IS MORE TENDER THAN THE GERMAN ONE. THIS IS FRENCH AND VIOLINS PLAY. WHAT IS THE SONG?

19-ONE ORIGINAL SONG HAS BEEN MADE FUN OF FOR YEARS BY LANZA FANS. IT IS A SILLY PIECE OF FLUFF SAVED BY ONE GLORIOUS AND LONG HELD HIGH NOTE. WHAT IS THE SONG'S TITLE?

20-KRISTA CATCHES A COLD AND ON THE PLANE BACK HOME SHE LOOKS OUT OVER THE WINGS AND ASKS THE STEWARDESS WHY THE ENGINES HAVE STOPPED. WELL, THEY HAVEN'T. KRISTA HAS LOST HER HEARING AGAIN. MARIO REALIZES THIS AS HE TRIES TALKING TO KRISTA  AND SHE DOES NOT RESPOND. HE CARRIES HER DOWN THE RUNWAY AND SHE IS TAKEN TO BED WHILE PROFESSOR BESSART IS CALLED IN. WHAT HAPPENS THEN?

21-MARIO IS SO ANGRY WITH HIMSELF FOR NOT TAKING BETTER CARE OF KRISTA THAT HE GOES TO THE BAR RUN BY ANGELO AND ASKS FOR A DRINK. HE IS REFUSED AND ANGELO HOLDS UP A SIGN SAYING "THE MANAGEMENT RESERVES THE RIGHT TO REFUSE ANYONE". WHAT HAPPENS TO MARIO AFTER HE GRABS A GLASS READY TO THROW IT INTO THE MIRROR?

22-THE MEN WHO WERE INVOLVED IN THE BAR BRAWL ARE BROUGHT BEFORE A JUDGE WHO JUST HAPPENS TO BE THE SAME ACTOR WHO IN "THE SEVEN HILLS OF ROME" RUNS WHAT CLUB?

23-DURING HIS QUESTIONING OF THE PEOPLE IN THE BRAWL, THE JUDGE RUNS DOWN THE NAMES AND THEN USES THE REAL LIFE NAME OF ONE OF MARIO'S FAMILY MEMBERS. WHO IS THE MAN?

24-THE ITALIANS ARE FINED, MARIO TELLS TABORY TO PAY THEIR FINES, AND HE GOES TO KRISTA TO TELL HER ALL ABOUT IT. SHE HAS HEARD THE STORIES AND TELLS HIM HE BETTER BEHAVE FROM NOW ON. THE SCENE CHANGES TO MARIO READY TO PERFORM THE LAST BIG NUMBER. IT IS THE PROCESSIONAL MARCH FROM "AIDA" DONE ON A LARGE STAGE. THE STORY BEHIND THIS IS THAT IT WAS FILMED USING MEMBERS OF THE ROME OPERA HOUSE. THEY WERE AMAZED AT THE LANZA VOICE AND ASKED HIM TO PERFORM WITH THEM THE NEXT SEASON. THE LONG TRUMPETS BLOW AND MARIO IS SEEN FROM A LONG SHOT, THEN A MEDIUM SHOT, AND FINALLY A CLOSE UP BEFORE THE CURTAINS CLOSE AND THE END TITLES COME UP. DID MARIO AGREE TO SING WITH THEM THE NEXT SEASON?

25-MARIO'S WEIGHT IS VERY STABLE IN THIS PICTURE. HOWEVER HIS FACE VARIES FROM HANDSOME AND TIGHT TO BLOATED LOOKING AND WEAK. WHEN HE HAS A TALK WITH KRISTA'S UNCLE ABOUT MOVING NEXT TO THEIR HOME, HOW DOES HE LOOK?

Answers:1-He was a cameraman with a great eye for capturing beautiful scenery.
2-Oh Mon Amor, Neapolitan Dance, Mazurka
3-Partially sung beginning of the Rigoletto Quartet
4-Ladislas
5-English Gin
6-Capri
7-A ship
8-He speaks the narration before starting to sing
9-Johanna Von Kozian
10-Cleopatra
11-O Sole Mio and Vesti la giubba
12-She has fallen in love "for the first time" but doesn't want love as a handicapped deaf wife.
13-The Death of Otello
14-I Love Thee Dear
15-Yes, it is
16-The Bach-Gonoud version
17-Hofbrauhaus Song
18-O Mon Amour
19-Pineapple Pickers
20-He tells the worried family that she will be okay and regain her hearing.
21-He starts fighting with many of the men using his fists
22-The Ulpia Club
23-Antonio Cocozza (Mario's father's real name)
24-He wanted to but was far too ill. He had other offers like this in the past but the money to be made in movies always trumped live opera.
25-He looks bad, has lines in his face, and is a far cry from the same Mario whom Zsa Zsa ("Gloria" in the movie) propositions to make love to her.

THIS WILL BE MY LAST LANZA QUIZ. IT IS ALL ABOUT "THE TOAST OF NEW ORLEANS". I HAVE JUST SCREENED IT SO IT IS FRESH IN MIND. THERE WILL BE TWENTY QUESTIONS TOTAL. AS BEFORE, THE QUESTIONS WILL VARY FROM EASY TO VERY HARD. YOU CAN POST YOUR ANSWERS HERE OR EMAIL ME DIRECTLY AT SMS5565@GMAIL.COM.HAVE FUN!

1-"THE TOAST OF NEW ORLEANS" HAS SOMETHING NO OTHER LANZA FILM HAS. CAN YOU GUESS WHAT THAT IS? HINT: IT IS AT THE VERY BEGINNING OF THE FILM.

2-J. CARROLL NAISH GIVES WHAT I FEEL IS HIS BEST PERFORMANCES IN THIS OR ANY OTHER FILM HE APPEARS IN. HE IS A CHAMELEON WHOSE CHARACTERS DISAPPEAR SO YOU DON'T THINK "HEY THAT IS NAISH" BUT THINK HE IS THE CHARACTER IN FULL. WHAT IS HIS NAME IN "TOAST"?

3-WHILE WE ARE TALKING ABOUT NAISH, I FEEL HE IS A SCENE STEALER JUST AS VINCENT PRICE WAS IN "SERENADE". HE HAS GREAT LINES. CAN YOU NAME ONE OR TWO?

4-THIS FILM HAS ANOTHER TRAIT THAT MAKES IT STAND OUT AMONG THE OTHER LANZA FILMS. THIS IS A PRODUCTION DANCE NUMBER. WHAT IS IT CALLED?

5-MARIO'S "JOB" DURING THE PRODUCTION NUMBER IS TO KEEP HIMSELF CENTERED AND RIGHT BEHIND TINA AND PIERRE. HE TOSSES IN SOME GREAT HIGH NOTES. TINA IS PLAYED BY WHAT ACTRESS WHO IS STILL LIVING TODAY AND IN HER EARLY NINETIES.

6-THIS FILM HAS DELIGHTFUL COMEDIC SCENES THROUGHOUT. CAN YOU NAME ONE OR TWO?

7-MARIO'S CHARACTER IN THIS FILM GOES BY WHAT NAME?

8-KATHRYN GRAYSON'S CHARACTER IN THE MOVIE HAS A LAST NAME SIMILAR TO A FAMOUS RUBBER TIRE COMPANY. NAME IT.

9-PEPE DUVALL, MARIO'S CHARACTER'S NAME, IS A SHRIMP FISHERMAN WHEN WE FIRST MEET HIM IN THE MOVIE. HE IS A MAN WHO HAS ONLY BASIC NEEDS. ONE OF THESE IS 1-A NEW BOAT 2-A NEW SUIT OR 3-A NEW HAT. WHICH ONE IS IT?

10-GRAYSON HAS A GOOD NUMBER OF HEW OWN OPERATIC ARIAS. IS SHE 1-A SOPRANO 2-A MEZZO SOPRANO OR 3-A COLORATURA?

11-THE COSTUMES IN THIS FILM ARE PARTICULARLY BEAUTIFUL AND EXTREMELY COLORFUL. MARIO WEARS A DISTINCTIVE ONE AS HE SINGS "BE MY LOVE" IN DUET WITH GRAYSON. WHAT IS IT?

12-THERE ARE A COUPLE SCENES WHERE MARIO IS SINGING LIVE AS OPPOSED TO SINGING TO PRE-RECORDED TRACKS. NAME ONE OR TWO OF THESES SCENES.

13-ONE OF THE SILLIEST SONGS IN THE FILM IS AN ORIGINAL COMPOSITION THAT IS ABOUT HOW ONE'S HEART BEATS. NAME THE SONG.

14-WHEN MARIO AND KATHRYN SING "THE BAYOU LULLABYE", THEY BOTH LOOK VERY NICE. HOWEVER, IN A FEW SHOTS THEY DO NOT LOOK VERY WELL AT ALL. WHY IS THAT?

15-THERE IS A SONG WHICH MARIO SINGS TO KATHRYN AS HE STANDS OUTSIDE THE DOOR TO HER MUSIC PRACTICE ROOM. THE SONG IS ENTITLED WHAT?

16-KATHRYN INVITES MARIO INTO HER HOME AND HE THINKS HE WILL BE ABLE TO MAKE ADVANCES ON HER. INSTEAD WHAT HAPPENS AS SHE TEACHES HIM THE PROPER WAY TO DANCE?

17-MARIO WEARS A TIGHT FITTING SHIRT WHILE LIFTING WEIGHTS IN A CONTEST BETWEEN HIM AND PIERRE NEAR THE FILM'S BEGINNING. WHAT DO WE LEARN ABOUT HIS PHYSIQUE?

18-THE DVD OF THIS MOVIE HAS SOME INTERESTING EXTRAS LIKE "OLD NEW ORLEANS" AND "NEW NEW ORLEANS". IT ALSO CONTAINS AN EXCELLENT DOCUMENTARY ON LANZA ENTITLED WHAT?

19-WHEN REHEARSING THE FINAL DUET IN "MADAME BUTTERFLY" MARIO THROWS SOMETHING TO THE FLOOR. WHAT IS IT?

20-THIS MOVIE WAS RELEASED BY 1-FOX 2-MGM 3-COLUMBIA OR 4-RKO?

Answers to the questions are below. Please do not cheat by looking at them before trying to answer to the best of your abilities!

1-Mario sings the title song as the opening credits pass by. The VHS tape of "Serenade" also has the title song sung but it isn't very good.
2-Uncle Nicky
3-He is watching a rather tubby tenor singing an aria that is a love song and he asks David Niven to translate. Niven replies "he is saying in his singing that he will kill himself if his lady love tries to leave him. Uncle Nicky says "he should"! Another is near the beginning when he vows to kill his dear nephew and he falls into the water while Mario laughs hysterically. Another happens while he sniffs the shrimp before dinner at a fancy restaurant called "Dominic's", makes a sour face and sends everyone's plates of iced shrimp back before they can even touch them.
4-"The Tina Lina"
5-Rita Moreno. Another big role for her was "Anita" in "West Side Story".
6-Mario acts the "bad boy" and while Niven is away he indeed IS the bad boy. In another scene we see Mario lift a member of the backstage crew telling him playfully "Be polite, you should always be polite". In yet another Kathryn takes Mario clothes shopping and invariably Mario picks out the garish shirts and ties while Kathryn picks out the classy ones.
7-Pepe Duvall
8-Michelin (full name Suzette Michelin)
9-All three
10-A coloratura. She hits some freakishly high notes in this movie.
11-A coat and jacket with a cap that has a little red ball attached to it.
12-When he does the scales when auditioning for the Maestro, the highest note of which has the chandeliers shaking. Also when he is being taught by the Maestro. And for fun, when Uncle Nicky lets out his best high note, looks at the chandelier and of course nothing happens.
13-"Boom Biddy Boom", which I believe was written by the famed "Sammy Kahn".
14- The long shots taken had noticeably poor stand ins who look nothing at all like the stars.
15-"I'll Never Love You"
16-He waltzes around the room and knocks a vase off a table and it comes crashing down. He replaces the vase later in the movie.
17-He has very broad shoulders which taper into a tight waistline. Photos in the Lanza Museum show him in his army days with the broadness of the shoulders looking practically inhuman
18-"Singing To The Gods", a very fine production filmed as a "mini documentary".
19-A half burned out cigarette
20-MGM, the company that released all of Mario's movies both in this country and abroad.

I AM WRITING ABOUT CAROLE SHEA, MARIO'S COUSIN. I UNDERSTAND SHE IS VERY ILL. THE CANCER HAS RETURNED AND SHE SHOULD HAVE ALL OUR SUPPORT AND PRAYERS. SHE BEAT IT BEFORE AND LET'S HOPE FOR ANOTHER MIRACLE. WE LOVE AND NEED YOU CAROLE. GOD BLESS YOU DEAR ONE.

I ENJOYED ONE OF THE NICEST NIGHTS I HAVE HAD IN YEARS TONIGHT THANKS TO MY TWO COUSINS BARARA AND SUZIE. WE GREW UP TOGETHER (AND THAT'S WHEN I LEARNED I LIKED PLAYING WITH GIRLS MORE THAN BOYS, LOL!) AND OUR MOTHERS TOOK DELIGHT IN HAVING US BEOME CLOSE. 
I DECIDED AFTER WATCHING "SERENADE" TONIGHT THAT I WOULD ENJOY DOING A SECOND QUIZ. ALL ANSWERS TO CLUES COME FROM "SERENADE". THEY VARY FROM EASY TO DIFFICULT. SO FAR OUR OWN DEREK MANNERING PLAYED THE PREVIOUS QUIZ AND GAVE HIMSELF APPROXIMATELY 60 PERCENT. AS I SAID IN THE LAST QUIZ, THE ANSWERS TO ALL QUESTIONS WILL APPEAR AT THE END. THERE ARE TWENTY OF THEM. YOU CAN ANSWER HERE OR EMAIL ME AT SMS5565@GMAIL.COM. PLEASE DO NOT CHEAT!
1-MARIO LANZA PLAYS DAMON VINCENTE IN "SERENADE". WAS HIS STAGE NAME USED TO HONOR ANOTHER OF HIS SONS? IF SO, WHICH ONE?
2-MARIO'S COUSIN TONIO TAKES MARIO FOR HIS VERY FIRST AUDITION AT A RESTAURANT.  NAME THE RESTAURANT.
3-WHAT DEROGATORY NAME IS USED IN THE FILM SEVERAL TIMES TO DENOTE TENORS WHO SING POORLY?
4-CHARACTER JUANA GREW UP WITH BULLFIGHTING. WHAT WAS THE NAME OF HER FATHER?
5-MARIO PLAYS A TORTURED SOUL BEAUTIFULLY IN THIS FILM, AND HE IS OFTEN TORTURED. WHEN HE IS SICK WITH MALARIA IN MEXICO CITY, WHO DISCOVERS HIM AND CALLS FOR A DOCTOR?
6-IN WHAT OPERA DOES MARIO SING AND THEN WALK OFF STAGE LEAVING THE SOPRANO ALONE. IN REAL LIFE HE WAS FRIENDS WITH THE SOPRANO. I HAD THE PLEASURE OF SEEING HER SEVERAL TIMES AT PAST LANZA BALLS WHEN SHE HAD NO FEAR OF SINGING OUT EVEN AT HER ADVANCED AGE. WHAT IS HER NAME?
7-WHEN MARIO SINGS FOR THE FIRST TIME IN THE CHURCH  HE IS "CURED". HE SINGS "AVE MARIA". IS IT THE SCHUBERT VERSION OR THE BACH-GONOUD VERSION?
8-I HAVE ALWAYS THOUGHT MARIO MADE A VERY HANDSOME AND FEARSOME OTELLO. WHO APPLIED HIS MAKE UP?
9-THE TITLE OF THE FILM IS, OF COURSE, "SERENADE". HE SINGS IT AT THE VERY END. WHAT OTHER TIME DOES HE SING IT?
10-THERE IS AN ALTERNATE VERSION OF THE SONG "SERENADE" FOUND ON ONE OR MORE LANZA CDS. WHY DO YOU THINK THE PRODUCERS ABANDONED IT IN FAVOR OF THE ONE USED?
11-AFTER MARIO HAS RECEIVED A GOOD BIT OF TRAINING BY THE MAESTRO HE GOES ON STAGE SINGING OPERATIC EXCERPTS. "AMOR TI VIETA" IS ONE WHICH IS STUNNING. WHAT OTHER EXCERPT IS HEARD IN A PRISON SCENE?
12-JOAN FONTAINE MAKES A GREAT BITCH IN THE MOVIE. I ONCE CALLED HER SECRETARY TO ASK FOR AN INTERVIEW BUT UNFORTUNATELY SHE INFORMED ME THAT "MISS FONTAINE DOES NOT DO INTERVIEWS ANYMORE". WHAT IS HER NAME IN THE MOVIE?
13-THE SONG MARIO SINGS WHEN AUDITIONING FOR THE MAESTRO IS CHOSEN BY VINCENT PRICE. NAME THE SONG.
14-VINCENT PRICE PRACTICALLY STEALS THE SHOW WITH HIS  MANY QUIPS AND SHARP WIT. WHEN HE AND MARIO ARE IN THE TAXI TOGETHER AFTER LEAVING FONTAINE'S APARTMENT WHAT DOES PRICE SAY TO THE CAB DRIVER?
15-THE PRIZEFIGHTER THAT FONTAINE JILTED ACHIEVED FAME ON A TELEVISION SHOW IN THE EARLY SIXTIES. WHAT WAS THE NAME OF THAT SHOW?
16-MARIO MARRIES SARITA MONTIEL, WHO IS HIS SECOND LOVE AFTER JOAN FONTAINE. IS SHE STILL LIVING?
17-MARIO'S WEIGHT APPEARS TO BE FAIRLY STABLE BUT IN ONE SCENE HE LOOKS HEAVIER. NAME THE SCENE.
EIL AND EXPANDED HER SCENES WHEN HE COULD. DURING THE FIESTA SHE 1-SINGS 2-DANCES 3-PLAYS LIKE A MATADOR?
19-MARIO'S SINGING IS EXCELLENT IN EVERY ARIA OR SONG HE PERFORMS. BUT HIS SPEAKING VOICE IS DIFFERENT THROUGHOUT THE MOVIE. JUST WHAT IS DIFFERENT ABOUT IT?
20-AT THE VERY END OF THE MOVIE MANN SHOOTS MARIO FROM ABOVE AS HE SINGS THE FINAL, EXCITING HIGH NOTE. WHAT SLIGHTLY MARS THE NOTE?
Answers:
1-Damon Lanza
2-Lardelli's
3-Tugboats
4-Tirso Montes
5-There are two correct answers. One, the young Mexican boy. Two, Sarita Montiel
6-Licia Albanese
7-Schubert
8-We see him applying his own in the movie
9-Right before getting in the convertible car with Sarita
10-That version has a somewhat "impossibly high" tessitura. Mario sings it fine though.
11-Di quella pira
12-Kendal Hale
13-My Destiny
14-That they saw/heard the 16th round.
15-Ben Casey as played by Vince Edwards 
16-No. Unfortunately she died in 2013 at the age of 85
17-When he is in bed after two weeks of recuperating from his illness 
18-Number 3: plays like a matador 
19-If you listen carefully you notice his voice is lower when speaking or even whispering. In none of his other movies did he sound like this.
20-It is an exciting and ringing note but it has some wobble.

TONIGHT I AM GOING TO "BORROW" WHAT BILL RONAYNE HAS DONE FOR YEARS FOR HIS EXCELLENT NEW YORK PUBLICATION CALLED "THE LEGACY OF MARIO LANZA". THAT IS, I AM GOING TO HAVE A QUIZ. THERE ARE FIFTEEN QUESTIONS AND THE ANSWERS VARY FROM SIMPLE TO VERY HARD! ONE HINT: ALL THE ANSWERS ARE FROM "THE SEVEN HILLS OF ROME". LET ME KNOW HOW MANY YOU GET RIGHT. YOU CAN POST YOUR ANSWERS HERE OR EMAIL ME AT SMS5565@GMAIL.COM. I WILL INCLUDE THE ANSWERS AT THE END, SO PLEASE DO NOT CHEAT!

1-WHEN DOES A PIECE OF PAPER ON THE LEFT SIDE OF A CONCERT HALL MISTAKENLY DRIFT FROM THE CEILING TO THE GROUND AT A CLUB MARIO IS APPEARING AT?

2-WHAT IS PEPE'S LAST NAME IN "THE SEVEN HILLS OF ROME"?

3-WHICH SONG DID RENATO RASCEL WRITE THAT MARIO SINGS WITH THE LITTLE ITALIAN GIRL?

4-WHAT TIME DOES THE CLOCK READ WHEN MARIO AND CAROL RALSTON REALIZE THEY ARE GOING TO BE LATE FOR MARIO'S BIG APPEARANCE AT THE ULPIA CLUB?

5-WHAT DOES PEPE MEAN WHEN HE SAYS HIS UNCLE RODE SIXTH FROM GARIBALDI?

6-WHO BUILT THE FAMOUS ROMAN ARCHITECTURE WHEN MARIO AND MARISA BUMP INTO EACH OTHER AFTER THE HELICOPTER RIDE?

7-WHAT IS THE NAME OF THE LITTLE "STREET URCHIN" THAT MARIO FOUND AND HAD THE PRODUCERS ADD TO "THE SEVEN HILLS OF ROME"?

8-WHO IN THE MOVIE "THE SEVEN HILLS OF ROME" HAS THE SAME AMOUNT OF LETTERS IN BOTH HIS FIRST AND LAST NAME?

9-IS THE SONG MARIO SINGS AT A PARTY AT PEPE'S FLAT 1-"EARTHBOUND" 2-"COME DANCE WITH ME" OR 3-"THE LOVELIEST NIGHT OF THE YEAR"?

10-WHAT IS THE NAME OF THE HORSE THE DRIVER WHO DROPS MARIO AND MARISA OFF AT PEPE'S OWN?

11-VICTOR YOUNG WROTE THE MELODY TO THE SONG "THE SEVEN HILLS OF ROME". WAS THIS HIS FIRST COMPOSITION OR HIS LAST?

12-MARIO LIKED TO PUT THE NAMES OF FAMILY MEMBERS IN HIS FILMS. FOR EXAMPLE, IN "FOR THE FIRST TIME" THE JUDGE DOES A ROLL CALL AND SAYS "ANTONIO COCOZZA". WHAT FAMILY NAME DOES HE USE IN "THE SEVEN HILLS OF ROME".

13-HOW MUCH DOES MARIO EARN WHEN HE STARTS SINGING FOR THE CLUB LUIGI?

14-MARISA ALLASIO WAS KNOWN AS WHAT OTHER FAMOUS STAR IN HER ACTING CAREER?

15-IS ALLASIO STILL LIVING?

Answers:
1-Around the time Mario sings "Questa o quella"..
2-Bonelli
3-"Arrivederci Roma"
4-Eight o'clock
5-He rode a horse in the service when his uncle was six positions to the left.
6-Bernini
7-Luisa Di Meo
8-Mario Lanza
9-"Come Dance With Me"
10-Lucretia
11-His very last
12-His son Marc
13-Either five thousand lyre or three thousand would be correct
14-The Italian Bridget Bardot
15-Fortunately she is still living

THANKS FOR PLAYING THIS QUIZ!

FIRST I ASK YOU TO TOTALLY IGNORE MY POST BELOW. IT WAS WRITTEN 1 AM AND I WAS A SLEEPYHEAD.I WANT TO REVISE MY POST BELOW. I WAS WRITING IT 1 AM AND WAS FALLING ASLEEP!
I WANT TO MAKE CLEAR MY POST.

MARIO HAS INNATE VALUES THAT COME NATURALLY. HE WAS  BORN WITH THEM. ALSO SOME ARE  LEARNED WITH A GOOD DIRECTOR.FOR A SINGER, MARIO'S ACTING IS QUITE GOOD. ONE SCENE IN PARTICULAR COMES TO MIND. HE ASKS KATHRYN GRAYSON TO DANCE WHILE DAVID NIVEN LOOKS ON CONFUSED. MARIO SAYS "OH, FINE, FINE". THE WAY HE SAYS THOSE THREE WORDS SUPPORTS MY FEELING OF GOOD ACTING. IT'S HARD TO PUT INTO WORDS THE WAY HE DELIVERS ENJOYING A WONDERFUL HOME MADE DINNER (TENDER MEATLOAF AND MASHED POTATOES), I WAS MOVED TO WATCH PARTS OF "THE TOAST OF NEW ORLEANS". HERE ARE A FEW COMMENTS THAT CAME TO ME. 1-THIS IS WITHOUT A DOUBT THE ONE MOVIE THAT STANDS OUT FROM ALL MARIO'S OTHER MOVIES SINCE IT HAS SCENES WITH BIG CROWDS. THINK TINA LINA WHICH HAS A LOT GOING ON. MARIO'S CHIEF JOB HERE WAS TO ALWAYS CENTER HIMSELF AS HE DID BETWEEN "TINA" AND HER BOYFRIEND WHOSE NAME I CANT' THINK OF AT THE MOMENT.

ANOTHER BIG SCENE COMES WITH THE "BLESSINGS OF THE BOATS" AND ANOTHER IS WHEM THE PEOPLE ARE FAVING A FEAT WITH LOBSTERS, SHRIMP, AND MUCH MORE. AND I'M GOING TO STOP HERE BECAUSE I HAVE MADE MYSELF HUNGRY WRITING THIS, LOL.

ADUCTION VALUES. 2-MARIO'S ACTING IS QUITE GOOD. ONE SCENE IN PARTICULAR COMES TO MIND. HE ASKS KATHRYN GRAYSON TO DANCE WHILE DAVID NIVEN LOOKS ON CONFUSED. MARIO SAYS "OH, FINE, FINE". THE WAY HE SAYS THOSE THREE WORDS SUPPORTS MY FEELING OF GOOD ACTING. IT'S HARD TO PUT INTO WORDS THE WAY HE DELIVERS FTER ENJOYING A WONDERFUL HOME MADE DINNER (TENDER MEATLOAF AND MASHED POTATOES), I WAS MOVED TO WATCH PARTS OF "THE TOAST OF NEW ORLEANS". HERE ARE A FEW COMMENTS THAT CAME TO ME. 1-THIS IS WITHOUT A DOUBT THE ONE MOVIE THAT STANDS OUT FROM MARIO'S OTHER MOVIES SINCE IT HAS BIG CROWD CLARIFICATION. STAY TUNED!!

This treatise explains the why and wherefore of the tenor named Mario Lanza from 1946 to his death in 1959 and often further as RCA pulled recordings that were not released. Think the Royal Albert Hall show, Despite Lanza not wanting it to be released it offers great insight as to how he performed live. In the greatness of a piece like "Because You're Mine" and its amazing final note we get shivers. In "Bonjour Ma Bell, we have funny parts where he blows a song he sings that Costa "repairs"plays. In the correct melody of "House on the Hill" he goes so sharp at the end that he barely recovers.

Mario's actual singing is wondrous. I love the way he is square on a note and then he slides down. This happens often and he uses it for a good effect.

His emphasis of words brings out what he has always said about one note or another as being his last one on earth. For example in "The Student Prince, his "soft pedal on "Golden Days is very sweet,. I noticed that Callinicos directed the music for the movie. Who better to do this than the man who heard Mario in the very beginning to nearly the very end. He criticized the second class way of recording when Mario added his voice to already existing tracks. I am no fan of Judith Raskin, but when you hear her parts they have much more quality and clarity than Mario' since he was dealing with engineers who didn't know how to best record him. Listen to the recordings he made at home with Elissa there. It is like listening to this "wall of sound" that leaves one in the clouds.

Why he sings his songs so well is obvious to any discerning listener. In the Coke show recordings he is at the very zenith of his powers. Plus the powers that influenced him wanted him to hit high notes at song endings frequently. In the "Cavalcade of Show Tunes" golden notes are common. "Only A Rose" is a particularly great song but the last note is golden with lots of "ring". He had less of this in the later recordings but the rich bass in his voice made up for some of that.

Finally, his voice varies on numbers that he recorded more than once. Is there a better sung "O Sole Mio" than the one featured in "For The First Time". No!. He sang that very same piece earlier and as nice sounding as it is, the voice is less mature. I am not sure about this but did he not sing this even earlier on other radio shows like the Edgar Bergin fun fests?

Summoning up, Mario has left us with a treasure trove of recordings that are incomparable. I always listen to his voice when faced with listening to others. Mario, you are indeed he best!

I KNOW MUCH HAS BEEN WRITTEN ABOUT THE BLU RAY OF "THE GREAT CARUSO". THIS DISC IS NOTHING SHORT OF AMAZING WITH NO GRAIN, NO SCRATCHES, NO DIRT IN THE NEGATIVE. NOTHING BUT JUST PURE PICTURE QUALITY. I HOPE YOU ALL HAVE THIS DISC AND IF YOU DON'T YOU CAN PICK UP A BLU RAY DVD PLAYER VERY CHEAP THESE DAYS. A PLUS IS THAT BLU RAY PLAYERS WILL ACTUALLY MAKE STANDARD DVDS BETTER BY UPGRADING THEM. THAT WILL HELP YOUR ENTIRE DVD COLLECTION.
WHEN IT COMES TO THE SINGING, MARIO DELIVERS FLAWLESS PERFORMANCES. I DON'T SAY THIS EASILY BUT IT IS ABSOLUTELY TRUE. EACH ARIA OR SONG IS AMONG HIS BEST WORK OF ALL HIS MOVIES. AND HE IS VERY CONSISTENT. A LITTLE SIDE IS THAT HIS WEIGHT IS ALSO CONSISTENT AND HIS BODY IS STRONG. 
THERE IS ANOTHER INTERESTING POINT MADE IN THE MOVIE AND THAT IS THAT MANY OF THE SONGS/ARIAS RELATE TO THE STORY. FOR EXAMPLE, WHEN HE SINGS "A VUCHELLA" TO MUSETTA  ALL EYES ARE FOCUSED ON THOSE RUBY RED LIPS. THERE ARE TWO MONTAGES IN THE MOVIE AND THEY ARE HARD TO TIE IN WITH THE STORY SINCE THEY VARY SO MUCH. SOMETIMES, TOO, THIS IS NOT TRUE. FOR EXAMPLE "LA DANZA" MEANS LET'S DANCE BUT THIS HAS NO MEANING TO THE STORY. 
TAKE "VESTI LA GIUBBA". THIS IS OBVIOUS SINCE  MARIO'S HEART IS BREAKING LIKE THE FAMOUS CLOWN. HE SO MUCH WANTS DOROTHY TO BE WITH HIM BUT SHE CANNOT THANKS TO HER CURMUDGEON OF A FATHER. WHEN HE SINGS "AVE MARIA" (THE BACK GOUNOD VERSION) HE FEELS TORN AGAIN HAVING TO HAVE "THE VOICE" IN ONE PLACE WHILE HE PERSONALLY IS IN ANOTHER. IN "CHE GELIDA MANINA" MARIO IS SINGING FULL VOLUME AND IS IN AN ATMOSPHERE WHERE HE AND DOROTHY KIRSTEN ARE COLD. THUS "YOUR TINY HAND IS FROZEN". IT MIGHT BE STRETCHING BUT THIS ARIA  ALSO BREAKS THE ICE  BETWEEN THE AUDIENCE AND THE SINGER. BEFORE IT, HE WAS PUT DOWN BY SINGING TO "THE DIAMOND HORSESHOE" BUT HERE HE HAS THE CHANCE TO BE HIMSELF SINCE HE CAME FROM POOR ROOTS. 
ANN BLYTH SINGS BETTER THAN EXPECTED WHEN PERFORMING "THE LOVELIEST NIGHT OF THE YEAR", A FITTING SONG SINCE THIS IS THE NIGHT SHE ANNOUNCES THAT THEY WILL HAVE A BABY. THE "RIGOLETTO QUARTET" IS SUCH THAT I DON'T KNOW THE MEANING. BUT IT IS OBVIOUSLY MEANINGFUL SINCE MARIO FINDS OUT THAT HE AND DOROTHY WANT TO KNOW IF THEY ARE HAVING A GIRL OR BOY. TURNS OUT "IT'S A GIRL"!
WE SEE THE EARLY RECORDING DEVICES USED BY CARUSO AS HE SANG INTO A SPECIAL BRASS HORN. THE SONG HE IS "CUTTING" IS "BECAUSE" AND REFERS TO THE LOVE INVOLVED IN HAVING A CHILD. THIS FITS THE STORY PERFECTLY SINCE MARIO IS IMPRESSED THAT HIS RECORD WILL STILL BE AROUND LONG AFTER HE IS GONE. 
WE HEAR "M'APPARI" AND IT MEANS THE DEEP LOVE AND COMMITMENT OF TWO MARRIED PEOPLE. THIS IS A HAPPY TIME FOR ENRICO AND DOROTHY. A TIME WHERE HE SHOWS OFF HIS POLICEMEN'S BADGES. SO, AGAIN WE HAVE SOME RELATABLE MEANING. THE "LAST ROSE OF SUMMER" IS AN EASY ONE. ENRICO IS QUITE SICK AND WILTING JUST LIKE A ROSE WOULD AFTER THE SUMMER HAS PASSED. IN THE MOVIE WE SEE MARIO FALL DEAD EXACTLY AS THE CURTAIN CLOSES. THE ORCHESTRAL ENDING IS "BECAUSE" AND AGAIN WE ARE REMINDED ABOUT LOVE BUT THIS TIME IT IS THE LOVE AND WORSHIP OF A GREAT ARTIST WHO HAS GONE TO HEAVEN. 
I MAY HAVE MISSED SOME ALONG THE WAY, BUT MY CHIEF POINT IN WRITING HAS BEEN TO SHOW HOW MANY OF THE SONGS AND ARIAS RELATE TO THE STORYLINE. 
NOW MAKE SURE YOU GET MAXIMUM ENJOYMENT WHILE THINKING ABOUT THE CONNECTIONS TO THE PLOT I HAVE MADE. AND IF YOU DON'T GET A BLU RAY PLAYER AND OF COURSE THE BLU RAY DISC, WARNER HOME VIDEO WILL NOT BE HAPPY. THEY PROMISED MARIO'S DAUGHTER ELISSA MANY YEARS RUNNING THAT THEY WOULD RELEASE "THE GREAT CARUSO" AND THEY FINALLY MADE GOOD ON THEIR PROMISE. IT WOULDN'T BE OUT OF THE QUESTION TO WANT MORE BLU RAY DISCS EITHER AS A SET OR INDIVIDUAL TITLES. AFTER ALL, MARIO ONLY MADE 8 FILMS (IF YOU COUNT "THE STUDENT PRINCE") AND DESERVES TO BE REMEMBERED WITH QUALITY AND PRAISE!  

Please note that the Mario Lanza Birthday Remembrance Party at the Lanza Museum on the 28th is now sold out. Best, Bill

TONIGHT IS THE LAST OF MY DINNER AND MOVIE REVIEWS. TONIGHT'S FOOD WAS NOTHING SHORT OF AMAZING. IT WAS ASIAN FOOD SERVED WITH HUGE PORTIONS. FIRST WAS THE AL DENTE PASTA WITH PULLED PORK. DELICIOUS. THE SECOND ENTREE WAS AMAZING. THEY TAKE BRUSSEL SPROUTS AND DEEP FRY THEM ALONG WITH BACON AND SERVED WITH STICKY RICE. IT HAS LOTS OF "HEAT". THE RESTAURANT SERVING THESE IS CALLED "DAN DAN" AND WAS RECOMMENDED TO ME BY A YOUNG MAN WHO WORKS THE GENIUS BAR AT THE LOCAL APPLE STORE. HE WORKED OVERTIME TO BRING MY IPHONE 11 PRO UP TO THE NEWLY DESIGNED FEATURES.

I GOT HOME TO FIND A LARGE BOOK ABOUT TESLA CARS FROM 2012 TO THE PRESENT. EVERYTHING YOU WOULD EVER WANT TO KNOW IS WITHIN THE PAGES I AM ANXIOUS TO READ AS A TESLA MODEL S (FOR SAM!) IS ON MY BUCKET LIST. A USED ONE WITH ONE OWNER IS EXTREMELY CLEAN, SELLS FOR 29, 999 DOLLARS AND HAS 64,000 MILES ON IT. IT WILL GO FROM 0-60 MPH IN 4 SECONDS. IT ALSO HAS A HANDY SUN ROOF. IT CAN GO FOR 250 MILES ON ONE CHARGE.

THEN IT WAS DOWNSTAIRS TO SCREEN "THE STUDENT PRINCE". THIS IS A FILM I HAVEN'T WATCHED NEARLY AS MUCH AS OTHER FILMS ASSOCIATED WITH MARIO. IN SCREENING IT I FELT SADNESS KNOWING THAT IT HAS A ROLE MARIO SHOULD HAVE ENJOYED WERE IT NOT FOR THE ARROGANCE OF DORE SCHARY.

IT STARTS WITH MARIO AS THE PRINCE BEING INTRODUCED TO THE QUEEN'S DAUGHTER PLAYED BY BETTA ST. JOHN. QUEEN MATHILDA IS PLAYED BY THERE IS MUCH FANFARE AS DANCING CONTINUES FOR HOURS. KARL IS THE PRINCE PLAYED VERY EFFECTIVELY BY EDMUND PURDOM. HE IS SO GOOD AS THE STUFFY PRINCE. MARIO MAY HAVE HAD TO HAVE SOME COACHING TO BE THAT WAY. AS THE FILM DEVELOPS KARL'S RESERVE BREAKS DOWN AND HE IS MORE LIKE A CHARACTER WE'D EXPECT IN A MARIO LANZA FILM. THE CREDITS ANNOUNCE "THE SINGING VOICE OF MARIO LANZA AS THE STUDENT PRINCE".

THE GENERAL FEELING OF THE KING, WELL PLAYED BY LOUIS CALHERN AND THE QUEEN (PLAYED BY EVELYN VARDEN) IS THAT KARL NEEDS TO LOOSEN UP. HIS FRIEND AND PERSONAL TEACHER IS THE CHARACTER ESSAYED BY EDMUND GWENN. HE IS HAPPILY CHUBBY AND HAS A TAILORED LOOKING BEARD AND MOUSTACHE. HIS NAME IS PROFESSOR JUTTNER. HE IS HOUNDED BY THE STIFF VALET NAMED LUTZ, WHO IS JOHN WILLIAMS. IT IS DECIDED THAT HEIDELBERG WOULD BE THE PERFECT PLACE FOR KARL TO EXPERIENCE. JUTTNER IS HAPPY ABOUT THIS SINCE WHEN HE WAS YOUNG HE ATTENDED CLASSES AT HEIDELBERG.

FROM THE START KARL ACTS LIKE THE PRINCE HE IS AND COMES CLOSE MANY TIMES TO LETTING HIS IDENTITY BE KNOWN. HE MEETS ANN BLYTH WHO IS KATHIE RUDER. SHE IS THE NIECE OF THE TAVERN OWNER S.K. "CUDDLES" SAKAL WHOSE NAME IS JOSEPH RUDER. ANN IS VERY PRETTY AS A BLONDE, THOUGH SHE WOULD BE A BEAUTY WITH ANY HAIR COLOR. SHE SINGS A SONG WITH WORDS ESPECIALLY WRITTEN BY HER UNCLE. LATER, WHEN KATHIE IS LEFT ALONE WITH KARL THEY BOTH SING THE SAME SONG BY SIGMUND ROMBERG WHO WROTE MOST OF THE SCORE EXCEPT FOR TWO SONGS. THE SWEET "SUMMERTIME IN HEIDELBERG" IS SUNG AS KARL IS IMMEDIATELY STRICKEN WITH HIS FASCINATION OF KATHIE. HE GOES TOO FAR TOO SOON AND TRIES KISSING HER ONLY TO HAVE HIS FACE SLAPPED. LATER LUTZ TELLS RUDER WHAT HAPPENED AND RUDER SAYS HE MUST HAVE BEEN FRESH. SINCE THIS PAIR FIRST MET THERE WAS TENSION IN THE AIR. RUDER THOUGHT LUTZ WAS A ROYAL BY THE WAY HE CARRIED HIMSELF. RUDER CARRIES LUTZ' LUGGAGE BUT DROPS THEM LIKE A HOT POTATO WHEN LUTZ REAL IDENTITY AS A VALET IS KNOWN. RUDER IS TOLD TO IGNORE LUTZ AND HE SAYS JUST THAT--"LUTZ, I IGNORE YOU"! THE CUDDLES TRADEMARKS OF "SHEESH" AND "NACK, NACK" AND SLIGHT GROANS SHOW ACTING WORTH THE WAIT.

KATHIE SLOWLY BUT SURELY TREATS KARL BETTER. SHE BRINGS HIM SAUERKRAUT AND BRATWURST. HE PUSHES IT AWAY BUT THEN TRIES IT AND LIKES IT. SHE SHOWS HIM IT IS EVEN BETTER WITH BEER AND BRINGS HIM A COLD STEIN. THIS IS THE PERFECT TIME FOR PURDOM/MARIO TO SING "DRINK, DRINK, DRINK" AND A FINE HIGH NOTE ENDS THE SONG. LET ME INTERJECT HERE THAT THERE IS A LOT OF CHORAL SINGING GOING ON IN THE BACKGROUND AND ALSO UP FRONT. ALL SILVERWARE AND DISHES STRIKE WHATEVER GOODNESS LINGERS AND THE COSTUMES ARE VERY COLORFUL, WHILE THE SUSTAINED LAUGHTER AND THE SPIRIT OF THE FILM IS ONE OF GAIETY.

OLD LUTZIE CONVINCES RUDER TO SEND KATHIE AWAY TO ELIMINATE ANY FURTHER CONTACT WITH KARL. KARL FOLLOWS HER TO THE RESTAURANT ACROSS THE RIVER. HERE SHE WAS GIVEN A JOB BY RUDER'S FORMER FRIEND. SHE DROPS SOME DISHES AND IS FIRED, QUITE A PRICE TO PAY DESPITE KARL OFFERING TO PAY FOR ANY DAMAGE. KARL PRACTICALLY BEGS HER TO RETURN TO HEIDELBERG AND SHE DOES. THE STUDENTS HAVE SORELY MISSED HER.

KARL IS INTRODUCED TO THE WESTPHALIAN CORP HEADED BY RICHARD ANDERSON AS LUCAS. THE COMPETING CORP MEMBERS ARE THE SAXO-BARUTIONS (SP?). THE STUFFY CORP HEAD GRUDGINGLY HANDLES LUCAS AND ASKS FOR A DOCTOR. THIS BACKGROUND SONG WAS ONE OF THE HIGHLIGHTS IN THE SCORE. A FIGHT FOR HONOR DEVELOPS AS THE PRINCE AND HIS SPARRING PARTNER BEGIN THE FIGHT AND IT IS A CLOSE ONE UNTIL PURDOM SCRATCHES HIS FACE AND COUNT VON ASTERBERG ACCEDES.

KATHIE IS VERY FEARFUL AND HIDES BEHIND A TREE UNTIL SHE SEES THAT KARL IS OKAY. AS THEY WALK HE SINGS TO HER A HEARTFELT "DEEP IN MY HEART". THEIR LOVE FOR EACH OTHER IS NOW FIRM AND THEY KISS FREQUENTLY. A COLORFUL AND EXCITING BALL IS HELD WITH DANCERS AND ACROBATS HAVING A GREAT TIME. THIS FILM WAS AMONG THE EARLY CINEMASCOPE FILMS IN N1954. "WHITE CHRISTMAS" WITH ROSEMARY CLOONEY WAS AMONG THE VERY FIRST. IT IS INTERESTING TO NOTE THAT THERE ARE RARE PRINTS OUT THERE THAT SHOW THE ENTIRE "STUDENT PRINCE" WAS ALSO FILMED IN THE STANDARD "TV" RATIO OF 4:3. I HAD A CLIP OF IT IN THIS FORMAT THAT SHOWED THIS TO BE TRUE. TODAY TO AVOID SHOWING IT IN CINEMASCOPE PRINTS WOULD BE "PAN AND SCAN" BY CENTERING THE ACTION AS THE FILM UNREELS.

KARL AND KATHIE ARE SO CAUGHT UP IN THE FUN THAT THEY MAKE PLANS TO "ESCAPE". SHE RUNS HOME TO CHANGE HER CLOTHES BUT IS UNEASY. AT HER DOOR MARIO SINGS "BELOVED"--THE VERSION USED FOR THE FILM AND NOT THE MORE OVER THE TOP VERSION THAT STARTED THE BIG FIGHT BETWEEN LANZA AND THE STUDIO. INSTEAD OF LEVYING A HUGE SUM FROM LANZA, IT WAS AGREED THAT IF LANZA'S VOCALS WERE USED IN THE FILM THEN THE CASE WOULD BE DROPPED.

NOT MUCH LATER PRIME MINISTER VON MARK APPEARS AS PURDOM IS CARRYING HIS SUITCASE. HE CONVINCES HIM THAT HIS GRANDFATHER IS ILL, QUITE ILL. PURDOM TAKES THE TRAIN TOO FIND THE OLD MAN SITTING UP AND WELL DRESSED. HE INSISTS THAT KARL IS TO BE MARRIED AS ORIGINALLY PLANNED AND THAT KARL IS NEVER TO RETURN TO HEIDELBERG. THE NEXT SCENE SHOWS THE KING'S COFFIN RAISED HIGH IN THE AIR WHILE PURDOM SINGS "I'LL WALK WITH GOD" IN A LONG SHOT WITH JUST ONE OR TWO CLOSE UPS. THE MOST TENDER MOMENT FOR ME IS WHEN PURDOM ALMOST LOSES HIS COMPOSURE AND HOLDS BACK TEARS. THIS SONG HAS PERSONAL MEANING AS I HAVE BEEN SINGING A HARMONIZED VERSION IN DUET FORM SINCE 12TH GRADE IN HIGH SCHOOL. ALSO, I PLAYED MARIO SINGING IT AS MY FATHER'S GRAVESIDE AFTER MY EULOGY TO HIM WAS READ BY OUR MINISTER.

KARL IS TRAVELING TO BE MARRIED BUT TELLS THEM TO STOP IN HEIDELBERG. HE PROMISED KATHIE HE WOULD RETURN SOMEDAY AND HE KEEPS HIS PROMISE. HE SINGS A TENDER AND MEANINGFUL "GOLDEN DAYS". KATHIE IS HAPPY TO SEE HIM AND WISHES HIM WELL ON HIS MARRIAGE. SHE SMILES AS HE WALKS AWAY BUT THEN WE SEE HER HOLDING BACK TEARS. ANN BLYTH IS A TERRIFIC ACTRESS AND THIS MOMENT PROVES THAT.

THE PROFESSOR AND KARL LEAVE IN A COACH WHILE THE CHORUS SINGS "GAUDEAMUS IGITUR" AND GWEN TRANSLATES IT---LET US REJOICE WHILE WE ARE YOUNG". THE WONDERFUL "MADE IN HOLLYWOOD USA BY MGM" APPEARS OVER "THE END" CARD. THEN TWO PAGES OF CAST MEMBERS ARE SHOWN AND WE SAY GOODBYE TO THIS FINE FILM UNTIL THE NEXT SCREENING. AS I FINISH WRITING THIS AT 1 AM I SAY GOODNIGHT TO ALL. I HOPE YOU HAVE GLEANED SOME INTERESTING FACTS FROM MY REVIEW. GIVE ME ANY FEEDBACK SO I KNOW IT AND THE OTHERS HAVE BEEN READ BY SOME OF YOU. THANKS!

WE HAVE BEEN GAINING WEIGHT WITH OUR MANY WONDERFUL CULINARY ADVENTURES. CUE "AH SWEET MYSTERY OF LIFE". WE START BY HAVING CEREAL THAT IS FROM TRADER JOE'S. POUR MILK OVER THE CHOSEN BRAND WHICH CONTAINS NUTS AND GRANOLA ALONG WITH OTHER INGREDIENTS.  WE LET THIS SIT FOR FIVE MINUTES SO THE MILK CAN MAKE THE CEREAL EASIER TO SWALLOW AND MORE FLAVORFUL. WE FOLLOW THIS WITH THE ALL TIME GREAT BREAKFAST FOOD THAT IS MORNING EGGS. ONE CAN SCRAMBLE, OVER EASY, OR POACHED. WE OPTED FOR SCRAMBLED SINCE WE ALSO HAVE AMERICAN CHEESE AND CHERRY TOMATOES TO MAKE ORDINARY EGGS TASTE EXTRAORDINARY. THERE IS A FRUIT THAT SUPPOSEDLY IS VERY HEALTHY FOR YOU. THAT IS A GRAPEFRUIT. JUST CUT AWAY THE SKIN AND DIG IN. WATCH FOR SEEDS. THE FINAL COURSE IS PANCAKES. WHETHER BLUEBERRY, CHOCOLATE, OR APPLE  THIS IS A DELICIOUS WAY TO START THE DAY. (HAVE  YOU NOTICED I INADVERTENTLY RHYMED A  COUPLE TIMES WHEN EATING. USING PANCAKE MIX, ADD THE FRUIT OR FRUITS YOU HAVE CHOSEN, PUT THE PANCAKES ASIDE FOR A MINUTE WHILE YOU GET SOME BUTTER TO APPLY TO EVERY SURFACE OF THE CAKES. LAST, USE EXTRA THICK WHIPPED CREAM TO COMPLETE THIS DISH. OH YES, USE ONLY A HIGH GRADE MAPLE SUGAR POURED LIBERALLY.
OUR MOVIE IS "BECAUSE YOU'RE MINE". MARIO WANTED TO MAKE "THE STUDENT PRINCE" SINCE HE FELT BYM WAS TOO FRIVOLOUS, HE SUPPOSEDLY WAS QUOTED AS SAYING "YOU CAN'T PUT CARUSO IN THE ARMY"! THE POWERS AT MGM DIDN'T AGREE BUT PROMISED TO HAVE HIS NEXT FILM BE AN ESTABLISHED CLASSIC AFTER HE ESSAYS THIS ONE. THE MOVIE STARTS WITH MARIO OOGLING AND THEN KISSING FRANCESCA, HIS LONG TIME LOVER. SOON HE SINGS A GREAT ARIA USING HIS DEEPEST TONES. MEANWHILE HE STOPS AT HIS MOTHER'S HOUSE. THE MOTHER IS PLAYING A 78 RECORD OF "MAMMA MIA". SEGUE TO AN ARMY INDUCTION CENTER AS WE SEE MEN WHO HAVE BEEN DRAFTED GETTING READY TO HOP ON THE TRAIN THAT WILL CARRY THEM TO THE BARRACKS. THESE MEN SURROUND MARIO AND IN THE DISTANCE WE SEE MARIO'S BUDDY TERRY ROBINSON, THE MAN WHO BECAME HIS FRIEND AND TRAINER. JUST THEN WE HEAR THE TOUGH SERGEANT SHOUT HIS NAME "ROSSANO". STOPPED DEAD IN THEIR TRACKS ARE MARIO'S REAL LIFE MOM AND DAD WHO ASK FOR AN AUTOGRAPH. THE SERGEANT SAYS "WELL, I'VE NEVER SEEN AN OPERA BUT HERE'S ME OPERA-TUNITY. GRUDGINGLY MARIO GOES INTO A LIVE "QUESTA O QUELLA". 
THE TRUCK DELIVERS THE MEN TO YET ANOTHER SERGEANT WHO PUTS THE MEN DOWN AS A "CRUMMY BUNCH" THAT HE WILL STRAIGHTEN OUT. THE MEN HEAD INTO A HORRIBLY DIRTY BARRACKS AND MARIO IS GOADED ON BY A FEW MEN WHO HAVE SPOTTED SERGEANT BATTERSON (OR BAT FOR SHORT). MARIO'S BACK IS TURNED AWAY. HE SAYS THIS SERGEANT IS THE WORST OF THE BUNCH. "I'VE STUDIED A LITTLE PSYCHOLOGY AND HE HAS A HEAD SHAPED LIKE AN ACORN". SGT: "EXCUSE ME  BUT I FIND THIS HIGHLY OBJECTIONABLE. SEEMS LIKE WHEN I SAW YOU YOUR HEAD WAS SHAPED LIKE A WATERMELON. SUDDENLY MARIO TURNS AROUND AND THE SGT.  PUTS ON  HIS GLASSES AND SAYS "PAGLIACCI"!!
HE AND MARIO WALK INTO THE SGT'S OFFICE. DUMBFOUNDED, HE ASKS FOR HIS AUTOGRAPH AND THEY SHAKE HANDS AFTER BAT TELLS HIM A LONG LIST OF OPERAS MARIO DID WHICH HE ATTENDED. THE SGT. HAS A  RECORD PLAYER AND PUTS ON THE BACKGROUND OF "THE SONG ANGELS SING".THIS IS BASED ON A CLASSICAL MELODY. OUTSIDE TRUCKS STOP AND LISTEN WHILE GIVING ROUSING APPLAUSE. THE PRAISE DOESN'T LAST LONG SINCE THE CAPTAIN BREAKS IT UP AND TELLS EVERYONE TO GET INTO THEIR FATIGUES. MARIO GOES INTO A PHONE BOOTH AND TELLS FRANCESCA HOW TO SING A SONG SHE IS STRUGGLING WITH. THE HATEFUL CAPTAIN HEARS PART OF THE ARIA AND THEN MARIO SLIPS AWAY AS THE CAPTAIN SNEERS THAT MARIO IS "GOING INTO THE OVEN" AND WILL SOON NOT BE HALF BAKED. 
MARIO AND BAT BECOME FAST FRIENDS. IN THE NIGHT THEY ARE WALKING AND MARIO TELLS HIM HE HAS ALWAYS SUNG "THE LORD'S PRAYER" ON THE NEXT DAY WHICH IS EASTER SUNDAY. A FEMALE SGT. PLAYS THE ORGAN AND MARIO SINGS THE SONG WITH AN EXPANSIVE QUALITY. WITHOUT A BREAK IN THE SONG THE SCENE SHIFTS TO THE CHAPEL. MARIO INTRODUCES ALL HIS FRIENDS TO HIS MOTHER. MOM HAS PREVIOUSLY MADE A DEAL WITH THE GENERAL (CURTIS COOKSEY) WHO BEAMS AT THEM. MAMMA WANTS TO TAKE THE TWO COUPLES (BAT HAS A GIRLFRIEND NAMED PATTY WEAR) TO HER FLAT AND SHE TEACHES BRIDGET, WHO IS FALLING IN LOVE HOW TO MAKE IT. BRIDGET IS BATTERSON'S SISTER. SHE IS TAKING NOTHING SERIOUSLY AND SITS AT THE PIANO AND PLAYS/SINGS "GUMMY FOR YOUR TUMMY (THE SONG SHE SINGS ON HER RADIO BROADCASTS). NOT TO BE OUTDONE, MARIO PLAYS A PERFECT INTRODUCTION AND SINGS HIS OWN JINGLE "FLUFFY FOAM", A PRODUCT NO ONE WILL MISS.
PATTY AND BAT LEAVE SO MARIO AND BRIDGET CAN REHEARSE. THEY MEET THEM LATER AT A NEARBY RESTAURANT/CLUB FOR DINNER. MARIO TAKES BRIDGET ONTO THE DANCE FLOOR AND SINGS THE PRETTY "LEE-AH-LOO" WHILE THE CAPTAIN COMES OUT OF THE DARK AND BERATES BOTH BAT AND MARIO. BAT PUTS ON AN ACT FOR THE CAPTAIN AND ORDERS MARIO TO KP DUTY PEELING BAGS AND BAGS OF POTATOES. THE THREE CLOSE FRIENDS SING A FUNNY ADAPTED  VERSION OF THE "RIGOLETTO QUARTET". YOU HEAR "RENALDO IS A  TOMATO EXPERT" AND SO ON.

BEFORE YOU KNOW IT EASTER SUNDAY HAS ARRIVED. MARIO AND BAT SEE THE CHAPEL AND WALK INSIDE WHILE THE ORGANIST IS PLAYING.  WHEN MARIO ASKS TO DO "THE LORD'S PRAYER" SHE SAYS SHE'D BE HONORED PLAYING IT. (NOTE AN AMAZING THING HAPPENS::  WHEN MARIO AND BAT ARE OUTSIDE THE CHAPEL MARIO IS VERY SLENDER, ACTUALLY HIS PERFECT  WEIGHT. WHEN THEY ENTER MARIO IS 60 POUNDS HEAVIER. I PITY THE COSTUME DEPARTMENT AT MGM AS THEY HAD TO KEEP SEWING TO FIT HIS WEIGHT!) WHILE HE SINGS HE CAN LOOK OUT TO SEE PRIVATES, SERGEANTS. CAPTAINS, AND GENERALS ALL WORSHIPPING. 
WHEN THE SERVICE IS OVER AND ALL ARE WALKING DOWN THE STEPS, THE GENERAL AND HIS WIFE (PLAYED BY THE RELIABLE SPRING BYINGTON) HAVE BEEN TALKING TO MARIO'S MOM. SHE NEEDS TO TAKE THEM TO HER FLAT SO THEY CAN HAVE A LASAGNA DINNER. MOM WHISTLES AND A MILITARY CAR APPROACHES QUICKLY. MARIO AND BAT ARE IN THE FRONT SEAT AS THEY PASS THE CAPTAIN AND SALUTE HIM WHILE DON LOOKS DAZED! ONCE IN HER FLAT THE UNBELIEVABLY GOOD LOOKING AND HUGE LASAGNA IS HEATED WHILE THE SALAD IS BEING MADE BY PATTY.  BAT SINGS AN ARIA VERY BADLY AND CANNOT HIT THE HIGH NOTE SO MARIO SINGS IT. WITH HIM. MARIO AND BRIDGET ARE LEFT ALONE AND SING A SOFT RENDITION OF "BECAUSE YOU'RE MINE" .THEY ARE KISSING AND EACH TIME BAT BRINGS THE SALAD BOWL TO TOSS IN THE KITCHEN HE LOOKS ON WHILE HE ASSUMES THEY ARE STILL KISSING. MOM ADMITS THAT HER LASAGNA "ISN'T FITS FOR GOATS" AND THAT SHE PAYS HER ITALIAN NEIGHBOR TO MAKE IT. 
THE TIME COMES  FOR MARIO AND BAT TO USE THEIR WEEKEND PASS BUT WE FIND ALL PASSES ARE WITHDRAWN SO ALL SOLDIERS CAN PREPARE FOR THE FOREIGN  "BRASS" AND THEIR VISIT. PATTY TRIES TO CONVINCE SPRING BYINGTON TO RESTORE THE PASSES MARIO AND BAT HAVE SECURED SO THEY CAN DRIVE THE TRIP TO NEW YORK  TO MAKE RECORDINGS WITH FRANCESCA. THEY DO AN EXACTLY ONE MINUTE ARIA BUT ONLY AFTER FRANCESCA GIVES BRIDGET A TALK ABOUT "OPTIONS" SHE SHOULD TAKE ADVANTAGE OF, TELLING HER SHE CAN MAKE ANY KIND OF DEAL. WHY? BECAUSE MARIO NEEDS TO MAKE A BUCK. VERY UPSET, BRIDGET CRIES BEFORE HER BROTHER  AND SAYS "IF I GET A  BREAK, I WANT IT TO BE BASED ON MY TALENT" AND NOT BECAUSE MR. LANZA NEEDS TO MAKE A BUCK", THEY LEAVE SUDDENLY AND MARIO CANNOT FIND THEM EXCEPT FOR AN UNHAPPY NOTE THEY LEFT FOR HIM.  ONCE MARIO RETURNS TO THE BASE BAT VOWS TO MAKE MARIO SUFFER AND MAKES HIM A "ONE MAN ARMY." WE SEE POOR MARIO IN THE RAIN AND TRIPPING IN THE MUD, HE WORKS THROUGH THE NIGHT AND AS HE TAKES HIS CLOTHES OFF BAT TELLS HIM HE MUST PRACTICE WAR EXERCISES, RIGHT THEN. HIS MORALE HAS BEEN BROKEN.
THE NEXT MORNING MARIO TALKS TO BAT ABOUT BRIDGET AND WHAT HAPPENED AT THE RECORDING SESSION, HE MAKES MARIO (AND HIS THREE FRIENDS) CRAWL IN THE DIRT WHILE GUNSHOTS WHIZZ BY. BRIDGET COMES TO TELL MARIO THAT SHE LOVES HIM BUT MARIO IS WALKING SENTRY AND BLAMES BAT FOR HIS SORROWS. HE SAYS SOMETHING UNTOWARD TO MARIO WHILE  BAT HITS HIM, A FIGHT BREAKS OUT AND MARIO AND BAT ARE STILL FIGHTING AS THE CAPTAIN BREAKS THEM UP AND HAS THEM CONFINED TO TWO ADJOINING CELLS, THEY ARE EATING THE FAMOUS  ARMY DISH CALLED "S.O.S" THAT IS OTHERWISE KNOWN AS "SHIT ON A SHINGLE"!
THERE IS A WONDERFUL SEQUENCE SHOWING THE ENTIRE  GROUP OF UNIFORMED PEOPLE MARCH WHILE AIRPLANES FLY ABOVE, BAT ASKS WHAT THEY WERE FIGHTING ABOUT WHILE BUMMING TO EAT WHAT MARIO HAS NO APPETITE FOR. FORTUNE SMILES ON HIM AS MARIO  RECOGNIZES HIS OLD FRENCH SOLDIER BUDDY PIERRE MONTAL, HE SINGS THE ARIA ABOUT BEING HELD CAPTIVE WHILE MONTAL RUSHES TOWARD HIM!, BAT IS ALL SMILES AS HE SAYS "AND SOME PEOPLE THOUGHT THE UNITED NATIONS WOULDN'T WORK", QUICK SEGUE TO MARIO WHO IS ONSTAGE LOOKING GREAT AND SINGING "GRANDA" WITH HIS HANDS HELD IN HIS FAMOUS "PRIZE FIGHTER'S" STANCE, HE LOOKS AROUND THE AUDIENCE AND SPIES BRIDGET HIDING IN THE REAR. HE WANTS TO SING "BECAUSE YOU'RE MINE" AND TELLS BRIDGET IT IS MUCH BETTER AS A DUET. THE SONG IS SUNG BEAUTIFULLY AND POWERFULLY AS THE TWO LOVERS EMBRACE WHILE HITTING STUNNING HIGH NOTES. CUE THE MGM ENDING "MADE IN HOLLYWOOD USA",  THE TWO PAGES OF END CREDITS CLOSE THE MOVIE. 
I HAVE ALWAYS FOUND THAT BYM IS A VERY PLEASANT MOVIE (FEEL GOOD AS THEY SAY) AND LOVE THE SONGS AND ARIAS  IN IT. MY FATHER, WHO SERVED IN THE ARMY, LOVED THE FILM AND COULD RELATE TO IT. HE ALSO TOLD ME WHAT A GREAT VOICE MARIO HAD. 

I HAVE ONLY ONE MORE NIGHT OF DINNER AND A MOVIE WITH "THE STUDENT PRINCE". BYE FOR NOW!

IT'S TIME AGAIN FOR DINNER AND A MOVIE. DINNER IS RATHER WINSOME SINCE IT IS COMPOSED OF FIVE ARMENIAN SPECIALTY DISHES. ALL WERE MADE BY THE "ARMENIAN DELIGHT" STORE. 1-YALANCHI SARMA, WHICH ARE GRAPE LEAVES STUFFED WITH RICE AND SPICES 2-ARMENIAN STRING CHEESE, SOMETHING THAT YOU FIND A LOT THESE DAYS AT THE SUPERMARKET. BUT THE REAL ARMENIAN CHEESE CAN BE SLICED AND EATEN IN CHUNKS OR PULLED TO MAKE STRINGS 3-ARMENIAN PAKLAVA.CALLED BAKLAVA BY THE GREEKS, THIS IS MADE BY MANY LAYERS OF FILO DOUGH AND FILLED IN THE CENTER BY FINELY CHOPPED WALNUTS. TO KEEP IT MOIST AND JUICY HONEY WATER IS DRIZZLED ON IT. 4-THE FIRST MAIN COURSE IS CALLED "LAHMAJOUN". THESE ARE EIGHT INCH IN DIAMETER PIECES OF DOUGH THAT HAVE A SPECIAL THIN MEAT LAYER WITH GARLIC. JUST HEAT FOR ONE OR TWO MINUTES IN THE MICROWAVE. 5-I SAVED THE BEST FOR LAST. THE DISH IS CALLED "MANTI". SIMILAR TO TORTELLINI, THESE ARE TWO INCH FLATS OF DOUGH FILLED WITH HAMBURGER WITH SPICES AND THEN PINCHED TOGETHER TO MAKE LITTLE "BOATS". YOU BOIL CHICKEN BROTH AND THEN DROP IN THE MANTI. SERVE WITH YOGURT ON TOP.

OUR MOVIE IS "THAT MIDNIGHT KISS". THIS IS MARIO'S FIRST FEATURE FILM. THE CREDIT IN RED SAYS "INTRODUCING MARIO LANZA". AFTER THE CREDITS WE SEE OVERHEAD SHOTS OF PHILADELPHIA. THEN CUT TO A LARGE OIL PAINTING OF ABIGAIL BUDELL. SHE IS PLAYED BY ETHEL BARRYMORE. SHE IS QUITE WEALTHY AND WANTS TO START HER OWN OPERA COMPANY. SHE HAS A BEAUTIFUL AND BUXOM GRAND DAUGHTER PLAYED BY KATHRYN GRAYSON. GRAYSON AND HER MUSIC TEACHER MADAME BUGET HAVE COME FROM SHOPPING. THEY SEE KEENAN WYNN LYING ON THE SOFA EATING WHAT LOOKS LIKE RAISINS THAT HE PUTS HIGH ABOVE HIS HEAD AND DROPS THEM INTO HIS MOUTH ONE BY ONE. KATHRYN LEARS AT HIM PLAYFULLY. NEARBY IS A YOUNG TENOR WITH HIS BACK TO THE AUDIENCE. IT HAS TAKEN FIFTEEN MINUTES BEFORE WE SEE THE MAN PLAYING THE PIANO IS MARIO LANZA. HE IS SINGING AN ARIA AND THEN KATHRYN STARTS COMIC BANTER WITH HIM. ONE PHRASE HE SAYS IS 'YOU'RE A VERY NICE GIRL BUT YOU'VE GOT MY PENCIL". KATHRYN'S CHARACTER IS NAMED "PRUDENCE". WHAT A STODGY SOUNDING NAME! ABIGAIL HAS INVITED HER FRIEND JOSE ITURBI (PLAYING HIMSELF) TO HER HOUSE TO DISCUSS HER PLANS TO START AN OPERA COMPANY. HE IS NOT SO SURE A COMPANY PERFORMING JUST OPERAS WILL FLY AND THERE ARE NO NAME STARS TO DO IT. ITURBI THEN INVITES PRUDENCE TO SING AN ARIA. SHE STARTS BUT KEEPS LOOKING UP AT THE CEILING. ITURBI SITS AT THE PIANO AND PLAYS THE INTRODUCTION AGAIN BUT FASTER. KATHRYN FREEZES AND ITURBI CALLS HER AN AMATEUR. SHE STORMS OUT OF THE ROOM AND THEN COMES BACK TO SAY "SORRY" TO HER GRAND MOTHER.

PRUDENCE IS ATTRACTED TO MARIO WHO FOR THE ONLY TIME ONSCREEN HAD HIS HAIR DYED A REDDISH BROWN. WHY THEY DIDN'T JUST LET HIM KEEP HIS JET BLACK HAIR IS ANYONE'S GUESS. THE EVER POPULAR BUTLER IS PLAYED BY ARTHUR TREACHER. HE STANDS JUST OUTSIDE THE ROOM WHERE THE OTHERS ARE. AS MARIO LEAVES HE PUTS HIS HANDS OVER TREACHER'S SHOULDER AND LETS OUT A GLORIOUS HIGH NOTE WHICH WAS RECORDED LIVE.

PRUDENCE TAKES ITURBI TO A RESTAURANT OWNED BY THE MAN PLAYING MARIO'S FATHER--THE WONDERFUL CHARACTER ACTOR J. CARROLL NAISH. HE IS COMPLETELY DIFFERENT FROM THE PART HE PLAYS AS MARIO'S UNCLE NICKY. A TRUE ACTING CHAMELEON, HERE HE IS THE FATHER OF JOHNNY DONNETTI, KATHRYN AND ITURBI SIT AT A TABLE IN NAISH'S RESTAURANT. NAISH SUDDENLY REALIZES HE IS LOOKING AT JOSE ITURBI. HE STARTS SINGING "O SOLE MIO" AND HAS A FEW SHAKY NOTES. ITURBI AND KATHRYN STAND UP TO LEAVE PROMISING THEY WILL RETURN. (KATHRYN BROUGHT ITURBI TO THE RESTAURANT THINKING HE WOULD HEAR MARIO).

WE SEGUE TO THE TRUCKING COMPANY WHERE MARIO AND KEENAN WORK TOGETHER. ONCE AGAIN KATHRYN DRAGS ITURBI TO SEE/HEAR MARIO. THERE ARE FIVE MEN SITTING AROUND THE PIANO SINGING IN A NICE HARMONY. ONE BY ONE KATHRYN ELIMINATES THEM AS SHE SHAKES HER HEAD WHILE ITURBI QUESTIONS EACH QUIETLY. KEENAN PLAYS THE PIANO BANGING OUT A CLASSICAL TUNE. ITURBI GRABS HIS HANDS AND TELLS HIM "PLAY IT, DON'T BEAT IT TO DEATH"! MARIO IS RUNNING LATE AND ITURBI ALMOST LEAVES UNTIL KEENAN HEARS HIS TRUCK APPROACHING.

MARIO THINKS THE GUYS ARE PLAYING A PRANK ON HIM BUT THE MINUTE HE SEES ITURBI HE WAVES HIS HAND. INCIDENTALLY, MARJORIE LORD IS IN THE ROOM WITH HER HAIR BLONDE. MARIO ASKS ITURBI TO PLAY "UNA FURTIVA LAGRIME" (BUT ITURBI NEEDS TO HEAR ONLY THE LAST THIRD). HE TELLS KATHRYN THAT OUR BOY HAS A VERY AGREEABLE VOICE BUT MAKES NO PROMISES AT HIRING AN UNKNOWN FOR THE FIRST OPERA PRODUCTION. KATHRYN SUGGESTS THAT ITURBI FEATURE MARIO IN ONE OF HIS REGULAR ORCHESTRAL PROGRAMS. AS A TEST. HE HANDS MARIO THE SCORE TO "CELESTE AIDA" AND SINGS IT COMPLETE FROM START TO FINISH. KATHRYN KISSES HIM FOR GOOD LUCK AND MARIO DOES QUITE WELL. IN THE MEANTIME ITURBI HAS HIRED A TUBBY TENOR DELIGHTFULLY PLAYED BY THOMAS GOMEZ AND NAMED GUIDO BETTELLI. HE STAYS TO HEAR "THE TRUCK DRIVER" AND APPLAUDS VERY WEAKLY IN HIS BOX SEAT.

KATHRYN AND BETTELLI REHEARSE AN ARIA AFTER GRAYSON SINGS AN OPERATIC SONG. SHE HAS A VERY HARD TIME LOOKING AT HIM AND TURNS HER FACE AWAY SO SHE WON'T LAUGH. SOON BETTELLI TIRES OF THIS CAT AND MOUSE REHEARSAL, LEAVING WITH "ITSA TOO MUCH FOR TODAY MAESTRO". GRAYSON PUSHES TO HAVE LANZA SING INSTEAD. ITURBI WON'T HEAR OF IT SINCE THE OPERA WILL HAVE TWO UNKNOWNS. GRAYSON SINGS ANOTHER SOLO THE NEXT DAY. AN AMBULANCE OUTSIDE MAKES SO MUCH NOISE THAT AGAIN BETTELLI BOWS OUT FOR THE DAY.
I HAVE ALWAYS WONDERED IF GOMEZ IS SINGING WITH HIS OWN VOICE. I THINK THE ANSWER IS YES, OR AT LEAST PARTS ARE GOMEZ'S VOICE.

MARIO GETS A GROUP OF MUSICIANS TOGETHER LATE AT NIGHT AND SINGS THE LOVELY SONG "THEY DIDN'T BELIEVE ME" AS A SERENADE TO GRAYSON. SHE SINGS IN DUET AND TRAVELS DOWN TO THE OUTSIDE GARDEN. IT IS THERE THAT THEY HAVE "THAT MIDNIGHT KISS"! LATER THAT NIGHT SHE DELIVERS TEA TO HER GRAND MOTHER BUT HER HEAD IS IN THE CLOUDS AND LEAVES WITHOUT SERVING THE TEA.

JULES MUNSHIN PLAYS THE PART OF ITURBI'S ASSISTANT AND GRABS A BATON AND DOES A COMIC VERSION OF THE CLASSIC TUNE BEING PLAYED. HE SHINES HERE. NOT TO BE TALKED OUT OF HAVING MARIO APPEAR WITH HER FOR THE OPERETTA THEY ARE REHEARSING, SHE PLEADS HER CASE WITH ITURBI AND WINS EVEN THOUGH ITURBI IS UNSURE WHETHER MARIO CAN SUSTAIN AND ENTIRE PRODUCTION.

HE AGREES TO HAVE HIM STAR IN THE PRODUCTION AND PRUDENCE HAS ALREADY FALLEN IN LOVE WITH JOHNNY. NAISH AND HIS WIFE TAKE HER FAMOUS PASTA FAGIOLA SOUP UP TO ITURBI'S APARTMENT AS A THANK YOU. MAMA DOESN'T DO ELEVATORS SO HE IS WINDED WALKING UP SIX FLIGHTS OF STAIRS. WE SEE ITURBI PLAYING ONE GRAND PIANO AND HIS REAL LIFE SISTER AMPARO PLAYS THE OTHER. KATHRYN WANTS TO BE THE ONE WHO GIVES MARIO THE GOOD NEWS ABOUT BEING A CO-STAR. SHE WALKS INTO THE OFFICE OF THE DELIVERY COMPANY QUITE EXCITED BUT LEAVES DEJECTED. MARJORIE GUSHES ABOUT HOW SHE AND MARIO ALWAYS PLANNED TO BE TOGETHER AND IT IS AT THIS POINT THAT KATHRYN TURNS HER HEAD AWAY AND MARJORIE ASKS IF SHE COULD BE THE ONE TO GIVE HER JOHNNY THE GOOD NEWS. KATHRYN IS DEVASTATED BUT ALSO ANGRY THAT MARIO NEVER TOLD HER ABOUT MARJORIE.

MARIO ARRANGES ANOTHER LATE NIGHT SERENADE SINGING "I KNOW, I KNOW, I KNOW". ARTHUR TREACHER IS THE ONLY AUDIENCE AND APPLAUDS LANZA BUT KATHRYN NEVER MAKES AN APPEARANCE WHILE TELLING HER GRAND MOTHER THAT JOHNNY IS TWO TIMING HER. MRS. BUDELL SENDS LANZA PACKING. JULES MUNCHIN STARTS THE FIRST OF TWO HILARIOUS SCENES WHERE HE TELLS BETELLI WHAT HE WOULD DO IF HE WERE INSULTED BY ITURBI AND COMPANY. HE PICKS UP A RADIO AND TRASHES IT, HE THROWS CLOTHES AROUND, AND ASKS FOR BETTELLI'S ASSISTANCE TO THROW A CHAIR OUT OF THE WINDOW.

KATHRYN AGREES TO SING WITH MARIO BUT OTHERWISE HAVE NO FURTHER INVOLVEMENT WITH HIM. SHE WEAKLY TELLS ITURBI HOW DIFFERENT IT IS TO SING WITH A PROFESSIONAL. IN THE MEANTIME MUNSHIN PULLS HIS SECOND FRIGHTFUL SCENE AND THIS TIME BETTELLI THROWS A GLASS ASHTRAY AT THE MIRROR, WHICH IS CONSIDERED A SIGN OF BAD LUCK. HE SCREAMS AT MUNSHIN TO "GET OUT OF HERE".AT THE NAISH RESTAURANT, PAPA IS SEEN DANCING WITH MAMA TO "THREE O'CLOCK IN THE MORNING". HIS SINGING VOICE HERE IS BETTER THAN HIS OPERATIC VOICE WAS.

MARIO IN THE MEANTIME HAS BEEN TURNED DOWN SEVERAL TIMES AT MARIO'S INVITATION TO DATE MORE OFTEN. KEENAN AND MARIO AND MARJORIE ARE SITTING AT A TABLE AND MARIO HAS THE NERVE TO ASK FOR MARJORIE'S HAND IN MARRIAGE. ITURBI IMMEDIATELY REALIZES THIS IS A MISTAKE. MARIO LETS SLIP THAT HE IS GOING TO BE MARRIED. PAPA'S FACE DROPS AS DOES ITURBI'S AT THIS NEWS, BUT MARJORIE IS ENTHRALLED CALLING MAMMA DONNETTI "MAMMA MIA". ITURBI GIVES MARIO THE COLD SHOULDER SAYING THAT HE DOESN'T HAVE MUCH IN COMMON WITH HIM OUTSIDE OF MUSIC. MARIO TURNS TO TELL HIM THAT "I THINK I AM MARRYING A GIRL HE DOESN'T THINK HE LOVES. KEENAN IN SHOCK WALKS MARJORIE AWAY AND THE IMPLICATION IS THAT HE WILL WIN HER HAND.

THE BIG NIGHT APPROACHES AND BETTELLI NO LONGER HAS HIS CONTRACT WHICH WAS TORN UP AT MUNSHIN'S SECOND "TIRADE". ITURBI AND FRIENDS GET BETTELLI TO SHED THE BLUE AND GOLD COSTUME THAT IS MARIO'S SIZE. THE CHORUS AND KATHRYN START SINGING THE DELIGHTFUL MELODY AND WHEN MARIO MAKES HIS SINGING ENTRANCE KATHRYN IS BEAMING. NOTE THAT THIS WORK HAD NOT BEEN REHEARSED IN THE MOVIE. RATHER, OTHER ARIAS ARE REHEARSED. THE CAMERA CLOSES IN ON THE COUPLE AND THEY KISS AS THE END TITLE COMES UP. THE FILM ENDS WITH TWO PAGES OF CREDITS GIVEN TO THE ACTORS.

THUS ENDS A VERY LIKABLE FEATURE AFTER THE VERY LIKABLE DINNER. COULD YOU ASK FOR MORE? I THINK NOT!!

I FORGOT TO COVER A VERY IMPORTANT PIECE OF INFORMATION. AFTER REHEARSING OTHELLO MARIO ASKS ABOUT TAKING A BREAK AS HE IS DRAINED. ONE ARIA MUST HAVE BEEN VERY WELL REHEARSED SINCE REAL FANS FEEL IT IS HIS BEST EVER. NAMELY "DIO MI POTEVI". THE SHOW MUST GO AND HE AND LICIA ARE ONSTAGE TOGETHER. MARIO LOOKS FABULOUS AS OTHELLO. HE PERFORMS WELL BUT KEEPS LOOKING AT THE EMPTY BOX WHERE BITCH FONTAINE SHOULD BE SITTING. HE RUNS INTO HIS DRESSING ROOM AND QUICKLY PULLS OFF HIS MAKE UP AND COSTUME. PRICE IS SHOVED ASIDE. TONIO, AND THE OTHERS INSISTS LANZA WOULD BE RUINING HIS CAREER. HE FORLORNLY LISTENS WITHOUT HEARING. AS TONIO SAYS "SHE'S NOT WORTH IT, SHE'S JUST A TRAMP". BOOM! MARIO SOCKS HIM IN THE JAW AND HE FALLS. IT IS THEN THAT MARIO LEAVES BEIND A CAREER ESSENTIALLY BEFORE IT HAS EVEN STARTED. HE LOOKS DEVASTATED AS HE RUNS AND CATCHES A PLANE TO MEXICO.

YES, IT'S THAT TIME AGIN. TIME FOR DINNER AND A MOVIE. TONIGHT WE ATE A VERY BASIIC ENTREE THAT ARMENIANS HAVE BEEN ENJOYING FOR YEARS. IT'S CALLED "LAHMAJOUN", WHICH WE PURCHASE BY THE DOZEN. THINK AN EIGHTH INCH DIAMETER MINI PIZZA EXCEPT THERE IS A FINE LAYER OF MEAT AND SPICES ON TOP. ALL YOU DO IS PUT IT IN THE MICROWAVE FOR A MINUTE AND DEFROST IT AND SERVE. IT IS NOT AN EASY DISH TO MAKE SO WE PURCHASE IT FROM OUR NEIGHBORING STAR CALLED "THE ARMENIAN DELIGHT". WE NEVER SPEND LESS THAN 100 DOLLARS THERE. A HORRIBLE ACCIDENT TOOK THE LIFE OF THE OWNER AS SHE HAD A HEART ATTACK AND SLAMMED INTO A TREE KILLING HER. SHE HAS TWO SONS WHO WORK THERE AND ARMENIANS ARE PRAYING THEY KEEP THE STORE GOING OR AT LEAST UNTIL SOME ENTERPRISING FIGURE STEPS IN.

SO TONIGHT'S DINNER AND A MOVIE ARRIVED AND THAT ONE WAS MADE BY WARNER BROTHERS CALLED "SERENADE" STARRING MARIO LANZA AND SARITA MONTIEL (SHE PASSED AWAY IN 2013). "SERENADE" IS LOOSLY BASED ON THE JAMES McCAIN NOVEL OF THAT TITLE. IT IS A DARK NOVEL THAT FEATURES HOMOSEXUALITY, PROSTITUTION, AND DEPRAVITY. JACK WARNER HAD PURCHASED THE RIGHTS TO IT BUT TOTALLY WATERED DOWN THE WORK AND TURNED IT INTO A MUSICAL IN 1956. "SERENADE" IS ARGUABLY LANZA'S FINEST SCREEN EFFORT. "THE GREAT CARUSO" RUNS NECK AND NECK TO IT. CLASSIC OPERA LOVERS WOULD RANK IT AS THE BEST.

THE FILM WAS SHOT IN WIDESCREEN AND TECHNICOLOR. IT STARTS WITH A SURVEY OF LOVELY GRAPE PLANTS AS WE SEE MARIO DRIVING A TRACTOR. A GORGEOUS CHERRY RED LINCOLN CONVERTIBLE PULLS UP AND ASKS MARIO FOR DIRECTIONS. WHEN THE DRIVER LOWERS HER SUNGLASSES WE SEE SHE IS HIS FUTURE LOVE INTEREST. THE PASSENGER IS VINCE EDWARDS WHO WOULD ACHIEVE FAME AS TV DOCTOR BEN CASEY. MARIO'S COUSIN TONIO JUMPS ABOARD EXCITEDLY TO SAY HE HAS ARRANGED AN AUDITION AT A PRESTIGIOUS RESTAURANT CALLED "LARDELLI'S. HE ATTENDS TO MARIO'S APPEARANCE AFTER WHICH WE MEET THE OWNER WHO IS VERY BUSY DOING HIS BOOK KEEPING TELLING TONIO "SEVENTY A FIVE DOLLARS A WEEK IF A DEE HIGH NOTES DOWN'T SOUND LIKE A TUGBOAT WHISTLE". WITHOUT LOOKING UP HE SAYS "GO AWAY, THURSDAY'S IS FOR SALESMEN". TONIO EXPLAINS THAT HE HAS BROUGHT IN MARIO AS PLANNED. THE SENSITIVE LANZA SLAPS HIS HANDS TOGETHER WHILE SAYING "LOOK, WHAT ARE YOU HIRING, A BOOK KEEPER OR A SINGER"? A SURLY STAFF MEMBER BARKS AT MARIO AFTER THE TENOR ASKS WHAT HE WILL SING. MARIO IS PISSED OFF AND READY TO LEAVE AFTER HEARING "IF YOU CANA SING IT, THEN I CANA PLAY IT".

ONE OF THE VERY BEST SONGS IN THE MOVIE, NAMELY "TORNA A SURIENTO" FOLLOWS. CLOSE UP SIDE SHOTS EMBELLISH THIS AS WWE GAWK AT THE HANDSOME AND OVERPOWERING TENOR. HIS SINGING IS HEARTFELT AND ALL EYES ARE ON HIM. AT THE FINISH LARDELLI AND TONIO SHAKE HANDS AND SMILE WITH TONIO'S GLEEFUL"NO TUGBOAT, NO TUGBOAT". LARDELLI BECOMMES FAST FRIENDS WITH DAMON (MARIO'S CHARACTER WHO IN REAL LIFE WANTED HIS SON'S NAME TO BE HEARD WHEEN THE FILM WAS RELEASED). WE ARE TREATED TO A MEDLEY AS MARIO SINGS "AMOR TI VIETA" AND "DI QUELLA PIRA" AS HIS STAGE DEBUT. LATER WE SEE LANZA AND THE ENTIRE STAFF GROUPED AROUND THE BLACK AND WHITE TV AS VINCE EDWARDS IS BOXING. LARDELI CODDLES MARIO BY ASKING "WOULD YOU HAVE THE SOPRANO SING THE DUET ALONE"?

ENTER VINCENT PRICE AND THE START OF A DOZEN OR MORE SARCASTIC QUIPS. HE OFTEN STEALS THE SHOW WITH HIS WIT. HE ALSO TRIES TO BALANCE HIS LONG STANDING FRIENDSHIP WITH KENDALL WHILE KEEPING MARIO AS HIS FRIEND TOO. HERE HE COMES FACE TO FACE WITH JEAN FENN (THE DUET GIRL). SHE LOOKS DREAMILY INTO PRICE'S EYES. PRICE TELLS HER FALSELY "I HAVEN'T HEARD ANYTHING LIKE THIS SINCE EUROPE AND THE ROME EXPRESS". THIS JUST PRECEDES PRICE TELLING MARIO HE HAS NO INTEREST IN FENN BECAUSE "SHE SOUNDS LIKE THE BRAKES ON THE ROME EXPRESS"OR IN OTHER WORDS SCREECHING. TIME PASSES AND HIS MENTOR FONTAINE IS THERE TO COVER ALL EXPENSES AND TO CHEER MARIO ON. WE DON'T SEE HER LEAVING. HE FRUSTRATES THE MAESTRO BY DREAMILY LOOKING AT KENDALL'S PHOTO ATOP THE MAESTRO'S GRAND PIANO. THEN THE DREAMY MOOD TURNS INTO ANXIETY AS HE PUSHES THE PICTURE DOWN SO HE DOESN'T HAVE TO SEE THE FACE OF THE SIREN WHO HAS BEWITCHED HIM. THIS IS A CURIOUS SCENE SINCE WE HAVE NO BACK STORY AS TO WHY MARIO IS UPSET. IT VERY POSSIBLY COULD MEAN THOSE SCENES WERE CUT FROM THE FILM FOR TIME.

WE SEE MARIO'S STAGE DEBUT WITH HIS SINGING "AMOR TI VIETA" AND "DI QUELLA PIRA". WE MUST ASSUME HE HAD OTHER VENUES BOOKED AND SANG SOME MORE. BUT THE EVIL SIREN JOAN FONTAINE HAS THE GALL TO BRING ANOTHER BOYFRIEND TO HONOR THE TIME PASSED BY MARIO, HIS TEACHE, AND OTHERS. LATER A JEALOUS LANZA PUSHES HIS WAY INTO KENDALL'S BEDROOM WHERE A CLAY BUST OF HER SCULPTED BY HER "NEW BOYFRIEND" SITS COVERED. IN MARIO'S HEAD HIS SINGING IS HEARD AT A VERY DRAMATIC POINT IN "OTHELLO". HE LOOKS DEVASTATED AS HE RUNS AND CATCHES A PLANE TO MEXICO. HE CANNOT FIND WORK AND CONTRACTS "MONTEZUMA'S REVENGE" TO BOOT. HE IS SEEN LOOKING BLOATED AND BEREFT AS HE FALLS DOWN TO THE FLOOR OF HIS HOTEL ROOM. A YOUNG BOY SEES HIM AND RUNS AWAY SHOUTING FOR HELP "UN DOCTOR, UN DOCTOR". A DOCTOR DOESN'T COME BUT MARIO'S FUTURE LOVE INTEREST CHARACTER NAMED "JUANA" (PLAYED BY LOVELY SARITA MONTEIL) RUSHES TO HELP HIM. THE NEXT SCENE WE SEE IS MARIO IN BED AT THE MONTES RANCH. HE SLOWLY RECALLS JUANA AND SHE TELLS HIM HE IS AT THE TIRSO MONTES RANCE. MONTEIL TELLS HIM HE HAS BEEN IN BED FOR TWO WEEKS. OH, IF ONLY HE WEREN'T SICK AND COULD HAVE BEDDED MONTEIL,LOL. HER STATURE AND BEAUTY ARE TOPS.

SHE TELLS MARIO THE STORY OF HOW HER FATHER WAS KILLED IN THE BULL RING AND BLAMES IT ON HER MOTHER WHO WALKED OUT ON HIM RIGHT BEFORE THE SHOW. (REMEMBER THAT THE SAME FATE BEFELL VINCE EDWARDS AT THE HANDS OF THE FICKLE KENDALL NOT VERY LONG BEFORE. MARIO COMPLAINS TO THE DIRECTOR OF THE SHOW THEY WERE WORKING ON. (WE SEE MARIO'S GOOD FRIEND ARIO FLIES TO MEXICO AND CATCHES THE BULL KILLING AND CARNAGE OF WHAT TO ME IS A BRUTAL SPORT GOING BACK HUNDREDS OF YEARS. THEN THE KING WOULD GIVE THUMBS UP OR THUMBS DOWN IF THE BULL WOULD CONTINUE HIS ATTACKS. (FOOTNOTE: THE DIRECTOR OF THIS FILM IS ANTHONY MANN. HE WAS HAVING AN AFFAIR WITH MONTIEL AND EXPANDED HER SCENES BOTH ALONE AND WITH MARIO BECAUSE OF THIS). MONTEIL HAS A BREAKDOWN AND JOINS A RANCH HAND WHO LOVES HER AND IS EXTREMELY ANGRY AT "THE AMERICAN". HE DRIVES MONTEIL IN HIS JEEP AND TRIES A PASS BUT SHE SLAPS HIM HARD AND JUMPS OUT OF THE JEEP. MARIO CHASES AFTER HER BUT JUANA'S UNCLE MANUEL TELLS HIM TO JUST LET HER ALONE FOR AWHILE.

MARIO OFFERS HIS SERVICES TO MONTEIL INSISTING HE WORK OFF HIS EXPENSES TO THEM FROM FIRST TO PRESENT". MARIO IS SEEN WITH MANUEL DOING HARD LABOR OF MOVING ROCKS TO ERECT A WALL. MANUEL ASKS MARIO IF HE IS STILL SICK. MARIO IS CONFUSED BY THIS OFFER AS HE SAYS SOMETHING TO THE EFFECT OF "I SEE YOU ARE CURED OF THE DISEASE AND SAYS CRUDELY "I SEE YOU WORKING HARD AND WONDER IF YOU SEE YOU WORKING BUT STILL HAS "THE SHIVERS". TIME PASSES AND IN THE EVENINGS WE SEE MARIO STANDING PLAYING A GUITAR. HE IS READY TO LEAVE FOR MEXICO CITY AND SINGS A SOFT "SERENADE" TO THE PEOPLE GATHERED TO SEE HIM OFF. JUANA OFFERED TO DRIVE HIM AND THEY LEAVE IN HER OLD CONVERTIBLE. HE DOES THIS WELL BUT WILL NOT LET HIM THINK TO HIMSELF ABOUT THE CAREER HE LEFT BEHIND. HE ASKS JUANA TO MARRY HIM AND SHE ADMITS HAVING LOVED HIM SINCE THEIR FIRST MEETING. SHE SAYS THIS IS WHAT SHE HAS PRAYED FOR BUT SAYS FLATLY THAT SHE WILL NOT MARRY HIM UNTIL HE PROVES TO HER THAT HE IS NO LONGER UNDER THE SPELL OF FONTAINE. THEY ARE IN POURING RAIN WHEN LIGHTNING STRIKES AND SCARE HER INTO THE ARMS OF THE EQUALLY DRENCHED SINGER. LOOKING AT EACH OTHER THEY LAUGH AND LAUGH.

WE DON'T SEE THIS HAPPENING, BUT MARIO AND MONTEIL MARRY. PRICE, HAVING RETURNED FROOM TOURING EUROPE SEES HER AND LIES TO FONTAINE ABOUT MEETING WITH MARIO. SHE SAID "HE TOLD ME", INSINUATING THEIR LOVE AFFAIR WAS NOT OVER. SHE ALSO BALKS OVER THE HIGH PRICE OF THE TICKETS SHE HAD TO BUY. PRICE SAYS THIS ISN'T LIKE HER, TO "WORK OVER HER VICTIMS A SECOND TIME". SHE SCOFFS OVER HAVING TO PAY A RIDICULOUS FEE FOR HERSELF. SHE INVITES THE NEWLYWEDS TO ATTEND A PARTY SHE IS THROWING. MARIO REFUSES BUT HIS WIFE SAYS THEY WOULD BE HAPPY TO ATTEND. FONTAINE MAKES SURE SHE IS ALONE WITH MONTEIL, WHO IS LOOKING OVER THE MEXICAN ARTIFACTS FONTAINE BROUGHT BACK WITH HER. WITH THE PARTY FOLK LOOKING ON, FONTAINE INSISTS MONTEIL DO A MOCK BULL FIGHT. SHE DOES SKILLFULLY BUT HER ANGER GETS THE BEST OF HER AND SHE PUSHES THE SWORD TOWARD FONTAINE UNTIL THE BLADE IW WITHIN AN INCH OF HER THROAT. REALITY HITS AND SHE RUNS AWAY FRIGHTENED. MARIO HAS A GREAT LINE DELIVERED TO FONTAINE: "SHE DIDN'T HAVE TO KILL YOU, YOU'RE ALREADY DEAD"! WE HEAR MONTEIL SCREAMING AS A BUS NARROWLY MISSES KILLING HER BUT SHE IS INJURED. MARIO WANTS TO BE WITH HER BUT SHE INSISTS HE FULFILL HIS PROMISE TO SING THAT EVENING.

MARIO SAYS AT THE CONCERT "WITH YOUR KIND PERMISSION I WOULD LIKE TO CHANGE THE ORDER OF MY NUMBERS AND SING THIS FOR A PERSON I LOVE SO VERY, VERY MUCH" THE ORCHESTRA PLAYS "SERENADE" AND MARIO SINGS IT BUT GIVES FURTIVE GLANCES TOWARD THE BACKSTAGE. MID WAY TONIO WHISPERS TO HIM "SHE'S OKAY, SHE'S GOING TO BE ALRIGHT". A RELIEVED MARIO. MANN SHOOTS HIM FROM OVERHEAD AS HE SINGS "OUR SERENADE OF LOVE" WITH ALL HE HAS. A GOLDEN HIGH NOTE ENDS THE MOVIE. IT IS THRILLING AND RINGING YET THERE IS A BIT OF A WOBBLE IN THAT LAST NOTE.

THE END TITLE APPEARS AND THE MOVIE IS OVER. I PERSONALLY WOULD HAVE LOVED SEEING THIS IN THE THEATER. IN THE SIXTIES I WAS LUCKY ENOUGH TO SEE "THE GREAT CARUSO" IN PHILADELPHIA. MY BELOVED MUSIC TEACHER JOHN RALSON LIVED ONLY TWO BLOCKS DOWN FROM OUR DOOR. HE HAD TRAVELLED FROM HIS MOTHER'S HOME IN HARRISBURG BUT WAS LATE AND MY PARENTS AND I SADLY DROVE AWAY. YEARS LATER I STOPPED IN TO SEE MR.RALSTON CONDUCTING THE THEN CHOIR. HE SAW ME, DROPPED EVERYTHING, AND RAN OVER TO GIVE ME A BIG HUG. IN THE YEARS BEFORE THIS I WAS PART OF AN ALL BOYS CHOIR (THE VIDEON CHOIR) SPONSORED BY A LOCAL FUNERAL DIRECTOR. I WILL NEVER FORGET ATTENDING THE FUNERAL OF THE FOUNDER. HE WAS WASTED BY CANCER AND LOOKED SO OLD AND FRAIL. WE UPHELD HIS NAME APPEARING IN CONCERTS ALL OVER THE DELAWARE VALLEY. ONE STOP SHOCKED ME TO THE CORE. IT WAS OUR TRIP TO THE "HOME FOR THE INCURABLES". MOST WERE PHYSICALLY BEYOND HELP. ONE MAN HAD A HEAD TWICE THE NORMAL SIZE. IN ANY EVENT, I STAYED IN TOUCH WITH MR. RALSON FOR YEARS, RIGHT UP UNTIL I HEARD OF HIS BEING BEDRIDDEN. A SUPPOSEDLY FRIEND, A CHOIR MEMBER, TOLD ME WHEN IT WAS TOO LATE TO SEE HIM. I WROTE A FIVE PAGE LETTER RELIEVING OUR TIME TOGETHER FROM SINGING FOR LOCAL POLITICIANS TO SWIMMING NUDE AT THE YMCA (TEIR RULE AT THE TIME WAS THAT ALL HAD TO FOREGO WEARING BATHING SUITS (!) BESIDES THE LONG LETTER I SENT HIM RECORDINGS OF OUR GREATEST SHOWS. HIS NIECE MADE SURE SHE HE GOT AND SAW ALL I SENT. HE DIED A FEW WEEKS LATER BUT I COULD NOT OR WOULD NOT ATTEND HIS FUNERAL. HE HAD AN EXCELLENT TENOR VOICE HIMSELF. I ASKED HIS FAMILY IF THEY COULD SEND ME ONE OF HIS ACETATE LP OR REEL TO REEL TAPES BUT I NEVER HEARD FROM THEM AGAIN. SO ENDS MY STORY AND SO ENDS MY COVER OF "SERENADE". I HOPE YOU HAVE ENJOYED THIS AS MUCH AS I ENJOYED WRITING IT. SEE YOU AT THE ANNUAL MARIO LANZA BIRTHDAY PARTY. DID YOU KNOW MY BIRTHDAY IS ONLY FOUR DAYS EARLIER THAN MARIO'S?! REST IN PEACE DEAR INSPIRATION OF MY LIFE.

WHEN I WROTE THE POST BELOW WE HAD JUST HAD AN EXCELLENT CHINESE SIX COURSE DINNER. WELL, TONIGHT WE DID THE SAME BUT BY EATING LEFTOVERS! AND OF COURSE WHERE THERE IS FOOD THERE IS MARIO LANZA. I HAVE SOME REMARKS ABOUT SEEING THE MOVIE "FOR THE FIRST TIME" IN MANY MONTHS. THIS IS THE ONLY FILM THAT DOES NOT START WITH THE CREDITS. INSTEAD WE HAVE MARIO SINGING THE LAST FEW LINES OF "ALL THE THINGS YOU ARE" WITH A BRILLIANT HIGH NOTE. IT IS ONLY AFTER MARIO "TAMES" CHARACTER CAROL'S BOYFRIEND THAT WE ZIP INTO THE FAST MOVING TRAIN WHICH GOES INTO THE DARK TUNNEL AND COMES OUT TO THE BRIGHT LIGHTS OF MULTIPLE TRAIN TRACKS. ONE FEELS LIKE HE IS RIDING ALONG. I WROTE THAT THIS FILM IS RATHER "EMPTY" WHEN IT COMES TO MUSIC. WELL I WAS WAY OFF. BETWEEN THE MANY SONGS AND ONLY ONE OPERATIC ARIA ("QUESTA O QUELLA") THE LANZA VOICE IS USED WELL. THE MUSICAL NUMBERS ARE EVENLY SPREAD OUT FROM THE FIRST NUMBER ("TONIGHT IS A PARTY") AND FROM THERE A GOOD NUMBER OF SONGS FOLLOW. NOTEWORTHY IS THE FACT THAT ITALY'S MOVIE STAR/COMPOSER RENATO RASCEL HAS COMPOSED TUNEFUL PIECES THAT BOTH HE AND MARIO ESSAY. "COME DANCE WITH ME" IS MY PERSONAL FAVORITE. AND WHEN THE TUNES ARE INCOMPLETE YOU CAN BET RENATO IS PLAYING HIS GUITAR OR THE PIANO. WHEN MARIO TRIES TO GET A JOB AT ONE OF THE LARGEST CLUBS NAMED THE "ULPIA" HE IS TOLD THAT ITALY DOES NOT IMPORT SINGERS BUT RATHER EXPORTS THEM. MARIO IS LET DOWN AND TURNS AWAY WHILE WE HEAR WHAT IS A POOR TENOR VOICE DOING "BE MY LOVE". MARIO DOES A DOUBLE TAKE. NOT WELL KNOWN IS THE FACT THAT LANZA IS DOING THE SINGING, PURPOSELY BAD. THE IMITATION SEQUENCE IS THE ONLY TIME LANZA USES HIS TALENT FOR MIMICRY. IT GOES OVER WELL AND INCLUDES PERRY COMO, FRANKIE LAINE, DEAN MARTIN, AND LOUIS ARMSTRONG. THERE IS A LOVE TRIANGLE GOING ON BETWEEN MARIO, MARISA ALLASIO, AND RASCEL THAT DEVELOPS SLOWLY BUT SURELY. IN THE END MARIO GETS THE GIRL OF COURSE. ALASSIO WAS KNOWN AS THE BRIDGET BARDOT OF ITALY. SHE IS A FINE ACTRESS AND ADDS THE EIGHTH AND NINTH HILLS OF ROME! SHE IS SURE STACKED. OF THE STANDARD DVD I FEEL IT IS VERY SIMILAR IN QUALITY TO THE DVD OF "FOR THE FIRST TIME". IN THIS CASE MARIO IS ONLY 36 YEARS OLD AND UNLIKE FTFT HE LOOKS HEALTHY THROUGHOUT WITH CONSISTENT WEIGHT AND LOOKS. THERE IS SIMILAR LIGHT GRAIN HERE JUST AS IN FTFT. A BEAUTIFUL SEQUENCE IS THE HELICOPTER "TOUR" OF ROME FROM FAR ABOVE. I NOTICED SOMETHING SUBTLE BUT CHARACTERISTIC. THIS IS THE ONLY FILM IN WHICH THE LANZA VOICE HAS A TRULY UNIQUE TIMBRE. THE SINGING IS GREAT ALL THE WAY BUT LISTEN CAREFULLY AND YOU'LL HEAR WHAT I MEAN BY UNIQUE TIMBRE. THE SOUNDTRACK QUALITY IS EXCELLENT AND WARM YET HAS AN "EDGE" THAT IS ALWAYS PRESENT. ONE OF THE LOVELIEST USES OF HIS VOICE IS THE "AYE YAH YAH YAE YAYE" (I DON'T KNOW THE ACTUAL TITLE OF THE SONG. I STILL FEEL IT IS A VERY SIMPLE FILM THAT IS ALWAYS FUN AND DEFINITELY WHAT TODAY IS CALLED A "FEEL GOOD" MOVIE. I FEEL GOOD AFTER WATCHING IT AND I HOPE YOU FEEL GOOD AFTER READING THIS!

MARIO LANZA BIRTHDAY REMEMBRANCE PARTY
Saturday January 28, 2023 2:00 pm – 4:00 pm

Mario Lanza Museum
1214 Reed Street Philadelphia, PA 19147

Featuring birthday cake and assorted goodies and a special presentation.

Admission price: $25 per person

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute

1214 Reed Street Philadelphia, PA 19147

For information or to make a credit card payment call 215-238-9691.

Seating is limited and on a first come first paid basis.
No refunds or credits. No exceptions.

Street parking.

Please RSVP by January 21, 2023 and let us know if you have any dietary restrictions.

AFTER A NICE SIX COURSE GOURMET QUALITY CHINESE DINNER, I TREATED MYSELF TO A SCREENING IN OUR HOME THEATER OF "FOR THE FIRST TIME". HAVING WATCHED THE GREAT BLU RAY OF THE GREAT CARUSO"JUST LAST NIGHT I HAD A GOOD CHANCE TO A-B THE TWO FILMS. AMAZINGLY, FTFT IS SECOND TO THE BLU RAY EVEN THOUGH IT IS ONLY JUST A REGULAR DVD. THE COLORS, DEPTH, AND LUSH BACKGROUNDS ARE FIRST RATE. DIRECTOR RUDOLPH MATE WAS KNOWN FOR HIS GLORIOUS PHOTOGRAPHY.THINK THE SCENE WITH MARIO AND HIS WIFE TO BE WHEN NEAR THE RIVER. THE FLOWERS ARE GORGEOUS, THE WATER BLUER THAN BLUE, AND THE CAMERA PANS AND CAPTURES IT ALL. THERE IS JUST A TINY BIT OF GRAIN IN THE BACKGROUND, I CAN NOW SAY THAT THIS DVD IS GREATER THAN MOST OF HIS OTHER MOVIES. AND THE SINGING, AH THE SINGING IS ALSO FIRST RATE. EVERY SONG, EVERY ARIA, AND EVERY SONG EXCERPT ARE PERFORMED TO PERFECTION. (YES, EVEN "PINEAPPLE PICKERS", THE MOST JOKED ABOUT OF ANY OF MARIO'S SCREEN SONGS.PIECES LIKE "O SOLE MIO" AND "VESTSI LA GIUBBA" ARE BETTER VERSIONS THAN MARIO SANG EARLIER IN HIS CAREER. THE ONE DISCONCERTING THING IS THE LANZA APPEARANCE. IN MOST SCENES--LIKE THE ONE AT THE BAR WHERE MARIO AND ZSA ZSA GABOR PUT ON THEIR RESPECTIVE SUNGLASSES AND GO UP THE STAIRS AND LIKELY MAKE LOVE, HE LOOKS HIS YOUTHFUL SELF. KEEP IN MIND MARIO IS ONLY 37 YEARS OLD WHEN THIS WAS FILMED. HIS VOICE IS AS YOUTHFUL SOUNDING AS, SAY, "THE CAVALCADE OF SHOW TUNES". ONLY MONTHS LATER DID HE RECORD THE DESERT SONG WITH HIS VOICE MUCH DARKER. THE YOUTHFUL APPEARANCE MAKES SEVERAL OF THE OTHER SCENES LOOK AS THOUGH HE WAS SICK OR AT LEAST 5 OR 10 YEARS OLDER. THE WORST OF THESE IS THE ONE WHERE MARIO GOES TO TALK TO CHRISTA'S UNCLE. HE LOOKS BLOATED AND WEAK. AS A FILM, IT MOVES WELL AND MUSIC IS NICELY INTERSPERSED. THE ONLY "BOMB" IS THE OPENING SCENE WHERE MARIO SINGS "LA DONNA E MOBILE" AND THE PARTIAL "RIGOLETTO QUARTET". HE STRAINS AWFULLY ON THE HIGH NOTES OF THE FIRST AND SOME OF THE LATER.IN SHORT, I TRULY FEEL THERE IS NO NEED FOR A BLU RAY OF FTFT. WOULD I MIND IF THERE WAS? OF COURSE. I WOULD WELCOME A COMPLETE SET OF HIS MGM FILMS IN BLU RAY. IN THE MEANTIME HOWEVER, LET US ENJOY WHAT WE HAVE!

"

Hi everyone: Finally able to post. I have some sad news to report. Our good friend Jim Thompson passed away on January 12th. Below is a link to his obituary. Condolences to Dima and the family. May he always walk with God. Best, Bill

https://www.adzimafuneralhome.com/obituary/james-thompson

SATURDAY'S PIZZA AND A MOVIE NIGHT. ANNA AND I BOTH VERY MUCH ENJOYED THE 1993 TOM CRUISE THRILLER CALLED "THE FIRM". WITH AN ALL STAR CAST, IT DELIVERED THE SUSPENSE AND ACTION VERY WELL. SHE AND OUR LITTLE BUDDY WENT TO BED AFTER THAT 2 1/2 FILM. I SAT AND LOVED HEARING/SEEING EXCERPTS AS I FAST FORWARDED TO EVERY SONG IN THE STUNNING BLU RAY "THE GREAT CARUSO". THE COLOR AND QUALITY ARE FIRST RATE AND SO IS THE SOUND. RICH, FULL, AND LOADED WITH MARIO'S FAMOUS AND THRILLING HIGH NOTES.

YES MIKE, IT IS AMAZING HOW BAD NEARLY THE ENTIRE ALBUM IS. ONE EXCEPTION IS "AND THIS IS MY BELOVED". TOO BAD NO ONE LOOKED AT OR CRITCIZED THE ALBUM AND IT WAS RELEASED. MARIO HIMSELF I BET WOULD HAVE HEARD IT AND HAD TO HEAR THE POOR SINGING. THE IRONY IS THAT THE PUBLIC LOVED IT AND IT WAS A VERY GOOD SELLER. PERHAPS THIS WAS BECAUSE THE EXCELLENT TRACK LISTING. COMPARE THIS TO ROYAL ALBERT HALL THAT FEATURES VERY GOOD SINGING AND LIVE TO BOOT. I HAVE LONG THOUGHT HE WAS DRUNK FOR MOST OF THE RECORDING SESSIONS. ONE IS ESPECIALLY BAD. IF MEMORY SERVES THAT WOULD BE "THIS NEARLY WAS MINE". YOU OFTEN HEAR "EVEN BAD MARIO SINGING", IT STILL SOUNDS BETTER THAN MOST OTHER TENORS. NOT IN THIS CASE. TRUE COLLECTORS SURELY DON'T EVEN WANT TO PLAY IT. I DON'T EVEN WANT TO LOOK AT THE LP WITH THAT LADY IN MID AIR, A FAR CRY FROM MARIO'S LIKENESS!

I have (had) a double LP album of the Caruso favorites one of Mario and the other of Caruso himself. The criticism at the time was no song was by both of them so you could not compare them..Does anyone remember it. I agree with Derek. It was not very good. Can anyone explain why Cavalcade was so good and Lanza on Broadway was so bad only a few months apart."This nearly was mine" was terrible and many others were not too good also. I love the 15 disc Coke set best of all which I bought directly from his son.

Hi everyone.There is a big omission for those who have not posted in a long while. If you cannot remember your old password, there is no way to retrieve it and it is locked into your E-mail address. I had to submit the wife's email to get accepted with a new password.Please address this problem.

I FORGOT TO MENTION THAT MARIO'S 'VAGABOND KING' AND THE 1959 "STUDENT PRINCE" ARE ALSO ON REEL TO REEL BUT SADLY AT THE SLOW SPEED OF 3 3/4 INCHES PER SECOND AND THESE ARE ABOUT THE SAME OR MOSTLY INFERIOR TO THE LPS OF THE SAME TITLE.

THERE ARE PROBABLY VERY FEW OF YOU WHO USE PRE-RECORDED REEL TO REEL TAPES. I HAVE LEARNED THAT TAPES OF THE FAST SPEED (7 1/2 INCHES PER SECOND) ARE SUPERIOR TO ANY LP OR ANY OTHER MUSICAL MEDIUM. I USED MARIO'S "DESERT SONG" FOR MY TEST. BOTH THE TAPE AND THE LP SOUNDED VERY GOOD BUT THE TAPE WAS ABOUT 20 PERCENT BETTER WITH MORE CLARITY AND RANGE. TOO BAD THIS TITLE AND THE LATE LANZA XMAS TITLE WERE RELEASED THIS WAY. SADLY, IF ANY OTHER TITLES WERE RELEASED I AM NOT AWARE OF THEM.

MY SENIOR YEAR AT UPPER DARBY HIGH SCHOOL WAS DELIGHTFUL MOSTLY THANKS TO MY FABULOUS MUSIC TEACHER MR. CLYDE DENGLER, JR. WHAT HE COULD DO TO SHAPE HUNDREDS OF YOUNG SINGERS TO MAKE AN AWARD WINNING CHORUS AND CHOIR WAS LEGENDARY. HE FOLLOWED IN HIS FATHER'S FOOTSTEPS BY BECOMING A TEACHER. DOCTOR CLYDE DENGLER ALSO WAS RENOWN FOR HIS ABILITIES. HE LIVED ONLY ONE BLOCK FROM MY HOUSE WHEN HE RETIRED. THE YOUNG DENGLER HAD MORE AMBITION IM HIM AS HE LEFT MUSIC 1966 TO TAKE ON THE JOB OF PRINCIPAL FOR THE TOWNSHIP. IRONICALLY, HIS LAST YEAR WITH MUSIC WAS THE YEAR I GRADUATED. FROM THAT TIME ONWARD "MR. D" ALWAYS FELT A SPECIAL BOND TO ME AND MY FELLOW SINGERS. HE ATTENDED EVERY REUNION WE ORGANIZED UNTIL HIS DEATH. I DID HIM PROUD AS I WROTE SPECIAL LYRICS TO "MY WAY" FOR SONGS I SANG AT EVERY REUNION.

THE SAME YEAR (1966) I FOUND MYSELF IN TROUBLE. I WAS AN "A" STUDENT BUT THE SUBJECT OF PHYSICS KNOCKED THE WIND OUT OF MY SAILS. I WOULD HAVE GOTTEN AN "E" (THE LETTER THAT STOOD FOR FLUNKING) HAD I NOT DROPPED THE CLASS. I DID JUST THAT AND FOUND MYSELF WITH NOTHING TO DO FOR THE HOUR PHYSICS CLASS HAD BEEN SCHEDULED. MR. DENGLER MORE OR LESS "SAVED" ME BY INVITING ME TO SPEND THAT SAME HOUR WITH HIM AS IT WAS A FREE HOUR FOR HIM AS WELL. WE HAD A BALL. WE'D GO OUT FOR LUNCH IN HIS FOREIGN CAR THAT ALWAYS NEEDED WORK. IT ALSO WAS A GAS GUZZLER. I WAS LAUGHING LIKE A LOON WHEN HE TOLD ME THE GERMAN WORD FOR START WAS "FAHRT. SO TO GET THE CAR TURNED ON ONE HAD TO FAHRT FIRST! (SAY THAT THREE TIMES FAST, LOL). WHAT WE DID THE MOST, THOUGH, WAS TO BRING RECORDS FROM HOME WHICH WE BOTH LOVED. BEING ONLY ONE YEAR AFTER I WAS TURNED ON TO MARIO LANZA, I OF COURSE BROUGHT IN HIS RECORDS. THE HIGH SCHOOL HAD JUST PURCHASED A FANCY RCA TWO PIECE STEREO UNIT AND THE SOUND WAS GREAT.

THE ONE DAY THAT RANKS HIGHEST IN MY MEMORY WAS THE DAY I PLAYED FOR HIM MARIO'S LEGENDARY ALBUM "CALVALCADE OF SHOW TUNES". I PLAYED THE BRAND NEW LP FROM START TO FINISH AND GOT GOOSEBUMPS. I WILL NEVER FORGET WHAT MR. D. SAID AFTER "TRAMP, TRAMP, TRAMP" ENDED. "SAM, I AM EMOTIONALLY WRUNG OUT"!!! I ANSWERED THAT I WAS NOT SURPRISED AS IT WAS THRILLING.

WELL, BRINGING MYSELF BACK TO THE PRESENT, LAST NIGHT I COULDN'T SLEEP FOR SOME REASON. SO, I MADE MYSELF A TURKEY AND CHEESE SANDWICH THAT I WASHED DOWN WITH A COKE. ALL WHILE HEARING "CAVALCADE". THIS IS AMONG MARIO'S FINEST RCA ALBUMS. HE RECORDED IT APPROXIMATELY IN 1956 WHEN HIS VOCAL POWERS WERE PEAKING HIGH. THE ALBUM IS PRACTICALLY FLAWLESS. HIS VOICE IS RICH YET YOUTHFUL, HIS PERFORMANCE IS EXCITING, WHILE ALSO CONTROLLED, AND THE CHOICE OF SONGS IS FIRST RATE. SOME OF THE ARRANGEMENTS FOR THE DISC ARE UNUSUAL BUT FITTING. FOR EXAMPLE, THE FIRST SONG "LOVER COME BACK" IS AHEAD OF ITS TIME. JUST LISTEN TO THE WILD HORN SOLOS AS THRE RECORD SPINS.

DON'T WORRRY, I AM NOT GOING TO START ANOTHER OF MY NOW "FAMOUS" REVIEWS OF MARIO'S RECORDINGS EVEN THOUGH THIS ONE IW LEGENDARY. I ONLY WANTED TO SHARE WITH YOU THE THRILL I GET LISTENING TO IT. AND THAT MEANS FROM THE DAY I PURCHASED THE LP UNTIL LAST NIGHT. GOD BLESS YOU MARIO LANZA!

IN ANSWER TO MY POST BELOW, I HAVE LISTENED TO THE"CARUSO FAVORITES" ALBUM FROM START TO FINISH. IT IS VERY GOOD. THE ONLY PROBLEM I HAVE WITH IT IS THE ENDING OF 'VIENI SUL MAR" WHERE HE STRAINS. WOULD I PREFER ALL THE 1959 RELEASES HAD THE BETTER SOUNDING VOICE AS HEARD IN "FOR THE FIRST TIME"? SURELY. BUT WHAT WE HAVE IS FINE AND COULD AND SHOULD BE ENJOYED. I KNOW OUR DEAR FRIEND DEREK MANNERING DOES NOT LIKE ANY OF THE LATE RECORDINGS. I'M SURE IT IS BECAUSE OF THE SOUND HIS VOICE, MUCH DARKER AND SOMETIMES MORE TIRED SOUNDING. SOME ALSO SUFFER FROM POOR SOUND ENGINEERING. AS A RULE OF THUMB, ANY OF THE RECORDINGS SOUND MUCH BETTER ON THE SEPIA CDS.

THAT BEING SAID, I LISTENED TO "L'ALBA SEPARA DELLA LUCHE LOMBRA" CAREFULLY ON THE LP AND IT DOES NOT HAVE A VERY GOOD SOUND AND A VERY GOOD PERFORMANCE. HOWEVER, YOU WILL BE SURPRISED BY LISTENING TO THE VERY SAME RECORDING ON THE SEPIA CD ENTITLED "THE IMMORTAL MARIO LANNZA". IT IS TRACK NUMBER 15. THE SINGING ISN'T AS GOOD AS CARUSO'S BUT NOW I FEEL IT IS DEFINITELY COMPARABLE.OVERALL, THIS IS A VERY EXCITING COMPOSITION.

I HOPE YOU FIND MY CONCLUSIONS VALID!

I DID A FUN TEST TONIGHT COMPARING "POUR UN BASIER" ON THE "CARUSO FAVORITES" LP AS OPPOSED TO THE SAME RECORDING ON THE SEPIA CD CALLED "THE UNDISCOVERED MARIO LANZA" (WHICH BY THE WAY IS MY FAVORITE CD AMONG THE THREE CDS WITH THE HANDSOME JET BLACK COVERS--BOTH FOR QUALITY AND FOR RARE VERSIONS OF SONGS/ARIAS THAT MARIO SANG).

IT WAS SUCH A CLOSE CALL THAT I AM GOING TO HAVE TO COMPARE THEM SEVERAL MORE TIMES. ONE THING IS FOR SURE. I NEED TO HEAR THE ENTIRE "CARUSO FAVORITES" ALBUM FROM START TO FINISH. I KNOW THERE ARE SOME TRACKS THAT AREN'T AS GOOD QUALITY WISE OR PERFORMANCE WISE. AN EXAMPLE IS THE "L'ALB SEPARA". I WOULD RATE CARUSO'S 78 OF IT AS SUPERIOR TO MARIO'S. BUT I WON'T GET AHEAD OF MYSELF UNTIL I HEAR THE ENTIRE ALBUM. STAY TUNED!

STEPHEN. I LISTENED TO NOAH STEWART SING "NESSUN DORMA". I LIKE HIS VOICE AND LOVED HOW LONG HE HELD THE FINAL HIGH NOTE. HE IS A LYRIC TENOR. I PREFER A SPINTO LIKE MARIO.

HI FOLKS,

I HAVE JUST ENTERED THE REAL WORLD AGAIN AFTER A TERRIBLE THREE MONTH LONG DEPRESSION. I ALSO HAD SOME HEALTH ISSUES.

TELL YOU THE TRUTH I WAS DISAPPOINTED TO SEE ONLY TEN POSTS AFTER THE ONE I LAST WROTE THREE MONTHS AGO.

HAVE WE RUN OUT OF THINGS TO SAY ABOUT MARIO? I DON'T THINK SO. HAVE WE BECOME LETHARGIC? POSSIBLY.

GARY: SACD DISCS ARE HIGHLY OVERRATED. I HAD ONE A FEW YEARS AGO AND THEN SOLD IT. THEY ARE ACTUALLY DINOSAURS! TAKE ANY SEPIA LANZA CD AND HOOK IT UP TO THE BEST SOUND SYSTEM YOU CAN AFFORD AND IT'S HEAVEN.

BILL RONAYNE: WONDERFUL PHOTO OF ELLISA LANZA BREGMAN AND MR. BREGMAN. SHE IS STILL LOVELY AND HAS NOT AGED HARDLY AT ALL.

ME: I HAD TO HAVE A STENT PUT INTO AN ARTERY THAT WAS 75 PERCENT CLOGGED. THE PROCEDURE WAS ON AN OUTPATIENT BASIS AND TOOK ONLY ONE HALF HOUR TO DO. I WAS ACTUALLY AWAKE AND SAW THE "MAP" OF MY HEART AND ARTERIES DUE TO A DYE THEY INJECT. I NEVER REALIZED STENTS WERE SO TINY (LESS THAN AN INCH). I SHOULD BE GOOD FOR TEN TO TWENTY YEARS DEPENDING ON EXERSIZE, DIET, ETC.

I AM VERY BUSY AFTER ONLY ONE DAY OF FEELING WELL. FOR EXAMPLE I PULLED FROM OUR STOCK SOME FINE TUBE RADIOS, A GREAT LAFAYETTE RECEIVER, A MINI GRAND PIANO THAT IS ALSO A RADIO, MOTION LAMPS BY ECONOLITE LIKE THE "SNOW SCENE", AND SO MUCH MORE THAT NEEDS TO BE SOLD.

I WROTE A LONG LETTER DESCRIBING MY HOSPITAL STAY AND ALL THE TESTS LEADING UP TO IT. IT IS VERY INTERESTING BUT TOO LONG TO POST HERE. IF YOU WOULD LIKE TO READ IT, JUST POST AND TELL ME.

I SORELY MISSED OUR HOME THEATER. WHEN DEPRESSED I WON'T EVEN WALK DOWN THERE BY MYSELF, WHICH SHOWS YOU HOW CRAZY BIPOLAR DISORDER IS.

I VERY MUCH WOULD LIKE TO SING AT ONE KARAOKE RESTAURANT EACH WEEK. AND I WILL ENJOY DRIVING OUR VAN AGAIN TO SHOP FOR FOOD AND JUST PLAIN SIGHT SEEING. OUR ROSE TREE PARK HAS A GORGEOUS AND LARGE CHRISTMAS LIGHT DISPLAY.

LAST, MY WIFE ANNA SAID SHE WOULD LIKE ME TO COURT HER. I SAID "TAKE YOU TO COURT?" NO, SHE MEANT WOOING HER. WELL THAT IS RIGHT UP MY ALLEY. FROM THE SIMPLEST THING (LIKE NOT PLAYING LPS LOUD) TO BIGGER ISSUES AS HOW TO SAVE ON LIVING EXPENSES, AND THEN THE REAL MEANING OF WOOING---TREAT HER LIKE A LADY AND GIVE HER YOUR ALL. AS THE OLD ROCK SONG GOES: "COME ALONG AND BE MY PARTY DOLL"

I am listening to Mario on my stereo as I write this. How I wish he were still here with us. His voice was angelic!

On behalf of Jeff: as you may have seen, after trying an open forum for a number of months, it was completely taken over by spam and porn. All those posts have now been removed. And, to prevent them from happening again, we are going back to a system where you have to log-in.

Dear Friends…I sincerely apologize for the abuse were are being subjected to on the Forum.
We know who is behind it. The same people who did this same sort of thing in years past.
Just ask yourself: cui bono? and you can figure it out. All good wishes!

This photo is of the scholarship winners with the accompanist and Ellisa. L-R: accompanist and music director Luke Housner, 2nd place winner bass-baritone Dylan Gregg, 4th place winner soprano Lydia Grindatto, Ellisa Lanza Bregman, 3rd place winner soprano Kristin Gillis and 1st place winner tenor Sahel Salam. Best, Bill

Sorry for the typos in the previous message. This photo is from the dinner & movie event at the Museum. Best, Bill

The Mario Lanza Institute would like to thank all those that attend the Ball Weekend and made donations. It was a great series of events and wonderful to gather together in tribute to Mario Lanza. there are a number of photos on our Facebook page and our website will have them as well very soon. I will post a few here so you can see. The first is of Ellisa Lanza Bregman and Robert Bregman at the Lanza Museum. Best, Bill

Hi folks.. I want to record music from a number of Youtube sites onto a memory stick, and I can't figure out how to do this. Help would be appreciated.

Cheers...Gary

How much better would we hear Mario's voice if Sony and especially Sepia put out SACD discs instead of ordinary CDs? Of course, we would all have to purchase the necessary SACD players, and I suppose Sony and Sepia would have to re-digitize the best tapes, acetates, and whatever other highest quality source material that exists.

I am now in my late seventies and today was thinking back to a time when I was 8 or ten years of age.
My Dad played wonderful music on our old cabinet record player. I was hearing Mario, Straus waltzes, Miliza Korjus and a host of other singers. I recalled hearing the song I have posted tonight, and I loved the voices of N. Eddy and J Macdonald. A very beautiful love song duet. I hope you enjoy the following.

Cheers..Gary

https://www.youtube.com/watch?v=qRl6_4uWsjc

I probably ran into Noah Stewart back in 2013 on the Internet. If it wasn't on the old forum, I must have found him by myself. If so, I probably mentioned him there. I somehow haven't thought of him for several years. He is a tall, handsome, black operatic tenor and surprisingly has only one CD "Noah" available on Amazon. Many of songs are on Youtube. He joined the Met in 2008. I'm really surprised he is not better known.

https://en.wikipedia.org/wiki/Noah_Stewart

Next month he is playing Otello, according to his schedule at his home page, with the Pacific Northwest Opera, Mount Vernon, Washinton.

https://www.noahstewart.com/

https://www.youtube.com/results?search_query=noah+stewart

The October issue of "The Legacy of Mario Lanza" newsletter has just been published and will be mailed out this coming week. It features coverage of events at the Lanza Musuem as well as in NY and also has a look at the tenor's various recordings of Schubert's "Ave Maria" plus so much more. For subscriptions email wjronayne@optonline.net. Not able to post a photo of the cover unfortunately. Best, Bill

Hi Sam... I am glad you took the time to view and listen to Johnathan..He is terrific and now at age 28 he keeps improving.
Cheers Gary

GARY, I JUST HAD THE CHANCE TO HEAR JONATHAN ANTOINE. HE IS EXCELLENT. HE HAS A RICH VOICE SHOWING DEPTH THAT ALSO HAS A SWEETNESS WHEN HE SINGS IN THAT MODE. HIS HIGH NOTES HAVE SQUILLO, WHICH I ALWAYS LOOK OUT FOR. HE ALSO MAKES "UNCHAINED MELODY" HIS OWN WITH HIS FLOURISHES. HE IS A BIG HEFTY GUY WITH LONG BLACK HAIR. THE CROWD WENT WILD AFTER HEARING HIM. THANKS FOR THE LINK ALLOWING ME TO FIND HIM ON YOUTUBE. HE IS REPRESENTED BY ONLY THREE SONGS UNFORTUNATELY. THEY ARE ABOUT THREE YEARS OLD. HE WAS DISCOVERED ON "BRITAIN'S GOT TALENT" AND I UNDERSTAND HE LOOKS DIFFERENT TODAY HAVING LOST A GOOD DEAL OF WEIGHT.

Mike,

I haven’t been on Rense for a couple weeks. Sure I am serious about Sinatra music, but I am also a fan. He is my second favorite singer. You know who the first is!

The three day Lanza Ball is nearing from October 20th to 22nd. I sure hope I can make it there. I missed last year “thanks” to being in a bad depression. A big draw will be having Ellisa around.

Is everyone up to date having all of the latest Sepia Records of Mario? You cannot beat the sound and excellent program choices that Derek McGovern comes up with.

Hi folks.. I hope you can take the time to watch the attached Youtube video, and listen to the reaction comments. I recall watching Johnathan about ten years ago and he has since improved as the years have gone by. Enjoy..

Gary https://www.youtube.com/watch?v=6GRUHa0r4Yc

sam!

Gordon MacRae pretty good. Earl Wrightson (husband of Lois Hunt) did a very stirring rendition. Are you serious about Sinatra or are you just a fan??

STILL SOMEWHAT IN THE FRANK SINATRA CELEBRATION MODE, I SEARCHED OUT TEN VARIATIONS OF "OLD MAN RIVER" FOR OUR LISTENING PLEASURE. JEROME HINES HAS TO BE ONE OF THE BEST WITH HIS OUTSTANDING BARITONE VOICE. WE HAVE FRANK SINATRA IN TWO VARIATIONS FROM THE FORTIES. JUDY GARLAND GIVES IT A TRY AND DOES WELL. ALL THE WAY AT THE BOTTOM OF THE LIST YOU WILL FIND THE BEACH BOYS. THEY MAY NOT BE PROMINENT AMONG THOSE STRICTLY FOLLOWING THE MELODY, BUT THEIR TIGHT KNIT HARMONIES BRING A SPECIAL BEAUTY TO THE OLD WARHORSE! SEE BELOW:
1-FRANK SINATRA IN THE SIXTIES

https://www.youtube.com/watch?v=HZse_nH1hSo

2-FRANK SINATRA IN THE FORTIES (THE BEST PART IS HIS BREATH CONTROL ON THE PHRASE "LAND IN JAIL.......AH GET'S WEARY" ALL IN ONE BREATH!

https://www.youtube.com/watch?v=xTnw_MmVptQ2-SAMUEL RAMEY 1984


3-JEROME HINES 1984

VERY RICH AND EXCITING:

https://www.youtube.com/watch?v=NSZIeHz0teg

4-SAMUEL RAMEY

https://www.youtube.com/watch?v=ZMJ-ng72RLM

ANOTHER FAIRLY RICH VOICE.

5-PAUL ROBESON:

TOO FAST FOR MY TASTE

https://www.youtube.com/watch?v=eh9WayN7R-s

6-SAMMY DAVIS JR.

https://www.youtube.com/watch?v=5D7RvKw3wDY

LIKE SINATRA HE DOESN'T HAVE THE OPERATIC QUALITY THAT ADDS TO THE SONG.

7-RAY CHARLES

THE MOST DIFFERENT VERSION AS CHARLES AND HIS CHARLES SINGERS GIVE IT THE JAZZ TREATMENT.

https://www.youtube.com/watch?v=CbsFnCPTqjw

8-JUDY GARLAND

FROM HER TV SHOW. SHE WAS GETTING A BROADER VIBRATO

https://www.youtube.com/watch?v=5GUP7bsDPXg HER FEELING IS GOOD.

9-WILLIAM WARFIELD

NOT AS RICH AS SOME BUT SUITED TO THE MOVIE WHICH HAD NONE OF THE "OPERATIC" TYPE SONGS. HOWEVER HE IS EASY TO LISTEN TO AND HIS STYLE IS EASY AS WELL.

https://www.youtube.com/watch?v=pSzYRo9j7YM

10-BEACH BOYS

THE FARTHEST AWAY FROM WHAT JEROME KERN IMAGINED! BUT LISTEN TO THE BEAUTIFUL HARMONIES.

https://www.youtube.com/watch?v=XuHL85lj954

AND THERE ARE MORE, BUT THIS WILL DO FOR US!!

MY REVIEW OF THE "SINATRA CELEBRATION" HOSTED AND DEVISED BY OUR OWN BILL RONAYNE AT THE MARIO LANZA MUSEUM. THE LUCKY AUDIENCE MEMBERS WHO EXPERIENCED THE CELEBRATION TODAY ALL LEFT FEELING GOOD AS WE HONORED FRANK SINATRA, IN MY OPINION MY SECOND ALL TIME FAVORITE SINGER. YOU OF COURSE KNOW WHO THE FIRST IS! AT THE OUTSET, BILL SPOKE FROM NOTES HE HAD MADE ABOUT FRANK'S CAREER. HE LEFT SOME QUESTIONS UNANSWERED SO THE AUDIENCE COULD FILL IN THE INFO. FOR EXAMPLE, HOW MANY WIVES DID FRANK HAVE AND HOW MANY CHILDREN? THE CORRECT ANSWERS ARE FOUR, AND THEN THREE. BILL STARTED THE EXCELLENT VIDEO PROGRAM HE PREPARED MOSTLY USING CLIPS FROM YOUTUBE. IT WAS INTERESTING THAT THE FIRST TWO SONGS WE SAW FRANK PERFORM WERE THE SAME ONES MARIO SANG! HE TOOK US FROM THE FORTIES COLUMBIA PERIOD, WHEN FRANK'S STYLE WAS A KIND OF "BEL CANTO" WITH HIS RICH BARITONE SINGING WITH BEAUTIFUL CHARACTERISTICS. FRANK RE-INVENTED HIMSELF SEVERAL TIMES THROUGHOUT HIS CAREER. THE "SECOND FRANK" WAS THE FIFTIES CAPITOL PERIOD WHEN HE STARTED DOING WHAT MOST CALL "SWING". THIS IS MY PERSONAL FAVORITE PERIOD AS HE PUT HIS FRESH STAMP ON OLD SONGS LIKE "COME FLY WITH ME" AND "I'VE GOT YOU UNDER MY SKIN". THAT LED TO THE LATE FIFTIES AND EARLY SIXTIES WHEN HE KEPT UP THE SWING AND RECORDED HIS SONGS UNDER THE BANNER OF HIS OWN RECORD COMPANY HE NAMED "REPRISE". THIS WAS HIS MOST PROLIFIC PERIOD AS HE RELEASED SEVENTY (!) SEPARATE LP RECORDS AND STARTED THE TREND TOWARD "CONCEPT ALBUMS" WHERE THE SONGS ALL RELATED TO ONE THEME. A TITLE LIKE "FRANK SINATRA SINGS FOR ONLY THE LONELY" IS A PERFECT EXAMPLE OF THIS WITH SONGS LIKE "GUESS I'LL HANG MY TEARS OUT TO DRY" AND "WILLOW WEEP FOR ME". I HAD DONE SOME RESEARCH BEFORE THIS DAY AND LEARNED THAT HE RECORDED 43 LPS FOR CAPITOL RECORDS, 33 LPS FOR COLUMBIA RECORDS, AND JUST 5 LPS FOR RCA. I PREPARED SOME DISPLAY ITEMS FOR ALL TO SEE INCLUDING: 1-A FORTIES SINATRA SIGNATURE (VERY IMPRESSIVE LOOKING) FRAMED WITH A FORTIES PIECE OF SHEET MUSIC ABOVE IT. 2-A MONTAGE IN COLOR OF SINATRA WITH HIS CHANGING LOOK AS HE WENT FROM YOUTH TO AGED.(NOTE: THESE ARE DRAWN BY ED SEEMAN WHO SELLS THEM FOR 19.99 ON EBAY) 3-A SMALL GRAPHIC OF THE ELDER SINATRA FROM A PHILADELPHIA INQUIRER POSTER ABOUT THE COVERAGE THEY WOULD BE BROADCASTING FOR AN ENTIRE WEEK AFTER HE PASSED AWAY AT AGE 82 FROM A HEART ATTACK. 4-EXAMPLES OF ALL FOUR OF HIS RECORD COMPANY'S LPS. AND 5-A VERY UNUSUAL BUT EXCITING CD OF FRANK SINGING IN AUSTRALIA WITH RED NORVO AND HIS QUINTET. THIS IS FAR REMOVED FROM THE 25 PIECE BANDS SINATRA USUALLY EMPLOYED. IT IS REWARDING, HOWEVER, SINCE HE TAKES SONGS HE HAS SUNG FOR YEARS AND ADDS NEW "BENDS AND TWISTS" TO THEM. AFTER THE 50-50 RAFFLE, ALL ENJOYED THE MANY TASTY DESSERTS AND DRINKS THAT WERE PROVIDED. INCIDENTALLY, THESE SPECIAL CELEBRATIONS (JUDY GARLAND WAS AN EARLIER ONE) COST ONLY TWENTY DOLLARS, A BARGAIN. THE MUSEUM WAS FILLED TO MAXIMUM AND SOME DROVE GOOD DISTANCES TO ARRIVE. YOURS TRULY, WHO HAS THE WORLD'S WORST SENSE OF DIRECTION, GOT LOST AFTER FINDING A PARKING SPOT AND JUST MADE THE 2:00 OFFICIAL STARTING TIME. AMAZINGLY, OUR VAN WAS ONLY A COUPLE BLOCKS AWAY BUT I WALKED AROUND AND AROUND UNTIL I FOUND THE MUSEUM. A SIGN PROCLAIMING "MARIO LANZA WAY" HELPED IN MY SEARCH. ONE NICE LADY GAVE ME DIRECTIONS WHICH I RECORDED ON MY IPHONE TO REFER TO! TWO LADIES WERE STANDOUTS. ONE HAD A SINATRA HANDKERCHIEF THAT HE SIGNED AND GAVE HER. IT WAS ORANGE, FRANK'S FAVORITE COLOR. ANOTHER LADY TOLD US FASCINATING STORIES OF HER MEETING FRANK ON OCCASIONS THROUGH THE YEARS ALONG WITH HER BROTHER. A FEW PEOPLE WERE FORTUNATE ENOUGH TO HAVE ATTENDED A SINATRA CONCERT. I DID AT A RATHER LATE POINT IN HIS CAREER FROM 1988 TO 1989 WHEN HE ORGANIZED WHAT HE TITLED "THE ULTIMATE EVENT". THIS STARRED SINATRA, SAMMY DAVIS, JR., AND DEAN MARTIN. DINO'S HEART WASN'T IN IT AND HE LEFT SHORTLY AFTER IT STARTED. FRANK WAS ANGRY BUT REPLACED DEAN WITH THE EFFERVESCENT LIZA MINELLI. EACH HAD THEIR SEPARATE SPOTS AND THEN THEY CAME ONSTAGE TOGETHER IN SONG. SINATRA ALWAYS CALLED HIMSELF A "SALOON SINGER" AND HE PERFORMED SONGS LIKE "ONE FOR MY BABY" AND THE DIFFICULT "SOLILOQUY" FROM "CAROUSEL". THAT LAST TITLE TAKES A FULL EIGHT MINUTES TO SING. I KNOW THAT FOR A FACT SINCE I HAVE DONE THE SONG MYSELF WHEN AT RESTAURANTS ENJOYING MEALS AND SINGING KARAOKE. INCIDENTALLY, HOW I CAME TO ATTEND THE "ULTIMATE EVENT" SHOW IS INTERESTING. MY FORMER PARTNER IN SELLING 16MM HOLLYWOOD FILMS WAS TODD TUCKEY. SAMMMY DAVIS WANTED A VIDEO GAME HE COULD PLAY DURING HIS "DOWN" TIMES. TODD WAS IN THE VIDEO AND PINBALL GAME BUSINESS AND SAW TO IT THAT SAMMY GOT HIS WISH. IN EXCHANGE HE WAS GIVEN A STRIP OF FRONT ROW SEATS. ONE HAD MY NAME ON IT AND I WILL ALWAYS REMEMBER SITTING ONLY A FEW PEOPLE AWAY FROM BARBARA MARX SINATRA, FRANK'S FOURTH AND FINAL WIFE. FRANK'S VOICE BY THAT TIME WAS SOMEWHAT ROUGH AROUND THE EDGES BUT HIS FANS CHEERED HIM ON NO MATTER HOW STRONG OR WEAK THE SINATRA "PIPES" WERE. IT IS ALSO INTERESTING THAT FRANK CHOSE HIS OWN SON, FRANK SINATRA, JR., TO DIRECT THE ORCHESTRA. BEING VERY ATTUNED TO HIS FATHER'S VOICE AND HABITS, FRANK JR. WAS AN EXCELLENT CHOICE. I WILL END THIS REVIEW BY AGAIN THANKING BILL FOR HIS DEDICATION AND HARD WORK IN BRINGING SHOWS TO THE MUSEUM FOR PEOPLE TO ENJOY. I HOPE ALL MARIO LANZA FANS CAN ATTEND THIS YEAR'S THREE DAY MARIO LANZA BALL WEEKEND AND THE ADDED PLEASURE OF HAVING MARIO'S DAUGHTER ELISSA BREGMAN LANZA ON HAND FOR THE ENTIRE TIME!

Just to give an update on the Mario Lanza Ball weekend, the October 22nd Dinner & a Movie event at the Mario Lanza Museum is now sold out. You can still attend the October 23rd Mario Lanza Ball at the IATSE Ballroom in Philadelphia which features the finals of the scholarship auditions, video presentations, silent auction, a cocktail hour, buffet dinner with stations and dancing to Over the Top Entertianment. Our special guests will be Ellisa Lanza Bregman and her husband Robert Bregman. Admission is $125 per person and includes wine, beer and soft drinks. Mixed drinks are cash bar. For more information and to pay by credit card, call 215-238-9691. It's an event you will not want to miss! Best, Bill

He's got that swing!

IT HAS BEEN NINE DAYS WITH NO POSTS. THIS IS NOT ONLY BORING BUT A BIG SHAME SINCE THIS WAS ONCE A THRIVING SITE ON WHICH TO DISCUSS ALL THINGS LANZA AND BEYOND. THIS REMINDS ME IN SOME WAYS OF EBAY. MY WIFE AND I HAVE BEEN LISTING HUNDREDS AND HUNDREDS OF ANTIQUES AND COLLECTIBLES THERE SINCE ABOUT 1997. THE SITE WAS EASY TO NAVIGATE AND LISTING WAS FAIRLY EASY. ALL THAT WAS NEEDED WAS A GOOD DESCRIPTION OF THE ITEM AND A FEW CLEAR PHOTOS. YOU SOLD YOUR GOODIES AND PAID A FAIR PERCENTAGE. BUT THAT WASN'T ENOUGH FOR EBAY (NOW KNOWN BY A CIRCLE OF FRIENDS AS "GREEDBAY"). LISTING FEES GOT HIGHER AND HIGHER AND THE PERCENTAGE OF THE SOLD PRICE THEY KEPT GOT HIGHER AND HIGHER. AND YOU CAN NO LONGER CONTACT A BUYER WITHOUT GOING THROUGH THE EBAY SYSTEM SO THEY COULD "SPY" ON YOU TO MAKE SURE YOU HAVEN'T BROKEN ANY RULES. SLOWLY BUT SURELY THE FUN GOT ZAPPED OUT OF SELLING. BUYING IS STILL FUN AND FINDING THINGS YOU WANT HAS BECOME VERY EASY. YOU DON'T HAVE TO WISH FOR SOMETHING LIKE YOU DID IN THE DARK AGES WHEN TRAVELING FROM ANTIQUE STORE TO ANTIQUE STORE LOOKING TO INCREASE YOUR COLLECTION. ANOTHER VARIABLE IS PRICE. WHEN THERE WERE ONLY FIVE OR SO LISTINGS OF THE SAME ITEM, CHANCES WERE YOU WOULD BE ABLE TO SELL THAT ITEM. BUT IF THERE ARE TWENTY OR MORE OF SAID ITEM, CHANCES DROPPED CONSIDERABLY AS NOW THE PIECE WAS NO LONGER "RARE OR HARD TO FIND". WE NEVER USE THE WORD RARE SINCE WITH EBAY THERE IS NO SUCH WORD. THE SAME GOES WITH BUYING. I CAN'T TELL YOU HOW MANY TIMES WE HAD CUSTOMERS ORDER A PIECE FROM US THAT WE CONFIRMED AND EMAILED OUR ADDRESS TO. WE WAIT AND NO PAY IS COMING THROUGH. WE SEND ANOTHER LETTER AS A REMINDER. SAME SCENARIO: NO ONE CARES OR HAS BASIC COURTESY TO ANSWER!

OBVIOUSLY I RAMBLED ABOVE. BUT ONE SENTENCE IS ALL I NEED AT THIS TIME: WE NEED TO RALLY OR ELSE! SOABOX SAN SIGNING OUT......

WOW! I LISTENED TO ALL YOUR RECOMMENDED SINGERS AND I CAN SAY WITHOUT A DOUBT THAT ALL ARE EXCELLENT. I HEARD ANTHONY MARLOW DO "MUSIC OF THE NIGHT" WITH MORE PASSION THAN ORIGINATOR MICHEAL CRAWFORD. RAMIN KARIMLOO SANG DID A STUNNING "MUSIC OF THE NIGHT". IF I HAD TO PICK THE BEST ONE I WOULD GIVE A SLIGHT EDGE TO SIERRA BOGESS WHO HAS A BEAUTIFUL VOICE AND QUITE A RANGE.

Anthony Warlow is another great voice, especially these two performances from The Main Event. He was the Phantom in Australia, his native country, and he was also an early Jekyll & Hyde, at least during the early years in the 1990s when Linda Eder also stared in it. Linda was married to Frank Wildhorn, one of the creators of Jekyll & Hyde for several years and they have a son, Jake. Warlow had cancer in 1992 and I suspect he has shaved his head since that period. I don't know if he's been mentioned before on this forum.

This is the Moment:

https://www.youtube.com/watch?v=9KiX2Wgo7hg

Music of the Night:

https://www.youtube.com/watch?v=Fm8aSKMoZog

Some other great performances:

Eder singing Man of La Mancha

https://www.youtube.com/watch?v=GpXNniqJml0

And down the right side of the page, this extremely fine Japanese lady:

https://www.youtube.com/watch?v=8s0jGhXl3OE

Sierra Boggess & Ramin Karimloo who stared in the 25th Anniversary of the Phantom of the Opera which was broadcast from Royal Albert Hall (available on DVD), repeating a couple of performances at the Brit Awards. I believe Boggess said in an interview, that when she was taking voice lessons, she brought a Linda Eder CD to her voice teacher and told her that was what she wanted to sing like:

https://www.youtube.com/watch?v=Knygth4Rqow

HI YOU TWO! FIRST I WANT TO THANK YOU BOTH FOR TIPPING ME OFF TO LINDA EDER AND SISSEL. I COULD ONLY FIND EARLIER SONGS FOR EDER. ON YOUTUBE A GREAT EXAMPLE WAS HER TWO TUNES TOGETHER OF "I DON'T KNOW HOW TO LOVE HIM" AND "DON'T RAIN ON MY PARADE" CIRA 2008. SHE IS SOMEWHAT REMINISCENT OF BARBRA STREISAND. SISSEL ON THE OTHER HAND IS FEATURED CURRENTLY. VOICE QUALITY OF THE TWO? EDER HAS THE EDGE WITH HER WARMTH AND DYNAMICS. LIKE MARIO, HER VOICE IS WELL PLACED AND RICH. SHE CAN TRULY "BELT OUT" HER SONGS. ON THE OTHER HAND SISSEL KYRKJEBO(!) HAS A MUCH MORE SUBTLE VOICE. SHE DOES NOT HAVE SHEER FORCE OF LINDA. I IMAGINE HER VOICE IS SMALLER BUT THAT IS HARD TO SAY NOT HEARING HER LIVE. BUT A BEAUTIFUL VOICE TO BE SURE. AND SPEAKING OF BEAUTIFUL BOTH GIRLS ARE VERY GOOD LOOKING!

Sissel is all over Youtube and appears to have tours this year, some CDs on Amazon. John Gary is one of my favorites, as well as the English ballad singer of the 50s & 60s Robert Earl, "the English Mario Lanza," who is probably still retired in Florida at the age of 95, living close to his son of the same name who has been an extremely successful restaurateur in England and a casino operator in the US. He's also on Youtube, sometimes a bit harder to find as they get him confused with Robert Earl Keen.

Stephen. She's even better in person. Whatever became of Sissel? Favorite male John Gary..

You need to listen to Linda Eder, my favorite female vocalist since I "discovered" her almost 20 years ago. "Broadway My Way" would be a fine introduction if you haven't heard her. I probably mentioned her in the old forum years ago. She won 11 straight competitions on Ed McMahon's "Star Search" in 1988 to pick up the $100,000 prize. Lots of her on Youtube, even a few of the Star Search competitions.

THE SINATRA IN PALM SPRINGS DVD IS GREAT TO WATCH. THERE ARE IN DEPTH INTERVIEWS WITH MANY OF FRANK'S CELEBRITY FRIENDS. WHAT IS EXCEPTIONAL IS THE WAY THE PRODUCERS SHOT AND COMPARED TODAY'S VIEW OF THE SINATRA ESTATE TO YESTERDAY'S. SINATRA'S LAST WIFE BARBARA IS PROMINENT. SHE PASSED AWAY 2017. IT RUNS 92 MINUTES.

HERE IS A PROFESSIONAL DESCRIPTION OF THE DISC:

Palm Springs, a small desert oasis 100 miles east of Los Angeles, was Frank Sinatra's home for fifty years. During his brief yet turbulent marriage to Ava Gardner, Palm Springs was center stage. And for the rest of his life, the Rancho Mirage compound on Frank Sinatra Drive was the sanctuary he called "My Heaven." Palm Springs still feels the ghost of the legendary performer. In this documentary film, director Leo Zahn explores Sinatra's deep attachment to Palm Springs and the Coachella Valley, capturing the spirit of the Sinatra era and paying tribute to his unique lifestyle. Featuring more than fifty clips from his movie and television appearances as well as revealing interviews with Barbara Sinatra, Mel Haber, Tom Dreesen, Bruce Fessier, Trini López, Michael Fletcher and many others who knew and lived and played with Mr. Sinatra, Zahn offers a fascinating insight into a true icon of entertainment.

I DIDN'T KNOW I HAD IT (OFTEN DVDS ARE HARD TO FIND HERE SINCE I HAVEE OVER 4,000 OF THEM BUT THEY ARE AT LEAST ALPHABETIZED BY EACH RACK). I LOOK FORWARD TO SEEING IT WITH THOSE 70 SPECIAL CLIPS ON THE DVD "SINATRA IN PALM SPRINGS". THANKS VERY MUCH FOR THE REMINDER.

STEPHEN,

I CAN CERTAINLY UNDERSTAND WHY FRANK SPENT HIS LATER YEARS AROUND LOS ANGELES. I HAVE ONE CD THAT IS, TO ME, ONE OF THE HIGHLIGHTS OF HIS CAREER CIRCA 1962. HE SANG A LONG CONCERT IN PARIS AND ONLY HAD A VERY SMALL GROUP OF MUSICIANS. PURISTS WHO ARE USED TO HEARING BIG ORCHESTRAS MIGHT BE DISAPPOINTED BUT THE WONDERFUL WAY HE TAKES SONGS AND "BENDS" AND "TWISTS" THEM IS BRILLIANT. MANY SONGS PERFORMED THAT NIGHT ARE RARE IN ANY OF HIS OTHER CONCERTS BEFORE, DURING, AND AFTER. LOOK IT UP ON AMAZON AND I URGE YOU TO GET IT. IT IS TITLED "SINATRA AND SEXTET LIVE IN PARIS"

https://www.amazon.com/Sinatra-Sextet-Frank/dp/B003H695IC/ref=sr_1_1?crid=SQMF6QRI2C7P&keywords=frank+sinatra+live+in+paris&qid=1661550675&sprefix=FRANK+SINATRA+IN+PARIS%2Caps%2C79&sr=8-1

The DVD "Sinatra in Palm Springs" is very interesting. Sinatra like living there much more than in Beverly Hills, where he wound up spending his last days closer to his Los Angeles doctors.

Just to clarify my previous post, the Sinatra event is at the Lanza Musuem. Best, Bill

FRANK SINATRA ~ A CELEBRATION

Saturday September 17, 2022, at 2:00pm.

A one-hour lecture and audiovisual presentation on the life and career of one of the all-time great performers by MLI President Bill Ronayne. Frank Sinatra will be featured in a collection of classic film and television clips of many of his big hits.

$20 per person. Lecture starts promptly at 2:00pm. and includes light refreshments

Checks should be made out to Mario Lanza Institute and mailed to:

Mario Lanza Institute
1214 Reed Street
Philadelphia, PA 19147.

For information or to make a credit card payment call 215-238-9691. Seating is limited and on a first come first paid basis. No refunds or credits. No exceptions.

Street parking. Please RSVP by September 10, 2022.

I just ran into this at Amazon, a new Sepia CD of Judy Garland that came out in June. I don't know if they have any other Judy Garland CDs, but it's easy to find their website and check their catalog. They do have some interesting artists besides Mario. Bing Crosby, a couple of Sammy Davis Jr., etc.

https://www.amazon.com/Person-Judy-Garland/dp/B0B42YPLZT/ref=d_qpr_sccl_1_1/147-8795735-3052265?pd_rd_w=NcQdu&content-id=amzn1.sym.cc083f15-2bd5-43ec-89cb-7718dafba0fe&pf_rd_p=cc083f15-2bd5-43ec-89cb-7718dafba0fe&pf_rd_r=0FNJACV34JXG30DAXGFB&pd_rd_wg=5ylFT&pd_rd_r=5b7bf86c-7211-4d03-a7b7-2419fb82f15d&pd_rd_i=B0B42YPLZT&psc=1

DEAR BILL,

I KNOW THAT THIS THREE DAY WEEKEND WILL BE GREAT. FIRST, ON FRIDAY CAROLE SHEA HEADS THE WELCOMING DINNER AT LA VIOLA. I HAVE EATEN THERE SEVERAL TIMES IN THE PAST AND GUARANTEE IT WILL BE EXCELLENT. IF SHE COULD ARRANGE TO HAVE MARIO SINGING IN THE BACKGROUND THAT WOULD BE EVEN BETTER. IF SHE CAN'T, I HAVE ENOUGH MUSIC IN MY CELL PHONE TO PROVIDE IT. NEXT, THE EVENING DINNER AT THE MUSEUM. I NEVER ATTENDED AN EVENING FUNCTION THERE. SO THIS WILL BE A NEW EXPERIENCE. PERHAPS YOU'LL LET US KNOW WHAT THE MENU IS. ONE THING I KNOW I WILL LIKE IS SEEING "THAT MIDNIGHT KISS" WITH OTHER FANS. THAT IS ALWAYS SPECIAL. AND LAST, ON SUNDAY THE BALL. WHEN YOU SELECTED THE FOLKS WHO RUN THE FOOD YOU FOUND A FINE GROUP OF PEOPLE TO CATER A VERY FULFILLING DINNER. NOT TO MENTION THE SCHOLARSHIP COMPETITION AND ENTERTAINMENT BY A DJ INSTEAD OF AN EXPENSIVE LIVE BAND. PEOPLE CAN DANCE TO THE MUSIC.

I JUST HOPE I WILL BE DEPRESSION FREE WHEN THE TIME COMES. IT IS TWO LONG MONTHS AWAY. AS IN THE PAST, I WILL NEED TO WAIT UNTIL THE DAY BEFORE TO BE SURE AND HOPE YOU CAN ACCOMMODATE ME.


BEST,
SAM

2022 Mario Lanza Ball Weekend
Friday October 21st at 5:30pm

Carole Shea’s Welcoming Dinner

La Viola Restaurant
253 S. 16th Street

3 Course dinner (Bring your own wine) $60 per person.

Please contact Carole at pastawithclams@gmail.com to attend this event only.

Saturday October 22nd at 5:00pm

Dinner and a Movie

Mario Lanza Museum
1214 Reed Street

There will be a complete showing of That Midnight Kiss and a buffet dinner with coffee, soda and dessert. 50/50 raffle.

Seating is limited and on a first come first paid basis.

$50 per person

Sunday October 23rd at 6:00pm.

Mario Lanza Ball

IATSE Ballroom

2401 S. Swanson Street

Cocktail Hour, scholarship finals, buffet dinner with stations, dancing to Over the Top Entertainment, video presentations, silent auction and 50/50 raffle.

$125 per person includes unlimited wine, beer or soda for the event.
Mixed drinks are cash bar for the entire evening.

For credit card payments for the museum event and the Ball only or for information call 215-238-9691.
Please note that there is an additional fee when paying by credit card.
No refunds or credits. No exceptions.



Special guests for the entire weekend: Mario Lanza’s daughter Ellisa Lanza Bregman and her husband Bobby Bregman!

We are no longer providing a block of rooms for overnight guests.

I WAS MULLING OVER WHETHER I HEARD A QUOTE ABOUT MARIO'S VOICE SPOKEN BY A SONG WRITER. I HAD A FEELING IT WAS SAMMY CAHN AND I WAS RIGHT. HE SAID IN HIS AUTOBIOGRAPHY CALLED "I SHOULD CARE" THAT HEARING MARIO IN PERSON WAS SO BRILLI1ANT AND POWERFUL THAT IT SCARED HIM!THAT'S THE KIND OF SCARING I LIKE!

GARY, AUSTIN BUTLER WAS TREMENDOUS. HE GIVES AN OUTSTANDING PERFORMANCE OF NOT JUST ELVIS WHEN YOUNG BUT AS HE AGED AND LEADING RIGHT UP TO THE CONCERT WHERE HE WAS SITTING AT A PIANO VERY DOPED UP. I UNDERSTAND THAT SHOTS OF BUTLER AND THE REAL ELVIS WERE INTERCUT FOR THAT SCENE. THE FILM MAY NOT BE ONE HUNDRED PERCENT ACCURATE BUT IT SURE AS HELL IS GREAT ENTERTAINMENT. I ORDERED THE 4K/BLU RAY SET FOR 24.95 ON EBAY AND THEY SUPPOSEDLY WILL ENSURE SHIPPING ON SEPTEMBER 13TH. HECK, JUST TOM HANKS'BRAVURA PERFORMANCE IS WORTH THE PRICE OF ADMISSION. SPEAKING OF THAT, MY WIFE ANNA AND I WENT TO OUR LOCAL REGAL MOVIE THEATER--OUR FIRST VISIT TO A REAL THEATER IN YEARS. (I HAVE 4,000 DVDS, SO DON'T REALLY NEED TO GO OUT). YOU WON'T BELIEVE WHAT WATCHING "ELVIS" COST US. FIRST THE HIGH ADMISSION PRICE FOR TWO, THEN A TUB OF BUTTER POPCORN, A HOT DOG, AND THE PRETZEL NUBS WITH A PHONY CHEESE SAUCE. ALL FOR ONLY 52.00! I WONDERED HOW FAMILIES CAN GO TO FILMS WITH SUCH COSTS, AND MOST HAVE ONE CHILD OR MORE. THERE WAS ALSO THE SHOT OF MARIO'S LP "SONGS OF DEVOTION" I BELIEVE SITTING BY ELVI'LITTLE RECORD PLAYER. THAT PLAYER IS THE SAME ONE I HAD AS A CHILD AND JUST RESTORED!

Very quickly re. the Elvis movie where Elvis is played by Austin Butler. IMO the young actor should be nominated for an Oscar for his portrayal.

Well, some more information about Elvis Presley and Mario. If you Google "is Mario Lanza mentioned in the new Elvis movie" you find this site. It has a few errors about Lanza, but is interesting:

https://www.elvisinfonet.com/spotlight_influences_lanza.html

Further down the page of results,

https://www.cheatsheet.com/entertainment/elvis-and-priscilla-presley-got-together-because-they-loved-this-movie.html/

In which Priscilla Presley states Elvis watched "The Student Prince" seven times.

Further down,

https://www.italymagazine.com/featured-story/elvis-and-his-italian-inspirations

It seems there's quite a bit of mention about Lanza in the Elvis Pressley world.

I HAVE DONE RESEARCH ABOUT ALL OF THE MARIO LANZA REEL TO REEL TAPES EVER RELEASED. MY FINDINGS:

1-THE DESERT SONG--THIS IS THE MOST EASILY FOUND AND IT IS 71/2 IPS, MAKING IT THE BEST SOUNDING OF ALL. IT BETTERS THE LP AND ANY SEPIA TRACKS RELEASED ON IT.

2-THE STUDENT PRINCE AND VAGABOND KING. BEING SLOW SPEED THE SOUND IS NOT GOING TO BE AS GOOD.

3-THE GREAT CARUSO AND LOVE SONGS AND A NEAPOLITAN SERENADE. THE HARDEST ONE TO FIND, BUT IT IS ONLY SLOW SPEED.

4-THE CHRISTMAS CAROLS ALBUM. THIS IS FAST SPEED AND WILL SOUND VERY GOOD. I PREFER THE EARLY FIFTIES CHRISTMAS ALBUM.

HERE IS HOW ONE DEALER DESCRIBED THE 1959 LANZA TAPES:

THE CLOSEST THING TO HAVING A COPY OF THE ANALOG MASTER TAPE FOR THIS ALBUM, IT IS LONG BEFORE DIGITAL.

I WAS TWEAKING THE CONTROLS OF MY LARGE VIDEO PROJECTOR BY EPSON TONIGHT AND I LOST THE SOUND BY TRIPPING OVER A WIRE. WELL, THERE I AM IN THE DARK FUMBLING FOR THE WIRE AND LUCKILY I FOUND IT. SO, I DECIDED TO PUT ON A MARIO LANZA FILM TO TEST THE SOUND. AND THEN IT CAME TO ME: THE PICTURE QUALITY OF EVERY SINGLE MARIO LANZA MOVIE IS QUITE GOOD. THERE IS THE MGM SET OF HIS TWO FIRST MOVIES "THAT MIDNIGHT KISS" AND THE "TOAST OF NEW ORLEANS", THEN THERE IS THE NEWLY RESTORED GREAT CARUSO THAT CAN'T BE BEAT. THAT WAS FOLLOWED BY "BECAUSE YOU'RE MINE". AND THAT WAS FOLLOWED BY "THE STUDENT PRINCE". AND THAT WAS FOLLOWED BY "SERENADE". AND THAT WAS FOLLOWED BY "THE SEVEN HILLS OF ROME" AND THE LAST IS "FOR THE FIRST TIME". I CAME TO THE CONCLUSION THAT "SERENADE" IS PRETTY GOOD PICTURE WISE AND SOUND WISE IS EXCELLENT IT COULD USE UPDATING BUT IS PASSABLE FOR NOW. HOWEVER, AND THIS IS THE POINT OF MY POST, THE ONE STANDOUT WHICH ABSOLUTELY NEEDS UPDATING IS "BECAUSE YOU'RE MINE". THE COLOR AND SOUND ARE GOOD BUT THE PICTURE OVERALL IS GRAINY AND VARIABLE. LOOK AT THE LAST SHOT OF MARIO AND MORROW ABOUT TO KISS AND THE PICTURE GETS DARK. THANK GOD FOR THE GREAT LAST HIGH NOTE THAT OVERSHADOWS MORROW'S FINAL NOTE AND TAKES ONE'S MIND OFF OF THE POOR DARK QUALITY. THE CAST CREDITS COME ON AFTER THE END TITLE AND THEY ARE BETTER.

THANKS STEPHEN FOR THE LINK TO THE LARRY KING INTERVIEW. I HAD NOT SEEN IT BEFORE AND IT WAS SO NICE TO SEE PRISCILLA AND KING POINT OUT THE LANZA LP SITTING THERE AND THEN THEM SAYING HE LOVED MARIO'S VOICE.

I mentioned this years ago on the old forum and it's still on Youtube. I guess it's appropriate to show this again with the new Elvis movie out. Priscilla Presley giving a tour to Larry King of Graceland in 1977 on the 30th Anniversary of Elvis' death. At about 40 seconds into part 3 they start talking about records and there's a Mario Lanza record on top, and she talks about both their love of Lanza.

https://www.youtube.com/watch?v=dVCAXZGNZwE

Correction: Make that: "I don't *KNOW* why the two Otello tracks [played differently]...".

You're welcome, Stephen.

I don't why the two Otello tracks featured on Sepia's earlier Lanza release (Greatest Operatic Recordings) played differently on your equipment, but it is purely concidental on my part that they share the same track numbers as on the current CD. And, yes, they are different recordings of the Otello duet: on the earlier Sepia we hear an outtake recorded with the soprano Gloria Boh, while on the current CD we hear a recording made four months later with Licia Albanese.

While I (slightly) prefer Mario's actual singing on his rendition with Boh, both his renditions are memorable. I wouldn't want to live without either of them! And his singing of the Monologue is, of course, in a league of its own.

Incidentally, if you're interested in reading Gloria Boh's reminiscences of working with Mario, you can follow this link to my website: https://www.mariolanzatenor.com/firsthand-accounts-of-working-with-lanza-gloria-boh.html

Cheers,
Derek

Thank you, Derek. I figured something like that was going on, but I didn't know how the two pieces were connected. I love Mario's voice, but I'm no student of opera. I guess they were handled slightly differently on the Greatest Operatic Recordings CD. Interesting that they wound up with the same track numbers on both CDs.

Hello Stephen: I worked on the new Sepia CD "The Electrifying Mario Lanza," so I'm happy to answer your question.

"Dio ti giocondi" is the duet from Act III of Verdi's "Otello," and the monologue "Dio! Mi Potevi Scagliar" is the aria that immediately follows it. Although there is no pause in the opera between the duet and the monologue, they should be regarded as two separate musical entities.

The duet (track #17 on this CD) ends with Otello crudely dismissing Desdemonona with the words "quella vil cortigian che è la sposa d’Otello!"---touching high C in the process---and then we hear the thunderous orchestral chords that signal the beginning of the great monologue (track #18).

For this CD I asked Sepia's sound engineer, Robin Cherry, to ensure that the duet and aria were not placed together on the same track as if they were one and the same musical piece, but to separate them at the exact point where the former ends and the latter begins. Apart from making musical sense, this would then allow listeners who wanted to skip the long duet to go straight to the monologue without having to fast-forward through ten minutes of singing. I also asked Robin if he could in this instance also delete the standard 3-second gap that normally occurs between successive tracks. This would then allow listeners who wanted to hear the monologue follow the duet seamlessly --- as would occur in a performance of the opera --- to do so. Robin was happy to accommodate my request.

While there is no audible break between the duet and the monologue when I play the CD on either conventional CD players or on the portable drive connected to my computer, I understand that because of a technical quirk unique to certain kinds of software or very basic CD-playing equipment, the intended seamlessness between tracks 17 and 18 may not occur. This is obviously what you're experiencing, Stephen.

I'm sure that if you try playing the CD on a different audio set-up---for example, through a standard portable CD player connected to a hi-fi system---it will play as intended. But rest assured that the point at which track 17 ends is indeed the same point at which the duet also concludes (abrupt as it may sound when played through your particular software).

Cheers,
Derek

IT WOULD HELP IF I GAVE YOU THE URL TO SEE AND HEAR THE OFFICIAL TRAILER FOR THE MOVIE "ELVIS"
https://www.youtube.com/watch?v=KIsojttVj4o

I'm a bit confused with tracks 17 and 18 on the new Sepia CD "The Electrifying Mario Lanza." On my copy, track 17 (Otello- Dio Ti Giocondi) has a length of 10:01, but perhaps continues immediately on track 18 for another 4:16. Track 18 is labeled Otello- Dio! Mi Potevi Scagliar on my CD. By itself, track 17 has a very abrupt ending if you don't immediately start track 18. I was playing the CD with a software player that stops after each track, and the halt at the end of track 17 sounded very abrupt.

On another, earlier Sepia CD "Greatest Operatic Recordings" the same song Otello. Dio ti giocondi (which also happens to be track 17 on this CD) runs 10:50. It is also followed by Otello. Dio! Mi potevi scagliar on track 18 that runs 3:44 minutes.

These are perhaps not from the same recordings, which would account for the different lengths. But I thought it was odd that if track 18 is a continuation of tracks 17 on the new CD, that Sepia separated them instead of simply making track 17 into the full 14:51.

I am not a student of opera, so I don't know if my speculation makes any sense at all. Does track 18 naturally and immediately follow track 17 in the Opera?

I only noticed this because I was playing the new CD with software that stops after each track without going on automatically to the next track, so the song on the new CD that ended at 10:01 ended very abruptly. It was only when I switched to a player that started track 18 immediately, that it sounded like a natural continuation. On "Greatest Opera Recordings" track 17 seems to have a more natural ending by itself.

Thanks for any response.

I ran into this interesting page on Mario by a great Polish fan:

https://lowiczanka.wordpress.com/2019/05/05/meraviglioso-mario-lanza/

HERE IS A TWO MINUTE PIECE THAT HAS A LOT TO SAY! IT CONTAINS SHORT EXCERPTS FROM THE NEW FILM "ELVIS" SHOWING LEAD ACTOR PLAYING ELVIS MENTION MARIO LANZA. MUCH OF THE SHOR HAS PHOTOS AND RECORDING CLIPS THAT HIGHLIGHT OUR MARIO!

I HAVE TO MAKE SOME VERY IMPORTANT CORRECTIONS TO MY POST BELOW. YOU SEE I GOT MY INFORMATION FROM WHAT I ASSUMED TO BE AN ACCURATE SOURCE. NADA. ONE BIG DIFFERENCE: ELVIS PRESLEY DID THE SINGING FOR MOST OF THE SONGS. AUSTIN BARBER, WHO PLAYED HIM, HAD SOME VOICE LESSONS AND DID A COUPLE OF SONGS HIMSELF EARLY ON. AT TIMES THE TECHNICIANS BLENDED HIS VOICE WITH THE REAL ELVIS. THE FILM HAS A FRENETIC PACE USING QUICK SHOTS, UNUSUAL ANGLES, AND QUICK ZOOMS. IT WAS DIRECTED BY BAZ LUHRMANN, WHO ALSO DIRECTED THE FAMOUS FILM "MOULIN ROUGE". A FAVORITE OF ANNA AND I, IT WAS EVEN MORE FRENETIC THAN "ELIVS". HE WASN'T ALWAYS ACCURATE AND TWISTED SOME INFORMATION TO SUIT HIS NEEDS. NO DOUBT ABOUT IT, TOM HANKS PRACTICALLY STEALS THE FILM WITH HIS WONDERFUL UNDERPLAYED ACTING. KUDOS ALSO TO THE GIRL WHO PLAYED PRISCILLA, ELVIS'S ONLY TRUE LOVE. HIS DAUGHTER LISA MARIE APPEARS AS A VERY YOUNG GIRL. I STRONGLY URGE ANY OF YOU, ELVIS FANS OR NOT, TO GO SEE THIS EXCELLENT FILM. BUT YOU HAVE TO BE QUICK SINCE THE MOVIE IS RAPIDLY LEAVING THEATERS. WARNER BROTHERS HAVE MADE ABOUT 179 MILLION DOLLARS AAT LAST COUNT, SO I'M SURE THEY ARE HAPPY!

MY WIFE AND I JUST CAME BACK FROM SEEING THE NEW MOVIE CALLED SIMPLY "ELVIS". I WAS PLEASED WHEN ELVIS WAS ASKED WHO WAS VERY POPULAR IN THE MUSIC BUSINESS AND HE SAID "MARIO LANZA"! IF YOU ARE AN ELVIS FAN I HIGHLY RECOMMEND THE MOVIE. THEY DID NOT USE ELVIS' REAL VOICE BUT THE ACTOR THAT PLAYED HIM WAS GIVEN VOICE LESSONS AND LEARNED VERY WELL HOW TO IMITATE HIM IN VOICE AND IN HIS UNIQUE WAY OF MOVING AROUND WHILE SINGING. A FEW SONGS WERE DONE WITH THE STAR HAVING HIS VOICE BLENDED WITH THE REAL ELVIS.

I AM REPEATING WHAT I SAID PLUS IMPORTANT MISSING PARTS THAT SOMEHOW GOT DELETED.

HERE GOES:

HEY GUYS, IT'S GETTING PRETTY LONESOME IN HERE. THERE IS NO ONE TO POST TO BECAUSE NO ONE IS POSTING BACK(EXCEPT ME). I KNOW JEFF HAS MADE THE FORUM COMPLICATED. BUT I AM HERE TO HELP YOU GET BACK ON. DEREK MCGOVERN TAUGHT ME HOW TO USE THE "NEW" SITE AND I WILL PASS IT FORWARD AND TEACH ANYONE WHO WANTS TO POST TO POST. REMEMBER WHAT MARIO SANG "THE SKY WAS BLUE AND HIGH ABOVE THE MOON WAS NEW AND SO IS LOVE, THIS ACHING HEART OF MINE IS SINGING"....

YOURS TRULY SINGS: "POSTERS COME BACK TO RENSE".

HEY GUYS, IT'S GETTING PRETTY LONESOME IN HERE. THERE IS NO ONE TO POST TO BECAUSE NO ONE IS POSTING BACK(EXCEPT ME). I KNOW JEFF HAS MADE THE FORUM COMPLICATED. BUT I AM HERE TO HELP YOU GET BACK. DEREK MCGOVERN TAUGHT ME HOW TO USE THE "NEW" SITE AND I WILL PASS IT FORWARD AND TEACH ANYONE WHO WANTS TO POST. REMEMBER WHAT MARIO SANG:"THIS ACHING HEART OF MINE WAS SAYING"

SAM SAYING: "WE WANT YOU TO COME BACK"!

WE NEED TO TAKE AN0THER HOP, SKIP, AND A JUMP. PAST THE SCENE WHERE MARIO IS TAUGHT BE KATHRYN HOW TO DANCE, PAST THE SCENE WHERE MARIO VISITS THE GRAYSON HOME AND IS SO PRIM AND PROPER THAT HE GETS UP, SITS DOWN, GETS UP AGAIN EVERY TIME KATHRYN THE LADY DOES SO. HEL TRIES TO MAKE SMALL TALK LIKE MENTIONING THE WEATHER. NIVEN CLEARS HIS THROAT AND MARIO SAYS "NOT CATCHING COLD I TRUST". WHEN HE LEAVES KATHRYN AND DAVID AGREE THAT THEY HAVE GONE TOO FAR IN CHANGING MARIO. THEY REHEARSE "MADAME BUTTERFLY" AND MARIO DRIVES NIVEN CRAZY AFTER HE TELLS MARIO TO GRAB THE GIRL AND THROW DOWN THE CIGARETTE. MARIO IS THE WIMP HERE AS HE JUST GIVES HER A PECK ON THE CHEEK AND LETS THE CIGARETTE MERELY SLIP OUT OF HIS HAND. TINA, PLAYED SO WELL BY RITA MORENO IN HER FIRST OR SECOND FILM ROLE TELLS MARIO HOW UNHAPPY SHE IS OVER HOW HE HAS CHANGED. MARIO ASKS HER SOMETHING LIKE"WOULD YOU HAVE ME"AND SHE CRIES AT HIM THAT SHE WOULD HAVE BEFORE BUT NOT NOW. THE LIGHT BULB GOES OFF IN OUR BOY'S HEAD AFTER THEY LEAVE AND AFTER SHE DOES WHAT SHE HAS DONE A COUPLE TIMES IN THE MOVIE BY JUMPING INTO THE ARMS OF HER MAN AND SAYING "PIERRE CATCH" AS SHE IS THROWN UP IN THE AIR. RITA MORENO IS A MAJOR TALENT AND NOW IN HER EARLY NINETIES IS STILL MAKING MOVIES AS HER APPEARANCE IN THE NEW "WEST SIDE STORY" PROVES. YOU HAVE TO STOP AND THINK HOW GREAT IT WOULD HAVE BEEN IF SHE HAD GIVEN ONLY TEN YEARS OFF HERS TO MARIO AND THEN WE MIGHT HAVE HAD SO MANY MORE MARIO LANZA MOVIES AND SONGS AND ARIAS.THE PHOTO HERE SHOWS THE FINAL ARIA BEING SUNG WITH MARIO NOW BECOMING THE LOTHARIO WHO TAKES COMMAND. HE KISSES HER HARD AND THROWS HIS CIGARETTE DOWN WITH GUSTO. THE ARIA ENDS AND MARIO STARTS CHASING KATHRYN AROUND THE SET IN BETWEEN BOWS TO THE AUDIENCE. AFTER ABOUT TWO OR THREE TIMES MARIO IS SOMEWHAT DISORIENTED BUT UNCLE NICKY POINTS TO THE BRIDGE WHERE GRAYSON WAS LAST SCENE AND MARIO WAVES HIS THANKS AND GOES OVER THE BRIDGE. GRAYSON GOES UP TO HER ROOM AND LOCKS THE DOOR. MARIO BREAKS DOWN THE DOOR, LOOKS AT KATHRYN AND THEY KISS AND THE END CREDITS COME UP FOLLOWED BY THE CREDITS FOR THE CAST. AND THIS ENDS MY WALK DOWN MEMORY LANE FOR "THE TOAST OF NEW ORLEANS".

SORRY ABOUT THAT LAST PHOTO. I GUESS I SHOULD NOT BE WRITING AND UPLOADING PHOTOS AT 1:30 AM!! SO, "LET ME TRY AGAIN" (WHICH HAPPENS TO BE THE SONG FRANK SINATRA SANG AFTER HE CAME OUT OF HIS SELF IMPOSED EARLY RETIREMENT). BUT BACK TO TONO.

THIS PHOTO IS OUT OF SEQUENCE. IT COMES AFTER MARIO HAS CONVINCED KATHRYN TO PADDLE DOWN THE RIVER AND HAVE LUNCH TOGETHER. SHE ENJOYS IT AND THEY SING "THE BAYOU LULLABY", A SWEET SONG SUNG AS A DUET WHILE MARIO PADDLES. THERE IS AN AWFUL SHOT RIGHT IN THE MIDDLE OF THE SONG THAT IS A LONG SHOT AND IT IS SO OBVIOUS THAT NEITHER MARIO OR KATHRYN ARE IN THE BOAT BUT RATHER STAND-INS. HE GOES TO KISS HER AND SHE IS WILLING BUT THEN SHE SAYS SOMETHING LIKE "WE SHOULDN'T DO THIS" AND MARIO KISSES HER AGAIN REGARDLESS AND GETS HIS FACE SLAPPED AND IS PUT DOWN VERY BADLY WHEN KATHRYN TELLS HIM SHE KNEW FROM THE FIRST TIME SHE SAW HIM THAT HE WAS LOW GRADE AND WOULD NEVER CHANGE. OUR PHOTO HERE IS THE NEXT DAY (I THINK) WHEN MARIO SEEKS ADVICE FROM DAVID NIVEN SAYING "DO YOU KNOW A BETTER WAY TO TELL A GIRL YOU LOVE HER THAN BY KISSING"? NIVEN SAYS HE PROBABLY SCARED HER. NIVEN'S HOLD ON KATHRYN IS SLIPPING. REALISTICALLY A MAN IN HIS POSITION SHOULD HAVE JUST BEEN DONE WITH MARIO BUT HIS GREAT LOVE FOR KATHRYN OVERCOMES HIS REAL WORLD SENSIBILITIES. HOWEVER THIS ISN'T REAL LIFE, IT IS A MOVIE.

MORE PLOT COMPLICATIONS FOLLOW WITH SCENES LIKE THEM EATING AT "DOMINIQUES", ONE OF THE FINEST RESTAURANTS IN NEW ORLEANS. THEY ARE SERVED SHRIMP ON ICE BUT ONE WHIFF BY MARIO AND UNCLE NICKY IS PROOF THAT THESE ARE NOT SHRIMP TO EAT, THEY ARE SHRIMP THAT SHOULD BE THROWN BACK TO GET BIGGER AND BETTER SHRIMP. SO, BEFORE NIVEN AND KATHRYN HAVE A CHANCE TO EAT, THE CHEF TAKES ALL THEIR DISHES AWAY IN DISGUST. AGAIN, DUE TO LACK OF MORE PHOTOS, I MUST JUMP AHEAD TO THIS SCENE WHERE MARIO IS NOW A MAN OF THE WORLD AND HAS PROVEN TO EVERYONE (ESPECIALLY KATHRYN) THAT HE IS WORTHY. SHE WEARS A LOVELY RED GOWN. LET ME SAY HERE THAT HER COSTUMES IN TONO ARE EXCEPTIONAL. THEY MAY HAVE BEEN DESIGNED BY MGM COSTUMER EDITH HEAD BUT I AM NOT SURE OF THIS. LET ME ALSO SAY THAT IN PROJECTING THIS MOVIE I DISCOVERED THAT THE TONO DISC IS EXCELLENT. SO MUCH SO THAT I CAN SAFELY SAY THAT IT IS ONLY ONE STEP BELOW THE NEW "GREAT CARUSO" THAT WAS STRUCK RIGHT FROM THE ORIGINAL NEGATIVE. (MOST FILM TRANSFERS ARE TAKEN FROM THE BEST 35MM PRINT THAT CAN BE FOUND IN THE STUDIO"S VAULTS) FILMS LIKE "BECAUSE YOU'RE MINE", "SEVEN HILLS OF ROME", AND "FOR THE FIRST TIME" FALL INTO THIS CATEGORY. THE LAST TWO FILMS DO SHOW BETTER QUALITY THAN EXPECTED BUT THEY BOTH SUFFER A BIT FROM LOTS OF LITTLE WHITE SPECS THAT COME AND GO. THIS IS DIRT IN THE NEGATIVE THAT SHOULD HAVE BEEN BETTER CLEANED.

UNFORTUNATELY I LOST SOME OF THE PHOTOS SO I IMUST JUMP TO HERE WHERE MARIO IS REHEARSING WITH THE MAESTRO AND GRAYSON IS ALSO. THERE IS A NICE MONTAGE OF THE TWO SINGING THEIR ARIAS SEPARATELY.LET ME SAY HERE THAT KATHRYN GETS MORE SCREEN TIME IN TONO BY FAR WHEN COMPARED TO "THAT MIDNIGHT KISS". ANTHONY MANN IN "SERENADE" GAVE SARITA MONTIEL EXTRA SCREEN TIME SINCE THEY BECAME LOVERS IN REAL LIFE. NOT SO IN TONO! THE PLOT BEFORE THIS PHOTO HAS MARIO LEARNING HOW TO EAT WITH THE PROPER UTENSILS. HE SINGS "I'LL NEVER LOVE YOU", A FAIRLY NICE SONG DONE AT THE DOOR HE BELIEVES KATHRYN IS STANDING BEHIND. LANZA ACTS THE PART OF PECK'S BAD BOY AT THE CIRCUS AS HE TOYS WITH THE MAN CHOSEN TO TEACH LANZA THE "SOCIAL GRACES". MARIO ASKS WHY USE ONE FORK OR ANOTHER AND THE TEACHER IS RUFFLED BADLY. HE TELLS MARIO THAT "AS I'VE TOLD YOU MANY TIMES, YOU ARE NOT DRESSED YOU ARE COVERED". BIG LAUGH. KATHRYN OUTSMARTS MARIO BY NOT COMING THROUGH THE DOOR MARIO BELIEVED HER TO BE AT BUT COMES FROM ANOTHER ENTRANCE. SO MARIO SITS DOWN AND STARTS EATING DESSERT WITH THE WRONG FORK. I BELIEVE KATHRYN ASKS WHY HE IS USING THE WRONG FORK AND MARIO TELLS HER "BECAUSE THAT'S WHAT I AM EATING FIRST". HA, HA.

WE ALL KNOW WHAT HAPPENS AFTER THE DUET. UNCLE NICKY IS VERY UPSET AS THEIR BOAT CRASHES INTO THE DOCK AND THEY END UP ON THE WRONG SIDE. NAISH IS SO UPSET THAT HE WANTS TO HIT MARIO BUT MARIO TELLS HIM HE LOVES HIM TO PUT HIM IN HIS PLACE. THEY GO TO SEA AND A BAD STORM APPROACHES. THE STOCK FOOTAGE OF LIGHTNING IS ADEQUATE. MARIO TRIES HIS BEST TO KEEP THE BOAT AFLOAT BUT THE MAST CRACKS IN HALF AND HE IS THROWN INTO THE SEA. SEQUE TO A LONELY SHOT OF THE TWO MEN WALKING TO THS SHORE ARM IN ARM WITH NO ONE ELSE NEAR THEM. SEQUE AGAIN TO MARIO TAKING UP NIVEN'S PREVIOUS OFFER TO GO TO NEW ORLEANS TO SING IN THE OPERA BECAUSE THEY SIMPLY NEED MONEY FOR A NEW BOAT. THEY WALK BACKSTAGE AND FROM THE WINGS MARIO SEES KATHRYN WITH A BLONDE WIG. HE IS AMAZED AT HOW HER HAIR COLOR HAS CHANGED. NIVEN QUIETS THEM DOWN AND PUTS THEM IN A FRONT ROW SEAT. SO WE HAVE NIVEN, THEN MARIO, THEN UNCLE NICKY. SOON THERE COMES MY FAVORITE LINE IN THE WHOLE MOVIE. UNCLE NICKY IS TO TONO AS VINCENT PRICE IS THE "SERENADE". THEY ARE BOTH SCENE STEALERS. MARIO SEES KATHRYN SINGING WITH A VERY ROTUND TENOR. MARIO LEANS OVER AND ASKS WHAT THEY ARE SAYING/SINGING. NIVEN TELLS THEM THAT THE TENOR IS SINGING TO GRAYSON TELLING HER THAT IF SHE DOESN'T LOVE HIM HE WILL CUT HIS THROAT. READY? UNCLE NICKY SAYS "HE SHOULD". THE LINE GETS ME EVERY TIME I HEAR IT. YOU CAN'T HELP BUT LAUGH. THE NEXT MORNING NIVEN ARRANGES TO HAVE MARIO SING FOR THE MAESTRO. HE STARTS DOING SCALES IN THE LOWEST REGISTER MARIO HAS. HE PROCLAIMS HIM A BARITONE, BUT NIVEN CORRECTS HIM SAYING "TENOR MAESTRO". THEN COMES ONE OF THE VERY FEW TIMES IN LANZA FILMS THAT THE SINGING IS LIVE (NOT DUBBED IN). HE SOARS TOWARD A TOP NOTE AND THEN GOES UP EVEN HIGHER WHILE THE CHANDELIER SHAKES. UNCLE NICKY SINGS A HIGH NOTE (AWFUL!) AND SIMPLY WALKS AWAY. THIS SHOT SHOWS THE MAESTRO AT WORK WITH MARIO GIVING HIM INSTRUCTION. HE TELLS NIVEN THAT MARIO IS AN AMAZINGLY QUICK STUDY.

THE MAYOR HAS INVITED KATHRYN TO SING. HE IS A COMIC FIGURE SINCE HIS HAT KEEPS FALLING OFF EVERY TIME HE STARTS INTO HIS SPEECH "I AM THE ONLY ONE OF ALL OF YOU WHO HAS HEARD MADAME AT THE OPERA". THE CROWD CHIDES HIM TO SHUT UP AND HE DOES. HE BEGS KATHRYN TO SING AND SHE LOOKS NEGATIVE BUT NIVEN SAYS SHE WILL. SHE GOES INTO A NICE OPERATIC ARIA. MARIO IS STILL INTENTLY WATCHING HER. YOU CAN FEEL HIS SEXUAL APPETITE INCREASING! NOTE THAT THE COLORS ARE RICH AND VIBRANT. THAT IS DUE TO MY NEWER 8 POUND PROJECTOR THAT COSTS ONLY 1,200.00, VERY CHEAP AS VIDEO PROJECTORS GO. MY OTHER PROJECTOR IS 25 POUNDS AND COSTS 3,500.OO. THE MAYOR ANNOUNCES "BE MY LOVE" AND KATHRYN DRESSED IN A STUNNING YELLOW AND WHITE OUTFIT WITH A LARGE SHAPELY HAT STARTS TO SING THE ARIA. AFTER A FEW LINES, MARIO BOLDLY WALKS OVER TO THE STAGE AND INSERTS HIMSELF INTO THE ARIA. AT FIRST GRAYSON LOOKS ANGRY BUT THEN AS SHE HEARS MARIO'S GOLDEN NOTES, SHE NODS TO NIVEN, GIVING A LOOK OF "HMMM, HE IS GOOD". MARIO OUTDOES HER ON SOME NOTES WHILE SHE FINISHES WITH THE TOP NOTE AND MARIO'S NOTE IS IN HARMONY.

HERE IS MARIO STANDING AMONG THE CROWD OF PEOPLE AS KATHRYN GRAYSON AND DAVID NIVEN APPROACH IN THEIR CAR. UNCLE NICKY SAYS KNOWS ABOUT CARS, ESPECIALLY THE FOG HORN THAT HE BLOWS. MARIO TELLS HIM "I'VE HEARD"ACTING LIKE HE KNOWS ABOUT SUCH VEHICLES.

I AM BACK AGAIN FOLKS. NOW I AM STARTING THE "TOAST OF NEW ORLEANS" PROJECT I ALLUDED TO. THIS FILM IS THE ONLY LANZA FILM WHERE MARIO SINGS ABOVE THE CREDITS. I BELIEVE SOME OLD VHS TAPES OF "SERENADE" HAD HIM SINGING ABOVE THE CREDITS AS WELL. THE SHOT OF MARIO IS AFTER THE LOGO, AFTER THE CREDITS, AND AFTER THE NARRATOR FINISHES HIS LITTLE TALK ABOUT THE BAYOO.

I REALIZED I FORGOT TO TELL YOU GUYS TO CLICK ON THE PHOTO TO SEE IT MUCH LARGER AND WITH MORE CLARITY!

SORRY FOR THESE TESTS FOLKS, BUT IT WILL BE WORTH THE TRIALS WHEN YOU SEE WHAT I HAVE IN STORE FOR ALL OF YOU REGARDING SOME INTERESTING FACTS ABOUT "THE TOAST OF NEW ORLEANS". THE PHOTO HERE FITS IN WITH MARIO SINCE HE (AND CARUSO) RECORDED FOR RCA VICTOR. THIS IS A PHOTO OF A FIFTIES SIGN THAT I JUST RESTORED. THE SIGN WAS SITTING AROUND THE HOUSE FOR YEARS SINCE NEITHER OF MY TWO ELECTRONICS CHAPS WANTED TO TOUCH IT SINCE THE WIRES WERE EVERYWHERE INSIDE AND THERE WAS NO WIRING DIAGRAM. I HAD A BRAINSTORM AND CUT OUT ALL THE WIRES, THE BURNT OUT (AND SMELLY) BALLAST. DROVE TO HOME DEPOT AND BOUGHT A 7 INCH 40 WATT TUBULAR BULB THAT IS SOMEWHAT LIKE A BIG FAT CIGAR AND BOUGHT A SOCKET TO MATCH. ADDED A NEW ON-OFF SWITCH AND VOILA---MY BEAUTIFUL LAMP WORKS LIKE A CHARM. THIS IS A VALUABLE PIECE (ESTIMATED TO BE WORTH 800.00) SO I WILL ENJOY IT AND CARE FOR IT NOW.

ANOTHER TEST

TESTING TINALINA

The Electrifying Mario Lanza CD is available from the Lanza Museum for $12 +$5 shipping. USA orders only. If you scroll down aways, you will see my post with ordering information. Best always, Bill

HELLO FOLKS. IF YOU ARE LIKE ME YOU CAN'T WAIT TO HOLD IN YOUR HANDS THE LATEST MARIO LANZA CD THAT IS THE ELEVENTH FROM THE SEPIA RECORDS GROUP IN ENGLAND.

I WOULD LIKE TO DEDICATE MY REVIEW TO OUR FRIENDS WHO WORKED LONG AND HARD TO BRING THIS CD TO FRUITION. THEY INCLUDE DEREK MCGOVERN, ARMANDO CESARI, VINCE DI PLACIDO, AND BILL RONAYNE. I HOPE I HAVEN'T LEFT ANYONE ELSE OUT.

THE DISC IS ENTITLED: "THE ELECTRIFYING MARIO LANZA: RARITIES AND RESTORED RECORDINGS. I HAVE NOW LISTENED TO THE DISC TWICE AND AM VERY, VERY HAPPY WITH IT. THE BEST PERSON TO ORDER IT FROM IS BILL RONAYNE, WHO HAS COPIES IN HIS HOME THAT CAN BE MAILED IMMEDIATELY AFTER HE RECEIVES PAYMENT. IT COSTS 17.00 PLUS 5.00 SHIPPING FOR A TOTAL OF 22.00. CHECKS SHOULD BE MADE OUT TO THE "MARIO LANZA INSTITUTE". IF PAYING BY PAYPAL YOU ARE SAVING TIME IT WOULD TAKE FOR YOUR CHECK TO ARRIVE. THERE ARE THREE OTHER WAYS TO PROCEED BUT I PREFER GOING WITH THE LANZA MUSEUM AS THEY NEED ALL THE CONTRIBUTIONS PEOPLE MAKE. THE SECOND OTHER METHOD IS AMAZON.COM. THEIR PRICE IS CHEAPEST AT ONLY 10.00 IF YOU HAVE PRIME THERE IS NO SHIPPING FEE. I ASSUME REULAR SHIPPING WOULD BE ABOUT 4.00 AND THEY WILL NOT SHIP UNTIL THE OFFICIAL DATE OF SEPTEMBER 5TH. FINALLY, YOU CAN ORDER IT DIRECT FROM SEPIA RECORDS BUT THE SHIPPING IS VERY SLOW AND THEIR COST IS ABOUT 12.00 AND A FEW DOLLARS FOR SHIPPING.

I WANT TO SAY ONE THING FIRST AND THAT IS THAT THE LOOK OF THE CD IS WONDERFUL. MARIO'S IMAGE IS ONE SHOWING HIS HAPPINESS. INSIDE THE CASE THERE ARE MORE PHOTOS AND THE BOOKLET HAS PHOTOS TOO. IT ALSO HAS A HISTORY OF LANZA AS WELL AS THE TRACK LISTING AND EVALUATIONS WRITTEN BY DEREK MCGOVERN. HIS EVALUATIONS ARE HELPFUL AND ELUCIDATING. HE WRITES ABOUT MARIO JUST ABOUT BETTER THAN ANONE ELSE.

NOW ONTO MY REVIEW. I LISTENED TO THE CD TWICE ALREADY AND HAVE A GOOD FEEL FOR IT. A QUICK SUMMARY IS THAT IT IS EXCELLENT FROM START TO FINISH AND IS TOTALLY ENTERTAINING.

1-"YOURS IS MY HEART ALONE": THIS IS AN INTERESTING CHOICE TO START OUR ADVENTURE DELVING INTO THIS CD. IT IS NOT A NEW SONG AND HAS APPEARED ON OTHER CDS AND LPS. IT IS HAPPILY "COMFORTABLE" AS A RESULT AND YOU REALIZE RIGHT OFF THE BAT THAT THE SOUND HERE IS BETTER THAN ON ANY OTHER MEDIUM AND THE AWARD FOR THIS GOES TO THE ENGINEERS OF SEPIA RECORDS WHO ALWAYS DO A REMARKABLE JOB MAKING MARIO'S SINGING THE BEST IT CAN BE. THE SONG IS A HIGH ENERGY ONE WHICH MARIO SINGS VERY WELL.

2-"A PRETTY GIRL IS LIKE A MELODY":THIS TRACK JUMPS BACK 10 YEARS FROM THE PREVIOUS ONE PUTTING IT IN 1946. THE RECORDING SHOWS ITS AGE BUT THE PERFORMANCE IS PRIME EARLY LANZA.

3-"BECAUSE": BETWEEN THIS VERSION AND THE ONE HEARD ON "THE GREAT CARUSO", I FIND THIS ONE THE MORE APPEALING AS THE TENOR BRINGS MORE GUSTO TO IT. OF COURSE THERE IS NOTHING AT ALL WRONG WITH THE MOVIE VERSION THAT GIVES THE AUDIENCE A GLIMPSE INTO HOW ENRICO CARUSO REALLY RECORDED AND THE EQUIPMENT INVOLVED. I WONDER IF THERE IS A THIRD VERSION OUT THERE?

4-"ALL THE THINGS YOU ARE": THIS IS SIMPLY A MARIO LANZA MASTERPIECE. WE HEAR OUR TENOR SING THIS SONG AS NO ONE ELSE EVER DID. HE USES HIS "SOFT PEDAL" THROUGHOUT MAKING THIS A MOST DELICATE SONG TO HEAR. IT ORIGINALLY APPEARED IN THE MGM CD THAT HAD A BRIEF RUN BEFORE LEGALLY SHUTTING DOWN. AND THAT ALSO MEANS WE WILL LIKELY NEVER SEE A PART TWO WHILE THE STUDIO SITS ON WHO KNOWS HOW MANY OTHER NEVER RELEASED PIECES. OUT OF ALL THE RECORDINGS QUALITY WISE THIS IS THE ONLY ONE THAT IS A TINY BIT LESSER THAN THE REST SINCE IT STRANGELY HAS A SMALL BIT OF HISS. THIS OF COURSE MEANS PRACTICALLY NOTHING AS THE SHEER GREATNESS OFF IT TRUMPS ALL. NOTE THAT IT WAS CUT FROM THE MGM FILM "BECAUSE YOU'RE MINE". THE RECORDING EARNED MARIO HIS THIRD GOLD RECORD. HE WON THREE GOLD RECORDS IN ALL, A FEAT THAT CAN BE ADMIRED SINCE CLASSICAL ARTISTS RARELY HAVE THAT HONOR.

5-"LEE-AH-LOO": THIS STRANGE TITLE BRINGS US A NICE AND EASY APPROACH FROM MARIO RIGHT INTO OUR LAPS. THIS RECORDING IS BETTER SOUNDING THAN THE FILM SOUNDTRACK. THIS COMES IN THE SCENE WHERE SERGEANT BATTERSON (PLAYED BY THE GREAT ACTOR JAMES WHITMORE) CATCHES A GLIMPSE OF HIS SUPERIOR OFFICER AND PRETENDS HE IS ENGROSSED BY HIS DATE PATTY. DON PORTER APPROACHES HIM AND WHITMORE TELLS HIM TO GO AWAY UNTIL THE CAPTAIN RUSTLES HIM TO ATTENTION. WHITMORE APPEARS TO BE TOTALLY UNAWARE THAT HIS BUDDY MARIO IS SINGING AND RUNS OVER TO HIM AND BERATES HIM ONLY BECAUSE PORTER IS WATCHING. HE MAKES A FACE THAT IS PRICELESS WHILE POINTING TO THE CAPTAIN AND THEN TELLS LANZA HE WILL BE CHASTISED LATER. THE SONG ITSELF IS A DELIGHT AND INCLUDES ONE OF THE RATHER FEW TIMES WE SEE THE TENOR DANCE ON SCREEN.

6-"WHERE OR WHEN": THIS GREAT SONG WAS COMPOSED BY FAMED RICHARD ROGERS AND LORENZ HART. I USED TO SING THIS SONG WHEN MY WIFE AND I ENTERTAINED AT SENIOR CENTERS AND IT ALWAYS RECEIVED GENEROUS APPLAUSE. THE SAME APPLAUSE BELONGS TO MARIO. IT BUILDS TO A VERY FINE ENDING.

7-"LOOK FOR THE SILVER LINING": THIS IN GENERAL IS A SONG THAT DESERVES MORE PLAY THAN IT GETS. I HAVE NOT HEARD IT SUNG BY PRACTICALLY ANY OTHER VOCALIST. THE TITLE IS WELL DESERVED AND LEAVES THE LISTENER WITH A WARM FEELING. I STOP HERE TO POINT OUT HOW FORTUNATE I HAVE BEEN TO HAVE HEARD SO MANY GREAT SONGS INTRODUCED TO ME BY MARIO LANZA. MY WIFE WILL TELL YOU HOW MANY TIMES A SONG BY ANOTHER VOCALIST WILL BE PLAYED ON THE RADIO OR VIA A RECORD AND YOURS TRULY STARTS SINGING THE WORDS!

8-"MY BUDDY": LONG A FAVORITE OF MINE, THIS SONG COULD COME OFF AS CLOYING IN HE HANDS OF OTHER ENTERTAINERS. WITH MARIO IT IS SIMPLY EMOTIONALLY APPEALING AND BEAUTIFULLY SUNG. I USED THIS SONG ONCE WHEN ONE OF MY BEST FRIENDS WAS SERVING TIME IN GERMANY FOR THE ARMY. HE LOVED MY CHOICE OF MUSIC TO LISTEN TO AS WE TALKED BACK AND FORTH BY WAY OF A 3 INCH REEL TO REEL TAPE SENT VIA POST OFFICE.

9-"FOOLS RUSH IN": HERE IS A SONG WITH PRACTICALLY NO ORCHESTRAL START. MARIO SINGS WITH PASSION BUT QUIETLY AND JUST IN CASE YOU ARE LULLED INTO SLEEP, THE LANZA VOICE WILL WAKE YOU UP WITH AN ENDING SUPREME.

10-"YOU ARE MY LOVE": ACCORDING TO CONSTANTINE CALLINICOS IN HIS FINE BIOGRAPHY (THE FIRST EVER) OF MARIO, COSTA NOTES THAT HE COMPOSED THE PIECE AND ASKED LANZA QUITE A FEW TIMES TO RECORD IT BEFORE THE TENOR GAVE IN AND PRODUCED IT. THIS IS OUR PLEASURE AS IT IS A NICE TUNE AND IS SUNG IN A HEARTFELT MANNER. IT DOES NOT APPEAR ON VERY MANY LANZA CDS.

11-"CALL ME FOOL": THE KEY CHOSEN FOR THIS SONG PUTS IT IN A HIGH TESSITURA. THAT NEVER STOPPED MARIO (JUST AS HE SANG THE ALTERNATE "SERENADE" IN HIS MOVIE BY THAT TITLE).TO ME THIS IS A MINOR SONG. I FIND SOME OFTHE WORDS STRANGE AS THE SINGER IS ASKED TO SAY PHRASES LIKE "BUT FOOLS ARE HAPPY WITH HALF" AND SO ON. I HAVE NOTHING ELSE TO SAY ABOUT THE WORK.

12-"COME DANCE WITH ME": MY FAVORITE TRACK ON THIS CD. DEREK M. TELLS US THAT IT WAS MARIO'S VERY LAST RECORDING IN AMERICA BEFORE HE HEADED TO THE SUNNY SHORES OF ITALY. I WONDERED WHY THE PRODUCERS OF HIS 1957 MOVIE "THE SEVEN HILLS OR ROME" HAD MARIO RECORD THE SONG AGAIN AND NOW I THINK I KNOW WHY. THE AMERICAN RECORDING IS ROBUST AND INTENSE. IN THE MOVIE THE SONG IS SET IN A COZY ATMOSPHERE THAT PUTS MARIO IN THE CENTER OF GIRLS WHO LOOK VERY HAPPY. LISTENING TO HIM. HE DANCES WITH ONE CHOSEN WHILE HIS CO-STAR IS NOTICEABLY FEELING LEFT OUT. SHE WANTED TO BE THE ONE MARIO CHOSE TO DANCE WITH. ALSO HE SINGS THE SECOND CHOICE VERSION SWEETLY AND THAT IS APPROPRIATE IN THE SETTING.

13-"ONLY A ROSE": THIS IS THE 1959 VERSION. WHEN I SAW IT IN THE PROGRAM I WINCED A BIT BECAUSE MANY OF MARIO'S RECORDINGS WITHIN THAT YEAR ARE OFTEN BOTH POORLY RECORDED AND FIND LANZA LACKING ENERGY. TO MY DELIGHT IT SOUNDS VERY GOOD. MAYBE I SHOULD GO PLAY MORE FROM THE ORIGINAL ALBUM. BUT THEN AGAIN THEY WOULD NOT HAVE THE SEPIA RECORDS TREATMENT. WHEN SPEAKING TO DEREK, I ASKED HIM TO NAME SOME OF THE BEST AND MOST GLORIOUS B FLATS MARIO HAS EVER SUNG. THIS IS ONE. EVEN BETTER IS THE B FLAT IN THE ROYAL ALBERT HALL "BECAUSE YOU'RE MINE". AND FINALLY, AND GREATEST OF ALL, MY TAKE-IT-TO-A-DESERT-ISLAND B FLAT IS THE "ONLY A ROSE" ON THE "CAVALCADE OF SHOW TUNES" LP OR CD. CHILLS EVERY TIME!

14-"MATTINATA": IN "THE GREAT CARUSO" THIS ARIA WAS SUNG OUTDOORS AND A CAPELLA. AND IT ISN'T BAD. BUT WITH A FULL ORCHESTRA BEHIND HIM MARIO SHINES. A CLASSIC ITALIAN NEAPOLITAN SONG.

15-"MARECHIARE": IN THIS VERSION OF THE SONG MARIO IS SPEEDY. I AM NOT SURE WHAT THE IDEAL SPEED WOULD BE. BUT NO MATTER WHAT THE SPEED, I AM HAPPY TO HAVE THIS NEAPOLITAN SONG TO ENJOY. THE SINGING IS EXCELLENT.

16-"SENZA NISCIUNO": THIS COMES FROM THE "CARUSO FAVORITES" ALBUM THAT MANY FEEL IS NOT ONE OF MARIO'S BETTER ALBUMS. THAT BEING SAID, LISTEN TO HOW GOOD IT SOUNDS HERE AND YOU WILL WANDER IF OTHER SONGS FROM THE ALBUM WOULD BE AS APPEALING IF GIVEN THE SEPIA TREATMENT!. VERY WELL SUNG AND IT VIES WITH ENRICO CARUSO'S THRILLING RECORDING OF IT.

17-"DIO TI GIOCANDI": YOU'D BE HARD PRESSED TO FIND MORE DUETS WITH LICIA ALBANESE. SHE LOVED MARIO FROM THE TIME THEY FIRST MET UNTIL WELL AFTER HIS DEATH. AT ONE OF THE LANZA BALLS SHE SANG AN ARIA FULL VOICE, PROVING TO PEOPLE SHE STILL HAD "IT". THIS IS A VERY LONG ARIA AND A WORK THAT SHOULD BE PRIZED. BOTH ARE IN VERY FINE VOICE AND DO NOT HOLD ANYTHING BACK. IF YOU LISTEN CLOSELY YOU WILL HEAR MADAME ALBANESE BREATHING HARD AND HEAVY. THIS OF COURSE ADDS TO THE DRAMA. PERHAPS WE CAN LIKEN THE PERFORMANCE TO THE CARUSO-RUFFO "SI PEL CIEL WHERE THE TENOR AND THE BARITONE SEEM TO BE TRYING TO OUTDO THE OTHER. MORE THAN ANY OTHER TRACK ON THIS CD, IT EARNS THE TITLE "ELECTRIFYING"!!

18-"DIO MI POTEVI": THIS IS MARIO SUPREME WHETHER IN AN ARIA OR A SONG. AS AN ARIA OF NOTE (MOST FEEL IT IS LANZA AT HIS VERY BEST) I HAVE AND WLL BE LISTENING TO THIS ARIA OFTEN. IT CERTAINLY IS A LANZA CLASSIC. BY THE WAY, IN THE MOVIE THIS ARIA APPEARS IN ("SERENADE") THE DIRECTOR HAD MARIO SINGING IN A TYPICAL POSE BUT LATER
ON HE SHOOTS LANZA FROM BELOW, MAKING MARIO APPEAR ALL THE MORE MENACING AND PASSIONATE. THAT SURE SUITS THE MEANING OF THE PIECE. (SPECIAL NOTE TO DEREK: I TOLD HIM UPON MY FIRST HEARING THAT THE FINAL GORGEOUS NOTE WAS SOMEWHAT MUTED. I WAS PROVEN WRONG WHEN I LISTENED TO IT A SECOND TIME.)

THE BONUS TRACKS WE HAVE COME TO EXPECT IN SEPIA RECORDS STARTS HERE WITH--

19-"LA FLEUR QUE TU M'AVAIS JETEE": IN GENERAL I AM NOT A FAN OF ARIAS SUNG IN FRENCH BECAUSE THEY DON'T SOUND AS PRETTY AS THEY WOULD IN ITALIAN. HERE I DON'T MIND AS MARIO'S RENDITION IS VERY FINE AND THE ENDING IS MOVING.

20-"TESTA ADORATA": I REMEMBER GOING TO SAM GOODY, A PHILADELPHIA ONCE GREAT RECORD STORE, AND PURCHASING THE ALBUM CALLED "HIS FAVORITE ARIAS". THAT LP IS WHERE THE PIECE WAS FIRST RELEASED AMONG THE BACKLOG OF SONGS RCA HAD IN THEIR VAULTS WAITING FOR THE RIGHT TIME TO PRESS THE LP. THE ARIA HOLD UP VERY WELL AS WE HEAR MARIO SING "AS IF IT WERE THE VERY LAST NOTE ON EARTH", IN THIS CASE MEANING "ELECTRIFYING" ONCE MORE.

22-"SERENADE": FROM THE "THE STUDENT PRINCE" OF THE 1959 RECORDING (MARIO SANG THIS IN THE EARLY FIFTES ALBUM OF THE SAME WORK), HE IS HEARD WITHOUT THE CHORUS SO YOU GET PURE LANZA. THE SOUNDTRACK OF THE 1953 MOVIE INCLUDES IT. CRITICS HAVE LONG FELT THAT MARIO'S SINGING IN THE FILM IS SINGING SUPREME. I AM GOING TO STEP OUT ON A LIMB AND SAY SOME OF HIS SONGS SOUND TO ME LIKE "LANZA LITE". NOT ALL, BUT SOME. THE GREAT ONES ARE EASY TO PICK OUT AND MY FAVORITE IS ONE NOT WRITTEN BY COMPOSER SIGMUND ROMBERG. THAT IS "BELOVED". ADD TO THAT ANOTHER NON ROMBERG "I'LL WALK WITH GOD". THEY ARE BOTH EXCELLENT AND FEATURE RICH SINGING. ONE SONG WRITTEN BY ROMBERG DISAPPOINTS. THAT IS "DRINK, DRINK, DRINK". THIS SHOULD BE "MEATY" AND RICH BUT ALAS IT IS NOT. EVEN THE TWO HIGH NOTES ARE LESSER. OKAY, I HAVE SAID IT, AND NOW I AWAIT CRITICISM.

23-"SILENT NIGHT": A CHRISTMAS SONG ON AN ALBUM NOT CHRISTMAS ORIENTED AT ALL? THIS IS AN ODD CHOICE. PERSONALLY, I LOVE TO HEAR CHRISTMAS CAROLS ANY TIME OF YEAR. FRANK SINATRA OWNS THE MANY CAROLS ON HIS EARLY RELEASE OF THEM. IT IS IN MY CAR'S CD SYSTEM AND I ALWAYS LOOK FORWARD TO HEARING THEM. I HAVE FELT THAT MARIO IS NOT SHOWCASED WHEN DOING CAROLS WITH THE EXCEPTION OF ONE FANTASTIC PIECE. THAT IS "THE LORD'S PRAYER". WOW, WHAT SINGING. OKAY, I KNOW THAT THERE IS ALSO AN EXCELLENT "LORD'S PRAYER" IN "BECAUSE YOU'RE MINE" BUT THAT ONE IS SUNG MORE SOFTLY AND I THINK APPROPRIATE SINCE MARIO IS IN CHURCH SINGING IT.

24- "CIELO E MAR": ALAS WE HAVE COME TO THE END. CAN I YELL "MORE, MORE"? IT IS A UNIQUE WAY TO END THE CD AS THERE IS A SHORT PIECE OF LANZA SPEAKING AND THEN THE ARIA STARTS NEAR THE LAST THIRD. BUT IN ADDITION TO THE INSPIRING SINGING WE HAVE ANOTHER GREAT HIGH NOTE AS MARIO AND YOURS TRULY SAY GOOD BYE!

Sam: Click on choose file and you should be able to upload a photo. Best, Bill

I HAVE SOME INTERESTING THINGS TO SAY ABOUT "TOAST OF NEW ORLEANS" BUT NEED TO HAVE PHOTOS I TOOK TO SUPPORT MY TEXT. WILL SOMEONE PLEASE TELL ME HOW TO UPLOAD PHOTOS TAKEN FROM MY IPHONE AND THEN TRANSFERRED VIA EMAIL TO MY COMPUTER. I WILL WAIT AND SEE!

I HOPE YOU ALL ORDER THE NEW SEPIA CD FROM BILL RONAYNE AT THE LANZA MUSEUM. IT IS 12.00 PLUS 5.00 SHIPPING. I CAN'T WAIT SINCE THERE ARE MANY NEW RECORDINGS AND MANY RESTORED ONES THAT SOUND MUCH BETTER THAN WE ARE USED TO. IF YOU WANT TO SEE DEREK MCGOVERN'S FULL INFORMATION ABOUT IT GO HERE:
https://www.mariolanzatenor.com/news THERE ARE SEVERAL WAYS TO BUY ONE 1-FOR SPEED AND SUPPORTING THE LANZA MUSEUM 17.00 SHIPPED 2-DIRECT FROM SEPIA RECORDS FIGURE ABOUT 11.00 AND A FEW BUCKS SHIPPING BUT IT TAKES AWHILE FROM ENGLAND 3-EBAY--HIGHEST PRICES BUT SPEED DELIVERY. VARIES FROM 16.-- TO 28.OO 4-AMAZON: PROBABLY THE BEST AT 10.00 AND NO SHIPPING IF YOU HAVE PRIME. THEY WILL NOT SHIP UNTIL SEPTEMBER 5TH BUT YOU CAN PRE-ORDER.

HELLO MY DEAR MARIO LANZA FANS/FRIENDS. I HAVE SOME VERY GOOD NEWS. FIRST LET ME TELL YOU THAT I HAVE STRUGGLED WITH YET ANOTHER BOUT OF DEPRESSION AND WAS FEELING LIKE I WASN'T GOING TO COME OUT OF IT. BUT LIKE MAGIC I WOKE UP THIS MORNING AND ALL OF A SUDDEN I WANTED TO DO THINGS. THINGS I HAD LET GO LIKE TRYING TO LIST SALE ITEMS ON EBAY. AND MY HOBBIES LIKE SINGING ON SINGSNAP, PLAYING MY STEINWAY ROLL OPERATED PIANO, PLAYING MY TUBE BASED STEREO SYSTEM, AND WATCHING MOVIES (BOTH REGULAR AND 3D) IN OUR HOME THEATER WITH THE 8 BY 14 FT. SCREEN. I STARTED OUT WITH THE NEW 4K WIZARD OF OZ WHICH WAS STUNNING ON MY OVAL 1,200.00 PROJECTOR AS WELL AS THE GREAT CARUSO ON IT. THEN FOR 3D LIKE "HUGO" AND "DRIVE ANGRY" I SAW EXCERPTS. I EVEN SHOWED HOME MADE DVDS I MADE FROM VHS ORIGINAL TAPES.

WELL NOW, I HOPE TO READ YOUR POSTS AND YOU CAN BET I WILL BE POSTING TOO.

ARRIVEDERCI,
SAM

HELLO MY DEAR MARIO LANZA FANS/FRIENDS. I HAVE SOME VERY GOOD NEWS. FIRST LET ME TELL YOU THAT I HAVE STRUGGLED WITH YET ANOTHER BOUT OF DEPRESSION AND WAS FEELING LIKE I WASN'T GOING TO COME OUT OF IT. BUT LIKE MAGIC I WOKE UP THIS MORNING AND ALL OF A SUDDEN I WANTED TO DO THINGS. THINGS I HAD LET GO LIKE TRYING TO LIST SALE ITEMS ON EBAY. AND MY HOBBIES LIKE SINGING ON SINGSNAP, PLAYING MY STEINWAY ROLL OPERATED PIANO, PLAYING MY TUBE BASED STEREO SYSTEM, AND WATCHING MOVIES (BOTH REGULAR AND 3D) IN OUR HOME THEATER WITH THE 8 BY 14 FT. SCREEN. I STARTED OUT WITH THE NEW 4K WIZARD OF OZ WHICH WAS STUNNING ON MY OVAL 1,200.00 PROJECTOR AS WELL AS THE GREAT CARUSO ON IT. THEN FOR 3D LIKE "HUGO" AND "DRIVE ANGRY" I SAW EXCERPTS. I EVEN SHOWED HOME MADE DVDS I MADE FROM VHS ORIGINAL TAPES.

WELL NOW, I HOPE TO READ YOUR POSTS AND YOU CAN BET I WILL BE POSTING TOO.

ARRIVEDERCI,
SAM

Our next event at the Mario Lanza Museum will be "Elvis Presley, The King, A Remembrance" on Saturday August 20th at 2pm. Admission is $20 per person and light refreshments will be served. This is a one-hour lecture/presentation with clips from Presley's films and TV Appearances and will commemorate the 45th anniversary of his passing. Seating is limited and street parking is available. Checks should be made out to Mario Lanza Institute and mailed to Mario Lanza Institute 1214 Reed Street Philadelphia, PA 19147. For more information or to pay by credit card, call 215-238-9691. Please note that there's a $1 per person fee when paying by credit card. Best, Bill

This is the back cover for the new CD

This CD is now available for in person purchase at the Mario Lanza Museum (1214 Reed Street in Philadelphia) starting Saturday July 23rd at 1pm and yes, we are air-conditioned! You can also order it if you cannot come to the museum. USA orders only. The CD is $12 + $5 S & H. Checks should be made out to Mario Lanza Institute and mailed to Mario Lanza Institute 1214 Reed Street Philadelphia, PA 19147. For credit card orders or when ordering more than 1 CD please call 215-238-9691. Please note that there is an additional $1 fee per CD when ordering by credit card.

While listening to the wonderful Cavalcade of show tunes, I wonder why they didn't re-record the Lanza on Broadway at that time. He was in far better voice and it contained a marvelous selection of show tunes.It was only a few months later.

HI Gary. My favorite non-tenor was John Gary. Not nearly as successful as Elvis, but a remarkable voice. Very unique.

On another note, taping alert. Toast of New Orleans on Turner Friday morning at 11:30 am.

Mario Lanza and Elvis Presley
Both these singers and actors have been favorites of mine for many years.
When I first heard Song Of India sung by Mario I was immediately transfixed by his wonderful voice. I was 10 or 12 years old and this song was being played on my Dad’s RCA Red Label. His voice, I recall crept into my heart. Both my parents played music in the house daily, and as a kid growing up in the fifties, I was no stranger too many of the singers of the time.
When I think back to the first time I heard Mario’s voice it is difficult for me to imagine that I would be a fan of his for the rest of my life. Coming home for lunch from school one day, I recall my Mom telling me Mario Lanza had died. I was truly saddened.
The first time I saw Mario was in his movie The Great Caruso. Seeing this handsome man, and hearing his voice it registered within myself, that I should be a singer and actor as I grew older. Well, it seems life had other plans for myself.
Years later Mario led me to other great operatic tenors whose voices bring me joy as I hear them and see them (youtube).

By the time I was a young teen, I heard Elvis Presley on the radio, and once again I heard a singer who immediately had an impact on me.
Not quite as strong an impact as Mario had been, but still I was drawn to this singer with a strange name (Elvis). Thus, was the time of rock and roll beginning with many new “rock” singers starting their careers. Elvis always remained at the top of my list and due to him I was led to a host of rock singers who also became favorites.
Both these wildly popular singers, and actors, died far too young. Both affected my life in a very positive sense.
Cheers…Gary

Hi Dennis.. thank you for your kind words. I am pleased to see this new Lanza forum and looking forward to posting as often as I can.

Cheers .. Gary

Hello Gary, good to hear from you. I always treasured your postings in the past and even had your personal email for awhile. I'll email Sam and see if he is aware of the new approach.

Hi Jim. Remember Mike and Bonnie from Farmingdale. We spoke at length several years ago on the phone. I believe you live in Connecticut.You had a radio show. Drop me a line when you can.

Glad to see the forum is back! Hope new people will find Mario and his art.
Bill Ronanyne, your latest issue is superb... many thanks. I sincerely hope however that the forum will not be taken over as in the past by an individual or individuals writing about what they are doing. Good luck!

The July issue of "The Legacy of Mario Lanza" newsletter has just been published and mailed out. It features coverage of a Met Guild 2-part lecture devoted to Caruso & Lanza, a look at Lanza's various recordings of "Granada," a promotion for a soon be released new CD from Sepia, a variety of articles and photos devoted to our commemoration of the 70th anniversary of the release of "Because You're Mine" and so much more. For subscription inquiries, contact wjronayne@optonline.net.

The Mario Lanza Museum will have another luncheon on July 16th from 1pm-4pm which will include hoagies, wraps and more and a complete showing of "The Student Prince" with opening comments from me before the film is shown. Admission is $30 per person. Seating is limited and on a first come first paid basis. The museum is located at 1214 Reed Street in Philadelphia and street parking is available. For more information or to make a credit card payment, call 215-238-9691. Checks should be made out to Mario Lanza Institute and mailed to Mario Lanza Institute 1214 Reed Street Philadelphia, PA 19147. The museum is usually open on Saturdays from 1pm-4pm with the exception of holiday weekends such as the upcoming weekend. Special appointments can be made for those wishing to visit during the week, but 2 weeks' notice is required. Best, Bill

Thanks Mike. Glad to see more people posting here. Best, Bill

HI Folks:
Bill Ronayne hosted a Lanza celebration yesterday and it was wonderful. Hope people start talking all things Lanza again. I was 19 when he died, and hoping to keep his memory alive. Most of us who were original fans are getting very old.

I thought I'd say hello. It's been a while since I've been on the forum. I hope you all are well.

Hi Everybody. Now you just need to click on the "Post a new message" button without the need of login.
Now the forum is open.

Hi Mike .. thank you for posting. So, I take it his is the newest Lanza forum?

Does Martino post here. Cheers..Gary

Hi Gary!! I am alive and well. Don't know why it is such a problem logging on.. Talk to me//

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trying to find the new Lanza forum

I thought the Mario Lanza Forum had closed and was wondering if it is back as a forum for fans of Mario Lanza and friends.

A concert at the Hollywood Bowl in August 1947 had brought Lanza to the attention of Louis B. Mayer, who promptly signed Lanza to a seven-year film contract with Metro-Goldwyn-Mayer. The contract required him to commit to the studio for six months, and at first Lanza believed he would be able to combine his film career with his operatic and concert one. In May 1949, he made his first commercial recordings with RCA Victor. His rendition of the aria "Che gelida manina" (from La bohème) from that session was subsequently awarded the prize of Operatic Recording of the Year by the (United States) National Record Critics Association

Mario Lanza's life, sadly, has all the markings of an epic Shakespearean tragedy. The story is truly incredible: a wild, incendiary Philadelphia kid who can sing better than Enrico Caruso sets out to become the greatest dramatic opera singer who ever lived, is detoured by MGM honcho Louis B. Mayer and vixen Hollywood, is remade into a fiercely handsome box-office champ with a 50-inch chest, his own national radio show, 1951 TIME Magazine cover idol, and king of the pop record world. He was besieged on cross-country concert tours and appearances years before Elvis Presley and The Beatles, was a true "superstar" before the word was invented and the first singer to ever earn gold records, with million sellers in both classical and popular categories.

Looks like no one is here yet.Probably a matter of time until they shut it down..We have the ECHO that looks like a globe and I said Alexa play Mario Lanza and for the next two hours she played a wide variety of Mario recordings from all his various works..It was wonderful and so easy.. Hope to hear from some of you soon.

Hi Dennis. feel like we are watching an end of the world horror movie..Maybe some others are still alive. Actually, posting is pretty easy, once you get the hang of it. Getting ready for our annual trek back to New York (1260 miles) and the first thing I packed was my Mario 15 CD coke album (bought from Damon Lanza) Please post and maybe we can get a dialogue going. Maybe if we say something outrageous, we can prod others to respond. OK, I'll start. I thought "Lanza sings Caruso Favorites" was awful-lethargic among other things.. OK people, fight back!!!

Hello faithful Sam,

I had no idea that someone other than Martino had figured out this horribly difficult forum structure, so I stopped checking in more than two months ago. Good to see your posts. Hopefully this will post and we can add one more person to the forum. My initial registration was no longer functioning because password criteria has changed! Had to re-register.

Hi Sam. Happy Easter..See where no one is posting. Why couldn't they have just left well enough alone? I miss all the banter from familiar people..Will be leaving Florida and heading back to New York in another month.1260 miles of driving on our semi annual trek.Not thrilled about it but family obligations call.THINKING ABOUT THE STUDENT PRINCE FIASCO,TO ME THE GREATEST LOSS WAS POSSIBLY ANOTHER YEAR OF COKE SHOWS. Priceless!!

YOU FOLKS MIGHT WANT TO KNOW ABOUT A PBS SHOW I WATCHED TONIGHT. IT FEATURES THREE THIRTY SOMETHING MEN WHO CALL THEMSELVES SIMPLY "THE TENORS". THEY DO POP TO BROADWAY TO OPERA AND THEY DO IT WELL. THEIR THREE PART HARMONY IS EXCELLENT AND MOVING. ONE OF THE MEN HAS A GORGEOUS BLONDE WIFE WHO SINGS A FOURTH PART FROM TIME TO TIME. THEY ALSO HAVE CHOREOGRAPHY THAT IS FETCHING. WHEN THEY ARE NOT SINGING TOGETHER, THEY BREAK OFF AND DO SOLOS. ONE SUCH EXAMPLE WAS "SOMEWHERE" FROM "WEST SIDE STORY". OF THE THREE, IN MY OPINION, THE FELLOW WITH THE DARK COMPLEXION AND JET BLACK HAIR HAS THE SUPERIOR VOICE. THEY DID A VERY FINE "BRIDGE OVER TROUBLED WATERS". AND ON THEIR LIST OF SONGS BUT NOT ON THE SHOW I SAW THERE SITS THE EVER POPULAR "NESSUN DORMA". THERE WERE THE USUAL AGGRAVATING PBS SALES BREAKS, MAKING A ONE HOUR SHOW RUN NINETY MINUTES. THEY ADVERTISE THEIR CD WITH A PLEGE OF 120.00, BUT YOU CAN GET IT ON AMAZON FOR 9.99! SO, REMEMBER THERE HAVE BEEN SEVERAL "THREE TENORS" (LIKE PAVAROTTI'S GROUP) BUT THESE ARE SIMPLY "THE TENORS". THIS SHOW WAS FOLLOWED BY A TRIBUTE TO BEATLE GEORGE HARRISON THAT WAS ALSO VERY NICE. THE MOST POPULAR SONG, AND ONE I NEVER KNEW HE COMPOSED, WAS "HERE COMES THE SUN".

I STILL LAMENT THE FACT THAT THIS SITE IS GOING NOWHERE. I WROTE A PLEA TO JEFF RENSE BUT NOTHING HAS HAPPENED.

ROYAL ALBERT HALL AND MARIO LANZA. I HAVE BEEN TALKING TO SEVERAL MARIO LANZA FANS AND MOST FEEL THAT THE CLOSEST YOU WILL EVER HEAR MARIO SOUNDING LIKE HE REALLY DID WAS HIS PERFORMANCES AT ROYAL ALBERT HALL. I AGREE WITH THIS LINE OF THINKING. HE SOUNDS VERY PRESENT, HIS QUALITY IS EXCELLENT, AND EXCEPT FOR SOME MISTAKES AND THE TERRIBLE LAST NOTE OF "LA DONNA E MOBILE" AT THE VERY END OF THE SHOW, WE SHOULD BE VERY GRATEFUL RCA RELEASED IT EVEN THOUGH AT THE TIME LANZA DID NOT WANT IT TO BE RELEASED.

I SAW "FOR THE FIRST TIME" TONIGHT. IT WAS MY FIRST TIME SCREENING IT WITH MY NEWER SMALL COSMOS MAX 4K PROJECTOR. WOW, THE RICH COLORS ARE ASTOUNDING. ALSO, THE FILM HAS MUCH TO OFFER IN THE WAY OF MUSIC. EXCEPT FOR THE BAD HIGH NOTES HE SINGS IN THE RAIN AT THE BEGINNING, HE DOES A FABULOUS JOB IN HIS LAST MOVIE. ALL THE ARIAS AND SONGS ARE GREAT INCLUDING: VESTI LA GIUBBA (QUITE GOOD), O SOLE MIO (HIS BEST EVER RECORDING OF THE NEAPOLITAN CLASSIC), COME PRIMA, EXCERPT OF "I LOVE THEE", AVE MARIA (SCHUBERT), PINEAPPLE PICKERS FOR THE LAST GOLDEN NOTE, DEATH OF OTELLO, AND THE ROME OPERA HOUSE FINALE TO THE MOVIE. FOOTNOTE: ALSO CHARMING IS THE SCENE WHERE THE SINGERS ARE IN A SEMI CIRCLE WITH THE VIOLINS PLAYING, THE SCENE WHERE MARIO OFFERS CHRISTA SOME PASTA AND GIVES HER A SPOONFUL OF GRATED CHEESE ONLY TO DUMP THE ENTIRE CUP OF IT ONTO HIS MOUND OF SPAGHETTI, THE MOZART TRIO BECAUSE I DON'T THINK MARIO EVER DID ANY MOZART BEFORE OR AFTER, THE FUN SCENES OF MARIO AND ZSA ZSAS GABOR WHO PLAYS SECOND FIDDLE TO JOHANNA VON KOCIAN, AND LAST THE FEELING OF WARMTH THAT ENVELOPS US WHEN WE REALIZE JOHANNA WILL REGAIN HER HEARING PERMANENTLY AND WILL BE FREE TO MARRY "TONY COSTA". THE FILM MAKES EXCELLENT USE OF TECHNICOLOR AND CINEMASCOPE. RUDOLPH MATE DIRECTED AND HE HAD A GREAT EYE FOR SCENERY, THE WATER, THE MOUNTAINS, AND ALL THE ENTICING VISUALS.

Hi:

The Mario Lanza Museum now has the new Sepia CD, "The Undiscovered Mario Lanza," in stock for in person purchase. The museum is located at 1214 Reed St Philadelphia, PA 19147 and is open most Saturdays from 1pm-4pm. It is also available via mail order or over the telephone for credit card orders. The CD is $12 plus $5 S & H USA orders only. Please make your check out to Mario Lanza Institute and mail to the address mentioned above. For credit card orders or when ordering more than one CD, please call 215-238-9691. This is a wonderful CD that every Lanza fan will want to own.

Best, Bill

THE PAST TWO NIGHTS I HAVE RUN MARIO'S FIRST TWO MOVIES. FIRST I SAW "TOAST OF NEW ORLEANS" AND THEN "THAT MIDNIGHT KISS". I HAVE NOTHING BUT PRAISE FOR BOTH. TOAST OF NEW ORLEANS IS PURE LIGHTHEARTED ENTERTAINMENT AND IS CHOCK FULL OF OPERATIC ARIAS AS WELL AS PLENTY OF SONGS, EVEN IF SOME LIKE "BOOM BIDDY BOOM BOOM" ARE ON THE SILLY SIDE. TONO HAS THE ONLY DANCE PRODUCTION NUMBER FOUND IN A LANZA MOVIE. MARIO DOESN'T DANCE AS MUCH AS MOVE FROM SIDE TO SIDE AND STAY IN THE FRAME BETWEEN TINA AND HER FRIEND. THE "TINA LINA" AS IT IS CALLED FEATURES RITA MORENO IN HER FIRST IMPORTANT FILM ROLE. HE BIOGRAPHY HAD NICE THINGS TO SAY ABOUT MARIO WHILE ALSO STATING THE PROBLEMS HE HAD EVEN AS EARLY AS THIS PICTURE. TMK IS ALSO LIGHTHEARTED ENTERTAINMENT. MARIO IS AT HIS THINNEST IN THIS ONE AND HE LET THE STUDIO DIE HIS HAIR REDDISH BROWN AND SLICKED IT DOWN. LIKE TONO, THIS FEATURE HAS ARIAS AND SONGS. NOTE THAT THE NEW SEPIA CD "UNDISCOVERED MARIO LANZA" HAS PIECES FROM BOTH FILMS. A FEW THAT COME TO MIND FROM TMK ARE "I KNOW, I KNOW, I KNOW", "CELESTE AIDA", "THEY DIDN'T BELIEVE ME". A FEW FROM TONO ARE "BE MY LOVE", "M'APPARI", EXTENDED SEQUENCE FROM "MADAME BUTTERFLY". ONE QUIRKY THING ABOUT TMK THAT HAS ALWAYS BOTHERED ME IS THAT THEY SPEND THE ENTIRE MOVIE SINGING KNOWN ARIAS AND SONGS BUT AT THE END THE "OPERA" THEY PUT ON HAS NOTHING TO DO WITH REAL OPERA OR SONGS. IT IS A NICELY MOUNTED PRODUCTION AND IS PLEASANT ENOUGH, BUT FRUSTRATING.

MORE PEOPLE HAVE THEIR NEW SEPIA CD BY NOW AND I WOULD LOVE TO HEAR OPINIONS FROM THE FORUM MEMBERS HERE.

I HAD CHILLS RUNNING "THE GREAT CARUSO" LAST NIGHT ON MY EIGHT POUND VIDEO PROJECTOR. I GET AN 8 FOOT BY 14 FOOT PICTURE AND GREAT SOUND BY RUNNING IT THROUGH MY HUGE SURROUND SOUND SYSTEM. I AM GOING TO SHARE AN EMAIL I WROTE TO VINCE DI PLACIDO ABOUT THE THRILL OF HAVING A HOME THEATER AT A VERY AFFORDABLE PRICE. BEFORE THAT, HOWEVER, I WANT TO LET YOU KNOW THAT THERE IS A SECOND ARIA EXTANT FROM MARIO'S 1948 TORONTO CONCERT. THE FIRST ONE IS "VESTI LA GIUBBA" WHICH APPEARS ON THE LATEST SEPIA CD "UNDISCOVERED MARIO LANZA". THE SECOND IS "LAMENTO DI FEDERICO" AND CAN BE FOUND ON THE EARLIER SEPIA CD "MARIO LANZA: GREATEST OPERATIC PERFORMANCES".

OKAY, WHAT I WROTE TO VINCE IS BELOW. I HOPE SOME OF YOU MIGHT BE MOVED TO GET YOURSELVES A HOME THEATER.

HI VINCE.

I WAS THINKING OF YOU WHILE I WATCHED THE BLU RAY "THE GREAT CARUSO" ON MY 8 FT BY 14FT HOME THEATER SCREEN WITH THE VOLUME TURNED UP TO CONCERT LEVEL.
I AM NOT SURE BUT HAVE A FEELING YOU DON'T ALREADY OWN A VIDEO PROJECTOR. SO, I WANT TO TELL YOU ABOUT MY PROJECTOR.
FIRST, I DO NOT WORK FOR THE COMPANY(LOL!) BUT JUST LIKE TO SHARE WHAT I SEE/HAVE WITH MY FRIENDS AND FAMILY. THIS PROJECTOR IS UNLIKE ANY PROJECTOR I HAVE EVER OWNED AND I HAVE OWNED QUITE A FEW SINCE 1990.
SOME HIGHLIGHTS: 1-IT IS ONLY 8 POUNDS, MAKING IT VERY PORTABLE TO CARRY FROM ROOM TO ROOM. 2-IT HAS PLENTY OF BRIGHTNESS SO A ROOM DOES NOT HAVE TO BE TOTALLY DARKENED BUT THE DARKER THE ROOM THE RICHER THE PICTURE. 3-IT HAS A MOST UNUSUAL SHAPE IN THAT IT IS OVAL. IT ALSO HAS A "SEXY" FEATURE ON TOP AS WHEN IT IS RUNNING THE BLACK AREA HAS WHAT LOOKS LIKE A GLOWING CONSTELLATION! 4-IT HAS ITS OWN BUILT IN SPEAKERS THAT PUT OUT AMPLE VOLUME WITH EXCELLENT CLARITY.AND THE SOUND HAS A 360 DEGREE DISPERSION. OR YOU CAN RUN IT THROUGH A SURROUND SOUND SYSTEM 5-IT NEVER NEEDS BULBS REPLACED SINCE IT IS ALL LED DRIVEN WITH LIFE APPROXIMATING 30,000 HOURS. 6-IT IS RAZOR SHARP BECAUSE IT IS TRUE 4K. THIS MAKES WATCHING BLU RAY DVDS A PLEASURE. IT ALSO UPSCALES STANDARD DVDS AND MAKES THEM LOOK BETTER THAN AVERAGE. 7-IT HAS BUILT IN APPS SO YOU CAN GET CHANNELS LIKE HBO MAX, YOUTUBE, AND MANY OTHERS. 8-THE REMOTE CONTROL IS VERY SMALL AND EASY TO HANDLE WITH NOT A LOT OF CONFUSING BUTTONS. 9-THE COLOR IT PROJECTS IS RICH LIKE THE OLD TECHNICOLOR MOVIE PRINTS. IT ESPECIALLY FAVORS DEEP REDS. 10-IT HAS AUTOMATIC FOCUS. JUST TURN IT ON, POINT IT AT YOUR SCREEN AND SEE IT FOCUS. AND 11-THE PRICE IS VERY AFFORDABLE AT 1,199.99 FOR A REFURBISHED UNIT FROM AMAZON. THEY ARE RUNNING THIS SPECIAL PRICE RIGHT NOW. SEE MORE HERE:

https://www.amazon.com/Anker-Theater-Entertainment-Projector-Smoothing/dp/B08NSM9TCJ/ref=sr_1_4?crid=1EZJU9WRIZDEV&keywords=NEBULA+COSMOS+MAX+4K+PROJECTOR&qid=1648180277&s=electronics&sprefix=nebula+cosmos+max+4k+projector%2Celectronics%2C79&sr=1-4

WELL, DO LET ME KNOW WHAT YOU THINK!

ALSO, I LOOK FORWARD TO SEEING YOUR NEW TWO HOUR DISCUSSION OF LANZA MYTHS BUSTER!

LAST, I HAVE ENJOYED THE TORONTO CONCERT'S "LA DONNA E MOBILE" VERY MUCH AND WONDERED IF YOU KNOW HOW OR WHERE I CAN GET THE COMPLETE CONCERT.

MY BEST ALWAYS,
SAM

I'M STILL WAITING FOR THIS SITE TO RETURN TO A SOMEWHAT MORE NORMAL STATE. NO POSTERS TO SPEAK OF. I TREATED MYSELF TO A WONDERFUL FILM MADE IN 2010 WITH CHER AND CHRISTINA AGUILERA. THIS WAS HER FILM DEBUT AND SHE SINGS GREAT WITH HER VERSATILE AND EXPANSIVE VOICE AND SHE DOES VERY WELL IN THE ACTING DEPARTMENT. SHE HAS NEVER LOOKED LOVELIER. THE FILM HAS GREAT SONGS THROUGHOUT, MOST PERFORMED BY CHER AND AQUILERA. JULIANNE HOUGH IS EXCELLENT AS ONE OF THE DANCERS AND KRISTEN BELL IS VERY EFFECTIVE AS "THE BITCH" WHO DOESN'T COME AROUND TO BEING NICE UNTIL NEAR THE FILM'S END. THE SOUNDTRACK WILL BLOW YOU AWAY WITH ITS VERY HEAVY DRIVING BASS. DURING THE LAST PRODUCTION NUMBER CALLED SIMPLY "BURLESQUE" THE VERY SEXY GIRLS CHANT "GET IT UP, GET IT UP" WHILE THE FAST PACED EDITING IS MARVELOUS. AT ONE POINT THE DRUMS START AT ONE SIDE OF THE ROOM AND REVOLVE AROUND UNTIL COMING BACK TO THE BEGINNING.

I ALSO HAD THE PLEASURE OF SHOWING MY HUNDREDS AND HUNDREDS OF PHOTOS THROUGH THE NEWER PROJECTOR. THE QUALITY WAS GREAT AND THE SUBJECTS VARIED FROM CAR SHOWS TO ANTIQUES MARKETS BOTH INDOOR AND OUTDOOR TO FAMILY PHOTOS TO SINGING KARAOKE TO SINGING TO LIVE ACCOMPANIMENT.

Y'ALL TAKE CARE UNTIL NEXT TIME!

KARAOKE SEVEN NIGHTS A WEEK! I WENT TO A RESTAURANT I HAD GONE TO MANY TIMES IN THE PAST. THIS NIGHT WAS DIFFERENT SINCE THEY HAD KARAOKE. TUESDAY NIGHTS ARE GENERALLY SLOW IN THE RESTAURANT BUSINESS, BUT THE KARAOKE HOST NAMED JOHN LIVENED IT UP SUBSTANTIALLY. HE WORKS FOR A COMPANY THAT HAS EMPLOYEES EACH DOING KARAOKE AT SEVEN DIFFERENT VENUES. THEREFORE, KARAOKE SEVEN NIGHTS A WEEK. I ORDERED THEIR FOOD (WHICH WAS ALWAYS VERY GOOD) AND WAS SO DISAPPOINTED WHEN ONE OF THEIR SIGNATURE DISHES AT 28.00 HAD SHRIMP AND MUSHROOM SAUTEED IN A ROSA SAUCE. ANYONE KNOWS A ROSA OR BLUSH SAUCE IS REDDISH IN COLOR. WHAT I GOT LOOKED LIKE TURKEY GRAVY. AWFUL! THE WAITRESS IMMEDIATELY TOOK IT BACK AND HAD THEM MAKE A MARINARA SAUCE WITH JUST SPAGHETTI. LOUSY! THE SAUCE HAD NO FLAVOR AND WAS WATERY. I LOADED IT WITH FRESH GRATED PARMESAN CHEESE WHICH USUALLY HELPS. IT DIDN'T. PUTTING THAT ASIDE I MUST SAY THE KARAOKE WAS A LOT OF FUN. IT STARTED WITH ONLY FOUR SINGERS AT 7:00 AND INCREASED TO EIGHT BY 9. ONLY ONE PROBLEM: IT IS HELD IN THEIR "TIKI" LOUNGE WHICH IS ON THE LOWEST LEVEL AND HAS NO HEAT. THEY HAD ONE FLAME BURNING "TOWER" THAT THEY DIDN'T TURN ON FOR SOME STUPID REASON. I STARTED OUT DOING THE SONG I HAVE BECOME ENAMORED OF, THE KENNY ROGERS "SHE BELIEVES IN ME". THEN WENT TO "TOWN WITHOUT PITY", FOLLOWED BY A FUN SONG "GEORGY GIRL", FOLLOWED BY THE STEVE LAWRENCE HIT "PORTRAIT OF MY LOVE". BY 9:30 I WAS LIKE AN ICICLE SO ENDED UP WITH THE ANTHEM FRANK SINATRA AND I SHARE: "MY WAY". I GAVE IT ALL I HAD AND THE APPLAUSE WAS GREAT. I WAS HOME BY 10:00 ONLY TO HEAR ANNA COMPLAIN BITTERLY ABOUT A LAW CLIENT OF HERS WHO CALLED HER THIS LATE AND SAID SHE COULD NOT MAKE IT TOMORROW. THAT'S CALLED LAST MINUTE NOTICE! SO, THE NEXT THING I HAVE TO LOOK FORWARD TO IS A GET TOGETHER WITH A LONG TIME FRIEND WHO IS A MOVIE BUFF LIKE ME. HE HAS NEVER SEEN MY WONDERFUL HOME THEATER. PLUS I WANT TO SHOW HIM MY BIG EPSON 25 POUND PROJECTOR PLUS MY SMALL COSMOS MAX 8 POUND PROJECTOR. I AM SURE HE WILL WANT TO UPGRADE HIS EQUIPMENT BY THE TIME I AM DONE SHOWING HIM THE ADVANCES MADE IN VIDEO PROJECTION.

INCIDENTALLY, I HOPE BY NOW MOST OF YOU HAVE RECEIVED YOUR COPIES OF THE SEPIA "MARIO LANZA UNDISCOVERED: HIDDEN GEMS AND RARITIES". I JUST CAN'T STOP PLAYING THIS DISC. IT IS REWARDING AND EXCITING. FROM SEPIARECORDS.COM IT CAN BE PURCHASED FOR 14.60 POSTPAID. OR YOU CAN GO TO AMAZON WHO HAS UNDERCUT THE PRICE TO ONLY 11.99. IF YOU HAVE PRIME THERE WILL BE NO SHIPPING CHARGE. IF NOT, THE PRICE WILL BE HIGHER THAN SEPIA'S.

TONIGHT'S FUN WAS PROVIDED BY MGM WITH THE MOVIE "JUMBO" WITH DORIS DAY, STEPHEN BOYD, JIMMY DURANTE, AND MARTHA RAYE. THIS IS A VERY COLORFUL MOVIE ABOUT A CIRCUS RUN BY "POP" WONDER. HIS FAVORITE PET IS THE BIG BOY ELEPHANT "JUMBO". THERE ARE TRIALS AND TRIBULATIONS KEEPING THE CIRCUS AFLOAT DESPITE POP'S PENCHANT FOR GAMBLING AWAY ALL THEIR HARD EARNED TICKET FEES. THE SCORE IS EXCELLENT AND INCLUDES A GREAT SONG MARIO SANG "MY ROMANCE". DORIS DAY, WITH HER GOLDEN VOICE SINGS IT WITH EASE. THERE ARE PLENTY OF "DEATH-DEFYING" MOMENTS AS WHEN STEPHEN BOYD BLINDFOLDED WALKS THE TIGHTROPE AND NEARLY FALLS WHEN A YOUNG GIRL IN THE AUDIENCE POPS HER POPCORN BAG. RAYE AND DURANTE HAVE BEEN ENGAGED TO BE MARRIED FOR 14 YEARS. THEY MUST BELIEVE IN LONG ENGAGEMENTS! DAY AND BOYD FALL IN LOVE BUT THEIR LOVE IS ALMOST RUINED WHEN BOYD'S FATHER PLAYED BY DEAN JAGGER TRIES TO BUY OUT DAY'S CIRCUS TO GET HIS HANDS ON JUMBO. IN THE END, OF COURSE, IT ALL WORKS OUT AND THEY REPRISE SOME OF THE SONGS DRESSED LIKE CLOWNS AND AT THE VERY END ALL ARE DRESSED IN WHITE AS THE CURTAIN COMES DOWN ON "BILLY ROSE'S JUMBO".

ON ANOTHER NOTE, I HAPPENED UPON A WONDERFUL SITE THAT HAS UNBELIEVABLE RESTORED RADIOS OF ALL TYPES AND SIZES. JUST VISIT RADIO-ANTIKS.COM AND CLICK ON THE TUNING DIAL ON THE RIGHT. ENJOY!

HERE IN MEDIA IN A HOUSE LIVED IN BY YOURS TRULY, IT WAS A NIGHT WITH MY NEWER SMALL COSMOS MAX 4K PROJECTOR, TESTING THE MANY VARIED DVDs I HAVE COLLECTED. I WAS ASTOUNDED TO SEE THAT THE MANUFACTURER HAS NOT ONLY INCREASED THE BRIGHTNESS BUT NOW GIVES ONE THE OPTION TO OUTPUT THE SOUND TO YOUR SOUND SYSTEM (AND NOT USE THE SMALL SPEAKERS ALREADY IN THE PROJECTOR). NOW I CAN HEAR THE GREAT OPENING CREDITS TO MARIO'S "THE GREAT CARUSO" WITH NEARLY THUNDERING SOUND JUST AS THE LION ROARS. DON'T GET ME WRONG, THE BUILT IN SPEAKERS ARE VERY WORTHY AND ARE PLACED IN THE PROJECTOR IN SUCH A WAY THAT THE SOUND PATTERN SEEMS LIKE SURROUND AND THEY CAN HANDLE SURPRISING VOLUME. HERE IS THE INFORMATION ON AMAZON WHERE YOU CAN ORDER THIS AMAZING PROJECTOR THAT DOES WHAT MACHINES OFTEN COSTING THREE TIMES AS MUCH DO!

THE PRICE HAS BEEN REDUCED TO ONLY 1,299.99 FOR A LIMITED TIME. HERE IS THE LINK:

https://www.amazon.com/Nebula-Cosmos-Anker-Projector-Outdoor/dp/B082219KWL/ref=sr_1_3?crid=1EGEHKB2DZS9G&keywords=COSMOS%2BMAX%2B4K%2BPROJECTOR&qid=1647829053&s=electronics&sprefix=cosmos%2Bmax%2B4k%2Bprojector%2Celectronics%2C213&sr=1-3&th=1

MARIO'S DREAM OPERA AND CAST:

DEREK MCGOVERN KINDLY GAVE ME A LINK TO HEAR MARIO BEING INTERVIEWED BY JINK FALKENBURG.
IN AN INTERVIEW WITH THE RADIO INTERVIEWER, HE TELLS HER HE KNOWS SIX COMPLETE OPERAS FULLY. AND THEN HE NAMES THEM.

IN "JINX, PART THREE", HE TELLS HER HIS DREAM IS TO SING AT THE METROPOLITAN OPERA DOING "LA BOHEME" WITH EZIO PINZA, LICIA ALBANESE, AND LEONARD WARREN.

DEREK "SNEAKED" THIS SECONDS LONG CLIP INTO THE NEW CD. IT JUST "MAGICALLY" APPEARS AND THEN IS GONE.

THE LINK BELOW WILL TAKE YOU TO THE ENTIRE PAGE OF INTERVIEWS FOUND ON DEREK'S SITE:

https://www.mariolanzatenor.com/audio-interviews.html#jinx

OUR DEAR FRIEND DEREK MANNERING CAUGHT AN ERROR IN MY REVIEW. I LEFT OUT THE TWO SONGS FROM "THE VAGABOND KING", NAMELY "LOVE ME TONIGHT" AND "NOCTURNE". THESE BOTH SOUND BETTER THAN WE ARE USED TO HEARING THEM ON EARLIER CDS.

I ALSO WANT TO MENTION THAT DEREK MCGOVERN TOLD ME SOME OF THE ACETATES WERE NOT IN GREAT SHAPE, SO THE ENGINEERS WORKED HARD TO RESTORE THEM. THE "HOUSE ON THE HILL" WAS THE WORST OFFENDER BUT THERE WERE OTHERS. ONE KEPT SKIPPING AND HAD TO BE STARTED AND STOPPED UNTIL IT WAS RIGHT.

FOR THIS POST I AM GOING TO SHARE WITH YOU THE LETTER I WROTE TO DEREK MCGOVERN REVIEWING THE GREAT NEW SEPIA CD "THE UNDISCOVERED MARIO LANZA: RARE RECORDINGS AND HIDDEN GEMS". THIS IS UNEDITED AND EXACTLY WHAT I WROTE TO HIM. HIS REPLY WAS VERY NICE AND AFFIRMATIVE BUT I AM NOT INCLUDING THAT CORRESPONDENCE. MY REVIEW COVERS EVERY SINGLE TRACK ON THE CD.

HI DEREK YOU DEAR MAN YOU!

I JUST SAT DOWN WITH MY BIG TUBE STEREO PLAYING THE NEW CD. WANT MY HONEST OPINION? HERE IT IS: "OMG, OMG, OMG".

I CAN HONESTLY SAY I HAVE NEVER HAD MORE GREAT SURPRISES AND ENTERTAINMENT WITH THIS SUPERIOR SEPIA RELEASE THAN WITH ANY OTHER CD I HAVE.

JUST ONE SINGLE ARIA, "LA DONNA E MOBILE" WAS ENOUGH TO BLOW ME AWAY WITH THAT FANTASTIC ENDING.

I STARTED OUT A LITTLE WORRIED WITH THE NOISY "HOUSE ON THE HILL", SINCE IT SOUNDED ONLY FAIR. BUT WHEN I REALIZED THAT HE SINGS THIS AS IT SHOULD HAVE BEEN SUNG, UNLIKE THE ROYAL ALBERT HALL CONCERT, IT GRABBED ME.

I KNOW, I KNOW, I KNOW--DESPITE ITS ORDINARY MELODY, SOUNDED FINE TO MY EARS. SHAME ON KATHRYN GRAYSON FOR REJECTING MARIO'S EARNEST PURSUIT OF HER.

I HAVE ALWAYS LIKED HIS "O HOLY NIGHT" DESPITE THE FAST TEMPO. AND I PARTICULARLY LIKE THE ENDING. WHENEVER I SING THIS LIVE, I ADD THE LAST "O HOLY NIGHT" THAT MY ACCOMPANISTS HAVE NOW GOTTEN USED TO. (BUT I DO NOT SING IT AS FAST).

"THE LORD'S PRAYER" WITH ONLY THE ORGAN ADDS TO THE BEAUTY OF THIS DELICATE VERSION (I ALSO LOVE THE 1950 XMAS ALBUM VERSION EVEN MORE DESPITE HIS GUTTERAL SOUNDS THROUGHOUT).

"DEEP IN MY HEART DEAR" IS VERY WELL DONE. BETTER THAN THE ORIGINAL SINCE I THINK HE AND ANN BLYTH WERE MORE TOGETHER. AND IN PARTICULAR HER VOICE SOUNDS BETTER TOO.

"MY DESTINY". NOT MUCH MORE CAN BE SAID ABOUT THIS SUPERIOR TAKE! IT IS THE TAKE THAT SHOULD HAVE BEEN USED FOR THE MOVIE. THIS ONE RECORDING IS ENOUGH FOR ME TO WANT THIS CD.

THE BREEZY "SERENADE" SUNG BY THE CONVERTIBLE SOUNDS DIFFERENT. IS THIS INDEED THE SAME? I READ WHAT YOU SAID ABOUT THE MEXICAN BAND. NOTE: I LEARNED IT IS NEARLY THE SAME.

I JUST REALIZED I AM COVERING EVERY TRACK. I HOPE THIS IS OKAY.

THE FILM'S "AVE MARIA" IS A TENDER MOMENT, A MOMENT OF SURPRISE TO MARIO'S FUTURE BRIDE JUANA, AND A MOMENT OF FULFILMENT FOR MARIO IN THE MOVIE. EXCELLENT.

YES, DEFINITELY NICE TO HEAR THE COMPLETE "UNA FURTIVA LAGRIMA". JOSE ITURBI SHOULD HAVE PLAYED THE ENTIRE PIECE I SAY.

"THE FLOWER SONG" HAS NEVER MOVED ME. PROBABLY BECAUSE IT IS NOT SUNG IN ITALIAN. BUT IT DOES SOUNDS APPEALING HERE.

"CELESTE AIDA" SHOULD HAVE BEEN COMPLETE IN "THAT MIDNIGHT KISS". HERE ITURBI IS INTRODUCING MARIO TO HIS AUDIENCE BUT HE DOESN'T LET MARIO INTRODUCE THE ARIA IF YOU KNOW WHAT I MEAN.

"O TERRA ADDIO" SOUNDS DISTORTED IN THE OLD "GREAT CARUSO" DVD, IS BETTER IN THE NEW "GREAT CARUSO" DVD, AND IS EVEN BETTER HERE.

VERY NICE TO HAVE JARMILLA SINGING IF ONLY FOR A VERY SHORT TIME WITH MARIO IN THAT ARIA WHOSE SPELLING EVADES ME.

THE ARIA I CAN'T SPELL RETURNS AND IS BEAUTIFUL. OKAY, I GIVE IN. IT IS "E IL SOL DEL'ANIMA".

NOW COMES THE ARIA I MENTIONED AT THE BEGINNING OF MY LETTER. WHAT AN INCREDIBLE ENDING. THE BEST HE EVER DID IN THIS ARIA HE SANG COUNTLESS TIMES. OF COURSE I AM REFERRING TO "LA DONNA E MOBILE".

I HAVE ADMIRED THE "RIGOLETTO QUARTET" EVER SINCE I HEARD CARUSO DO IT ON A 78. NICE TO HAVE IT FEATURED HERE. THANKS MARIO, FOR EQUALING OR BETTERING ENRICO.

THE "LUCIA SEXTET" IS DONE DURING A GREAT MOMENT IN "GREAT CARUSO", AS WE SEE MARIO BEAMING AT THE BIRTH OF HIS "IT'S A GIRL" DAUGHTER. WHEN HE RAISES HIS HEAD ACKNOWLEDGING THE APPLAUSE YOU CAN ACTUALLY SEE HIS EYES GLEAMING.

I HATE THE "MARTA" FINALE SINCE IT BRINGS "GREAT CARUSO" TO A SAD CONCLUSION. I BELIEVE THIS IS A FABRICATION AS CARUSO DIDN'T DIE ON THE STAGE, RIGHT? (I DON'T HATE THE ARIA OTHERWISE!)

THE "CHE GELIDA MANINA" IS THE ARIA THAT TURNS THE TABLES FOR MARIO AS ENRICO, SINCE JEAN DE REZKE GIVES HIM A STANDING OVATION THAT STARTS THE AUDIENCE CHEERING. VERY DRAMATIC MOMENT AND GREAT SINGING ON THE PART OF MARIO AND DOROTHY KIRSTEN. (AND HERE IS AN ASIDE--YOU WROTE A FEW LINES ABOUT KIRSTEN AND I WAS MOVED TO ORDER HER BIOGRAPHY. HAVEN'T TOUCHED IT YET BUT IT IS SIGNED IN RED BY THE LADY HERSELF!!).

"ADDIO ALLA MADRE" IS A TOP PIECE IN MY HONEST OPINION. I ENJOY IT EVERY TIME I HEAR IT IN "BECAUSE YOU'RE MINE". IT RINGS OUT HERE AS IT DOES IN THE FILM.

CONCERNING "DI QUELLA PIRA--I HAVE TO TELL MY FRIEND RON ABOUT IT RIGHT AWAY. WE BOTH CRINGE A LITTLE WHEN HEARING THE FINAL NOTE IN THE FILM. IT SOUNDS PINCHED. NOT ANYMORE!! A VERY GOOD CHOICE, DEAR DEREK, TO CLOSE THE MAIN PROGRAM.

BONUS TRACKS:

AGAIN, I WILL BE ON THE PHONE WITH FRIEND RON SINCE HE FEELS THAT MARIO'S SINGING OF SEVERAL OF THE TRACKS YOU INCLUDED IS BELOW PAR. OVERALL, THEY SOUND BETTER THAN EVER. AND CERTAINLY DON'T HAVE THE "HEAVY" AND TIRED SOUND I AM USED TO.

I ASSUME THIS IS THE EXACT TAKE THAT WE HEAR IN "GREAT CARUSO" WITH THE "BOY" SOPRANO. IT MOVES ME AS IT DID MARIO IN THE MOVIE WHEN HE PUTS HIS ARM AROUND THE BOY.

"POUR UN BAISER". AGAIN THE SONG HAS MORE LIFE TO IT ON THIS CD THAN IN THE LP AND CD VERSIONS I HAVE PLAYED OFTEN THROUGH THE YEARS

"BELOVED" TYPIFIES THE SUB TITLE "RARE RECORDINGS AND HIDDEN GEMS". NEVER HEARD AND SIMPLY GLORIOUS. WONDER WHAT LINZ WILL SAY ABOUT THIS ONE?!

LAST YOU CHOSE TO CLOSE THE CD WITH A ROUSING NEAPOLITAN SONG. WITH NO FLOUR IN HIS THROAT, MARIO SOARS WITH IT AND IMPRESSES NOT ONLY US BUT OPERA SINGER ALFREDO AS HE EATS HIS PASTA.

THANKS FOR ALL YOUR HARD WORK MY FRIEND. IT HAS PAID OFF IN SPADES. I WROTE EVERYTHING VERY FAST AND PERHAPS DIDN'T GO INTO THE DETAIL I NORMALLY WOULD. THIS ONE IS DEFINITELY GOING INTO MY VAN'S "BRAIN" AS I DO HALF OF MY LISTENING TO MARIO IN THAT VEHICLE.

CONGRATULATIONS ON A HOME RUN. AND ALSO ON THE FINE AND INFORMATIVE CD BOOKLET. I ADORE THE PHOTO ON THE FRONT COVER WITH THAT CUTE LITTLE RCA 45 RPM PLAYER THAT I OWN.

FONDLY,
SAM

HI MIKE. YES, IT IS A SHAME NO ONE ELSE IS HERE. SOMEONE NEEDS TO TELL JEFF RENSE AND/OR HIS "GATEKEEPER".

YOUR MEMORY IS FINE. THE "ARE" HIGH NOTE IS RINGING AND SHEER PERFECTION. THEN HE SLIDES DOWN TO THE MUCH LOWER AND QUIETER FINAL NOTE.

DEREK MCGOVERN, DEREK MANNERING, AND YOURS TRULY HAVE BEEN DISCUSSING THE MERIT OF MARIO'S COKE SHOW VERSION OF THE ARIA "LAMENTO DI FEDERICO" AS OPPOSED TO THE "SERENADE" VERSION AND EVEN THE ROYAL ALBERT HALL CONCERT VERSION. DEKEK MCGOVERN POINTED OUT THAT THERE IS A FOURTH VERSION SUNG AT THE CONCERT HE GAVE IN TORONTO (WHICH OVERALL WAS EXCELLENT).

I HEARD THE COKE VERSION FOR THE FIRST TIME JUST TODAY AND IT GAVE ME CHILLS. I HAVE ALWAYS LOVED THE "SERENADE" VERSION AS IT IT SUNG BEAUTIFULLY IN TRUE OPERATIC STYLE. THE ROYAL ALBERT HALL CONCERT VERSION IS ALSO SUNG WELL, BUT I FELT THE HIGH NOTE ENDING A LITTLE PUSHED. THERE IS A SEPIA RECORDING OF THIS THAT I MUST LISTEN TO SINCE IT IT TOUTED AS NOT HAVING THE HIGH NOTE SOUND LESSER. AND I JUST HEARD THE TORONTO VERSION AND CAN TELL YOU IT IS EXCELLENT.

TO HEAR FOR YOURSELVES:

1-TORONTO: https://www.youtube.com/watch?v=0LoWlZo6XTY

2-SERENADE: https://www.youtube.com/watch?v=EqEMUVyIXzM

3-ROYAL ALBERT HALL: https://www.youtube.com/watch?v=UJ1aIqEoPFU

4-COKE SHOW: https://www.youtube.com/watch?v=k888LAtfOds

Hi Sam. Still nobody here. i know I should give it a rest, but I had to go back and test my memory.Played Cavalcade lp and finale of all the things you are is "all the things you ARE are mine" the high note is in bold. the ending "mine" is much lower. Maybe we are not on the same page but at my age I worry about my memory. Comment, please.

CORRECTION FROM BILL FOR THE NEXT MUSEUM EVENT. IT WILL NOT BE A LUNCHEON. ONLY COFFEE AND CAKE WILL BE SERVED. AND THE COST IS ONLY 20.00.

TONIGHT I SCREENED A VERY ENTERTAINING MOVIE CALLED "THE PAJAMA GAME" STARRING DORIS DAY AND JOHN RAITT AND A FINE SUPPORTING CAST. THERE ARE MANY MEMORABLE MELODIES IN IT LIKE "HERNANDO'S HIDEAWAY", "HEY THERE", "STEAM HEAT", AND MORE. THE STORY IS FAIRLY STRAIGHTFORWARD AND CONCERNS THE UNION LED BY DORIS (WHO LOOKS GREAT!) THAT WANTS A RAISE OF 7 1/2 CENTS. IT'S A SMALL AMOUNT BUT IT ADDS UP AND WOULD MAKE A DIFFERENCE TO ALL THE WORKERS WHO SEW TOGETHER PAJAMAS WITH BUTTONS. DORIS AND JOHN FALL IN LOVE BUT THEIR OPPOSING BUSINESS PROBLEMS KEEP THEM APART ON AND OFF THROUGHOUT THE MOVIE. OF COURSE ALL ENDS WELL. THIS IS ONE OF THOSE GORGEOUS DVDS MADE FROM THE ORIGINAL TECHNICOLOR NEGATIVES LIKE THE NEW "GREAT CARUSO" WAS MADE, SO IT IS A DELIGHT TO WATCH.

I MAY HAVE FORGOTTEN TO TELL YOU THAT BILL IS TAKING THE LANZA MUSEUM IN A NEW DIRECTION BY OFFERING AFFAIRS FEATURING DEAN MARTIN AND JUDY GARLAND. THESE ARE A GOOD BIT INTO THE FUTURE BUT ANNOUNCEMENTS WILL BE MADE IN ADVANCE. I BELIEVE HE IS GOING TO HAVE A LECTURE ON THE TWO STARS ALONG WITH THE USUAL TASTY LUNCHEON. FILM CLIPS WILL SUPPLEMENT THE LECTURES. SEATING, AS ALWAYS, WILL BE LIMITED TO NO MORE THAN 25 PLUS PEOPLE. NOTE THAT THE DEAN MARTIN AFFAIR WILL BE APRIL 23RD.

I NEED TO MAKE ONE UNFORTUNATE CORRECTION. CLYDE DOES NOT HAVE ENOUGH MATERIAL FOR A SECOND CD. WE CAN ONLY LOOK FORWARD TO SEPIA RELEASES WITH EXCELLENT SOUND.

WELL WE HAD LIGHT SNOW BUT THAT DIDN'T DETER MORE THAN JUST A FEW PEOPLE FROM ATTENDING THE LATEST LANZA MUSEUM AFFAIR. SEEING "SEVEN HILLS OF ROME" WAS GREAT. BILL'S 75 INCH TV MADE IT SO SHARP AND COLORFUL. WE HAD HOAGIES AND WRAPS AND LATER HAD A BIRTHDAY CAKE FOR BILL.
HE SHOWED ME HIS COPY OF THE NEW CD AND I WANTED IT! HE ACTUALLY GOT THREE OF THEM. ONE LUCKY GUY BEFORE ME BOUGHT ONE FROM HIM. AMAZON HAS IT FOR 11.99, UNDERCUTTING SEPIA.
I WANTED TO BORROW BILL'S WHILE RIGHT THERE AND PUT IT INTO THE "BRAIN" OF MY VAN'S RADIO/CD PLAYER BUT HE WOULDN'T LET ME. NOT SURE WHY! I WAS GLAD TO HEAR CLYDE SMITH IS STILL ALIVE AND CONTRIBUTING. I THINK HE IS SOMEWHERE IN THE MID WEST. BILL HAD NOTHING BUT RAVES FOR THE NEW CD. ALSO, HE SAID CLYDE HAS ENOUGH "NEW" MATERIAL TO LIKELY MAKE YET ANOTHER CD.
THE MUSEUM IS BROADENING THEIR HORIZONS BY HOLDING SPECIAL FUNCTIONS FOR PEOPLE LIKE DEAN MARTIN AND JUDY GARLAND. THERE WILL BE LECTURES ABOUT THEM AND FILM CLIPS.
I GAVE AWAY MOST OF THE LAST OF MY LANZA CARICATURES, LEAVING ONLY FIVE COPIES LEFT AND THEN THERE WILL NEVER BE ANY MORE!

THERE IS A NEW DISCUSSION OF MYTHS REGARDING MARIO LANZA'S VOICE THAT VINCE DI PLACIDO HAS PUT UP ON YOUTUBE. IT RUNS NEARLY TWO HOURS AND IS EXCELLENT. HERE IS THE LINK:

https://www.youtube.com/watch?v=4MIbVHWnBDc

I LISTENED CLOSELY TO THE VIDEO AND MADE COMMENTS ALONG THE WAY. HERE IS WHAT I WROTE:

1-BACK IN THE SIXTIES I WENT TO THE LARGE PHILADELPHIA LIBRARY AND RESEARCHED AS MUCH AS I COULD ABOUT MARIO.
MAX DE SCHAUNSEE SAID "LANZA HAD NO TROUBLE FILLING EVERY CORNER OF THE ACADEMY OF MUSIC".

2-I THINK I REMEMBER COSTA WRITING IN HIS BOOK ABOUT THE "WALL OF SOUND" MARIO PUT OUT. HE USED THE WORD "OROTUND".

3-WHY DO PEOPLE THINK IT IS SO IMPORTANT THAT MARIO HAD TO SING A FULL LENGTH OPERA? I WOULD GUESS THAT THE PEOPLE WHO SAY THIS BELIEVED HE COULD NOT SUSTAIN THE LENGTH. I SAY HIS CONCERTS VERY LIKELY FILLED MORE SUSTAINED TIME THAN SOME TENORS HAVE TO PUT IN TO SING A COMPLETE OPERA. I KNOW FROM MY OWN EXPERIENCE THAT I HAVE SUNG FOR AN HOUR TO TWO HOURS STRAIGHT WITH NO VOCAL STRAIN!

4-LICIA ALBANESE ATTENDED SEVERAL MARIO LANZA BALLS. SHE SAID ON TWO OCCASIONS THAT I REMEMBER THAT HE HAD A BIG, GREAT VOICE. THAT MEANS A LOT COMING FROM A LADY WHO SANG WITH PLENTY OF OTHER FAMOUS OPERA STARS.

5-I DIDN'T REALIZE THAT DOROTHY KIRSTEN PUT MARIO DOWN IN SOME WAYS. THAT SEEMS SURPRISING SINCE SHE WAS A FULL BLOWN OPERATIC SINGER WHO SHOULD HAVE KNOWN BETTER.

6-THERE HAVE BEEN SOME GREAT SINGERS WHO SOUND WONDERFUL ON RECORD BUT WHO HAD SMALL VOICES. CANTOR JOSEF ROSENBLAT IS A GOOD EXAMPLE. NICE RINGING VOICE BUT SMALL. I WOULD LIKE TO SEE A LIST OF TENORS WHO WERE KNOWN TO HAVE SMALL VOICES!

7-MARIO AND SINATRA (MY FAVORITE POP SINGER) BOTH HAD GREAT DICTION. AND BOTH WERE NATURALS AT ACTING. IN "BECAUSE YOU'RE MINE" WHEN TALKING TO JAMES WHITMORE ABOUT HEARING WHITMORE'S SISTER, HE STANDS AWAY FROM WHITMORE AND SHIFTS HIS EYES TO ONE SIDE. TO ME THAT IS GREAT ACTING.

8-I SAY CARUSO HAD A BIGGER VOICE THAN HE IS GIVEN CREDIT FOR. WHY? LISTEN TO HIS 78s THROUGH A HORN VICTROLA OF THE PERIOD. HIS VOICE RINGS OUT LOUDER THAN NEARLY EVERY OTHER TENOR AND DEFINITELY EVERY OTHER SOPRANO. LADIES VOICES IN GENERAL DURING THE ACOUSTICAL RECORDING PERIOD DID NOT FARE WELL. CARUSO'S RECORDS SOLD VERY WELL. MANY PEOPLE THINK HIS RECORDS ARE RARE BUT IT IS JUST THE OPPOSITE. HIS RECORDS ARE COMMON. THEY SOLD WELL BECAUSE THEY SOUNDED SO GOOD!

9-MARIO HAD AN EVEN VOICE UP AND DOWN. I DO FEEL, HOWEVER, THAT HE HAS TO REACH FOR THE LOWEST NOTES. LISTEN TO "TOAST OF NEW ORLEANS" AS HE DOES SCALES WITH THE MAESTRO. THE LOWEST NOTE HAS HIM REACHING SOMEWHAT. THAT BEING SAID, IN THE LAST COUPLE OF YEARS OF HIS LIFE HIS LOW REGISTER DID GET DEEPER, DESPITE WHETHER OR NOT HIS DRINKING CAUSED IT.

10-CALLINICOS SAID MARIO COULD NOT MASTER SIGHT READING OF MUSIC. WELL, NEITHER COULD FRANK SINATRA! AND THERE ARE PLENTY OTHER EXAMPLES IN BOTH THE OPERATIC AND POPULAR TYPES.

11-IF MARIO WAS A SLOW LEARNER, THEN HE NEVER COULD HAVE SUNG THE GREAT NUMBER OF NEW SONGS REQUIRED OF HIM EACH WEEK ON THE COKE SHOW. (I THINK YOU SAID THE SAME IN VINCE'S VIDEO).

12-MARIO WAS VERY MUCH AWARE OF HIS TENDENCY TO SING SHARP. ON THAT HOME RECORDING HE TELLS COLLEEN THAT "YOU SING SHARP JUST LIKE DADDY" (IF I AM QUOTING THAT CORRECTLY). I ACTUALLY LIKE OCCASIONAL SHARP SINGING WHEN IT HEIGHTENS THE PERFORMANCE. IT IS ONLY WHEN HE GOES TOO FAR THAT IT IS BAD. I'M TRYING TO REMEMBER THE ONE SONG AT ROYAL ALBERT HALL WHERE HE GOES WAY OFF AND THEN HAS A HARD TIME GETTING BACK ON THE MELODY.

13-MARIO'S "SOFT PEDAL" IS ABSOLUTELY THERE ON DISPLAY IN MANY RECORDINGS AND LIVE PERFORMANCES. HE MIGHT NOT HAVE HAD THE PERFECT DIMINUENDO THAT OTHER TENORS HAD.

14-TO MY EARS, MARIO'S VOICE CAME INTO ITS OWN SOMEWHERE AROUND 1948. BEFORE THAT HIS GREATNESS WAS STILL KNOWN BUT IT WASN'T THE FULLY DEVELOPED VOICE WE HEAR IN ALL OF HIS MOVIES.

15-I HAVE ALWAYS WONDERED IF MARIO WOULD SING AT THE DROP OF A HAT, LIKE HE DID IN THE OUTDOOR SCENE IN GREAT CARUSO WHEN HE SINGS "MATTINATA".

16-THE POPULARITY OF THE LP "LANZA ON BROADWAY" SPEAKS TO THE AVERAGE IGNORANCE OF PEOPLE WHO BOUGHT AND LOVE THAT ALBUM!

17-THE PROPER VOCAL TECHNIQUE ISSUE STICKS IN MY CRAW SINCE I HAVE ARGUED WITH MY FRIEND RON ABOUT THIS FOR YEARS. DON'T GET ME WRONG, HE THINKS LANZA IS THE GREATEST BUT SAYS HE NEEDED MORE VOCAL TRAINING. OCCASIONALLY HE WILL EVEN SAY THAT IT WAS HIT AND MISS WITH MARIO.

18-HE MADE RECORDINGS IN SMALL PIECES? WHAT A JOKE! WHEN LISTENING TO HIS REHEARSALS, THERE WERE SOME SONGS THAT MAY HAVE ENDED UP BY CHOOSING THE BEST PARTS. ONE ARIA THAT COMES TO MIND IS ONE OF HIS RECORDINGS OF "LA DONNA E MOBILE" WHERE YOU CAN EASILY HEAR THE SPLICED ON FINAL NOTE "PENSIERE".

19-EARLIER RECORDINGS LIKE HOLLYWOOD BOWL HAVE HIM SOUNDING MORE LYRIC THAN THE LATER RECORDINGS. HIS LONG HELD END TO "NESSUN DORMA" IS ASTOUNDING. (WE WON'T TALK ABOUT JEFF RENSE'S TAMPERING WITH HIS SINGING BY STRETCHING OUT SOME OF HIS NOTES, LOL).

20-I BELIEVE I TOLD YOU THE STORY OF HOW MY JUNIOR HIGH SCHOOL MUSIC TEACHER (A TRAINED TENOR HIMSELF) PREFERRED CORELLI TO LANZA. I NEVER ARGUED WITH HIM SINCE I RESPECTED HIM SO MUCH. EVEN WHEN I COMPARED BOTH TENORS DOING THE SAME ARIA (IN THIS CASE "NESSUN DORMA") HE STUCK TO HIS GUNS. TO MY EARS CORELLI IS AN EXCELLENT TENOR BUT I OFTEN FEEL HE SINGS LIKE HE HAS MARBLES IN HIS THROAT, HE LACKED THE PURE CLARITY OF LANZA.

21-HAS ANY OPERATIC SINGER TRULY BEEN ABLE TO SHATTER GLASS?

ANY COMMENTS ARE WELCOME!

DESPITE THE THREAT OF RAIN AND/OR SNOW, THE LANZA MUSEUM FUNCTION FOR TOMORROW (SATURDAY) WILL STILL BE HELD. THE TEMPERATURE WILL GO UP TO 45 DEGREES. WE LOOK FORWARD TO ENJOYING A FINE LUNCHEON AND THEN A SCREENING OF "THE SEVEN HILLS OF ROME". I PROBABLY SAID THIS BEFORE BUT WATCHING A LANZA FILM TOGETHER WITH FANS WHO HAVE THE SAME INTEREST ONLY HEIGHTENS THE EXPERIENCE. IT STARTS AT 1:00 PM AND GOES TO APPROXIMATELY 4:00 PM. WE WILL SEE MARISA ALLASIO IN HER PRIME! NOTE THAT CLOCKS SHOULD BE TURNED AHEAD SATURDAY NIGHT FOR SUNDAY'S DAYLIGHT SAVINGS TIME.

CORRECTION: IT WAS NOT CLINTON SUNDBERG IN "THAT MIDNIGHT KISS", IT WAS JULES MUNSHIN.

DON'T FORGET TO TURN YOUR CLOCKS FORWARD SATURDAY NIGHT SO SUNDAY YOU WILL BE READY FOR DAYLIGHT SAVINGS TIME.

TONIGHT'S MOVIE I RAN WAS "EASTER PARADE" STARRING FRED ASTAIRE AND JUDY GARLAND WITH PETER LAWFORD AND CLINTON SUNDBERG (OF "THAT MIDNIGHT KISS" FAME!). THE FILM IS CHOCK FULL OF WONDERFUL IRVING BERLIN SONGS INCLUDING THE VERY FAMOUS TITLE SONG. FRED ASTAIRE IS SEEN IN THE BEGINNING DOING A WONDERFUL DANCE NUMBER USING DRUMS WITH HIS USUAL PERFECTION AND STYLE. LATER ANN MILLER COMES INTO HIS APARTMENT AND TELLS HIM SHE IS LEAVING THEIR ACT SINCE SHE HAS HAD A BETTER OFFER FROM ZIEGFELD.FRED IS CRESTFALLEN. PETER LAWFORD IS FRED'S FRIEND AND FEELS BAD ABOUT THIS. BUT FRED IS STOIC AND BRAGS TO LAWFORD WHILE SITTING AT A BAR THAT HE COULD TAKE ANY OF THE LINE UP OF CHORUS GIRLS AND MAKE HER IN LESS THAN A YEAR AS GOOD AS ANN. HE CHOSES JUDY GARLAND WHO IS MAKING 15.00 A NIGHT AND OFFERS HER 150.00. SHE THINKS HE IS COMING ONTO HER BUT WHEN SHE REALIZES WHO HE IS, SHE DOES A DOUBLE TAKE AND MEETS HIM AT THE SPECIFIED HOUR THE NEXT MORNING. EVEN THOUGH A GOOD DANCER, SHE HAS A PROBLEM TELLING HER RIGHT FOOT FROM HER LEFT. ("RIGHT FOOT FROM HER LEFT", ETC., ARE WORDS HEARD IN THE SONG "MISTY" THAT A CERTAIN SINGER NAMED JOHNNY MADE FAMOUS) TO HELP, SHE KEEPS A GARTER ON ONE LEG TO BE ABLE TO TELL THE DIFFERENCE. ASTAIRE GIVES HER A RUBBER BAND THAT SUFFICES. LAWFORD IN THE MEANTIME IS FALLING IN LOVE WITH JUDY. HE MEETS HER OUT ONE VERY RAINY AFTERNOON AND BUYS A HUGE UMBRELLA FROM A VENDOR IN THE STREET. BOTH HE AND JUDY TAKE COVER WHILE HE SINGS "A FELLOW WITH AN UMBRELLA". THEN FOLLOWS A GOOD NUMBER OF SONG AND DANCE SETS WHILE WE SEE THE PRINCIPALS GROWING IN POPULARITY. LAWFORD PROFESSES HIS LOVE FOR HER AND JUDY SAYS SHE IS FLATTERED BUT IS IN LOVE WITH FRED (WHO DOESN'T REALIZE HE LOVES HER UNTIL MUCH LATER). ANN IS SEEN ON EASTER SUNDAY BEING PHOTOGRAPHED BY THE PRESS AND SPORTING TWO BORZOI DOGS ON THEIR LEASHES. ONE YEAR FROM THAT TIME JUDY AND FRED ARE WALKING DOWN THE SAME STREET AND ANN IS LEFT IN THE DUST SO TO SPEAK. THE CHORUS SINGS "EASTER PARADE" AND THE FILM'S END TITLES COME UP. THIS IS A THOROUGHLY ENTERTAINING MOVIE THAT HAS NO DULL SEQUENCES AND IS NICELY PACED. SEEING IT IN BLU RAY WITH 4K PROJECTION IS A TREAT AS THE COLOR AND IMAGES ARE LUSH. ONCE AGAIN, I HAVE TO ASK WHERE ARE THE OTHER RENSE POSTERS?

CORRECTION: MARISA ALLASIO IS NOT 85 1/2 YEARS OLD, SHE IS 87. MY THANKS TO DEREK MCGOVERN FOR THIS CORRECTION. I SO DO WITH OTHERS WOULD START POSTING. OUTSIDE OF MIKE AND MYSELF, IT IS AWFULLY LONELY ON RENSE.

MARK THE DATE: THIS SUNDAY MARCH 12TH BILL RONAYNE IS OPENING THE MARIO LANZA MUSEUM FOR ITS NEXT AFFAIR. THERE WILL BE A TASTY LUNCHEON FOLLOWED BY A SCREENING OF "THE SEVEN HILLS OF ROME". IT STARTS 1:00 PM AND GOES TO 4:00 PM. TAKE IT FROM ME, SEEING THE 1957 FILM WILL BE A TREAT SINCE EXPERIENCING IT WITH OTHER FANS ALWAYS MAKES IT BETTER. YOU MUST NOTIFY BILL VIA THE MUSEUM WEBSITE TO RESERVE A PLACE. HE CAN ONLY HANDLE ABOUT 30 PEOPLE AND I AM SURE IT IS NEARLY FILLED. MARISA ALLASSIO IS MARIO'S COSTAR AND SHE JUST TURNED 85 1/2 YEARS OLD. SHE IS EXCELLENT IN HER ROLE AND A WORTHY CO-STAR EVEN THOUGH SHE DOES NOT SING.

GREAT NEWS! THE NEW SEPIA CD ENTITLED "THE UNDISCOVERED MARIO LANZA:RARE RECORDINGS AND HIDDEN GEMS" HAS BECOME AVAILABLE AS OF YESTERDAY. I FOR ONE CAN'T WAIT TO HEAR ALL THAT THIS CD HAS TO OFFER WITH THE VERY RARE TRACK LIST THAT I WILL PROVIDE FOR YOU. TO ORDER DIRECT FROM SEPIA, JUST USE THE LINK BELOW. THE COST IS $14.60 USA.

https://sepiarecords.com/sepia1371.html

THE TRACK LIST CAN BE SEEN ON DEREK MCGOVERN'S "MARIO LANZA TENOR" WEBSITE. JUST USE THIS LINK:

https://www.mariolanzatenor.com/news/new-cd-from-sepia-records-the-undiscovered-mario-lanza-rare-recordings-and-hidden-gems

I HOPE EVERYONE APPRECIATES WHAT RELEASES LIKE THIS MEAN. COUNTLESS YEARS AFTER MARIO'S DEATH WE ARE BEING BLESSED WITH UNHEARD RECORDINGS. JUST WHEN WE THINK THAT THERE IS NOTHING NEW REGARDING MARIO'S SINGING, WE RECEIVE THE GREAT NEWS THAT THERE INDEED IS!

I WATCHED AN OVERLY LONG BUT ENTERTAINING FILM WITH DORIS DAY, JIMMY DURANTE, MARTHA RAYE, AND STEPHEN BOYD CALLED "JUMBO". BUT NO REVIEW TONIGHT BECAUSE I HAVE SOMETHING VERY EXCITING TO TELL YOU FOLKS.

I JUST RECEIVED FROM AMAZON THE NEW 4K VERSION OF "THE WIZARD OF OZ". IT IS TRULY UNBELIEVABLE. THE DETAIL, COLOR, AND EVEN THE SOUND ARE THE BEST EVER. CONSIDERING THIS IS A 1939 MOVIE, IT LOOKS LIKE IT WAS MADE YESTERDAY. EVEN BETTER, THOUGH, BECAUSE RECENT FILMS JUST DON'T HAVE THE PIZZAZZ THAT THE OLD TECHNICOLOR FILMS HAD. A FEW EXAMPLES: DOROTHY'S LIPS ARE AS RUBY RED AS HER SLIPPERS. HER FACE HAS ROUGE ON IT AND YOU CAN SEE FRECKLES TOO. SHE HOLDS A BOUQUET OF FLOWERS AT ONE POINT IN THE MOVIE AND YOU CAN SEE EACH PETAL IN DIFFERENT COLORS. TO TAKE FULL ADVANTAGE OF THE IMPROVEMENTS YOU MUST HAVE A 4K PROJECTOR. MAYBE I'M GUSHING TOO MUCH BUT AFTER ALL, THIS IS MY ALL TIME FAVORITE MOVIE. AND I HAVE LOVED IT AND, AS THEY SAY IN THE BEGINNING, "RETURNED TO IT" SINCE FIRST SEEING THE MOVIE AT TEN YEARS OF AGE WHEN MY AUNT TOOK ME AND HER GIRLS TO SEE IT. IT IS AVAILABLE FOR 20.00.

I HAVE ANOTHER MOVIE REVIEW FOR YOU FOLKS. TONIGHT I WATCHED THE WONDERFUL "BYE BYE BIRDIE" WITH DICK VAN DYKE, JANET LEIGH, ANN MARGRET, BOBBY RYDEL, PAUL LYNDE, AND JESSE PEARSON AS CONRAD BIRDIE. THE FILM WAS MADE IN THE EARLY SIXTIES BUT IT DOESN'T SEEM DATED AT ALL. THE BIRDIE CHARACTER WAS BASED ON ELVIS PRESLEY, WHO WAS DRAFTED BY THE ARMY AS WAS BIRDIE. THE STORY CONCERNS ANN AS THE GIRL WHO IS PICKED TO HAVE BIRDIE GIVE HER "ONE LAST KISS" (A SONG DICK VAN DYKE'S CHARACTER HAS WRITTEN FOR HIM). SHE FAINTS WHEN HE IS NEAR, DRIVING BOYFRIEND BOBBY RYELL JEALOUS. DICK HAS A DOMINEERING MOTHER (MAUREEN STAPLETON) WHO BABIES HIM AND FEIGNS ILLNESS WHENEVER DICK MENTIONS MARRIAGE TO HIS LOVE JANET LEIGH. IN THE END MOM GETS MARRIED HERSELF AND FROM THAT POINT ANYTHING SON DICK DOES IS ALRIGHT WITH HER. THE MUSIC SCORE IS EXCELLENT AND INCLUDES "WE LOVE YOU CONRAD", "THE TELEPHONE HOUR" (WHICH I SANG IN HIGH SCHOOL DURING THE FILM'S SUCCESS), "ONE BOY", "HOW LOVELY TO BE A WOMAN", THE POPULAR "PUT ON A HAPPY FACE", AND "EVERYTHING IS ROSIE". THEY EVEN DEVISED A SPECIAL DANCE FOR THE FILM WHICH LOOKS A LOT LIKE THE KIND OF INVENTIVE DANCE BOB FOSSE WOULD HAVE DONE. BOTH ANN AND BOBBY ARE VERY YOUNG AND IT IS REFRESHING TO SEE THEM AT THIS STAGE IN THEIR CAREERS. AT THE VERY BEGINNING AND VERY END OF THE MOVIE WE HAVE ANN SINGING THE TITLE SONG "BYE BYE BIRDIE" IN A SEXY DANCE WHERE SHE PUTS HER ARMS TOGETHER AND EMPHASIZES HER DELIGHTFUL CLEAVAGE! THIS IS YET ANOTHER FILM THAT NEVER IS BORING AND CAN BE SEEN AGAIN AND AGAIN.

MIKE, I JUST LISTENED TO JOHN GARY SINGING "ONCE UPON A TIME", A SONG I HAVE SUNG MYSELF OVER THE YEARS. HE IS GREAT! WHAT A SWEET VOICE WITH A BEAUTIFUL FALSETTO AND A GOOD BODIED VOICE WHEN SINGING FULL OUT. IF OTHERS WANT TO HEAR HIM, GO HERE:

https://www.youtube.com/watch?v=FIjXYOniTPI

HI MIKE,

YES, IT'S JUST US. I DON'T KNOW WHAT TO DO ABOUT IT. DAVID WEAVER WAS PUT IN CHARGE OF THE SITE BY JEFF RENSE BUT HE DOESN'T SEEM TO BE AROUND AT ALL!

INTERESTING TO HEAR THE MEANING OF THE WORLD "SCUBA".

I HAVE ANOTHR FRIEND WHO THINKS JOHN GARY IS A GREAT SINGER. I WILL HAVE TO LISTEN TO HIM SINCE I THINK I HAVE ONLY HEARD HIM ONCE YEARS AGO.

SO FAR AS BREATH CONTROL, FRANK SINATRA DEVELOPED HIS BY SEEING HOW LONG HE COULD HOLD HIS BREATH UNDERWATER. IF YOU LISTEN TO HIS EARLY RECORDINGS HE PRACTICES THIS VERY WELL. LATER WHEN HE SMOKED A LOT HE LOST SOME OF IT. THE CAPITOL RECORDS YEARS WERE HIS BEST. HE WAS ALSO GOOD WHEN HE STARTED HIS OWN RECORD COMPANY CALLED REPRISE RECORDS. HE LEARNED FROM HIS FIRST BIG BAND EMPLOYER (DARN, OLD AGE, CAN'T THINK OF HIS NAME--MAYBE TOMMY DORSEY?) WOULD BLOW HIS HORN AND SEEM NOT TO TAKE A BREATH, BUT HE HAD A "PINHOLE" IN HIS LIPS THAT ALLOWED HIM TO SUCK IN AIR WITHOUT STOPPING.

I THINK I COVERED WHAT YOU POSTED ABOUT. THIS STUPID WEBSITE SHOULD ALLOW US TO SEE A PERSON'S POST RIGHT UNDERNEATH THE CURRENT POST.

Hi Sam. How do we get the word out to others that the site is up and running? Here comes another opinion. I think Ann Miller does the exact same dance steps in all her movies. OK, not exactly, but pretty close.BING was very adept at jazz, especially early on. John Gary was my favorite non classical singer.His impressive breath control was because he was a world class SCUBA diver.Bit of trivia, SCUBA means self contained underwater breathing apparatus.(I love trivia!)

THE IN DEPTH REVIEW I POSTED EARLIER SEEMS TO HAVE BEEN "EATEN" BY THIS WEBSITE AND ITS QUIRKS. I'LL TRY TO RE-CONSTRUCT IT.

BUT BEFORE THAT I WOWULD LIKE YOU ALL TO KNOW THAT YOU CAN NOW SEE THE COMPLETE TRACK LISTING ON DEREK MCGOVERN'S WONDERFUL LANZA WEBSITE AT:

https://www.mariolanzatenor.com/news/new-cd-from-sepia-records-the-undiscovered-mario-lanza-rare-recordings-and-hidden-gems

TONIGHT I WATCHED THE MGM VISUALIZATION OF THE LIFE OF SIGMUND ROMBERG. MEL FERRER PLAYS ROMBERG, WHILE OPERA STAR HELEN TRABEL DOES THE LION'S SHARE OF THE SINGING. MERLE OBERON PLAYS HIS CLOSEST FRIEND AND INSPIRATION. THE MOVIE BOASTS 22 SONGS FROM 11 DIFFERENT MUSICALS. IT SO MANY GUEST STARS THAT IT IS HARD TO KEEP TRACK OF THEM. ONE WHO STANDS OUT IS ROSEMARY CLOONEY AS SHE WAS THEN HIS REAL LIFE WIFE. IT WAS DIRECTED BY STANLEY DONEN IN 1954. YOU GET TO ENJOY GENE KELLY DANCING WITH HIS RARELY SEEN BROTHER FRED. THEN THERE IS TONY MARTIN SINGING, THERE IS VIC DAMONE SINGING, THERE IS JANE POWELL SINGING, ETC. IN THE DANCE DEPARTMENT, KUDOS TO ANN MILLER AND HER ALWAYS SMART TAP DANCING. CYD CHARISSE DOES A CLASSY DANCE SHOWING OFF HER MILLION DOLLAR LEGS. BALLET IS REPRESENTED BY TAMARA TOUMANOVA (SPELLING?). THERE ARE MORE BUT I CAN'T NAME ALL OF THEM.

THE DVD ITSELF I NOW CONSIDER THE FINEST, GREATEST IN MY HUGE COLLECTION OF DISCS. THE COLOR SATURATION IS VERY DEEP, THE SHARPNESS MAKES IT LOOK LIKE IT WAS JUST PHOTOGRAPHED, AND THE SOUND IS CRYSTAL CLEAR. IT ALSO HAS EXCELLENT BONUSES. 1-A TEX AVERY MGM CARTOON THAT IS CLEVER 2-THREE OUTTAKES OF LESSER NUMBERS CUT FROM THE FILM 3-AUDIO OUTTAKES AND 4-THE ORIGINAL THEATRICAL TRAILER WHICH IS EXCELLENT.

OKAY MIKE, HERE ARE MY REPLIES TO YOUR THREE POSTS: 1-"ALL THE THINGS YOU ARE" IS THE VERSION FOUND ON THE "CAVALCADE OF SHOW TUNES" ALBUM. IT IS A GOLDEN, RINGING NOTE. THERE EXISTS ON THE "MARIO LANZA AT MGM" CD A GLORIOUS VERSION OF THE SONG USING LANZA'S "SOFT PEDAL". IT WAS NEVER RELEASED ON ANY OTHER CD. AS A MATTER OF FACT, THERE WAS TO BE AN MGM ALBUM SEQUEL BUT IT GOT MESSED UP IN LEGAL MATTERS SO HAS NEVER BEEN RELEASED. 2-YES, THE LAST NOTE OF GIANNINA MIA IS SOMEWHAT FORCED AND DOESN'T EVEN END ON A WORD. MARIO SINGS "AH-AH-AH". 3-IMHO THE FINAL NOTE OF "SERENADE" IS NOT FORCED. THE PROBLEM WITH IT IS THE WOBBLE AS HE TRIES TO HOLD THE NOTE 4-BING CROSBY WAS ALWAYS A CROONER. FRANK SINATRA WAS TOO, BUT ONLY IN HIS EARLY DAYS AND UP UNTIL HE LEFT COLUMBIA RECORDS. FROM THE MID FIFTIES AND ON, HE NO LONGER CROONED BUT RATHER USED "SWING", THAT WAS ON THE JAZZY SIDE. FRANK ALWAYS CREDITED CROSBY AS HIS INSPIRATION. THEY NEVER APPEARED IN A MOVIE TOGETHER UNTIL MANY YEARS HAD PASSED. IT WAS IN THE MID-FIFTIES THAT THEY APPEARED TOGETHER IN "HIGH SOCIETY", A GREAT COLE PORTER MUSICAL BASED ON "THE PHILADELPHIA STORY". THE DUET THEY PERFORM TOGETHER WITH SINATRA TIPSY IS A FIRST CLASS GEM CALLED "WELL DID YOU EVAH". 5-CROSBY WAS ONE OF THE WORST DANCERS. HE BARELY SQUEEZES BY WHEN CALLED UPON TO DANCE. FRANK WAS AN EXCELLENT DANCER WHO WAS TRAINED BY GENE KELLY. THEY DANCED TOGETHER IN ONE FILM (THE TITLE ESCAPES ME) AND FRANK MATCHED GENE STEP FOR STEP!

HI MIKE,

I AM DISHEARTENED SINCE I WROTE AN IN DEPTH POST ABOUT THE GREAT MOVIE I SAW TONIGHT CALLED "DEEP IN MY HEART", THE MGM VISUALIZATION OF SIGMUND ROMBERG'S LIFE. I HOPE IT SHOWS UP, BUT IN THE MEANTIME, LET ME ADDRESS WHAT YOU POSTED IF THIS STUPID WEBSITE'S FOIBLES ALLOW ME TO SEE YOUR POSTS.