Mario Lanza Review

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Mario Lanza ReviewA while back I was asked in one of the Lanza forums if I was aware that a new biography on Lanza by one, David Bret, had been written. I answered briefly that I was not remotely interested in anything Bret wrote, as his penchant for sensationalism is well known. Bret, who excels in mudslinging, but falls apart at the mere suggestion that he is not the paragon of truth he'd like the gullible reader to believe he is, shot back immediately by stating that my biography of Lanza was very over-rated, a rehash of previously published material, and should be avoided at all costs.
Now, Bret's claim (that my book is a rehash of previously published material) is simply laughable, as I interviewed close to a hundred people over a period of almost thirty years and provided copious reference notes for each chapter. What has Bret done? Precisely what he accuses me of. There are no reference notes -how could there be, since all he's done is to base just about the entire contents of the book on all previously published Lanza biographies , including mine and without acknowledging me, rewording the original texts, and padding the rest of the book with sheer inventions. There are no reference notes- just a succession of "it was suggested, it was reported, sources claimed, reputed to," etc.
Apart from factual errors on just about every page, musically the man hasn't a clue! He claims that " There's no such thing as a bad Lanza performance." He then proceeds to praise what just about everyone regards as Lanza's worst recording session, Lanza on Broadway. Speak Low, he says, is remarkable, as are Why Was I Born and So in Love. Even better, he says, is This Nearly Was Mine. Well, yes, as far as slurring, miss-pitching and plain bad singing is concerned it probably is even better, but then what is one to expect from someone that can't tell the difference between a B flat and a C.
Lanza's 1949 recording of Celeste Aida was transposed up a tone, he claims- no it's not- it's sung in the original key and ends with a high B flat.
And "Mario sustained a top C at the end of La donna e mobile...) it's a top B!
About Lanza's rendition of Niun mi tema from Otello, he says " Sadly, though, the voice is a near Baritone." And so it should be-Otello is not Nemorino.
And to top it all he makes the absurd statement that only a musical incompetent can make. Technically Lanza was far superior to Caruso, he states. Simply ridiculous! Lanza had an excellent technique, but Caruso's was certainly far from an inferior one
But aside from Bret's musical incompetence the book is a total farce. Pure fabrication! He refers to Dr. Frank Silvestri's limited English. Silvestri was born in America and spoke perfect English. He claims that Lanza was forced to stay in Naples as no hotel would put up with him in Capri. Lanza and family stayed at the Hotel Quisisana in Capri while filming For the First Time there in October 1958. He further states that Kathryn Grayson did not attend the Los Angeles funeral- wrong again-she did.
I could go on indefinitely, but what's the point? Not even someone with half a brain is likely to take this concoction of unadulterated rubbish seriously.
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