Mario Lanza/Frances Yeend LIVE from Hollywood Bowl, part 6

[RudySunseeker]

Listening to this famous concert (some might say infamous on account of its implications on Lanza´s career), you realize how good he really was.

Frances Yeend makes me think of Victoria de los Angeles, another no frills lyric soprano, with beauty of voice and line always at a premium.

Thank you so much for giving us joy.

[gaemp]

hello, can you explain me those implications? thanks

[RudySunseeker]

gaemp,

Sorry for being cryptic, just meant the implications of Mr. Goldwyn being there to scoop him up for his studios with ultimately devastating effects.

[RudySunseeker]

@RudySunseeker

Correction, it was Louis B. Mayer who was there and later signed Lanza for MGM.

[wvdisciples]

I knew Ms. Yeend in later years and was delighted to have studied with another of their colleagues. She told me that there was a promo trio for Columbia made of Lanza, Yeend and Rise Stevens. Anyone know of it?

[badpdx]

I think the criticisms of Lanza are warranted in many cases. But here, I find him to be a perfectly gorgeous Rodolfo. I mean seriously, I've heard worse versions from tenors without Lanza's great voice.

[ShawDAMAN]

I agree. :-)

[Dougknowspaper]

@badpdx I totally agree. In his younger years as here, I believe he was a more generous Rodolfo, allowing the soprano to be appreciated. Ms Yeend was a great partner as she didn't allow his majestic voice to overpower her. This is a beautiful version of this wonderful piece.

So sad he died so young.

[tenorismo]

She had a big voice. He still dosen't sing with disipline . He rushes his part . Legato legato legato .

[ynnor2z]

Over this world. Bravissimo!

[ShawDAMAN]

Indeed! Thanks for listening :)

[Tenorroma]

what a perfect voice full of passion and feeling! thank you shawDAMAN

[pianist527]

Just wonderful Both perfect

[IlgruppoDiDocci]

.............lanza gives the best thing of if, but their voice is but dramatic that lyrical,that is to say,although mario sings so well,that it is not its tesitura. and for that reason it will always be seen in disadvantage before other tenors that also sang well this aria.

[ShawDAMAN]

I guess you are saying that Lanza's vocal classification does not suit this duet(opera?) If so, I strongly disagree. Although he is usually described as lyrico/spinto, this early in his career he sounded more lyric than anything and in my opinion, perfect for the role. Most of the "darker" spinto/dramatic sound came later in his career as his voice matured.

[IlgruppoDiDocci]

1947... Laza have 26. he was youngh.although to this age their voice comes closer but to what the aria requests, it continues being a voice desmesurada for the duetto. so to speak: he have a lot of voice for that.

because Mario Lanza he never understood that it could not use all his power in everything, it denotes a lack of study vowel and work. the era a wild voice, not very well worked and therefore not very capable for pieces so demanding as this...............

[ShawDAMAN]

OK, I think I understand. But really, many tenors have sung aria's etc; that were not 'perfect' for their voices. For instance, Caruso's renditions of La Boheme were greatly admired, and he had a far more dramatic voice than Pavarotti and even Lanza. Conversely, Pav. took on roles like Manrico and Otello that did not suit his light voice. Some like it, some don't. So it's largely a matter of taste.

I understand your argument about Lanza "oversinging" so to speak.

[tenorismo]

a lack of study ,and a lack of patients .

[IlgruppoDiDocci]

Lanza voice remarkable, very good diction (in this recording) a jewel,in any event,for my, the recording of Pavarotti / Freni overcomes this, because in spite of the fact that this it is a jewel of the lyricism, a perle nere, it doesn't overcome the synthesis, the rhythm (it throws a slow little bit he goes),and Luciano's brightness.

[Mooorhe]

I agree, I definitely prefer Pavarotti/Freni. Lovely singing here though.

[ShawDAMAN]

I thought so. ;-)

But I still much prefer Lanza's voice. (surprise, surprise... :)

[ShawDAMAN]

Tough to understand you (I guess you're italian) but thanks for listening :)

[GermanOperaSinger]

Love it. I wonder how loud he was...kind of reminds me of Caruso the way he combines lyric beauty with dramatic power. Sad that Yeend passed away only a few months ago, her obituary is on opera news magazine, the May issue.

[ShawDAMAN]

I wonder too. Here's an interesting anecdote about that though from someone who was present at a recording session: "I remember that recording session," said Robinson. "All the other singers were right on their microphones, but Mario said, 'move it back, move it back.' And the Met singers were amazed. They had no idea what kind of voice he had. They wanted him to come to the Met."

[chris99103]

In 2000 Merlyn C. Minick wrote the following about Mario Lanza:I am one of the lucky ones. I am still warmly haunted, forty-nine years later, by his incredibly distinct and glorious voice as it soaringly penetrated the farthest recesses of the concert hall in Kansas City in 1951.(...)Hearing Mr. Lanza's voice was an experience like no other that I am able to recall. To say that his voice was "impressive" would be a monumental understatement.

[ShawDAMAN]

Thanks for the wonderful comment. I would have to agree with Mr. Minick =D

[chris99103]

His A and the C are breathtaking beautiful at the end.

Who of the current male tenors would dare to hold the High A for so long and then jump to the High C in a live performance ?

[ShawDAMAN]

I agree, and you're right.... few if any tenors today of this caliber.

[GermanOperaSinger]

Few if any tenors EVER were of this caliber.

[ShawDAMAN]

Agreed!!

[ShawDAMAN]

If you haven't already, listen to his Butterfly recording from this concert. The high C is even more impressive!

[ShawDAMAN]

I love the way he sings "Fremon, nell'anima.... " 1:12-1:17. So touchingly phrased.... :)