Although patchy, the soundtrack of Serenade is really a miracle if one considers the almost 3 years of inactivity that preceded it. Lanza had indeed gone to hell and back since the break up with  MGM. His self confidence severely damaged. This is evident throughout the film. In Serenade we almost see a different Lanza. But there are compensations. In the best selections such as Surriento , O Paradiso, Di rigori, Amor ti vieta, E la solita storia, and the Otello monologue, Lanza is outstanding. The singing is more controlled, the delivery decidedly operatic. 

For any singer to stop performing for such an extended period of time and achieve what Lanza did in Serenade is indeed a miracle. For, on top of it all, he was really working in another film factory. MGM had been substituted by Warners. And although full of gifted individuals, the principal aim of the studios was to make money.

I remember asking Ray Heindorf why retakes of Di quella pira and Nessun dorma were not made. His reply “ We had to work within a time frame. Recording is costly. And most people can’t tell the difference anyway.” He did concede that Lanza was never really happy with the title song. Heindorf felt that Lanza was at his best on the numbers on which he had worked hard with his vocal coach Spadoni such as the Otello sequence. But even working with Sapdoni still meant working in a commercial environment, namely Hollywood. This was really the problem Lanza had to contend with.

As for Lanza’s recordings being in the Easy Listening section, I’m afraid the problem is universal.  It’s really ironic that half baked singers like Russell Watson, Helmut Lotti, Filippa Giordano and the latest craze, the group Amici, are placed in the classical section while Lanza is still not considered worthy of the label.

But then, such is the monumental ignorance of the sales assistants that roam around the various record stores posing as experts, that it really doesn’t surprise me.

Recently, I was looking for, and couldn’t find, one of the Naxos CDs of Lanza  in one of the large records shops in Melbourne. I asked an assistant, and she directed me to the classical music expert who asked me “ Is he an instrumentalist?

Enough said!

James, if the resurrection of Lanza is to become a reality it will be considerably aided by intelligent contributors such as you who, although passionate about Lanza, can make a distinction between good and bad singing.

Both Lindsay and Derek have been tireless in their quest to re-establish Lanza and bring justice to the undoubtedly great talent he possessed.

Your contribution is a valuable addition, and I thank you for it.   

Adam, The Desert Song LP you have was recorded six weeks before Lanza died and is in fact his last recording. Although both ill and in pretty bad physical shape, there are occasional moments when the old magic shines through, but of course, as you pointed out, there are parts where the voice is betraying the damage it’s owner has inflicted on his body.

On top of this, the recording and conducting are simply abominable.

The best of his last recordings is an album called Lanza sings Caruso Favourites, which was recorded 3 months before he died.   

Good choice James ! A Kiss is one of the lesser known and seldom talked about Lanza songs. Personally, I like it a lot.

A tenor friend of mine never stops raving about the ease with which Lanza tackles it.

It represents Lanza in full bloom and at his most romantic.