Mario Lanza - 100 Hits Legends (2010)

Mario Lanza - 100 Hits Legends (2010)

Disc 1
01. Be My Love
02. The Loveliest Night Of The Year
03. Younger Than Springtime
04. If I Loved You
05. More Than You Know
06. For You Alone
07. I Love Thee
08. If
09. I'm Falling In Love With Someone
10. They Didn't Believe Me
11. Softly As In A Morning Sunrise
12. Look For The Silver Lining
13. Song Of Songs
14. The Donkey Serenade
15. Temptation		play
16. The Song Is You
17. Trees
18. Roses Of Picardy
19. You Are Love
20. You'll Never Walk Alone

Disc 2
01. Because		play
02. Drink, Drink, Drink
03. Serenade (From 'The Student Prince')
04. The Desert Song
05. Wanting You
06. One Alone
07. Only A Rose
08. Golden Days
09. Memories
10. One Night Of Love
11. All The Things You Are
12. The Thrill Is Gone
13. Lady Of Spain
14. My Song, My Love
15. Yours Is My Heart Alone
16. Strange Music
17. My Heart Stood Still
18. Someday
19. The Touch Of Your Hand
20. I'll See You Again

Disc 3
01. O Sole Mio
02. Torna A Surriento
03. Santa Lucia
04. Fenesta Che Lucive
05. Dicitencello Vuie
06. Maria Mari
07. Senza Nisciuno		play
08. Musica Proibita
09. La Spagnola
10. Santa Lucia Luntana
11. Mattinata
12. Lolita
13. Funiculi Funicula
14. La Danza
15. A Vucchella
16. Marechiare
17. Ciribiribin
18. Core N'Grato
19. Parlami D'Amore, Mariu
20. Non Ti Scordar Di Me

Disc 4
01. Questa O Quella - Rigoletto
02. Parmi Veder Le Lagrime - Rigoletto
03. La Donna E Mobile - Rigoletto		play
04. Libiamo Ne' Lieti Calici - La Traviata
05. Una Furtiva Lagrima - L'Elisir D'Amore
06. Che Gelida Manina - La Boheme
07. Recondita Armonia - Tosca
08. E Lucevan Le Stelle - Tosca
09. Cielo E Mar - La Gioconda
10. Paradiso - L'Africana
11. La Fleur Que Tu M'Avais Jetee (Flower Song) - Carmen
12. Tu Che In Seno Agli Angeli - La Forza Del Destino
13. M'Appari - Martha
14. Un Di All'Azzurro Spazio - Andrea Chenier
15. Come Un Bel Di Di Maggio - Andrea Chenier
16. Lamento Di Federico (E La Solita Storia) - L'Arlesiana
17. Amor Ti Vieta - Fedora
18. Serenade
19. Vesti La Giubba - I Pagliacci
20. Mamma, Quel Vino E Generoso (Addio Alla Madre) - Cavalleria Rusticana

Disc 5
01. Because You're Mine
02. I'll Never Love You
03. Ah! Sweet Mystery Of Life
04. Danny Boy
05. Sylvia
06. Siboney		play
07. The Tina-Lina
08. Night And Day
09. Begin The Beguine
10. My Romance
11. Cosi Cosa
12. Arrivederci, Roma
13. Come Prima
14. Granada
15. Valencia
16. Ay-Ay-Ay
17. The Lord's Prayer
18. The Rosary
19. Ave Maria
20. I'll Walk With God

Mario Lanza (31 January 1921 – 7 October 1959) was an American operatic tenor and Hollywood movie star who enjoyed success in the 1950s. His voice was considered by many to rival that of Enrico Caruso, whom Lanza portrayed in the 1951 film The Great Caruso. Lanza was able to sing all types of music. While his highly emotional style was not universally praised by critics, he was immensely popular and his many recordings are still prized today.

Operatic career: Born Alfredo Arnold Cocozza in Philadelphia, Pennsylvania, he was exposed to opera and singing at a young age, and by the age of 16 his vocal talent became apparent. Starting out in local operatic productions in Philadelphia, he later came to the attention of conductor Serge Koussevitzky, who provided young Cocozza with a full student scholarship to the Berkshire Music Festival at Tanglewood in Massachusetts. Koussevitzky would later tell Lanza that, “Yours is a voice such as is heard once in a hundred years.”

His operatic debut, as Fenton in Otto Nicolai’s The Merry Wives of Windsor, was at Tanglewood on August 7, 1942, after just six weeks of study with conductors Boris Goldovsky and Leonard Bernstein. It was here that Cocozza adopted his stage name from his mother Maria’s maiden name of Lanza. His performances at Tanglewood won him critical acclaim, with Noel Straus of The New York Times hailing the 21-year-old tenor as having “few equals among tenors of the day in terms of quality, warmth, and power.”

His operatic career was interrupted by World War II, when he was assigned to Special Services in the U.S. Army Air Corps. He appeared on the wartime shows On the Beam and Winged Victory while in the Air Corps.

He resumed his singing career in October 1945 on the CBS radio program Great Moments in Music, where he made six appearances singing various operatic selections. He later studied under Enrico Rosati for fifteen months, then embarked on an 86-concert tour of the United States, Canada and Mexico between July 1947 and May 1948 with George London and Frances Yeend. In April 1948, he sang Pinkerton in the New Orleans Opera’s Madama Butterfly. A concert at the Hollywood Bowl brought Lanza to the attention of MGM’s Louis B. Mayer, who signed Lanza to a seven-year film contract with Metro Goldwyn Mayer. This would prove to be a turning point in the young singer’s career.

Film career: MGM’s contract with Lanza required him to commit to the studio for six months, and at first Lanza was able to combine his film career with his operatic one, singing two acclaimed performances as Pinkerton in Madama Butterfly for the New Orleans Opera Association in April 1948. He also continued to perform in concert, both in solo appearances and as part of the Bel Canto Trio with George London and Frances Yeend. In May 1949, he made his first commercial recordings with RCA Victor. However, his first two films, That Midnight Kiss and The Toast of New Orleans, were very successful, as was his recording career, and Lanza’s fame increased dramatically.

In 1951, Lanza portrayed Enrico Caruso in The Great Caruso, which proved to be an astonishing success. At the same time, his popularity exposed Lanza to intense criticism by music critics, including those who had praised his work years earlier.

In 1954, Lanza was dismissed by MGM after he had pre-recorded the songs for The Student Prince. The film was subsequently made with actor Edmund Purdom miming to Lanza’s vocals. During this period Lanza came very close to bankruptcy as a result of poor investment decisions made by his former manager. Owing about $250,000 in back taxes to the IRS, Lanza withdrew from the public eye for a time.

Mario Lanza at home.He returned to an active film career in 1956 in Serenade; despite its strong musical content, it was not as successful as his previous films. Lanza then moved to Rome, Italy in May 1957, where he worked on the film Seven Hills of Rome and returned to live performing in a series of acclaimed concerts throughout Britain, Ireland and the European Continent. In early 1958, he auditioned for the management of La Scala in Milan, and was immediately offered a minimum two-year contract to sing at that theatre. The opera initially discussed was Puccini’s Tosca. Later that year, Lanza also agreed to open the 1960/61 season at the Rome Opera as Canio in Pagliacci. At the same time, however, his health began to decline, with the tenor suffering from a variety of ailments, including phlebitis and acute high blood pressure. The following year, in April 1959, Lanza suffered a minor heart attack, followed by double pneumonia in August. He died in Rome in October of that year at the age of 38 from a pulmonary embolism. His widow moved back to Hollywood with their four children and died of a drug overdose five months later; the younger of their two sons died of a heart attack at the age of 37. When Lanza died rumors spread that the notorious mob boss Lucky Luciano (Salvatore Luciano) had had him killed after he refused to perform for him but those rumors quickly died down because they simply were not true. Soprano Maria Callas would later say of him, “My biggest regret is not to have had the opportunity to sing with the greatest tenor voice I’ve ever heard.”

Lanza’s short career covered opera, radio, concerts, recordings, and motion pictures. He was the first artist for RCA Victor Red Seal to receive a gold disc. He was also the first artist to sell two and half million albums. A highly influential artist, Lanza has been credited with inspiring the careers of successive generations of opera singers, including Plácido Domingo, Luciano Pavarotti, Leo Nucci and Jose Carreras, as well as those of singers with seemingly different backgrounds, and influences, his RCA Victor label-mate Elvis Presley being the most notable example. In 1994, tenor José Carreras paid tribute to Lanza in a worldwide concert tour, saying of him, “If I’m an opera singer, it’s thanks to Mario Lanza.” ---last.fm

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