Rating: 
Summary: Much better than I would have expected!
Review: I've given my review the above title for the simple reason that if I had believed the unkind words of my fellow countryman below, and those of this Bessette fellow (and others), I would never have bothered with this book. For my sake I'm fortunate that I took the initiative and ordered it from the publisher as soon as it came out.What are these people on about? I have read the Bessette account, and was not impressed with it. If he possesses any sympathy towards Lanza and the things that went wrong in his life (not all of them his fault either), then I wasn't aware of it. Mannering on the other hand did a rather good job, I thought, particularly in his second book. But where he falls down somewhat is in his discussions of Mario Lanza's singing. Now I haven't read these other books by Robinson and Durso, but I doubt if they contain the astute musical discussion that makes Cessari's book so special. This new biography amazed me because it made me realise for the first time that it was only ignorant critics and snobs who did not appreciate Lanza. Not his fellow artists, and certainly not the current generation of great singers. On this point I take great exception to my fellow UK reviewer for saying that a Lanza biographer doesn't need to be knowledgeable about music. Oh but he does, he does. Cessari is certainly the man for the job, and I did not think he was "arrogant" about his knowledge in the slightest. (And no, I do not know the man!) The book's not perfect, but comes close to it at times. If I could, I would have given it four and a half stars, instead of four. But I would still rate it above Mannering's fine account, and far above that of Bessette. I hope it will become widely available in the UK as it is a book that deserves to be read by Lanza fans and sceptics alike. The extraordinary Cd that comes with it is a marvellous bonus, and I was not expecting to find so many superb and previously unseen photos of Lanza. Very well done indeed.
Rating: 
Summary: Cesari's (author) response to Bessette's review
Review: In his urge to even the score with me for having dismissed his pathetic attempt at writing a biography of Mario Lanza, Mr. Bessette raves and rants and accuses me of various misdemeanours. In doing so, Mr. Bessette, just as he did in his ridiculous so-called biography, is guilty of the cardinal sin of not getting his facts right.
He claims that I have dismissed all previous biographers by stating that the contents of my book come entirely from my own research.
This is not so. I have acknowledged the contributions made by previous biographers such as Callinicos, Mannering, and Durso. All three made significant contributions. Matt Bernard, a pseudonym for Al Teitelbaum, did not. His cheap paperback is pure trash. Terry Robinson's biography of Lanza, by his so called "best friend", is a worthless piece of sensationalism full of untruths and inaccuracies.
As for Mr. Bessette's misguided attempt, frankly there is nothing in it that warrants acknowledging. Musically, Mr. Bessette does not know what he's talking about. As far as the other aspects of the book are concerned, he should have done his homework by carrying out a lot more research and interviewing more people associated with Lanza, instead of relying primarily on Teitelbaum.
I have never heard Lindsay Perigo make the claim attributed to him by Mr.Bessette - a claim, incidentally, that Mr. Perigo strenuously denies having ever made. The onus is on Mr. Bessette to prove it. Nor has Mr. Perigo ever called Placido Domingo a mere "Lanza wannabe", although he acknowledges that Mr. Domingo is not among his favourite tenors.
Derek McGovern is anything but obsessed, as anyone who knows him will attest.He is extremely critical of anything that Lanza sang which is below par and equally enthusiastic when it's warranted. This is not the behaviour of a cultist, contrary to what Mr. Bessette would have people believe.
Mannering's book is an honest attempt to portray the life of Lanza, and there are many things in it that are praiseworthy, but I certainly did not have to borrow sources other than the one that I credited him for.
As for Mr. Bessette's claim that I used his book as an outline, he is obviously deluded. I have carried out my research over a period of almost 30 years, and would hardly have needed to refer to Mr. Bessette's attempt for inspiration.
Mr. Bessette further states that there is nothing new or accurate in my book. I will let the readers decide that. The Callas remark that Mr Bessette disputes was, in fact, made to the RAI journalist Giovanni Viglione when he interviewed the soprano in 1973 and, furthermore, Callas is quoted in print calling Lanza "Caruso's successor". The is a matter of public record, and I am mystified as to why Mr. Bessette is unwilling to believe it. As for the precise details of the Viglione interview, I can inform Mr. Bessette that it took place at the Teatro Regio in Turin where, together with Di Stefano, Maria Callas was directing I Vespri Siciliani.
I acknowledge Callinicos' musical expertise on page 1.
As for my opinions of my "idol" being entirely subjective, hardly! I urge Mr. Bessette to read the book again as it's apparent that he's either missed or not understood the many instances in which I criticise Lanza's singing.
Where did I get the Presley quote? Mr. Bessette should read a few books on Presley; I'm sure he'll find it.
Barry Nelson was a close friend of Lanza and knew him before, during, and after Hollywood.
There is no unidentified friend of Doretta Morrow. The source is Lanza's manager Sam Weiler.
Sam Steinman was one of the nicest people I interviewed and far from a hanger-on. He was Lanza's European agent, not manager.
I do not belittle Caruso, Corelli, Di Stefano and Tucker. Far from it. Mr.Bessette must be reading a different book.
I do not invent a career but speculate on what might have been and try to understand, through the testimony of those that were close to him, what went wrong.
The drinking was a result of guilt feelings for an unfulfilled operatic career. Something that I clearly state in my book.
There were really only two people who refused to be interviewed. Both doctors, both connected directly or indirectly with Lanza's death. In view of what happened, it is hardly surprising that they both refused to be interviewed. As for the book being cold and arrogant, Mr. Bessette should take another look at his own dismal effort, which is not only cold, inaccurate, and musically incompetent, but is further hampered by his ridiculous attempt at amateur psychiatry.
Lastly, since Mr. Bessette seems to be fond of quotes, I will end with one for him: "Revenge is sweeter than life itself. So think fools."
Juvenal
Rating:
Summary: Tragedy or Triumph?
Review: It's a human trait to say: "If only ...", and in the case of Mario Lanza, that marvellous tenor, there are so many "if only" situations - if only he had been blessed with better advisers, and himself been a more placid person (hey! Lanza, placid?), and lived longer, and ... so on. Armando Cesari's passionately persuasive biography evokes Lanza's extraordinary spirit. Created with a great voice and the vital personality to drive that voice sometimes recklessly, Lanza sped through a turbo-charged life, drawn from early promise into the hothouse of Hollywood and ultimate hyper-exploitation. The wonder is not that Lanza burned out so early, but that he managed to last as long as 38 years before succumbing to so much pressure. In the brief career that destiny allowed him, Lanza managed on the mainly credit side to produce some wonderfully fine recordings, several impressively powerful film performances, and many concerts where excellent reviews and enthusiastic audience reaction were the norm. The tragedy of Lanza's not realising his operatic potential must be set against the really splendid, unique achievement in so igniting an interest in fine music and singing for so many people. Armando Cesari's book and the fascinating recordings on the CD accompanying the book will do much to please, inform and surprise all genuine lovers of great voices and particularly of the supremely lovely, moving voice of Mario Lanza.
Rating:
Summary: Mario's Time To Shine
Review: Mario Lanza: An American Tragedy by Armando Cesari is a must read to know the real Lanza, musically and personally. This author, a musical authority, presents this great artists's life for the first time in both a sympathetic and knowledgeable way. He does not editorialize about what should have been, but instead focuses on things as they "were" and how they "came to be". First and foremost, Mario had probably what was the most unique and recognizable voice of any artist in the Twentieth Century. In fact, he possessed a voice that most likely will not be experienced again in our lifetimes. Mr. Cesari brings to this work thirty years' worth of interviews and research and that, along with his expertise, gives us a valid picture of where the Lanza voice should be placed in the world of serious music. Mario's talent should be recognized as the phenomenon it is. From the lush pool of quotes, we become familiar with how critics and fellow artists felt about his natural gift. Mr. Cesari interviewed figures including friends, operatic artists, musicians, movie actors, family members, managers, conductors, and many other people who came into contact with Mario on a personal level. Every quote is substantiated by a footnote telling its source. Even though he did not follow an operatic career, there are many tributes from operatic artists attesting to the idea that he could have been one of the most successful divos of his day. And so, we get a well-rounded portrait of this man as well. I especially liked reading some of the critics' accounts of his concerts from the beginning of his career until his last concert tour in Europe. From 1947, here is (in part) what Claudia Cassidy wrote after Mario's concert at Grant Park, in Chicago: "Lanza sings for the indisputable reason that he was born to sing. He has a superbly natural tenor which he uses by instinct, and though a multitude of fine points evade him, he possesses the things almost impossible to learn. He knows the accent that makes a lyric line reach its audience, and he knows why opera is music drama." Even toward the end of his life he continued to impress his listeners. This from his accompanist, Constantine Callinicos on what was Mario's last concert in Kiel, Germany in 1958: "He seemed that night to be at the height of his powers as a singer. His voice, "darker" and richer than I had heard it in years, thrilled me. Its volume and substance rivaled any male voice I had ever heard in my life." Of that same concert, music critic Dr. Kurt Klukist of the "Lubecher Nachricten", wrote: "(Lanza) really can sing. The material belonging to this wonderfully melodious tenor is a natural gift...It is difficult to know what to admire most. The faultless breathing technique, the elastic precision of his wording, the light "piano". The constantly desciplined "forte".. The well-synchronized join between registers. When he is not singing, he seems a little nervous. When he sings, he is fully relaxed...[there was] applause and more applause." This, indeed, was an artist to be reckoned with. Mario has been often been touted as a difficult person to work with. Mr. Cesari spoke with John Green, the MGM Musical Director, and this is what he remembered about Mario: "I was convinced when I was working with Mario, and I still am, that the instrument itself, the voice itself was the voice of the next Caruso. Mario had an unusual, very unusual quality...a tenor with a baritone color in the middle and lower registers and a great feeling for the making of music. A great musicality. I found it fascinating, musically, to work with Mario. He had a sensational ear and he was bright..Mario was not stupid at all! I was very fond of him. He was capable of such warmth and he had a nice sense of humor. You could have great fun with Mario." It is a pleasure to read accounts like this because some of his previous biographers tended to focus on his negative behavior. Of course, some of Mario's playful antics are found in this work too, but they are not distracting. Perhaps the most distressing event of Mario's life - his suspension and ultimate firing from MGM during the Student Prince filming is treated with as much sympathy as possible. Through interviews with those who were around Mario at that time, we are made aware of the extreme pressures that surrounded him. Mr. Cesari explains the various situations in Mario's life instead of just tossing out cold facts. I found this book to be more than pleasurable to read. I believe it will do much to promote the musical legacy of Mario Lanza. I hope those who have never heard the voice will be enticed to listen to his many recordings still available today. The accompanying CD gives us a sampling of what he sounded like in home rehearsals and live performances. Hearing his voice as it "was" and not as a polished recording studio product is exciting. The sound quality is only as good as the recording technique of each venue allows it to be. Derek McGovern's liner notes reflect both his love and knowledge of Mario's music. He writes with humor and extraordinary sensitivity. It is indeed, Mario's time once again to shine!
Rating:
Summary: Unquestionably Definitive
Review: Permit me to declare my hand at the outset-it was I who first prevailed on Mr. Cesari to write this book, & I who wrote its Foreword. Naturally I'm predisposed to be favourable towards it. But readers should realise that Mr. Durso equally has an axe to grind, for reasons *he* should have disclosed, *against* Mr. Cesari, which accounts for his unjustly negative review above. To say the previous Mannering & Bessette reviews were far superior is to stretch the bounds of credulity to breaking point. Mr. Mannering's is a pleasant enough, once-over-lightly read, though with an unacceptable number of errors; Mr. Bessete's is more in-depth, but seems to have been written out of contempt for its subject. Mr. Cesari provides much detail & many perspectives not heard before, as well as an over-arching love for his subject that is all the more eloquent for *not* being uncritical. Mario's magnificent spirit shines through, even as the dark clouds are acknowledged. The one aspect of this biography that stamps it as indisputably definitive is Mr. Cesari's musical literacy, which no previous biographer aside from Callinicos possessed. Mr. Cesari is able to discuss Lanza's voice, his technique, style & interpretation, in the informed manner of a professional musician, though without being obsessively clinical. In these pages you will find the most intelligent sustained discussion of Mario's actual singing that you will find in any other single publication to date. Derek McGovern's liner notes for the accompanying CD are also exceptional. A couple of minor rejoinders to Mr. Durso - it is indeed Gale Sherwood on the Student Prince recording, & yes, Placido Domingo's Preface should have been listed on the cover. Perhaps the publishers might attend to that at the time of a second printing? Overall, I would simply repeat the conclusion to my Foreword: "Armando Cesari's biography is a fitting tribute to a beautiful voice & a beautiful soul. It explains the tragedies that stilled his voice far too prematurely. It is meticulously researched & scrupulously fair. I salute its author & its publishers on its timely release."
Rating: 
Summary: Unappropriate comments
Review: Please keep reviews from people who are not connected to this book. We need to hear from people who read the book and comment. Thank you
Rating:
Summary: NOT FOR SERIOUS FANS OF OPERA
Review: Please! Mario Lanza never sang on the big stages of the world. This book tries to make him out as if he did, which is bogus. This is sophomoric stuff. You just can't take it seriously.
Pavarotti and Domingo as pretenders and Mario Lanza, cheesy films to boot, the champion? Please! We New Yorkers know better than that!
Rating:
Summary: THE DOCTOR WAS OUT FOR A LONG, LONG LUNCH
Review: There are many problems with the author's musical judgment, which I will leave for others to critique. What is especially troubling to me, as a physician, is the swaggering ignorance that underlies his medical conclusions.
Mr. Lanza's history includes being expelled from high school, cashiered from the armed forces during the height of WWII, ushered from the lots at MGM, turned away by Warners for a second film, lawsuits over production problems on the sets of his last two films, numerous cancellations of concerts, and a number of frankly antisocial behaviors. Clearly, the tenor had problems comporting his behavior to time, place and circumstance. Mr. Cesari's take on all of that is "nervousness" from excessive dieting. Oh? Then what went wrong when the tenor was gorging rather than dieting? You can search the Diagnostic & Statistical Manual of Mental Disorders and not find that one. Bessette was correct with his pronouncement of bipolar disorder.
Next, the tenor's supposed heart attacks are gleaned from strips his son reportedly obtained from Lanza's physicians. Someone should have asked a cardiologist for an opinion as they do not reflect anything beyond a tachycardic pulse, which was likely caused by the tenor's well-documented and persistent problems with phlebitis.
Last, the Clinica Valle Guilia was always been a fine medical center. Mr. Cesari's rant about the commission of malpractice is tantamount to libel, except that the accusation isn't backed by anything more than its pronouncement. There was no "twilight sleep" procedure implemented at that hospital. Mannering and Bessette had it right with phelibitis, a clot passing and sudden death.
I also note that a review is supposed to be a reaction from a critic or reader. In that regard, the review should be an objective assessment that will assist a potential reader. The "reviews" for this book include over-the-top swoons from L. Perrigo, who wrote its gushing foreword, and D. McGovern, who provided seven pages of vapid praise for a CD that in no way measures up to his views. That is a throwback to the days when vaudeville acts would mail numerous postcards, purportedly from people who had seen the show, praising their performances and demanding their return. There is no honour to that sort of tactic.
Rating:
Summary: The Voice that will Never dim!
Review: This biography of the great, late tenor is much more than just a comprehensive history of Mario's fabulous singing and his contributions to music. Mr Cesari places you in the mind of the often troubled artist and for the first time, you begin to understand the frustrations tormenting the Lanza genius. How does anyone handle a gift of possibly the finest tenor voice the world has ever known at such a tender age? A simple, sensitive and generous soul torn between the lure of the instant fame and money offered by Hollywood versus a burning desire to fulfill his destiny: grand opera! That he possesed the tools to become one of opera's immortals is well docummented by Mr Cesari through quotes and analysis by many of the well established singers and teachers of the art. After reading this compelling book, I wrote the following in honor of the Lanza voice: Like a blazing comet it came to us, in all its stunning glory
Ever so brief but with a magical, unending story Powered with thunder and lit by flashing light
Yet smoothed by silk, in spite of its might Never before, never again, will we know such heavenly tone
For all to soon, the Creator called him back to home Only a God could grant us such a gift, even if only to borrow
Thrilling us today .....and beckoning for tomorrow
Rating:
Summary: Read The Best Soon!
Review: Unless someone else betters it, I feel this is the best biography written about Mario Lanza to date! I have read it twice and compared it to ALL of the biographies written about the great singer. Those works include: 1-"The Mario Lanza Story", the very first one by his friend and pianist Constantine Callinicos in 1960, 2-"Mario Lanza: His Tragic Life", written by close personal friend and trainer Terry Robinson in 1980, 3-"Mario Lanza: A Biography" written by Derek Mannering in 1991, 4-"Mario Lanza: Tenor In Exile" written in 1999 by Roland Bessette, 5-"Mario Lanza: Singing To The Gods", a re-working and notable expansion by previous author Derek Mannering in 2001, 6-"Mario Lanza", a rather trashy paperback published in the seventies by Matt Bernard (the alias for Al Tietelbaum who once managed Mario), 7-"My Memories of Mario Lanza", a loving memoir written by Lanza's childhood friend Eddie Durso in 1992, 8-"The Man Who Loved Mario Lanza", a fictional story with many factual references to Mario by Phil Georgeff in 1997, 9-"Be My Love: A Celebration of Mario Lanza", an anthology of articles compiled and written by Damon Lanza, Bob Dolfi, and Mark Muller in 1999, 10-"Mario Lanza" written in German in 1962 by Hermann Hausner, 11-"Mario Lanza, Una Voce Un Artista", a critically acclaimed biography written in Italian by Edy Lovaglio in 2002, 12-"Have You Heard of Mario Lanza?" written in Japanese in 2003 by Eimei Hayano, and 13-an unknown German biography. That makes thirteen books...and while I have not read those in another language (since none have been translated!)...I would put Armando's fine work at the top of the list. Without going into long explanations of why I feel this book stands as the best so far, I would rather let famous singers speak. These people's opinions were seen by me for the first time in Armando Cesari's "Mario Lanza: An American Tragedy". Tito Schipa: "You have the greatest given throat ever heard in a young man." Giuseppe Di Stefano: "I don't think he realized how good he was." Renata Tebaldi: "Lanza has the finest natural tenor voice I've ever heard." Luciano Pavarotti: "He had a fantastic voice..not just wonderful..a fantastic voice." And my favorite quote spoken by Lawrence Tibbett in 1950: "In fifty years people will recognize Lanza for the great artist he is." The fact that this author brought these statements to light in his book for the first time since Lanza's death in 1959 tells you all you need to know about his dedication and research. I have met Armando in person and will attest to his integrity, talent, musicality, and sincere personality. This book is the seventh in the series of books called Great Voices published by Baskerville (I also recommend searching out the others in this series). No one who wants a complete portrait of Mario Lanza, the artist (not to mention an outstanding CD of his singing) should be without it!
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