- Published on
I'm thrilled to announce the forthcoming release of yet another outstanding CD from Sepia Records of London: O Holy Night: Christmas With Mario Lanza.
This compilation brings together the best of Mario Lanza’s much-loved 1950-56 recordings of Christmas carols, together with other religious and devotional material from the same period, presenting them all in stereo for the first time. The technological breakthrough that has made this transformation possible is Digitally Extracted Stereo (DES), a process that converts mono recordings into multi-track stereo while preserving the full integrity of the original vocals and instrumentation. Now, with Lanza’s voice brought vividly to the fore and the orchestra enveloping rather than containing him, both are revealed with a previously unheard clarity and brilliance.
This compilation brings together the best of Mario Lanza’s much-loved 1950-56 recordings of Christmas carols, together with other religious and devotional material from the same period, presenting them all in stereo for the first time. The technological breakthrough that has made this transformation possible is Digitally Extracted Stereo (DES), a process that converts mono recordings into multi-track stereo while preserving the full integrity of the original vocals and instrumentation. Now, with Lanza’s voice brought vividly to the fore and the orchestra enveloping rather than containing him, both are revealed with a previously unheard clarity and brilliance.
While Lanza would re-record most of these songs in 1959 for a sonically disappointing so-called Living Stereo release, even his most uncritical admirers would acknowledge that the earlier (originally mono) recordings featured here find the tenor in much more vibrant form. As an added attraction, this compilation includes four of Lanza’s most popular late (1958-59) stereo recordings, all remixed by sound wizard Stephen Cutler to stunning effect through the magic of DES. These include “I Love Thee” (more impressive than ever now with its superior balance between voice and orchestra) and an impossibly sweet rendition of Schubert’s “Ave Maria”, both from Lanza’s Grammy-nominated album For the First Time.
UPDATE: O Holy Night is available for preorder now directly from Sepia Records at this link. (All preorders will be shipped by 10 August.) For those in the US, the CD can be preordered from August 4 from the Mario Lanza Institute in Philadelphia, with proceeds going toward scholarships for young singers in Lanza's name.
The CD will be available from Amazon and other online sellers from September 12.
FURTHER UPDATE: Vincent Di Placido has created this wonderful promo for O Holy Night: Christmas With Mario Lanza:
UPDATE: O Holy Night is available for preorder now directly from Sepia Records at this link. (All preorders will be shipped by 10 August.) For those in the US, the CD can be preordered from August 4 from the Mario Lanza Institute in Philadelphia, with proceeds going toward scholarships for young singers in Lanza's name.
The CD will be available from Amazon and other online sellers from September 12.
FURTHER UPDATE: Vincent Di Placido has created this wonderful promo for O Holy Night: Christmas With Mario Lanza:
Full track information:
O HOLY NIGHT
CHRISTMAS WITH MARIO LANZA
1 Deck the Halls (Traditional–Thomas Oliphant)
Republic Studios, Los Angeles, 10 August 1956. Henri René, conductor, and his orchestra; with the Jeff Alexander Choir. Spoken introduction by Lanza from his Christmas Eve 1951 radio show.
2 O Little Town of Bethlehem (Lewis Redner–Phillips Brooks)
Republic Studios, Los Angeles, 28 September 1951. Ray Sinatra, conductor; RCA Victor Orchestra and the Jeff Alexander Choir.
3 Adeste Fideles / O Come, All Ye Faithful (Traditional–Frederick Oakeley)
Republic Studios, Los Angeles, 28 September 1951. Ray Sinatra, conductor; RCA Victor Orchestra and the Jeff Alexander Choir.
4 Away in a Manger (William J. Kirkpatrick)
Republic Studios, Los Angeles, 28 September 1951. Ray Sinatra, conductor; RCA Victor Orchestra and the Jeff Alexander Choir.
5 The First Noel (Traditional–William Sandys–Davies Gilbert)
Republic Studios, Los Angeles, 28 September 1951. Ray Sinatra, conductor; RCA Victor Orchestra and the Jeff Alexander Choir.
6 We Three Kings (John Henry Hopkins, Jr.)
Republic Studios, Los Angeles, 29 September 1951. Ray Sinatra, conductor; RCA Victor Orchestra and the Jeff Alexander Choir. Thurl Ravenscroft, narrator.
7 Silent Night (Franz Gruber–Joseph Mohr/tr. John Freeman Young)
Republic Studios, Los Angeles, 28 September 1951. Ray Sinatra, conductor; RCA Victor Orchestra and the Jeff Alexander Choir.
8 O Christmas Tree (Melchior Franck, adapted by Ernst Anschütz)
Republic Studios, Los Angeles, 15 August 1956. Henri René, conductor, and his orchestra.
9 God Rest Ye Merry, Gentlemen (Traditional–William Sandys)
Republic Studios, Los Angeles, 10 August 1956. Henri René, conductor, and his orchestra; with the Jeff Alexander Choir.
10 Hark! The Herald Angels Sing (Felix Mendelssohn, adap. William H. Cummings–Charles Wesley–George Whitefield)
Republic Studios, Los Angeles, 10 August 1956. Henri René, conductor, and his orchestra; with the Jeff Alexander Choir.
11 I Saw Three Ships (Traditional–William Sandys)
Republic Studios, Los Angeles, 15 August 1956. Henri René, conductor, and his orchestra.
12 Joy to the World (Isaac Watts–Lowell Mason)
Republic Studios, Los Angeles, 10 August 1956. Henri René, conductor, and his orchestra; with the Jeff Alexander Choir.
13 O Holy Night (Adolphe Adam–John Sullivan Dwight)
Republic Studios, Los Angeles, 29 May 1950. Constantine Callinicos, conductor; RCA Victor Orchestra and chorus.
14 The Virgin’s Slumber Song (Max Reger–Martin Boelitz/trans. Edward Teschemacher)
Republic Studios, Los Angeles, 29 May 1950. Constantine Callinicos, conductor; RCA Victor Orchestra and chorus.
15 Guardian Angels (Harpo Marx–Gerda Beilenson)
Republic Studios, Los Angeles, 28 September 1951. Ray Sinatra, conductor; RCA Victor Orchestra and the Jeff Alexander Choir.
16 I’ll Walk With God (from the film The Student Prince) (Nicholas Brodszky–Paul Francis Webster)
MGM Studios, Los Angeles, 28 July 1952. Originally recorded with organist Wesley Tourtelotte only. MGM Studio Orchestra and Chorus conducted by Constantine Callinicos subsequently added.
17 The Lord’s Prayer (Albert Hay Malotte)
MGM Studios, Los Angeles, 2 August 1951. Wesley Tourtelotte, organist.
18 Ave Maria (Franz Schubert)
Cinecittà Studios, Rome, September 1958. George Stoll, conductor; untitled orchestra and choir.
19 Love in a Home (Gene de Paul–Johnny Mercer)
Republic Studios, Los Angeles, 15 August 1956. Henri René, conductor, and his orchestra.
BONUS TRACKS: SONGS OF LOVE AND DEVOTION
20 Do You Wonder (Don Ray–Henry Hill)
Republic Studios, Los Angeles, 15 August 1956. Henri René, conductor, and his orchestra.
21 The Song Angels Sing (Johannes Brahms–adap. Irving Aaronson–Paul Francis Webster)
Republic Studios, Hollywood, 24 July 1952. Constantine Callinicos, conductor. RCA Victor Orchestra and Chorus.
22 I Love Thee (Edvard Grieg–Hans Christian Andersen–Ellis Gray)
Cinecittà Studios, Rome, early December 1958. Constantine Callinicos, conductor; untitled orchestra.
23 Pour un Baiser (Francesco Tosti–Georges Doncieux)
Cinecittà Studios, Rome, June 1959. Paul Baron, conductor; untitled orchestra.
24 Come Prima (For the First Time) (Vincenzo Di Paola–Sandro Taccani–Buck Ram)
Cinecittà Studios, Rome, September 1958. Carlo Savina, conductor; untitled orchestra.
25 Earthbound (Jack Taylor–Clive Richardson–Bob Musel)
Republic Studios, Los Angeles, 10 August 1956. Henri René, conductor, and his orchestra; with the Jeff Alexander Choir.
O HOLY NIGHT
CHRISTMAS WITH MARIO LANZA
1 Deck the Halls (Traditional–Thomas Oliphant)
Republic Studios, Los Angeles, 10 August 1956. Henri René, conductor, and his orchestra; with the Jeff Alexander Choir. Spoken introduction by Lanza from his Christmas Eve 1951 radio show.
2 O Little Town of Bethlehem (Lewis Redner–Phillips Brooks)
Republic Studios, Los Angeles, 28 September 1951. Ray Sinatra, conductor; RCA Victor Orchestra and the Jeff Alexander Choir.
3 Adeste Fideles / O Come, All Ye Faithful (Traditional–Frederick Oakeley)
Republic Studios, Los Angeles, 28 September 1951. Ray Sinatra, conductor; RCA Victor Orchestra and the Jeff Alexander Choir.
4 Away in a Manger (William J. Kirkpatrick)
Republic Studios, Los Angeles, 28 September 1951. Ray Sinatra, conductor; RCA Victor Orchestra and the Jeff Alexander Choir.
5 The First Noel (Traditional–William Sandys–Davies Gilbert)
Republic Studios, Los Angeles, 28 September 1951. Ray Sinatra, conductor; RCA Victor Orchestra and the Jeff Alexander Choir.
6 We Three Kings (John Henry Hopkins, Jr.)
Republic Studios, Los Angeles, 29 September 1951. Ray Sinatra, conductor; RCA Victor Orchestra and the Jeff Alexander Choir. Thurl Ravenscroft, narrator.
7 Silent Night (Franz Gruber–Joseph Mohr/tr. John Freeman Young)
Republic Studios, Los Angeles, 28 September 1951. Ray Sinatra, conductor; RCA Victor Orchestra and the Jeff Alexander Choir.
8 O Christmas Tree (Melchior Franck, adapted by Ernst Anschütz)
Republic Studios, Los Angeles, 15 August 1956. Henri René, conductor, and his orchestra.
9 God Rest Ye Merry, Gentlemen (Traditional–William Sandys)
Republic Studios, Los Angeles, 10 August 1956. Henri René, conductor, and his orchestra; with the Jeff Alexander Choir.
10 Hark! The Herald Angels Sing (Felix Mendelssohn, adap. William H. Cummings–Charles Wesley–George Whitefield)
Republic Studios, Los Angeles, 10 August 1956. Henri René, conductor, and his orchestra; with the Jeff Alexander Choir.
11 I Saw Three Ships (Traditional–William Sandys)
Republic Studios, Los Angeles, 15 August 1956. Henri René, conductor, and his orchestra.
12 Joy to the World (Isaac Watts–Lowell Mason)
Republic Studios, Los Angeles, 10 August 1956. Henri René, conductor, and his orchestra; with the Jeff Alexander Choir.
13 O Holy Night (Adolphe Adam–John Sullivan Dwight)
Republic Studios, Los Angeles, 29 May 1950. Constantine Callinicos, conductor; RCA Victor Orchestra and chorus.
14 The Virgin’s Slumber Song (Max Reger–Martin Boelitz/trans. Edward Teschemacher)
Republic Studios, Los Angeles, 29 May 1950. Constantine Callinicos, conductor; RCA Victor Orchestra and chorus.
15 Guardian Angels (Harpo Marx–Gerda Beilenson)
Republic Studios, Los Angeles, 28 September 1951. Ray Sinatra, conductor; RCA Victor Orchestra and the Jeff Alexander Choir.
16 I’ll Walk With God (from the film The Student Prince) (Nicholas Brodszky–Paul Francis Webster)
MGM Studios, Los Angeles, 28 July 1952. Originally recorded with organist Wesley Tourtelotte only. MGM Studio Orchestra and Chorus conducted by Constantine Callinicos subsequently added.
17 The Lord’s Prayer (Albert Hay Malotte)
MGM Studios, Los Angeles, 2 August 1951. Wesley Tourtelotte, organist.
18 Ave Maria (Franz Schubert)
Cinecittà Studios, Rome, September 1958. George Stoll, conductor; untitled orchestra and choir.
19 Love in a Home (Gene de Paul–Johnny Mercer)
Republic Studios, Los Angeles, 15 August 1956. Henri René, conductor, and his orchestra.
BONUS TRACKS: SONGS OF LOVE AND DEVOTION
20 Do You Wonder (Don Ray–Henry Hill)
Republic Studios, Los Angeles, 15 August 1956. Henri René, conductor, and his orchestra.
21 The Song Angels Sing (Johannes Brahms–adap. Irving Aaronson–Paul Francis Webster)
Republic Studios, Hollywood, 24 July 1952. Constantine Callinicos, conductor. RCA Victor Orchestra and Chorus.
22 I Love Thee (Edvard Grieg–Hans Christian Andersen–Ellis Gray)
Cinecittà Studios, Rome, early December 1958. Constantine Callinicos, conductor; untitled orchestra.
23 Pour un Baiser (Francesco Tosti–Georges Doncieux)
Cinecittà Studios, Rome, June 1959. Paul Baron, conductor; untitled orchestra.
24 Come Prima (For the First Time) (Vincenzo Di Paola–Sandro Taccani–Buck Ram)
Cinecittà Studios, Rome, September 1958. Carlo Savina, conductor; untitled orchestra.
25 Earthbound (Jack Taylor–Clive Richardson–Bob Musel)
Republic Studios, Los Angeles, 10 August 1956. Henri René, conductor, and his orchestra; with the Jeff Alexander Choir.
DES has also made it possible to rectify some substandard mixing on Lanza's late (1958-59) stereo recordings, as indeed we can hear on both "Pour un Baiser," "Come Prima," and "I Love Thee" on this disc. The sources in all three instances were mono vinyl reproductions that were then converted to stereo through the DES process. I defy anyone to compare those three recordings with RCA's stereo mixes and then claim that they don't sound like authentic stereo.
In the case of the carols, we painstakingly compared them at each step of the DES process with the mono originals to ensure that the stereo remixes were indeed superior to their mono counterparts. I don't mean simply in terms of their stereo imaging, but more importantly in terms of their newfound clarity and depth. I would be happy to provide side-by-side comparisons if necessary.
Still, if you don't care for DES, then that is certainly your prerogative. We all hear things differently, and I knew when we first started working with DES on the "Golden Days" CD in 2023 that the results would not be for everybody. But I honestly believe that Sepia Records' DES series has breathed new life into Lanza's recordings, allowing us to hear them in a way that does justice to his voice at last.
As for your preference that future Lanza CD releases should focus instead on rare/unreleased recordings, frankly there is not enough remaining *worthy* material that would fill even a single disc. Sepia Records has already done Lanza proud with numerous non-DES discs containing rare material, most notably on its 2022 "The Undiscovered Mario Lanza." (Do check out Vince Di Placido's video promo for it on YouTube if you're unfamiliar with this disc.) So unless someone miraculously discovers the likes of the unreleased recording of the Improvviso from Andrea Chenier that Lanza recorded for "The Great Caruso," or, say, the mysterious "What's to Be" from the MGM "Student Prince" sessions, we are unlikely to see any further releases of major finds.
In the meantime, I hope that Sepia will continue with its Lanza DES series, as I can think of numerous recordings that would benefit from its technology. Surely that's better than facing the prospect of no further Lanza CD releases? (After all, Sony has now washed its hands of his legacy.) But I'm well aware (given the depressing state of CD sales in general) that every release is a financial risk for the company.
Derek
Actually, I have every CD released by Sepia in regard to Mario, along with most CD releases on other labels, trying, where I can, to avoid buying those that just repeat what I already have. My experience of DES is regarding other favourite artists from the 1950s, whose music is of a completely different genre, so maybe I'm applying the opinion of those recordings to Mario's, which may or may not be fair or applicable, as I certainly don't think the DES versions I've heard of the other artists I'm talking about, does them any favours - and I'm talking about 1950s rock n roll artists, whose music is another passion of mine - music that, unlike the popular music/jazz/opera snobs of the day, Mario didn't seek to criticize, much to his credit. On those recordings, the raw, visceral power of a musical genre that changed popular music and culture forever is lost when put through the DES process, along with the unique mono sound that speaks to us of a different era and gives it its unique atmosphere and sound. It was, in short, a musical genre that sounded better in mono. I've heard the DES versions, and they just rip the guts out of it. My view is that this particular music was/is not about achieving some benchmark of a perfect mix, sound, etc, but presenting it as it was heard in its first instance, and what gives it that unique sound that speaks to us of a different age. There was something in the ether that gave them their sound, and it's my opinion that if they were recorded today using exactly the same equipment, they would sound different, which is why I think the sound that was originally captured should be preserved, and held up as the way they should be heard.
Now, maybe this isn't applicable to Mario's recordings because his was a different musical genre to the aforementioned one, and I have less objection to the attempt of DES in regard to Mario because of it. Maybe his music benefits from it, while others not so much, or at all - though there is a track of Mario singing with just piano accompaniment (the title escapes me, and I don't have the CD to hand as I type this) where I cannot see the benefit of DES in that instance, whereas I can see the argument of separating out the orchestra and other voices into separate channels to provide a 'better' mix and giving more prominence to his voice.
All that said, it is just my personal opinion, which I'm sure won't make the slightest bit of difference to anyone but myself. I will continue to purchase Sepia's Mario releases, as I think the effort at least deserves its reward.