King Lear and the Fool in the Storm

William Dyce FRSE RSA RA (19 September 1806, Aberdeen – 14 February 1864, London) was a distinguished Scottish artist, who played a significant part in the formation of public art education in the United Kingdom, as perhaps the true parent of the South Kensington Schools system.

Dyce began his career at the Royal Academy schools, and then traveled to Rome for the first time in 1825. While he was there, he studied the works of Titian and Poussin. He returned to Rome in 1827, this time staying for a year and a half, and during this period he appears to have made the acquaintance of the German Nazarene painter Friedrich Overbeck. After these travels, he settled for several years in Edinburgh. He supported himself by painting portraits at first, but soon took to other subjects of art, especially the religious subjects he preferred.

He was given charge of the School of Design in Edinburgh, and was then invited to London, where he was based thereafter, to head the newly established Government School of Design, later to become the Royal College of Art. Before taking up this post in 1838 he and a colleague were sent to visit France and Germany to enquire into design education there and prepare a report. He left the school in 1843, to be able to paint more, but remained a member of the Council of the school.^[1] The ideas that were turned in the following decade into the "South Kensington system" that dominated English art education for the rest of the century really have their origin in Dyce's work.

Pegwell Bay

Later in his career, he gave himself to fresco-painting, and as a fresco-painter was selected to adorn the walls of the Palace of Westminster.^[2] He returned to Italy in 1845-7, in order to observe the fresco techniques employed there in preparation for work at Westminster. He was particularly impressed by Pinturicchio’s frescoes in the Piccolomini Library in Siena, as well as by the works of Perugino.

His most highly thought of painting today is his exceptionally detailed seaside landscape of Pegwell Bay in Kent, now in the Tate Gallery. A rather atypical work, it is fully titled Pegwell Bay, Kent – a Recollection of October 5th 1858.^[3]

He was also interested in music, especially church music, playing the organ and composing works that outlasted him.

The largest collection of William Dyce's work is displayed at Aberdeen Art Gallery, Scotland.

King Arthur[link]

The Return of King Arthur

Dyce was commissioned to decorate the Queen's Robing Room of the newly completed Palace of Westminster. He chose to illustrate the various Christian virtues in the legend, and had some difficulty adapting the Courtly love of Malory's tales to Victorian mores. The Arthurian legend became popular later in the Victorian period, but when Dyce received the commission to decorate the room in 1847, it was still an obscure subject. The legend soon became a major problem for Dyce, as it turns on the unfaithfulness of a queen, which causes the fall of a kingdom. After initially experimenting with a narrative sequence in which the tale would unfold in the room's panels, Dyce abandoned this in favor of an allegorical approach. In their finished form, Dyce’s frescoes depict scenes from the Arthurian legend that are intended to exemplify the virtues inscribed beneath them. The actions of the figures in his frescoes appear to the modern viewer to convey qualities whose status as virtues is uncertain, and the connection between the episodes from the Arthurian legend and the virtues they represent is sometimes difficult to discern. The virtues depicted are mercy, hospitality, generosity, religion, and courtesy. Two projected frescoes, Courage and Fidelity, were never executed.

References[link]

External links[link]

• The Quest for the Grail: Arthurian Legend in British Art, 1840-1920
• 1911 Encyclopædia Britannica
• Phryne's list of pictures in accessible collections in the UK
• The Pre-Raph Pack Discover more about the artists, the techniques they used and a timeline spanning 100 years.

• Iian Neill. "William Dyce (1806 - 1864)". Art Renewal Center. http://artrenewal.org/asp/database/art.asp?aid=120. Retrieved 2006-01-30. ^{[dead link]}

This article incorporates text from the public domain 1907 edition of The Nuttall Encyclopædia.

Wikimedia Commons has media related to: William Dyce

Coordinates: 57°12′11″N 2°11′31″W / 57.2031°N 2.1920°W / 57.2031; -2.1920

Dyce
Scots: Dyce
Dyce  Dyce shown within the City of Aberdeen
Population	5,811 [1]
Language	English
	Scots (Doric)
OS grid reference	NJ885125
- Edinburgh	99 mi (159 km) [2]
- London	408 mi (657 km) [2]
Civil parish	Dyce
Council area	Aberdeen
Lieutenancy area	Aberdeen
Country	Scotland
Sovereign state	United Kingdom
Post town	Aberdeen
Postcode district	AB21
Dialling code	01224
Police	Grampian
Fire	Grampian
Ambulance	Scottish
EU Parliament	Scotland
UK Parliament	Gordon
Scottish Parliament	North East Scotland
	Aberdeen Donside
Website	aberdeencity.gov.uk
List of places: UK • Scotland • Aberdeen

Dyce (Scottish Gaelic: Deis) is a civil parish and suburb of Aberdeen, Scotland, about 6 miles (9.7 km) north west of Aberdeen city centre, and best known as the location of the city's airport. It is on the River Don.

History[link]

Dyce is the site of an early medieval church dedicated to the 8th century missionary and bishop St. Fergus, otherwise associated with Glamis, Angus. Today the cemetery, north of the airport, and overlooking the River Don, hosts the roofless but otherwise virtually complete former St. Fergus Chapel, within which Pictish and early Christian stones from the 7th–9th centuries, found in or around the churchyard, are displayed (Historic Scotland; open at all times without entrance charge).

The Chapel is a unicameral late medieval building with alterations perhaps of the 17th or 18th centuries. Two further carved stones, of uncertain (though probably early) character, were discovered re-used as building rubble in the inner east gable and outer south wall during the chapel's restoration. They were left in situ and are readily visible. A broken font, somewhat resembling a round-backed chair in its present condition, lies outside the church, and may also be of early medieval date.

The graveyard surrounding the old church was used into the 20th century, and retains almost no old gravestones. There is a small 'mort house' in one corner of the enclosure, which is adjoined by a modern extension, still in use for burials.

Climate[link]

Economy[link]

Head office of BMI Regional, Aberdeen Airport

BMI Regional has its corporate head office at Aberdeen Airport East in Dyce.^[4] Halliburton has an office in Dyce.^[5]

Dyce has one main shopping centre which is mainly an Asda store with a Boots chemist, a hairdresser, a pet shop, and a travel agent.^{[citation needed]}

Transport[link]

Aberdeen Airport is located in Dyce.

Dyce railway station is served by First ScotRail and East Coast trains on the Aberdeen to Inverness Line.

Education[link]

The local secondary school, Dyce Academy has about 500 pupils. There is also a primary school, Dyce Primary School.

Parks and recreation[link]

The area of Aberdeen has sports facilities including the local junior football team Dyce F.C who currently play in the Scottish Junior Football Association North Region and the cricket team. Dyce also have an amateur football team, currently named Dyce ITC Hydraulics in honour of its sponsors ITC Hydarulics also of Dyce. Dyce ITC currently play in the Aberdeenshire Amateur Association Premier League and play their home games at Pitmedden Road in Dyce.

Dyce (Aberdeen) Amateur Swimming Club (Est 1977), which runs its own Swim School for those wishing to learn to swim, is based at the Dyce Academy swimming pool. The Club and Swim School are both affiliated to the Scottish Amateur Swimming Association.

References[link]

Scotland portal

v t e Areas of Aberdeen See Areas of Aberdeen for a more complete list of the city's districts and areas. Altens Balnagask Bieldside Bridge of Dee Bridge of Don Broomhill Bucksburn Cornhill Cove Bay Cults Danestone Dyce Footdee Foresterhill Garthdee Hazlehead Hilton Kincorth Kingswells Kittybrewster Mannofield Mastrick Midstocket Milltimber Nigg Northfield Old Aberdeen Peterculter Queen's Cross Rosemount Rubislaw Summerhill Tillydrone Torry Tullos Woodside

Mario Lanza (January 31, 1921 – October 7, 1959) was an American tenor and Hollywood movie star of the late 1940s and the 1950s. The son of Italian emigrants, he began studying to be a professional singer at the age of 16. He was born Alfred Arnold Cocozza. He changed his name when he signed with MGM. His mother's maiden name was Maria Lanza.

After appearing at the Hollywood Bowl in 1947, Lanza signed a seven-year contract with MGM's head, Louis B. Mayer, who saw his performance and was impressed by his singing. Prior to this, the adult Lanza had sung only two performances of an opera. The following year (1948), however, he would sing the role of Pinkerton in Puccini's Madama Butterfly in New Orleans.^{[citation needed]}

His movie debut was in That Midnight Kiss (1949) with Kathryn Grayson and Ethel Barrymore. The following year, in The Toast of New Orleans, his featured popular song "Be My Love" became his first million-selling hit. In 1951, he played the role of Enrico Caruso (1873–1921), his tenor idol, in the biopic, The Great Caruso, which produced another million-seller with "The Loveliest Night of the Year" (a song which used the melody of Sobre las Olas). The Great Caruso was the top-grossing film that year.^[1]

The title song of his next film, Because You're Mine, featured his final million-selling hit song. The song went on to receive an Academy Award nomination for Best Original Song. After recording the soundtrack for his next film, The Student Prince he embarked upon a protracted battle with Studio Head Dore Schary arising from artistic differences with director Curtis Bernhardt, and was eventually dismissed by MGM.^[2]

Lanza was known to be "rebellious, tough, and ambitious",^[3] and during most of his film career, he suffered from addictions to overeating and alcohol which had a serious effect on his health and his relationships with directors, producers and, occasionally, other cast members. Hollywood columnist Hedda Hopper writes that "his smile, which was as big as his voice, was matched with the habits of a tiger cub, impossible to housebreak". She adds that he was the "last of the great romantic performers".^[4] He made three more films before dying of a pulmonary embolism at the age of 38. At the time of his death in 1959 he was still "the most famous tenor in the world".^[5] Author Eleonora Kimmel concludes that Lanza "blazed like a meteor whose light lasts a brief moment in time".^[6]

Early years[link]

Born Alfredo Arnold Cocozza in Philadelphia, Pennsylvania, he was exposed to classical singing at an early age by his Abruzzese-Molisan Italian parents, Maria (Lanza) and Antonio Cocozza.^[7][8] By the age of 16, his vocal talent had become apparent. Starting out in local operatic productions in Philadelphia for the YMCA Opera Company while still in his teens, he later came to the attention of conductor Serge Koussevitzky, who in 1942 provided young Cocozza with a full student scholarship to the Berkshire Music Center at Tanglewood, Massachusetts. Reportedly, Koussevitzky would later tell him, "Yours is a voice such as is heard once in a hundred years."^{[citation needed]}

Opera career[link]

His opera debut, as Fenton in Otto Nicolai's The Merry Wives of Windsor (in English), came at the Berkshire Music Festival in Tanglewood on August 7, 1942, after a period of study with conductors Boris Goldovsky and Leonard Bernstein. This was when Cocozza adopted the stage name Mario Lanza, for its similarity to his mother’s maiden name, Maria Lanza.^{[citation needed]}

His performances at Tanglewood won him critical acclaim, with Noel Straus of The New York Times hailing the 21-year-old tenor as having "few equals among tenors of the day in terms of quality, warmth, and power". Herbert Graf subsequently wrote in the Opera News of October 5, 1942 that, "A real find of the season was Mario Lanza [...] He would have no difficulty one day being asked to join the Metropolitan Opera". Lanza performed the role of Fenton twice at Tanglewood, in addition to appearing there in a one-off presentation of Act III of Puccini's La bohème with the noted Mexican soprano Irma González, baritone James Pease, and mezzo-soprano Laura Castellano. Music critic Jay C. Rosenfeld wrote in The New York Times of August 9, 1942 that, "Miss González as Mimì and Mario Lanza as Rodolfo were conspicuous by the beauty of their voices and the vividness of their characterizations." In an interview shortly before her own death in 2008, González recalled that Lanza was "very correct, likeable, [and] with a powerful and beautiful voice".^{[citation needed]}

Lanza as Giuseppe Verdi's Otello

His budding operatic career was interrupted by World War II, when he was assigned to Special Services in the U.S. Army Air Corps. He appeared in the wartime shows On the Beam and Winged Victory. He also appeared in the film version of the latter (albeit as an unrecognizable member of the chorus). He resumed his singing career with a concert in Atlantic City with the NBC Symphony Orchestra in September 1945 under the baton of Peter Herman Adler, who subsequently became a mentor to him. The following month, Lanza replaced tenor Jan Peerce on the live CBS radio program Great Moments in Music, on which he made six appearances over a period of four months, singing extracts from various operas and other works.^{[citation needed]}

He then studied with noted teacher Enrico Rosati for fifteen months, after which Lanza embarked on an 86-concert tour of the United States, Canada and Mexico between July 1947 and May 1948 with George London and soprano Frances Yeend. Reviewing his second appearance at Chicago's Grant Park in July 1947 in the Chicago Sunday Tribune, the respected music critic Claudia Cassidy praised Lanza's "superbly natural tenor" and observed that "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."^{[citation needed]}

In April 1948, Lanza sang two performances as Pinkerton in Puccini's Madama Butterfly for the New Orleans Opera Association. The conductor was Walter Herbert, the stage director was Armando Agnini. Writing in the St. Louis News, critic Laurence Odel observed that, "Mario Lanza performed his duties as Lieutenant Pinkerton with considerable verve and dash. Rarely have we seen a more superbly romantic leading tenor. His exceptionally beautiful voice helps immeasurably." Following the success of these performances, Lanza was invited to return to New Orleans in 1949 as Alfredo in Verdi's La traviata. However, as biographer Armando Cesari observes, by 1949 Lanza "was already deeply engulfed in the Hollywood machinery and consequently never learned the role [of Alfredo]".^{[citation needed]}

Film career[link]

A concert at the Hollywood Bowl in August 1947 had brought Lanza to the attention of Louis B. Mayer, who promptly signed Lanza to a seven-year film contract with Metro-Goldwyn-Mayer. This proved to be a turning point in the young singer's career.^{[citation needed]} The contract required him to commit to the studio for six months, and at first Lanza believed he would be able to combine his film career with his operatic and concert one. In May 1949, he made his first commercial recordings with RCA Victor. His rendition of the aria "Che gelida manina" (from La bohème) from that session was subsequently awarded the prize of Operatic Recording of the Year by the (United States) National Record Critics Association.^{[citation needed]}

[edit] The Toast of New Orleans

Lanza's first two starring films, That Midnight Kiss and The Toast of New Orleans, were commercial successes, and in 1950 his recording of "Be My Love" became the first of three million-selling singles for the young singer, earning him enormous fame in the process. While at MGM, Lanza worked closely with the Academy Award-winning conductor, composer, and arranger Johnny Green. In a 1977 interview with Lanza biographer Armando Cesari, Green recalled that the tenor was insecure about the manner in which he had become successful, and was keenly aware of the fact that he had become a Hollywood star before first having established himself on the operatic stage.

"Had [Lanza] been already a leading tenor, if not the leading tenor at the Met[ropolitan Opera House], and come to Hollywood in between seasons to make a picture, he would have had [the security of having] the Met as his home," Green remarked. According to Green, Lanza possessed "the voice of the next Caruso. [Lanza] 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 [him]".^{[citation needed]}

[edit] The Great Caruso

In 1951, Lanza portrayed Enrico Caruso in The Great Caruso, which proved an astonishing success, though it did not adhere strictly to the facts of Caruso's life. At the same time, Lanza's increasing popularity exposed him to intense criticism by some music critics, including those who had praised his work years earlier. His performance earned him compliments from the subject's son, Enrico Caruso Jr., a tenor in his own right. Shortly before his own death in 1987, Enrico Jr. wrote in Enrico Caruso: My Father and My Family (posthumously published by Amadeus in 1990) that, "I can think of no other tenor, before or since Mario Lanza, who could have risen with comparable success to the challenge of playing Caruso in a screen biography... Lanza was born with one of the dozen or so great tenor voices of the century, with a natural voice placement, an unmistakable and very pleasing timbre, and a nearly infallible musical instinct." He went on to praise Lanza's tempi and phrasing, "flawless" diction, and "impassioned" delivery, adding that, "All are qualities that few singers are born with and others can never attain." In conclusion, he wrote that, "Lanza excelled in both the classical and the light popular repertory, an accomplishment that was beyond even my father's exceptional talents."^{[citation needed]}

[edit] The Student Prince

In 1952, Lanza was dismissed by MGM after he had pre-recorded the songs for The Student Prince. The reason most frequently cited in the tabloid press at the time was that his recurring weight problem had made it impossible for him to fit into the costumes of the Prince.^{[citation needed]} However, as his biographers Cesari and Mannering have established, Lanza was not overweight at the beginning of the production, and it was, in fact, a disagreement with director Curtis Bernhardt over Lanza's singing of one of the songs in the film that led to Lanza walking off the set. MGM refused to replace Bernhardt, and the film was subsequently made with actor Edmund Purdom miming to Lanza's voice. Ironically, the eventual director of the film was Richard Thorpe, the same man whom Lanza had pleaded with MGM to replace Bernhardt, and with whom the tenor had enjoyed an excellent working relationship in The Great Caruso.^{[citation needed]}

Depressed by his dismissal, and with his self-confidence severely undermined, Lanza became a virtual recluse for more than a year, frequently seeking refuge in alcoholic binges. During this period, Lanza also came very close to bankruptcy as a result of poor investment decisions by his former manager, and his lavish spending habits left him owing about $250,000 in back taxes to the IRS.^{[citation needed]}

[edit] Serenade

Lanza returned to an active film career in 1955 in Serenade, released by Warner Bros. However the film was not as successful as his previous films, despite its strong musical content, including arias from Der Rosenkavalier, Fedora, L'arlesiana, and Otello, as well as the Act III duet from Otello with soprano Licia Albanese. He then moved to Rome, Italy in May 1957, where he worked on the film Seven Hills of Rome, and returned to live performing in a series of acclaimed concerts throughout the UK, Ireland and mainland Europe. Despite a number of cancellations, which resulted from his failing health during this period, Lanza continued to receive offers for operatic appearances, concerts, and films.^{[citation needed]} In 1958, for example, he gave a concert tour of the UK.^[9]

In September 1958, he made a number of operatic recordings at the Rome Opera House for the soundtrack of what would turn out to be his final film, For the First Time. The Artistic Director of the Rome Opera, Riccardo Vitale, offered him the role of Canio in Pagliacci in the theater's 1960/61 season. Lanza received offers from the management of the La Scala and San Carlo opera houses. However, his health continued to decline, with the tenor suffering from a variety of ailments, including phlebitis and acute high blood pressure. His old habits of overeating and crash dieting, coupled with binge drinking, compounded his problems.^{[citation needed]}. On The story of Variety with Michael Grade (BBC 4, 30 May 2012) it was revealed that Lanza was often violent when drunk and that he suffered from the DT's, seeing things that were not there.

Death[link]

In April 1959, Lanza suffered a minor heart attack, followed by double pneumonia in August. He died in Rome in October of that year at the age of 38 from a pulmonary embolism after undergoing a controversial weight loss program colloquially known as "the twilight sleep treatment," which required its patients to be kept immobile and sedated for prolonged periods. Attenders at his funeral were the singers Maria Caniglia and Lidia Nerozzi and the actors Franco Fabrizi and Enzo Fiermonte. Frank Sinatra sent his condolences by telegram.^[10]

From the film Toast of New Orleans, as Lt. Pinkerton USN, in recreation of the opera Madama Butterfly, the only full professional opera Lanza ever appeared in

Lanza's widow, Betty, moved back to Hollywood with their four children, but died five months later at the age of 37. Biographer Armando Cesari writes that the apparent cause of death, according to the coroner, was "asphyxiation resulting from a respiratory ailment for which she had been receiving medication". In 1991, Marc, the younger of their two sons, died of a heart attack at the age of 37; six years later, Colleen, their elder daughter, was killed at the age of 48 when she was struck by two passing vehicles on a highway. Damon Lanza, the couple's elder son, died in August 2008 of a heart attack at the age of 55.^{[citation needed]}

Legacy[link]

Lanza's short career covered opera, radio, concerts, recordings, and motion pictures. He was the first artist for RCA Victor Red Seal to receive a gold disc and the first artist to sell two and half million albums. A highly influential artist, Lanza has been credited with inspiring successive generations of opera singers, including Plácido Domingo, Luciano Pavarotti, Leo Nucci and José Carreras. Singers with seemingly different backgrounds and influences were also inspired by his singing, including his RCA Victor label-mate Elvis Presley.^{[citation needed]}

Lanza was referred to by some sources as the "new Caruso", after his "instant success" in Hollywood films,^[11] while MGM hoped that he would become the movie studio's "singing Clark Gable" due to his good looks and powerful voice.^[3]

In 1994, tenor José Carreras paid tribute to Lanza in a worldwide concert tour, saying of him, "If I'm an opera singer, it's thanks to Mario Lanza."^[12] Carreras' colleague, Plácido Domingo, echoed these comments in a 2009 CBS interview when he stated, "Lanza's passion and the way his voice sounds are what made me sing opera. I actually owe my love for opera thanks to a kid from Philadelphia."^[13]

Today, the "magnitude of his contribution to popular music is still hotly debated", and because he appeared on the opera stage only twice, many critics feel that he needed to have had more "operatic quality time" in major theatres before he could be considered a star of that art form.^[5] His films, especially The Great Caruso, influenced numerous future opera stars, including Joseph Calleja^[14], José Carreras, Plácido Domingo, and Luciano Pavarotti.^[5] According to opera historian Clyde McCants, "Of all the Hollywood singers who performed operatic music . . . the one who made the greatest impact was Mario Lanza."^[15] Hedda Hopper concludes that "there had never been anyone like Mario, and I doubt whether we shall ever see his like again".^[4]

Portrayal on stage[link]

In October 2007, Charles Messina directed the big budget musical Be My Love: The Mario Lanza Story, written by Richard Vetere, about Lanza's life, which was produced by Sonny Grosso and Phil Ramone. It premiered at The Tilles Center for the Performing Arts in Greenvale, New York.^[16]

Legacy[link]

The persona and music of Mario Lanza are featured in the 1994 Peter Jackson film Heavenly Creatures.

Miljenko Jergovic mentions Lanza in his Dvori od oraha (The Mansion in Walnut) novel of 2003 as a part of story about Luka Sikiric.

Mario Lanza Boulevard is a roadway in the Eastwick section of Lanza's native Philadelphia, close to Philadelphia International Airport and ending on the grounds of the John Heinz National Wildlife Refuge.

The Mario Lanza Institute and Museum, which honors Lanza's legacy and also provides scholarships to young singers, is located at 712 Montrose Street in South Philadelphia. Link label

Philadelphia's Queen Street Park was renamed for Lanza in 1967. Link label

Lanza was born at 636 Christian Street in South Philadelphia. A Pennsylvania Historical Museum Commission marker stands outside of the house.

A large mural dedicated to Lanza stands at Broad and Reed Streets in Philadelphia.

Filmography[link]

• Winged Victory, Twentieth Century-Fox 1944 (uncredited chorus member)
• That Midnight Kiss, MGM 1949
• The Toast of New Orleans, MGM 1950
• The Great Caruso, MGM 1951
• Because You're Mine, MGM 1952
• The Student Prince, MGM 1954 (voice only)
• Serenade, Warner Bros. 1956
• Seven Hills of Rome, MGM 1958
• For the First Time, MGM 1959

Select recordings[link]

• The Mario Lanza Collection, RCA, 1991
• Mario Lanza: The Legendary Tenor, RCA, 1987
• The Great Caruso And Other Caruso Favorites, RCA, 1989
• Mario! Lanza At His Best, RCA, 1995
• Mario Lanza Live at Hollywood Bowl: Historical Recordings (1947 & 1951), Gala Records, 2000
• Mario Lanza Sings Songs from The Student Prince and The Desert Song, RCA, 1989
• Serenade/A Cavalcade of Show Tunes, RCA, 2004
• Mario Lanza: Opera Arias and Duets, RCA, 1999
• Christmas With Mario Lanza, RCA, 1987
• Mario Lanza Live From London, RCA, 1994
• The Essential Mario Lanza RCA, 2007

Box Office Ranking[link]

At the height of his career, exhibitors voted Lanza among the most popular stars at the box office:

• 1951 - 13th most popular star in the US and Canada, 10th most popular in Britain^[17]
• 1952 - 23rd most popular star in the US and Canada, 6th most popular in Britain^[18]

References[link]

Additional reading material[link]

• Callinicos, Constantine. "The Mario Lanza Story" (New York, NY, 1960). (Library of Congress Catalog Card Number 60-12480)
• Lanza, Damon & Dolfi, Bob. "Be My Love: A Celebration of Mario Lanza" (Chicago, IL, 1999) (ISBN 1-56625-129-X)
• Bessette, Roland L. "Mario Lanza: Tenor In Exile" (Portland, OR) (ISBN 1-57467-044-1)

External links[link]

Wikimedia Commons has media related to: Mario Lanza

• Lanza Legend
• Mario Lanza at the Internet Movie Database
• Mario Lanza at the Internet Broadway Database
• Mario Lanza discography at Discogs
• MarioLanza.net Hosted by Jeff Rense.
• Mario Lanza, Tenor – Essays, videos, rare recordings, discography and forum.
• History of the Tenor – Sound Clips and Narration
• [2]