Myths About the Artist, by Derek McGovern
Much of what has been written has either been incomplete, inaccurate, self-serving, or sensational.This article tackles some of the more enduring myths about Lanza's voice and artistry. <--read more-->

Firsthand Accounts of Working with Lanza: Herbert Grossman
8 June 1948 Mario Lanza, Frances Yeend, George London and two other (unidentified) singers were recorded singing an excerpt in English from Act IV of Puccini's La Bohème.  The young pianist accompanying them that day was Herbert Grossman. <--read more-->

Firsthand Accounts of Working with Lanza: Gloria Boh
Mario Lanza and Gloria Boh sing the duet "Dio Ti Giocondi" from Act III of Otello.  Ray Heindorf, conductor. <--read more-->

The Opera Singers Said...
Vocalists from Plácido Domingo, José Carreras, and Roberto Alagna to Elvis Presley—among countless others—have spoken of how Mario Lanza inspired their careers. <--read more-->

Mario Lanza and the Magic of Phrasing, by Tony Partington
Phrasing has always been a curiosity for me, no, a true marvel with Mario Lanza in virtually everything he undertook to sing. <read more>

Vocal Placement, by Armando Cesari
Correct voice placement consists of what is known as singing in the mask. <--read more-->

The Magic of Mario, by Muriel Agnello
...I discovered Mario's talent was multilateral. His masterful renditions encompassed many distinct genres of music. <read more>

The Lanza Legacy, by Emilio Iodice
Mario Lanza’s alluring legacy lies in two areas of musicology:  the naturalness of his singing and the spread of his work to all levels and sectors of society. <read more>