Pineapple Song [CD-single] [Enhanced]

Track Listings

 
1. Radio Mix
2. Extended Club Mix
3. 12" Mix
4. Video

Pineapple Song,Good Size,Wrightjolly,Pop
For the First Time/Mario Lanza Sings Caruso Favorites
Average customer rating: 4 out of 5 stars
  • Impressive performances from Lanza's final years
For the First Time/Mario Lanza Sings Caruso Favorites

Manufacturer: Collectables
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005B523
Release Date: 2001-05-08

Tracks:

  1. Come Prima
  2. Tarantella
  3. O Sole Mio
  4. Neapolitan Dance
  5. Hofbrauhaus Song (Wir Einmal Nur in Munchen War]
  6. O, Mon Amour (Je Nen Connais Pas la Fin)
  7. Mazurka
  8. Pineapple Pickers
  9. Pagliacci: Vesti la Giubba
  10. Otello: Finale
  11. Aida: Act I
  12. Ich Liebe Dich (I Love Thee)
  13. Ave Maria
  14. Vieni Sul Mar
  15. Senza Nisciuno
  16. Musica Proibita
  17. Vaghissima Sembianza
  18. Serenata - Mario Lanza,
  19. Lolita
  20. Luna d'Estate
  21. Alba Separa Dalla Luce l'Ombra
  22. Pour un Baiser
  23. Mia Canzone
  24. Ideale
  25. Santa Lucia

Customer Reviews:

4 out of 5 stars Impressive performances from Lanza's final years.......2004-12-18

This CD contains most of the soundtrack from Lanza's final movie, the 1958 For the First Time, together with the 1959 album Mario Lanza Sings Caruso Favorites.

By 1958 Lanza's lirico spinto tenor had darkened significantly, acquiring a baritonal richness in its middle and lower registers, while still retaining the celebrated top notes for which he was justly famous. On his best days, he was also a more sensitive singer than he had sometimes been in his Hollywood period. This is immediately noticeable on the operatic selections included here: Vesti La Giubba; the Otello Death Scene (Niun Mi Tema); and the Grand March from Aida. On the first two numbers, Lanza phrases beautifully and avoids marring these arias with the hammy histrionics that many more celebrated names have indulged in elsewhere. Dark with haunting overtones, his voice is by now ideal for both Canio and Otello.

The Grand March scene is also impressive, with Lanza delivering some staggering B flats over the deafening Rome Opera Orchestra and chorus. All three operatic selections from For the First Time were recorded (and subsequently filmed) at the Rome Opera House, and the effect that Lanza had on the musicians present was extraordinary. "A very musical tenor of enormous possibilities, with an exceptional timbre" was the verdict of the theatre's then Artistic Director Riccardo Vitale.

The first half of For the First Time is much lighter, and includes the pleasant title song, Come Prima, along with a sweet and all-too-brief O Mon Amour. There is also the novelty of hearing Lanza singing in German in the rousing Hofbrauhaus Song, as well as a ridiculous rock and roll number called Pineapple Pickers. (Typically, BMG place this next to Vesti la Giubba on the CD, with no thought for the massive jump in musical style and content between the tracks.) O Sole Mio sounds a little laboured here, and rings out much more thrillingly in the movie. But with the exception of the videotape of the actual film (reviewed elsewhere on this site), many of these selections have never sounded better. There is still the ever-present sandiness that mars all of Lanza's stereo releases, but at least this is an improvement on the soundtrack's earlier outing on the Double Feature CD.

My only gripe is that the delightful Cosi Fan Tutte trio - E Voi Ridete - has been omitted. Instead we have three uneventful (and irritating) non-Lanza musical interludes. *Mercifully* missing, however, is the tenor's La Donna 'e Mobile. Uncharacteristically strained, it was his least impressive performance of the aria, and the only vocal lapse in the entire film.

The final twelve selections from the Caruso Favorites album also feature Lanza in mostly fine form. As with all the tenor's 1959 recordings, however, the reproduction of his voice (though curiously *not* the orchestra) is less than ideal, and the ever-present distortion - particularly on his top notes - mars some of the best moments. Gripes aside, this is an important album in the Lanza canon. Among the highlights are the Neapolitan song Senza Nisciuno; a tasteful Vaghissima Sembianza, replete with two beautiful High As; the daunting Serenata; and three exquisite Tosti songs: L'Alba Separa Dalla Luce L'Ombra, Pour Un Baiser and Ideale.

L'Alba Separa dalla Luce l'Ombra deserves special mention. Lanza is appropriately operatic on this miniature masterpiece, and although his voice sounds a little heavy at times, the impact of his performance is very moving. From "Chiudimi, O notte, nel tuo sen materno," (Envelop me, O night, in your maternal [...]) onwards, Lanza is in full control of the song, faltering only slightly on the climactic note on "eterno" (though this may, in fact, be due to the distortion). Lapses aside, L'Alba Separa is a fine example of Lanza's artistic maturity.

Among the few lesser moments, Mario runs out of steam in the second half of La Mia Canzone, and is subjected to an overly boisterous arrangement on Santa Lucia, which sounds more akin to a march than a lilting ode to the Bay of Naples! At times Lanza does sound tired, and as one perceptive reviewer has noted, we miss the characteristic smile of his earlier voice. Ironically, critics and habitual Lanza-knockers are much more likely to praise this album for the very reason that the tenor *is* so subdued.

Caruso Favorites and For the First Time - together with the brilliant Neapolitan album Mario! Lanza At His Best (also reviewed on this site) - represent the tenor's most impressive singing from the final period of his life. As Lanza authority Lindsay Perigo has noted, the tenor's voice on all three albums is often "hauntingly ethereal." In short, these are not performances that are easily forgotten.
The British Music Collection: Arthur Sullivan
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    Binding: Audio CD

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