Thanks for cutting this line by line, easiest way to compare by far! Lanza sings so 'easy' yet with a combined power and passion that I've never heard in another tenor. The unique quality of his voice is difficult to put into words. Someone said, on a documentary, that only if he was a poet he would be able to describe Lanza's voice adequately. I think I'd agree with that. For me, I don't think there will ever be anyone to compare with him. You never know though - still waiting ... :)
In response to arayshvli...are you out your mind? In this particular song, Lanza is at the very top. Other singers have good versions, but, none can compare to Lanza singing this.
Es interesante decir lo sgte. en el conservatorio algunos colegas, sus y mis discípulos escuchamos todas estas hermosas piezas y aun a los colegas con mayor erudición, Doctos y pedagogos de tecnica vocal , percibimos que es mas agradable , el mayor volumen ,calidez , claridad y fraseo de Lanza, creo que es solo pura mezquindad decir que si Lanza hubiera hecho esto o aquello o hubiese cantado en un teatro de opera , tenemos sus grabaciones , fidedigno testimonio de su grandeza.
ursmue1937 darker or heavier voices seem more suited for spinto dramatic repertoire and lighter more lyric voices do very well in Boheme or Rigoletto. I would probably suit you up for a straight jacket, but I have some doubts that it would hold you. However, I always enjoy hearing from people like you that are never objective. You make me feel good about myself. Enjoy
Yeah Lanza one of the best Pagliacci. His dramatic tenor is amazing . Pavarotti sing excellent, but he is lyric tenor. For this aria tenor of Lanza matchs more . Both of them are legends . Anyways for me the best dramatic tenor is Mario del Monaco😁😁😁
Opra singers follow their instincts. If you want a challenge, then do it. Of course the outcome may be Of a different flavor. Singers leap from their fach confines frequently. Why must singers be autanmons of each other. Just because the majority follow a certain regimen, doesn't mean you cannot master more than one. Pav the lyric and Lanza the lirico-spinto becoming dramatic: Bravo to both artists!
I agree entirely. In fact I think that's an excellent way to describe the difference in Pav's/Lanza's timbre. Yes Lanza is actually generally described as Lyrico/spinto... Mostly lyric(light) with a baritonal quality. As his career went on he became much more spinto sounding in his opera recordings. This rendition of Vesti... was for his final movie (1959) and you can hear how 'dark' his voice sounds. Thanks for watching!
I know many people think tenors from Lanza's generation are performing this aria better than Pavarotti. But I'm faithful to Pavarotti, I'm in love with his voice, he was something else. His voice was a bit different from others. And every aria was so pure. But I like listening to others too. For instance, Lanza is one of my favorite from that generation.
As you say the Pav modeled himself based on what he learned from the tenors of the prior generation. Yet this is also true of Lanza who learned opera from Gigli Rosati and Caruso. Early in his performances, the Pav did use vocal technique and that modeled Lanza, Bjorling and others. But the Pav gained the confidence to find his own signature voice, just as Lanza had developed his own signature sound. Never losing his Natural voice to the cultured vocal techniques that he mastered with apparent flawless ease. Another important point: The Pav sang exclusively within the lyric tenor fach throughout his whole career. Whereas, Lanza sang within the lirico-spinto fach and had begun to progress into the dramatic fach by the time he had matured into his mid thirties. He never lost his brightness and agility of the r lyric range even as he matured. It is true perhaps that Mario mellowed while remaining authentic to his lirico-spinto fach abilities. I don't believe that tenors competition should be considered here. It was more duet than dual for me. One cannot be faulted for being true to their own natural vocal instincts and diverse training.
No question! Lanza is the best ever!! His feelings are true, it comes from his heart, he f e e l s Canio`s pain, he really does. Pavarotti overdo, no sincere! Mario is Pagliacci himself, Mario felt always deep in his heart and soul, what he was singing about, that is the reason, beside his magical Voice, that he will never be forgotten, as long as love, beauty and human feelings exist on this earth Mario will live! Thanks a lot for the video.
Both great singers indeed. Lanza had a little more effort in this Aria which makes it more exciting to be involved in. Pavarotti on the other hand was no less emotional. Pavarotti said because of Lanza he took up singing.
What draws me to Pavarotti is, the way he works through the phrases, almost poetically. The glorious way he says each word and his Italian sound. He sounds so Italian, his ring is wonderful. His sound was bright and crystal clear. I'm personally into lighter Bel Canto lyric operas. And Pavarotti's voice suited them perfectly. As Placido Domingo said in an interview after Luciano's death: 'I've always said Luciano had the sun in his voice' It was a bright and beautiful sound, whichi I loved.
I agree with Placido. The Pav had that bright luminescent sparkle that leaped from the back of his voice. Mario had the solar authority in his chest that flared into his head register. His agility and Platinum head registered soared on that solar wind from his muscular chest register. Mario was bilingual Italian and broadcaster perfect English, his elocution was pristine in both languages. On expects the Pav to be eloquent in his own native Italian.
no! Lanza is the best. when he is singing, i start crying. nobody will sing like Mario. he is the best. even Pavarotti can't sing as Mario. so much emotions, so much feelings, so much destiny in Lanza's voice... it's excellent!
la versión de Lanza es mas veraz y autentica, ademas Lanza podía fácilmente haber interpretado esta aria como el tenor Spinto que era, pero mas lírico , he aquí una gran diferencia La voz de Lanza era mas rica en su coloratura que la mayoría de los grandes tenores o bien podía pasar de unos humildes graves a unos intimidantes agudos , con su portentosa , pero aun mas bella voz y colorida voz.
No estoy seguro de por qué me están tratando con su comentario-Yo soy un gran fan de Pavarotti! Fue una profesional completa con una bella voz y sin duda fue un corte por encima de muchos tenores cantando el día de hoy. Pero hay otros que prefiero a él-Lanza es uno de ellos-lo que está mal con eso?
Excelente comentario, creo que otra forma de definir la voz de Lanza era decir que su voz era la bella y la bestia, tan sutil y sublime en ocasiones como Gigli, Wunderlch , y portentosa como Caruso,Corelli del Monaco, la voz de Lanza poseyó lo mejor de los dos mundos.
mi primer nombre es Robert y verdaderamente no me molesta vuestro comentario, y mucho menos Pav. al cual considero un gran tenor operistico, Mario no lo fue , porque no se dedico a ello, pero lo que si me molesta es que menosprecien a este gran tenor y su excepcional talento como la voz mas grandiosa que halla existido, a Caruso lo idolatran no por su tecnica si no por su grandiosa voz y si el mismo Pavarotti admiraba a Lanza, acaso lo criticarían, ademas la mayoría opino a favor de Lanza.
To hear Lanza sing Vesta la Giubba, Ave Maria, La Danza or Torna Surriento or so many others is nothing less than spiritual. I agree with operaofcalifornia. Lanza's voice is the voice of God.
No question! Mario Lanza, not only his beautiful caressing, velvety voice, but to me When someone sings this Aria, they need to know how to show the pain in the laugh! No other does it like Lanza! shame we lost him so young!
I'd only rank Domingo with Lanza! Pavarotti is wonderful but he never become more than a ticket selling concert act. Domino and Lanza both could command a stage and capture an audience.
@@TheJTcreate Pavarotti's ticket selling concert act brought opera appreciation to millions of people world wide in parody with the way Lanza brought opera to millions through his movies and about 180 concerts. How about Domingo being classified as a human cash register by some for singing over 130 roles without a true signature role that he was known for? What stage did Lanza command with his 2 operatic performances of Butterfly?
Mario was drafted right at the cusp of debut at Tanglewood. He was 21. Once his commanding officer reported his health issues while serving as an MP in Marfa Texas, Washington decided to transfer him into Special Services for the Army Air Corps. Mario was a musician singer whom they called their "Military Caruso". Lanza worked touring for three years until he was honorably discharged. Mario became ill with an ear infection and lost his hearing for a time. When he recovered, his manager got him signed with Columbia Entertainment and he toured 86 cities singing classical music in Canada, The US and Mexico with the famed Bel Canto Trio. He made his professional debut with 2 performances of "Madame Butterfly" with the esteemed New Orleans Opera . Then his manager signed him to perform at the Hollywood Bowl in a historically significant and well received performance, where he signed by Louie B Mayer for MGM for a 7 year contract. He was in his mid 20's. The rest is history. Mario did recitals and concerts throughout North America and throughout Western Europe and throughout the United Kingdom. Mario performed and prolifically recorded for RCA Red seal label. His catalog his huge over his 17 years as an eclectic triple-threat entertainer. Before he expired, he was to star in another cutting edge movie and open for LaScala and Covent Garden. It was his plan to film a complete opera for the silverscreen. Thank God we have his Legacy of recordings and film. Pavarotti, DelMonaco and Corelli made a few attempts to follow in his footsteps in film, but those efforts fell through. They ended their careers in operas and the concert stage.
He sang live many, many times Nater389. How do you think Mario was "discovered"? He absolutely blew them away at the Hollywood Bowl in a "live" performance, that's how.
That historical recording at the Hollywood Bowl really predicted Lanza's superstar career. Objectively speaking, he became the standard at that debut venue.
Pues estimados colegas , he hecho el conteo de los votos de los usuarios 2 veces por favor hacerlo también: Lanza obtuvo 56 votos a favor y Pav. 31 Verificarlo por favor, he rebajado los votos indecisos.
Yes i quite agree. He allows us to 'feel' the story, and in doing so have a much more enjoyable experience. Such is the art of one who is born with a gift like as his.
Ha ha I'm glad you enjoyed it so much. :) I am partial to Mario and his laugh as well. I believe he did have a richer, fuller voice than Pav and indeed most tenors. He is my hand's down favorite but I love many others. That's great that your 12 yr old enjoys it too. I myself am a 3rd generation Lanza fan, my father and grandfather are both big Lanza fan's. My Grandfather is in his 80's and has fond memories of listening to Lanza's weekly radio show in the 1950's. :D
Dear Shaw DAMAN, I too listened to Lanza on the radio in the early 1950s, while my mother was ironing, but do you realize they were recordings we were listening to and not live singing?
Great! Lanza definitely needs more recognition. He gets passed by because Pavarotti has more modern media exposure which was available to more people later on, than in Mario's time.
I was 3 when I fell in love and now after 55 years......i am more and more......Whatever here may be discused......I've tried to be nutrall....But that little differense in the voice af Lanza ,not conpareble.NEVER.He really was UNIQUE!
"De gustibus non est disputandum." (There's no disputing taste. ) Lanza's Vesti here is one of the best I've heard. Lanza had very good technique actually, he was classically trained; I agree his style could leave something to be desired on some of his operatic recordings but he did excel in opera, pop and operetta to a greater extent than anyone else I can think of, a difficult thing to do indeed as your comment indicated. Thanks for listening
First thing off, I noticed a tremolo throughout Pavarotti's rendition (and I don't mean the vibrato).I think it's supposed to denote sorrow, passion...I don't know. He did it a lot but it got in the way of good legato line. Lanza is much more emphatic. Lanza sings this a bit better than Pavarotti, and that's difficult to admit.
Sì, purtroppo, Lanza ha fatto poco opera "reale" e Pavarotti aveva certamente la carriera incommensurabilmente più grande in questo senso. Ma credo che sia giusto mettere a confronto le voci e personalmente penso che Lanza aveva uno maggiore. Pavarotti lo ammirava moltissimo.
ShawDAMAN - Thank you for your kind, insightful, and educational remarks. It's so nice to hear different opinions without all the degredation that usually goes with them. What a wonderful person to put together these dueling videos. Opera has ruined me for other "regular" music, but I can still enjoy MoTown on a limited basis. I'm eventually going to get through all your videos, and felt the need to write this note of warm appreciation for all your hard work. Anne
I agree, he suited the lighter bel canto roles perfectly. He did have a very 'sunshiny' voice. I LOVE his interpretations of Tosti songs especially, Marechiare, L'ultima Canzone, Non t'amo piu, Ideale.... they're all just gorgeous. I think Lanza had quite a bit of the sun in his voice too though :)
I knew Pavarotti and on several occasions asked him about which roles fit his voice the best. Canio in “Pagliacci” was not one of them because he felt that his timbre was a bit too light for it, and that the second act was a “killer” for modern tenors other than the American Tucker, and the Italian Del Monaco.
cuantas estupideces mas escucharemos de que Lanza no era un tenor de opera, el no se dedico a eso pero me hubiera gustado a cualquier otro tenor, hacer todo lo que el hizo en sus películas y presentaciones, haber si hubieran estado a su altura
I respect your preference too, and I appreciate your listening to my postings. And we can both congratulate ourselves on having fine musical taste ;-) :) I like Pav. very much as well but I think Lanza in his prime had a better, fuller, more powerful, more versatile voice. Pav's technique is virtually unsurpassed and I appreciate that. I just think Lanza had better raw materials to work with. :) But it's all good :)
Well there's alot of preference in music and I respect yours. I'm intrigued by your postings, and am working my way through them... Slowly, yet steadily.
No esta bien enfrentar a dos maestros como si fuesen púgiles. Las lineas de canto de ambos son extraordinarias, su interpretación de la partitúra es perfecta. Es solo cuestión de gustos. A unos les gusta el timbre de Pavarotti y a otros la coloratura del spinto, dramatica y con fuerza en los graves. Ambos eran grandes maestros y los dos han dejado un gran legado..
Even though he wasn't an opera singer, instead choosing to perform more pop related songs and do movies, Lanza has the much richer, more robust voice of the two.
Lanza did have very good diction, but in terms of clarity and beauty, Pavarotti and di Stefano leave the rest behind. I did get your message, I had already heard the second and I'm preparing a message for you, I'll also post it on the Lanza forum, (once I'm signed up) as your interpretation of my words made me look a Lanza basher :P. You got the address right.
By the way, I'll say it again: I really want to make more of these dueling tenor things (see how they prompt discussion? :P) But I would like people's ideas on arias, duets, singers to use. So if you have any, *please* let me know. Otherwise I will be forced to keep using Lanza, who is probably getting tired by now. :P
Really? I just listened to a 30 second sample of "Vesti la guibba" from the "World's favourite" album you mentioned, and it sounded just like this to me. wow =P
There is more raw emotion with Lanza. His voice is more powerful than Pavarotti but were comparing a lyric tenor here with a spinto. Pavarotti sings for perfect technique while Lanza sings for the passion of the music. I love them both, but my preference is Lanza because I prefer the raw emotion, feeling, depth and power of his voice.
By the way, do you have more information on this particular recording (Lanza)? I have a few Lanza 'Vesti la giubba' in my collection (I'll post one later) but this one I don't think I've heard before...I love the way he enters the first line 'Recitar' with that amazingly baritonal, almost dramatic sounding timbre.
He probably wasn't murdered, but I have lingering doubts. He looked enormous in his coffin, as if he had much weight yet to lose, but he was going to be released by the clinic that day or the next and it doesn't make any sense. Also, why no autopsy?
You believe the jaundiced critics who tried to find fault with that genius in the throat. His historical Legacy make such comments seem foolish. At 38, Lanza was the iconic standard for lirico-spinto tenors in that timeline.
Yes. He also sang Chenier in 1996 and I think Otello in the 90's as well- not a good idea (IMO.) I haven't heard his 95 La fille but from what I've read it was a bit too much for him at that age. I agree though that he could still sing Tosca well, on utube there is a 1991 performance where he was still singing encores of E lucevan le stelle even then. :)
I bet all singers experimented with their voices, and then decided what was safe to use, and what was not. For instance, Pavarotti had a high E flat, but knew that his D and E flat were not reliable enough for live performance. And as for suggestions, it would be interesting to have the 'sempre libera' duet done as you have done here. Perhaps Sutherland/Gruberova or Sutherland/Callas (hehe, imagine the bitch fights between the fans :D).
Thanks for your comments. I agree that Lanza's voice has a quality difficult to describe... you just listen to other tenors, then come back to Lanza and you know the difference. I still think that Lanza, when it comes to the raw voice he had to work with, is the best tenor on modern record. It's a shame that in some ways it wasn't used to it's full potential- but let's enjoy it and be grateful for what we have :)
I agree, Corelli was a real spinto, at his best in Turandot and Aida although I would also add Il Trovatore to that. I understand Tucker did think extremely highly of Lanza. I am working on making some of these comparing the two of them. You are very privileged to have met all those people, are you connected with the opera business?
@fergcurrie: on the contrary, I have read articles from Pavarotti's colleagues in which they stated his voice was perfectly loud out to about 25 feet, then dropped off. By contrast, Jussi Bjorling's voice was not even that powerful in the lower registers, but his high A, B, and C cut through the entire hall. The same article states that Mario Del Monaco's voice was monstrous from all distances. Alas, it does not mention Lanza, but there is ample evidence that it was plenty powerful.
I tend to believe the testimony of Queen Elizabeth II and Prince Philip as well a Tebaldi, Callas, Marilyn Horne and Richard Tucker among other luminaries of the voluminous vocal power of Lanza. Yet Mario could gently dial himself down to a bright honeyed tone at will. I have discovered that Mario Lanza was indeed a universal operatically talented singer in live concerts, recitals, on film, radio, television and in recordings.
Thanks for listening. That's OK you prefer Pavarotti, although I'm surprised- (at least on this particular aria.) I'm glad you appreciate Lanza as well. I have no problem with people having their favorites as long as they aren't extreme and don't shun other singers. So, thanks for a balanced comment. (all too rare)
Don't know how you think Pav's instrument is bigger than Lanza's. Mario's is far bigger and fuller in my opinion, and it isn't a matter of where the mike is. In his London Palladium, the mike was quite a ways from Lanza. It didn't matter. Mario hit it out of the park.
So I understand... but is there a real, clear system of identifying techniques? Like Corelli for instance- extreme lowered larynx? How do you really know? It's such a personal thing and often difficult even for the singer to describe. I guess what is 'perfect' technique for one singer might not be for another. Quite an interesting study though- I'd like to know more about it.
hmm perhaps you are right but it sure sounds similar to me at first listen. but then I'm only listnening to a 30 second sample, perhaps if I heard the whole thing it would be more clear to me. =)
Es cierto que en una frase Pavarotti muestra muy buena de control de la respiración, pero eso no significa Lanza no pudo hacer lo mismo-grabó esta aria muchas veces y en una de las grabaciones (una actuación en directo) que hace exactamente la misma cosa Pav. no aquí. Gracias por escuchar!
Again, I prefer lanza and his hot voice
Thanks for cutting this line by line, easiest way to compare by far! Lanza sings so 'easy' yet with a combined power and passion that I've never heard in another tenor. The unique quality of his voice is difficult to put into words. Someone said, on a documentary, that only if he was a poet he would be able to describe Lanza's voice adequately. I think I'd agree with that. For me, I don't think there will ever be anyone to compare with him. You never know though - still waiting ... :)
In response to arayshvli...are you out your mind? In this particular song, Lanza is at the very top. Other singers have good versions, but, none can compare to Lanza singing this.
excelente respuesta la version de caruso PALIDECE EN COMPARACION.
I agree!
Es interesante decir lo sgte. en el conservatorio algunos colegas, sus y mis discípulos escuchamos todas estas hermosas piezas y aun a los colegas con mayor erudición, Doctos y pedagogos de tecnica vocal , percibimos que es mas agradable , el mayor volumen ,calidez , claridad y fraseo de Lanza, creo que es solo pura mezquindad decir que si Lanza hubiera hecho esto o aquello o hubiese cantado en un teatro de opera , tenemos sus grabaciones , fidedigno testimonio de su grandeza.
100% Lanza! Pavarotti very skillfully sings an operatic aria, while Lanza sings the pain of Canio's heart!
Lanza's voice seems more suited for this aria than the lyric Pavarotti
@@sugarbist
Seems better suited ? You are always good for a joke.
"Bravo, the candidate has 100 points"
ursmue1937 darker or heavier voices seem more suited for spinto dramatic repertoire and lighter more lyric voices do very well in Boheme or Rigoletto. I would probably suit you up for a straight jacket, but I have some doubts that it would hold you. However, I always enjoy hearing from people like you that are never objective. You make me feel good about myself. Enjoy
Yeah Lanza one of the best Pagliacci. His dramatic tenor is amazing . Pavarotti sing excellent, but he is lyric tenor. For this aria tenor of Lanza matchs more . Both of them are legends . Anyways for me the best dramatic tenor is Mario del Monaco😁😁😁
Opra singers follow their instincts. If you want a challenge, then do it. Of course the outcome may be Of a different flavor. Singers leap from their fach confines frequently. Why must singers be autanmons of each other. Just because the majority follow a certain regimen, doesn't mean you cannot master more than one. Pav the lyric and Lanza the lirico-spinto becoming dramatic: Bravo to both artists!
music can never be a competition only integrety counts in the end and these great musicians both are so sincere❤️❤️
I agree entirely. In fact I think that's an excellent way to describe the difference in Pav's/Lanza's timbre.
Yes Lanza is actually generally described as Lyrico/spinto... Mostly lyric(light) with a baritonal quality. As his career went on he became much more spinto sounding in his opera recordings. This rendition of Vesti... was for his final movie (1959) and you can hear how 'dark' his voice sounds.
Thanks for watching!
I know many people think tenors from Lanza's generation are performing this aria better than Pavarotti. But I'm faithful to Pavarotti, I'm in love with his voice, he was something else. His voice was a bit different from others. And every aria was so pure.
But I like listening to others too. For instance, Lanza is one of my favorite from that generation.
es mi favorito
As you say the Pav modeled himself based on what he learned from the tenors of the prior generation. Yet this is also true of Lanza who learned opera from Gigli Rosati and Caruso. Early in his performances, the Pav did use vocal technique and that modeled Lanza, Bjorling and others. But the Pav gained the confidence to find his own signature voice, just as Lanza had developed his own signature sound. Never losing his Natural voice to the cultured vocal techniques that he mastered with apparent flawless ease. Another important point: The Pav sang exclusively within the lyric tenor fach throughout his whole career. Whereas, Lanza sang within the lirico-spinto fach and had begun to progress into the dramatic fach by the time he had matured into his mid thirties. He never lost his brightness and agility of the r lyric range even as he matured. It is true perhaps that Mario mellowed while remaining authentic to his lirico-spinto fach abilities. I don't believe that tenors competition should be considered here. It was more duet than dual for me. One cannot be faulted for being true to their own natural vocal instincts and diverse training.
It's about personal choice, and the irony is, that Pavarotti's idol was Mario Lanza.
Lanza, because there is more tragedy in his voice, particularly in this aria and E Lucevan le stelle as well.
Марио - роскошество бесспорное !!!!!!!!!!!!!!!!!!!!!!! Дикция великолепная! Слова произносятся с "букварной" точностью, не нарушая мелодии музыкальной фразы 🤗🤗🤗 Преклоняюсь пере Вами, Марио!!! ♥️
No question! Lanza is the best ever!! His feelings are true, it comes from his heart, he f e e l s Canio`s pain, he really does. Pavarotti overdo, no sincere! Mario is Pagliacci himself, Mario felt always deep in his heart and soul, what he was singing about, that is the reason, beside his magical Voice, that he will never be forgotten, as long as love, beauty and human feelings exist on this earth Mario will live! Thanks a lot for the video.
Well said! I concur!
Both great singers indeed. Lanza had a little more effort in this Aria which makes it more exciting to be involved in. Pavarotti on the other hand was no less emotional. Pavarotti said because of Lanza he took up singing.
Lanza was Pavarotti's idol.
What draws me to Pavarotti is, the way he works through the phrases, almost poetically. The glorious way he says each word and his Italian sound. He sounds so Italian, his ring is wonderful. His sound was bright and crystal clear.
I'm personally into lighter Bel Canto lyric operas. And Pavarotti's voice suited them perfectly.
As Placido Domingo said in an interview after Luciano's death: 'I've always said Luciano had the sun in his voice'
It was a bright and beautiful sound, whichi I loved.
Don't agree with you. Lanza voice is much better. The emotions I'm his voice is amazing. Pavarotti don't come close
I agree with Placido. The Pav had that bright luminescent sparkle that leaped from the back of his voice. Mario had the solar authority in his chest that flared into his head register. His agility and Platinum head registered soared on that solar wind from his muscular chest register. Mario was bilingual Italian and broadcaster perfect English, his elocution was pristine in both languages. On expects the Pav to be eloquent in his own native Italian.
no! Lanza is the best. when he is singing, i start crying. nobody will sing like Mario. he is the best. even Pavarotti can't sing as Mario.
so much emotions, so much feelings, so much destiny in Lanza's voice... it's excellent!
@mattia cola ha ha ha
That is my feeling also!
la versión de Lanza es mas veraz y autentica, ademas Lanza podía fácilmente haber interpretado esta aria como el tenor Spinto que era, pero mas lírico , he aquí una gran diferencia La voz de Lanza era mas rica en su coloratura que la mayoría de los grandes tenores o bien podía pasar de unos humildes graves a unos intimidantes agudos , con su portentosa , pero aun mas bella voz y colorida voz.
you can really feel the pain and emotion in Mario"s voice. Pavarotti is amazing, but Lanza wins this time.
No estoy seguro de por qué me están tratando con su comentario-Yo soy un gran fan de Pavarotti! Fue una profesional completa con una bella voz y sin duda fue un corte por encima de muchos tenores cantando el día de hoy. Pero hay otros que prefiero a él-Lanza es uno de ellos-lo que está mal con eso?
Эти голоса можно слушать вечно, но для меня Марио Ланца - всегда самый лучший.
Both are absolutely wonderful, so fortunate to have such wonderful composers and vocalists
Mario Lanza was the greatest ever Pavarotti doesn’t even come close
Excelente comentario, creo que otra forma de definir la voz de Lanza era decir que su voz era la bella y la bestia, tan sutil y sublime en ocasiones como Gigli, Wunderlch , y portentosa como Caruso,Corelli del Monaco, la voz de Lanza poseyó lo mejor de los dos mundos.
mi primer nombre es Robert y verdaderamente no me molesta vuestro comentario, y mucho menos Pav. al cual considero un gran tenor operistico, Mario no lo fue , porque no se dedico a ello, pero lo que si me molesta es que menosprecien a este gran tenor y su excepcional talento como la voz mas grandiosa que halla existido, a Caruso lo idolatran no por su tecnica si no por su grandiosa voz y si el mismo Pavarotti admiraba a Lanza, acaso lo criticarían, ademas la mayoría opino a favor de Lanza.
To hear Lanza sing Vesta la Giubba, Ave Maria, La Danza or Torna Surriento or so many others is nothing less than spiritual. I agree with operaofcalifornia. Lanza's voice is the voice of God.
No question! Mario Lanza, not only his beautiful caressing, velvety voice, but to me When someone sings this Aria, they need to know how to show the pain in the laugh! No other does it like Lanza! shame we lost him so young!
Lanza is unmatched with emotion and deep expression.
I'd only rank Domingo with Lanza! Pavarotti is wonderful but he never become more than a ticket selling concert act. Domino and Lanza both could command a stage and capture an audience.
@@TheJTcreate Pavarotti's ticket selling concert act brought opera appreciation to millions of people world wide in parody with the way Lanza brought opera to millions through his movies and about 180 concerts. How about Domingo being classified as a human cash register by some for singing over 130 roles without a true signature role that he was known for? What stage did Lanza command with his 2 operatic performances of Butterfly?
Mario was drafted right at the cusp of debut at Tanglewood. He was 21. Once his commanding officer reported his health issues while serving as an MP in Marfa Texas, Washington decided to transfer him into Special Services for the Army Air Corps. Mario was a musician singer whom they called their "Military Caruso". Lanza worked touring for three years until he was honorably discharged. Mario became ill with an ear infection and lost his hearing for a time. When he recovered, his manager got him signed with Columbia Entertainment and he toured 86 cities singing classical music in Canada, The US and Mexico with the famed Bel Canto Trio. He made his professional debut with 2 performances of "Madame Butterfly" with the esteemed New Orleans Opera . Then his manager signed him to perform at the Hollywood Bowl in a historically significant and well received performance, where he signed by Louie B Mayer for MGM for a 7 year contract. He was in his mid 20's. The rest is history. Mario did recitals and concerts throughout North America and throughout Western Europe and throughout the United Kingdom. Mario performed and prolifically recorded for RCA Red seal label. His catalog his huge over his 17 years as an eclectic triple-threat entertainer. Before he expired, he was to star in another cutting edge movie and open for LaScala and Covent Garden. It was his plan to film a complete opera for the silverscreen. Thank God we have his Legacy of recordings and film. Pavarotti, DelMonaco and Corelli made a few attempts to follow in his footsteps in film, but those efforts fell through. They ended their careers in operas and the concert stage.
@belindawilliams3728 very interesting and informative! Thanks
Lanza is my favorite for this song
He sang live many, many times Nater389. How do you think Mario was "discovered"? He absolutely blew them away at the Hollywood Bowl in a "live" performance, that's how.
That historical recording at the Hollywood Bowl really predicted Lanza's superstar career. Objectively speaking, he became the standard at that debut venue.
Pues estimados colegas , he hecho el conteo de los votos de los usuarios 2 veces por favor hacerlo también: Lanza obtuvo 56 votos a favor y Pav. 31 Verificarlo por favor, he rebajado los votos indecisos.
Yes he did, at least twice.... he did do two "Madama Butterfly" performances in New Orleans.... haha.
Yes i quite agree. He allows us to 'feel' the story, and in doing so have a much more enjoyable experience. Such is the art of one who is born with a gift like as his.
You described it perfectly!
@@belindawilliams3728 Thankyou :) The irony of the comparison is, that Pavarotti's idol was Mario Lanza.
Ha ha I'm glad you enjoyed it so much. :) I am partial to Mario and his laugh as well. I believe he did have a richer, fuller voice than Pav and indeed most tenors. He is my hand's down favorite but I love many others. That's great that your 12 yr old enjoys it too. I myself am a 3rd generation Lanza fan, my father and grandfather are both big Lanza fan's. My Grandfather is in his 80's and has fond memories of listening to Lanza's weekly radio show in the 1950's. :D
Dear Shaw DAMAN, I too listened to Lanza on the radio in the early 1950s, while my mother was ironing, but do you realize they were recordings we were listening to and not live singing?
How marvelous, 3rd generation Lanza fan, simply wonderful!
Nice. Thanks again. I plan on making more of these, maybe not with Pavarotti but with Lanza definitely. staay tuned... ;)
Great! Lanza definitely needs more recognition. He gets passed by because Pavarotti has more modern media exposure which was available to more people later on, than in Mario's time.
Mario Lanza
Mario Lanza wins hands down!! Pavarotti just shrieks, his voice is forced and shrill.... while Mario's voice is so rich and full, and effortless!
Pavarotti should never haave sung this in the house . He voice wasn't big enough to
sing this
Laaaannnzzzzaaaa!!!
SEMPRE SEMPRE MARIO LANZA MIGLIORE DI PAVAROTTI..... anche se perfetto... Il timbro di Mario Lanza è più sensuale... PIÙ PIÙ..... TUTTO
I was 3 when I fell in love and now after 55 years......i am more and more......Whatever here may be discused......I've tried to be nutrall....But that little differense in the voice af Lanza ,not conpareble.NEVER.He really was UNIQUE!
Maravillosos los dos !
"De gustibus non est disputandum." (There's no disputing taste. )
Lanza's Vesti here is one of the best I've heard.
Lanza had very good technique actually, he was classically trained; I agree his style could leave something to be desired on some of his operatic recordings but he did excel in opera, pop and operetta to a greater extent than anyone else I can think of, a difficult thing to do indeed as your comment indicated. Thanks for listening
First thing off, I noticed a tremolo throughout Pavarotti's rendition (and I don't mean the vibrato).I think it's supposed to denote sorrow, passion...I don't know. He did it a lot but it got in the way of good legato line. Lanza is much more emphatic. Lanza sings this a bit better than Pavarotti, and that's difficult to admit.
Sì, purtroppo, Lanza ha fatto poco opera "reale" e Pavarotti aveva certamente la carriera incommensurabilmente più grande in questo senso. Ma credo che sia giusto mettere a confronto le voci e personalmente penso che Lanza aveva uno maggiore. Pavarotti lo ammirava moltissimo.
ShawDAMAN -
Thank you for your kind, insightful, and educational remarks. It's so nice to hear different opinions without all the degredation that usually goes with them. What a wonderful person to put together these dueling videos. Opera has ruined me for other "regular" music, but I can still enjoy MoTown on a limited basis. I'm eventually going to get through all your videos, and felt the need to write this note of warm appreciation for all your hard work.
Anne
I agree, he suited the lighter bel canto roles perfectly. He did have a very 'sunshiny' voice. I LOVE his interpretations of Tosti songs especially, Marechiare, L'ultima Canzone, Non t'amo piu, Ideale.... they're all just gorgeous.
I think Lanza had quite a bit of the sun in his voice too though :)
I knew Pavarotti and on several occasions asked him about which roles fit his voice the best. Canio in “Pagliacci” was not one of them because he felt that his timbre was a bit too light for it, and that the second act was a “killer” for modern tenors other than the American Tucker, and the Italian Del Monaco.
2 great voices? lanza hard beaten by any tenor with this aria, good comparison.
cuantas estupideces mas escucharemos de que Lanza no era un tenor de opera, el no se dedico a eso pero me hubiera gustado a cualquier otro tenor, hacer todo lo que el hizo en sus películas y presentaciones, haber si hubieran estado a su altura
!LAAAAAAAAAAAAANZAAAAAAAAAAAA!
mario was definitely the best PAvarotti was no match for the magnificent Mario! BUt thanks for the comparison
CORELLI!!!!!
SymphonyBrahms 🤣 please go 😝
@@SymphonyBrahms LANZA Y CORELLI
Lanza
I respect your preference too, and I appreciate your listening to my postings. And we can both congratulate ourselves on having fine musical taste ;-) :) I like Pav. very much as well but I think Lanza in his prime had a better, fuller, more powerful, more versatile voice. Pav's technique is virtually unsurpassed and I appreciate that. I just think Lanza had better raw materials to work with. :) But it's all good :)
mejor materia prima excelente comentario, condicones naturales , comoi LANZA nadie.
Well there's alot of preference in music and I respect yours.
I'm intrigued by your postings, and am working my way through them... Slowly, yet steadily.
No esta bien enfrentar a dos maestros como si fuesen púgiles. Las lineas de canto de ambos son extraordinarias, su interpretación de la partitúra es perfecta. Es solo cuestión de gustos. A unos les gusta el timbre de Pavarotti y a otros la coloratura del spinto, dramatica y con fuerza en los graves. Ambos eran grandes maestros y los dos han dejado un gran legado..
Both renditions are amazing! Bravo!
Even though he wasn't an opera singer, instead choosing to perform more pop related songs and do movies, Lanza has the much richer, more robust voice of the two.
Por que les molesta tanto a muchos que este actorcillo sea tan adimrado por los mas grandes tenores de la 2da mitad del siglo XX
Lanza softer? I can't go along with that. The higher the notes, the more he overpowers and dominates.
Yes.. he makes it more real, and gives more meaning to the song, for the audience.
@prog112 a perfectly valid opinion. :) he was a beast
Sí estoy de acuerdo, gracias por escuchar.
!!!!!!!!!!+++ Прекрасные голоса !!! Прекрасное исполнение !!! Большое спасибо за видео!!!
Perhaps he was older but not much older I don't think. Lanza was 38, pav may have been in his 40's.
I understand and agree perfectly. Thanks for listening
Of course. :) This is probably my favorite Lanza rendition although I was surprised by his early live one which you probably have heard.. :)
Lanza did have very good diction, but in terms of clarity and beauty, Pavarotti and di Stefano leave the rest behind.
I did get your message, I had already heard the second and I'm preparing a message for you, I'll also post it on the Lanza forum, (once I'm signed up) as your interpretation of my words made me look a Lanza basher :P.
You got the address right.
By the way, I'll say it again: I really want to make more of these dueling tenor things (see how they prompt discussion? :P) But I would like people's ideas on arias, duets, singers to use. So if you have any, *please* let me know. Otherwise I will be forced to keep using Lanza, who is probably getting tired by now. :P
No, I never get tired of Lanza. But, how about comparing McCormack and other tenors doing ""Il mio tesoro"?
МАРИО ЛАНЦА, Вы в моём сердце ♥️🙏🙏🙏👋👋👋👋👋👋👋👋👋👋👋👋👋👋👋👋👋👋👋👋👋👋
Thanks, I agree
Really? I just listened to a 30 second sample of "Vesti la guibba" from the "World's favourite" album you mentioned, and it sounded just like this to me. wow =P
There is more raw emotion with Lanza. His voice is more powerful than Pavarotti but were comparing a lyric tenor here with a spinto. Pavarotti sings for perfect technique while Lanza sings for the passion of the music. I love them both, but my preference is Lanza because I prefer the raw emotion, feeling, depth and power of his voice.
Lanza outdoes him here, as he does in most efforts. Mario had the more powerful voice.
By the way, do you have more information on this particular recording (Lanza)? I have a few Lanza 'Vesti la giubba' in my collection (I'll post one later) but this one I don't think I've heard before...I love the way he enters the first line 'Recitar' with that amazingly baritonal, almost dramatic sounding timbre.
Mario the clear winner here.
He probably wasn't murdered, but I have lingering doubts. He looked enormous in his coffin, as if he had much weight yet to lose, but he was going to be released by the clinic that day or the next and it doesn't make any sense. Also, why no autopsy?
Sorry Pavarotti! Lanza the BEST.
I agree, thanks for your comment :)
Mario no es el rey de la opera el solo poseyó la !voz mas grandiosa de toda la historia.!
Anche io preferisco LANZA a Pavarotti! Non c'è paragone sia per la voce che per ....il fisico!!!
Oh HO, very nicely arranged, sir. I was wondering how one would be able to set this up.
You believe the jaundiced critics who tried to find fault with that genius in the throat. His historical Legacy make such comments seem foolish. At 38, Lanza was the iconic standard for lirico-spinto tenors in that timeline.
Yes. He also sang Chenier in 1996 and I think Otello in the 90's as well- not a good idea (IMO.) I haven't heard his 95 La fille but from what I've read it was a bit too much for him at that age.
I agree though that he could still sing Tosca well, on utube there is a 1991 performance where he was still singing encores of E lucevan le stelle even then. :)
I think Lanza's version is more powerful, so I find that I prefer it. Still love Pavarotti.
Must have been the broadcast of 1976?
Pav has a fuller voice? I think you need to listen again dormson310. Lanza's voice is quite a big bigger and fuller.
I bet all singers experimented with their voices, and then decided what was safe to use, and what was not. For instance, Pavarotti had a high E flat, but knew that his D and E flat were not reliable enough for live performance.
And as for suggestions, it would be interesting to have the 'sempre libera' duet done as you have done here. Perhaps Sutherland/Gruberova or Sutherland/Callas (hehe, imagine the bitch fights between the fans :D).
Mario. His voice is fuller and richer. The pure emotion. Nobody comes close.
Thanks for your comments. I agree that Lanza's voice has a quality difficult to describe... you just listen to other tenors, then come back to Lanza and you know the difference. I still think that Lanza, when it comes to the raw voice he had to work with, is the best tenor on modern record. It's a shame that in some ways it wasn't used to it's full potential- but let's enjoy it and be grateful for what we have :)
magnificent editing!
I agree, Corelli was a real spinto, at his best in Turandot and Aida although I would also add Il Trovatore to that.
I understand Tucker did think extremely highly of Lanza. I am working on making some of these comparing the two of them.
You are very privileged to have met all those people, are you connected with the opera business?
Interesting. But didn't the technique Corelli and those others used involve lowering the larynx more than 'usual'? Or keeping it lowered......?
@fergcurrie: on the contrary, I have read articles from Pavarotti's colleagues in which they stated his voice was perfectly loud out to about 25 feet, then dropped off. By contrast, Jussi Bjorling's voice was not even that powerful in the lower registers, but his high A, B, and C cut through the entire hall. The same article states that Mario Del Monaco's voice was monstrous from all distances.
Alas, it does not mention Lanza, but there is ample evidence that it was plenty powerful.
I tend to believe the testimony of Queen Elizabeth II and Prince Philip as well a Tebaldi, Callas, Marilyn Horne and Richard Tucker among other luminaries of the voluminous vocal power of Lanza. Yet Mario could gently dial himself down to a bright honeyed tone at will. I have discovered that Mario Lanza was indeed a universal operatically talented singer in live concerts, recitals, on film, radio, television and in recordings.
Thanks for listening. That's OK you prefer Pavarotti, although I'm surprised- (at least on this particular aria.) I'm glad you appreciate Lanza as well. I have no problem with people having their favorites as long as they aren't extreme and don't shun other singers. So, thanks for a balanced comment. (all too rare)
Si ambos son maestros, sólo diferente. Gracias por ver y por su elogio. =)
Lanza was recorded 1958, Pav I'm not sure but I could probably find out if it's important. He sounds like early to mid 1980's to me.
Don't know how you think Pav's instrument is bigger than Lanza's. Mario's is far bigger and fuller in my opinion, and it isn't a matter of where the mike is. In his London Palladium, the mike was quite a ways from Lanza. It didn't matter. Mario hit it out of the park.
thanks for listening =)
So I understand... but is there a real, clear system of identifying techniques? Like Corelli for instance- extreme lowered larynx? How do you really know? It's such a personal thing and often difficult even for the singer to describe. I guess what is 'perfect' technique for one singer might not be for another. Quite an interesting study though- I'd like to know more about it.
hmm perhaps you are right but it sure sounds similar to me at first listen. but then I'm only listnening to a 30 second sample, perhaps if I heard the whole thing it would be more clear to me. =)
En cuanto al montaje de video diré, que está muy bien hecho y felicito al autor.
Es cierto que en una frase Pavarotti muestra muy buena de control de la respiración, pero eso no significa Lanza no pudo hacer lo mismo-grabó esta aria muchas veces y en una de las grabaciones (una actuación en directo) que hace exactamente la misma cosa Pav. no aquí.
Gracias por escuchar!
All very interesting, thanks. I have seen some nice pictures of Lanza and Tucker together.
I really don't think he was murdered either.
Yes, Tucker mentioned that Lanza '' could have been the best of us''
MARIO LANZA IS THE BEST
Did Domingo crack trying to diminuendo the Bb?
eso de que lanza no fue tenor de opera si no al wikipedia.saludos