Funiculì Funiculà, for voice & orchestra (& chorus ad lib)
Rigoletto, opera: Parmi veder le lagrime
Core 'ngrato (Catari), for voice & orchestra
The Student Prince, operetta: Serenade
La danza. Tarantella Napolitana ('Già la luna è in mezzo al mare'), for voice & piano (Soirées musicales)
Your Eyes Have Told Me So
Cavalleria rusticana, opera (melodramma) in 1 act: Addio alla madre
Someday I'll Find You (used in the stage production of 'Private Lives')
Santa Lucia luntana, for voice & orchestra
The Firefly, operetta: Donkey Serenade
L' Africaine, grand opera in 5 acts: O paradiso!
Tell Me That You Love Me Tonight
La forza del destino, opera: O tu che in seno agli angeli
The Student Prince, operetta: Deep in My Heart
Canta pe'me, for voice & orchestra
Rigoletto, opera: La donna è mobile
Na sera 'e maggio, for voice & orchestra
You Are Love, song (from the 1936 film 'Show Boat')
Tu, ca nun chiagne!, for voice & piano (or orchestra)
You'll Never Walk Alone, song (from 'Carousel')
Non ti scordar di me, for voice & orchestra (& chorus ad lib)
You're gonna need a cardiologist after this tasty schmaltz attack on your senses by previously unreleased excerpts from the 1951-1966 Coca-Cola radio show. Mario Lanza's vibrant, satisfying tenor rings thrillingly, but l... more »acks a necessary middle for many of these songs. Still, when the top opens, his sound is obsessively appealing as he scoops unabashedly to get your emotional adrenaline flowing. However, the descending line was not his friend. He's most successful with popular Italian songs and operetta excerpts. --Barbara Eisner Bayer« less
You're gonna need a cardiologist after this tasty schmaltz attack on your senses by previously unreleased excerpts from the 1951-1966 Coca-Cola radio show. Mario Lanza's vibrant, satisfying tenor rings thrillingly, but lacks a necessary middle for many of these songs. Still, when the top opens, his sound is obsessively appealing as he scoops unabashedly to get your emotional adrenaline flowing. However, the descending line was not his friend. He's most successful with popular Italian songs and operetta excerpts. --Barbara Eisner Bayer
Lindsay Perigo | Wellington New Zealand | 08/15/1999
(5 out of 5 stars)
"Barbara Eisner Bayer's review is pretentious nonsense. "No middle" for these songs & arias? Mario had a seamless transition from bottom to middle to top register, shown off to great advantage in these selections. Ms Bayer should have her hearing checked for mid-range frequencies. Lanza's performance of Addio Alla Madre on this CD is second to none.One could almost say the same for his 'Forza' recording. And was there ever singing more lush than Mario's Your Eyes Have Told Me So or Some Day I'll Find You? A problem with "descending" Ms Bayer? Listen to the conclusion to the latter, where Mario both descends & ascends with a facility & passion that reveal the moderns - the Three Tenors included - for the dead boring poseurs that they are. Thank goodness Mario Lanza is enjoying the renaissance that he is, so that we may be reminded of what glorious singing is really about, & once was."
Don't Forget Me? How could we Mario?
Ron Stevens | Sheffield, South Yorkshire, United Kingdom | 06/03/2000
(5 out of 5 stars)
"Lyndsay Perigo is spot on. This is the finest compact disc of Lanza's to date. The finest sound quality yet and boy what singing. Try if you dare, not to find "You Are Love" spine tingling and what about the sheer sensational neapolitan beauties. Let's not forget the wonderful arias on the albumn. Lanza had no vocal equal and probably never will. Listen to the disc, just once maybe and you will feel the same as many other fans of the greatest tenor voice EVER."
More Lanza Bonanza
Lindsay Perigo | 08/16/1999
(5 out of 5 stars)
"The lady is right you will need a cordiologist, but not for the reasons she says. This is Mario Lanza in top flight, every track is a gem. Included on this Cd is a selection from the full Lanza repertoire, opera, operetta, musical comedy and popular songs of the day all sung to perfection as only Mario could sing them. For anyone who is a Lanza fan or for anyone who has only just heard of the Mario Lanza name, this is the Cd for you, but beware once you listen to this you will want them all."
D. MCGOVERN | New Zealand | 08/23/2001
(3 out of 5 stars)
"My initial impression on hearing this CD was: fabulous voice; rough performances. That view is essentially unchanged. Lanza fans will adore the heroic singing and sheer bravado of these performances; purists will no doubt find much to criticize in Lanza's unrestrained delivery. In a sense, both sides are right, but there can be no mistaking that this is one of the most exceptional tenor voices on record. The upper register is dazzling and the middle and low registers are rich and satisfying. Lanza's breath control is second to none, and the evenness between his registers shows a technical expertise that is quite astonishing. If that wasn't enough, the singer's way with a song is unique - not a word is neglected as Lanza imparts each number with his trademark commitment and freshness. This is a voice to treasure.Now the criticism: all of the performances contained here come from Lanza's wildly erratic Coca-Cola Radio Show of 1951-52. To be sure, these weekly performances yielded some amazing results, but sadly only a handful of these are to be found on this disk. (For a much more consistent "Coke" CD, check out the excellent When Day is Done.) The real reason for the inconsistency in performance was lack of time, and often Lanza was not sufficiently familiar with the material. The arrangements certainly didn't help, with the emphasis on big endings and impossibly high keys. Having said that, I doubt that any other tenor in similar circumstances could have produced as many dazzling performances as Lanza achieved.Duds first: Diane is a dreadful rendition, and let's hope it never resurfaces on any other compendiums. The Neapolitan songs are rough - very rough in the case of Santa Lucia Luntana and Canta Pe Me - and vastly superior performances (and arrangements) of these and others can be found on Lanza's magnificent Mario! Lanza At His Best CD. O Paradiso is a decidedly inferior effort (especially compared to the tenor's rendition in the 1955 movie Serenade) and suffers from appalling orchestral accompaniment. The two songs from The Student Prince (Serenade and Deep in My Heart) suffer badly in comparison with Lanza's magnificent soundtrack, recorded the same year. Here both performances are rushed and unpolished, with a totally unneccesary "scream" on the word "dream" at the conclusion of Deep in My Heart. You'll Never Walk Alone is a ho-hum effort, and there is a far better take of this number to be found on the CD of the same title.For my money, the CD's strengths are the magnificent Addio Alla Madre (a performance that rivals Lanza's celebrated 1950 recording and has an on-key ending this time!); a sensitive rendition of O Tu Che In Seno Agli Angeli (surely one of the most difficult arias in the repertoire); the beautifully realized Your Eyes Have Told Me So; a cheeky and exciting La Danza; and a far more delicate reading of Parmi Veder Le Lagrime than his 1950 commercial rendition.The sound is extremely bright (sometimes excessively so) at the expense of Lanza's mellow timbre, but there is a real sense of presence throughout. As one Lanza admirer remarked on first hearing this disk: "This is a fantasy voice." And indeed it is. Buy this disk for its highlights and revel in the tenor's exuberant genius."