Mario Lanza/Frances Yeend LIVE from Hollywood Bowl, part 4

[Lovelytenor1]

Many say that ML could not have made it in opera. After listening to the many offerings from this concert, I would think that their argument would fade.

[ShawDAMAN]

@Lovelytenor1 agreed!

[Mooorhe]

Interesting how at 1:53 he doesn't connect the two notes as the score demands.

Perhaps this was an interpretive decision?

[ShawDAMAN]

hmmm perhaps.

[Mooorhe]

I've been wondering... I've never been to the Hollywood Bowl, would these two have been amplified?

[ShawDAMAN]

I believe so, yes. It's a large outdoor, open air stadium. I believe Tucker was amplified on his Bowl concert that I posted too. Most if not all singers probably would have been, there.

[Mooorhe]

I thought so. I just wondered because the Arena di Verona is outside, and yet the singers sing unamplified. I'm guessing that the capacity of the Hollywood Bowl is much larger though...

[ShawDAMAN]

The capacity is about 17,000. I understand that the capacity of the Arena di verona is now about 15,000? So actually not a big difference... interesting. :-)

[ShawDAMAN]

The Arena may have better acoustic properties though. I don't know....

[ShawDAMAN]

Have you been to the "Arena di Verona?"

[Mooorhe]

Ooh, now that I think about it, this would be a great 'duel' to do.

I'll choose a Pavarotti version to face this one, probably one of the three 1965 La Traviata performances recorded (probably not the Scotto Covent Garden one though).

I think I'll do it with the Freni Traviata in Modena, those voices blend so well... it would be great to compare two of the greatest renditions in existence.

[ShawDAMAN]

Sounds good!- are you doing the editing or me?

No I don't believe this was a radio broadcast, but I can double check on that---

I would also like to find a suitable match to compare with the "butterfly" duet from this concert- also one of the best in existence, IMO

[Mooorhe]

I'll give the editing a go :P.

My favourite rendition of the Butterfly duet is from the outstanding Freni/Pavarotti recording with Karajan. However, it's a studio recording.

[ShawDAMAN]

OK =D hope it goes well =)

To me, Pav just wasn't Pinkerton like Lanza was. Of course, it being an American character was an advantage for Mario- ;-) what a shame that his 2 acclaimed performances of it in New Orleans do not appear to have been recorded...

have fun! I'll look forward to it

[Mooorhe]

I'm doing the Brindisi duet from act I of La Traviata first, I'm editing that as we speak. Pavarotti/Sutherland vs Carreras/Caballe.

Have you listened to the Karajan recording?

And I was wondering, did Lanza ever record the role of Pinkerton?

I'm not crazy about Madama Butterfly like I am about many other operas, but from what I've heard. Pavarotti is my favourite so far though, the combination of his voice with Freni's is vocal perfection to my ears.

[ShawDAMAN]

Sounds good! =)

Yes I have the Karajan recording you mentioned ;-) it is very good. And Pav/Freni were always wonderful together. But comparing them in that role, Lanza sounds warmer, more passionate to me. Just me. ;-)

No, Lanza never recorded a complete role (unless you count Student Prince- sort of :P)

There is a chance that his 48 perfs. of the role were recorded (or broadcast/recorded) but it's unlikely at this point. Ah well.

[ShawDAMAN]

I don't like "Butterfly" either. I like a couple excerpts from it. That goes for alot of operas, for me. I don't really care for Otello, Tosca, Turandot, Butterfly, Traviata, etc, etc; as complete works. I like alot of Mozart excerpts but the whole operas sometimes annoy me :P There are only maybe, 4-5 complete operas I really like. La Boheme, L'elisir, Chenier, Fidelio, and maybe a couple others are probably my favorite complete operas.

[Mooorhe]

I like alot of works in their entirety.

Tosca and La Traviata are really good complete IMO.

I like alot of Donizetti operas complete, a couple of Bellini, a couple of Verdi and one or two Puccini operas.

My favourite opera is Rigoletto, no doubt about that.

[ShawDAMAN]

Perhaps I should clarify: all the works you mentioned, I too like in their entirety, *musically* speaking. (though some more than others..)

What I object to in the operas I don't like is the story/plot. Lucia, Pagliacci, Turandot, Otello, Cavalleria.... I often consider it a shame that such gorgeous music is often combined with such exceedingly violent/tragic themes.

Don't like the plot of Rigoletto either :P again, I like some excerpts.

[MrCafiero]

@ShawDAMAN HUH? Those things brought about the music.

[ShawDAMAN]

I know. :P I enjoy the music but there are operas that that have wonderful music without having quite such horrific storylines.

I'm aware though that tragedy and strong emotions are often the catalyst for great music. Can't write an opera about walking your dog and having eggs for breakfast. ;P Part of the problem today is these horrific and sometimes bizarre productions they often do, extremely graphic, emphasizing the gore unnecessarily etc etc

[MrCafiero]

Well, that is because today no one can sing like they used to. So they are forced to concentrate on getting a response through ridiculous acting and staging. It is a shame.

[ShawDAMAN]

Precisely. :-(

Just one example of MANY: "Dante (the director) has decided to alter the libretto, and have Don José rape Carmen, ripping her clothes off, right before he goes for the kill -- "an extreme gesture", admits the Sicilian director.."

*SIGH* Now they are even changing the LIBRETTO? As if people in underwear and copious amounts of fake blood and abstract art gone-wrong sets and stagings weren't bad enough.

Sorry for ranting :P

[MrCafiero]

Or how about Alfio riding across the stage on a Harley singing "Il cavallo scalpita" (the horse stomps) "schiocchi la frusta" (crack of the whip). Retarded!!

[ShawDAMAN]

LOL argh. Hadn't heard that one. o_O How about this one, for "Rosenkavalier:" "the Marschallin is found seated at her dressing table amid clouds. Not liking what she sees, she shatters her mirror, as satyr-like men, with strapped on genitalia, appear and begin to gang rape her, an experience from which she is saved by the arrival of Octavian, who is lowered, deus ex machine-style, onto the stage. Dressed in his 18th-century best, he fights the satyrs off." (Stuttgart opera) GAH I'm getting sick

[ShawDAMAN]

How about some guys just going out on stage, standing, and thrilling the audience with their voices. Not anymore :-(

[MrCafiero]

First you have to shoot all the directors and people hiring. They are utterly clueless. And I cannot emphasize that enough. And they sacrifice good voices for the overall cast. BARF! Secondly we need voices to be trained correctly. The system is unfortunately completely corrupt. You cannot believe what these teachers are doing to voices.

[ShawDAMAN]

Makes you want to open your own opera house and conservatory. Call it the society for the preservation of opera. All we need is a rich patron. :P

How did the system *GET* this corrupt?? It sure didn't take that long, relatively speaking. As late as the 60's and 70's thinks still seemed to be going pretty well... :-[

[MrCafiero]

I would love to do that - only allowing the best singers with the best training. There are many programs like that, but they don't really have the right vocal training.

This downward spiral started with the "singer voice teacher" and the introduction of subjective imagery. You cannot teach someone how to sing through subjective imagery. It is way too open to misinterpretation and does not directly address fundamental, functional issues. And this is now the standard of teaching in schools.

[ShawDAMAN]

When you talk about "subjective imagery," do you mean trying to forcibly apply set standards and techniques for all singers and voice types?

And could you explain "singer voice teacher" too ha ha. Do you mean improperly taught singers then becoming teachers?

[MrCafiero]

"subjective imagery" such as "spin the sound", "sing in the mask", "placement" etc. You cannot spin sound, you cannot place sound. All of these things do not directly develop the vocal mechanism. They are simply tricks. What happened is that successful singers who had certain sensations when singing then tried to teach voice based on how it felt to them when they sang. But this is very limiting if not damaging. You have to develop and build and instrument based on what is actually there.

[ShawDAMAN]

I see. Makes perfect sense.

[Mooorhe]

Was this a radio broadcast? The sound is very good.

[ShawDAMAN]

By the way, I just checked: This concert was a radio broadcast, as were all of Lanza's Bowl appearances. It's a shame more of his live work wasn't broadcast, or it may have been recorded.... :-/

[Mooorhe]

It's really good sound for the time, we can be grateful for that :D.

[caramonmajere780817]

gracias por compartir estas exelentes grabaciones de uno de los mejores tenores del mundo. la vos de lanza me parece dotada de una sublime espectacularidad, y puedo disfrutarlo ,correccion, podemos disfrutarlo gracias a ti o talvez a usted si eres mas grande que yo jaja . me considero afortunado por leer tus acertados comentarios. eres alguien muy bien educado gracias and greetings to everyone

[pianist527]

Another priceless video. Two precious diamonds. One of them quite so, the other starting to get its numberless brilliant-cut faces to become the most magnificent tenor voice of the last century

[Cocus62]

Extraordinario simplemente BELLISIMA! Mil gracias por compartir estas sorprendentes y eternas grabaciones...

[ShawDAMAN]

Usted es muy bienvenida, me siento muy feliz de que haya disfrutado de esta. Gracias por escuchar!