Re: Memories of Mario

Thank you, Charlie. The man was, indeed, a vocal GOD. The more I see of
his videos, the more I realize this. I was not as fortunate as you in that
I saw him only in 4 operas (Otello twice w/Warren, Pag w/Warren, & S&D
w/Stevens, plus 2 concerts). At the time I really did not understand why I
shook, why my jaw dropped & why my eyes popped open, every time he opened
his mouth, but more & more, as the years passed, I just shake my head in
awe & growing appreciation...partnered with Warren yet , my personal
greatest baritone ever. Unfortunately, I missed the Ernani, Forza & Chenier
in which they jointly appeared.

Despite the great & noble attempts made by McCracken & Atlantov, the role of
Otello non esiste piu dopo Il Re Mario.

DonPaolo
----- Original Message -----
From: "O Dessay,Can you sing!!!!" <CharlesHandelman@xxxxxx>
To: "Ed's Opera Group" <premiereopera-group@xxxxxxxxxxxxxxxx>
Sent: Wednesday, May 28, 2008 4:10 PM
Subject: Mario Memories



In 1951, at my first opera ever, Aida, all I recall was those white
teeth coming toward this 15 year old, as the first opera singer I ever
saw in my life live! It was mario, but it took a few more years for me
to understand what the man really was.
I saw him about 40 times, including a rare Manrico and most of
his other roles. The unique thing for me about him was that his
recordings often accentuate the difficuty he had in negotiating the F-
F# in the passaggio(e.g. the Tokyo Aida.Celeste Aidoooooh).
However LIVE, that kind of tone which might have sound somewhat
strangulated in PERSON semed to be "filtered out' since the man's
voice was what I call a "bronze column of sound from bottom to top."
He never faked..and in fact, all the people who claim he only
shouted should listen to some attempts..some good some not as
suvccessful, in singing true pianos.(B flat pianissimo with Zinka in
1952 Aida tomb scene finale.
One of the most amazing Del Moanco phrases,which I believe I
have mentioned, was the low passage on "No,si vil non sono" in act
four Norma with Callas in 1956. The tone sounded like it came from
stereo earphones in my ears.
He once came out of the stage door and said, "Hello
boys" right in my poor little ears...imagine that resonance in a
rehearsal room.
I think he had one of the greatest voices in opera
history.That first 1954 Chenier convinced us,for example, that he
could be spectacular..and the FIRE in that voice at the end of the
Improvisso.("Del mondo..anima..Vita..e amoooooore") We went nuts!!!!!
Listen to the A at the end of the Mexico 1951 Nile Scene..He used to
walk across the stage on the "Io resto a te," driving us all crazy
My friend suppered in Otello..and in act three,where he yells,
"Anima mia, ti maledico!" and throws everyone out in act three..my
friend cowered in fear..but in awe of that tone....
Yes,the voice got terribly "white" in the middle, especially after
the accident..but even his last video...1976..the top was there (but
do NOT listen to "Panis Angelicus."

I am glad i saw the man..I loved Tucker and Corelli in other
ways..Nice to have them from 1951 to 1975...overlapping (of course
Mario and Franco would not appear in the same city!!!!)

A friend of mine visited him..loved him..and named his son after
him.His name was "Boni" and the son was "Mario delMonaco Boni."
These are some of my recollections..Hope you enjoyed them...and
remember..they do not DARE make them like this anymore!! CH
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"Jeterbug" <CharlesHandelman@xxxxxx> wrote in message
news:89b0a008-2241-47e8-8cbf-b7af5a692721@xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx
In 1951, at my first opera ever, Aida, all I recall was those white
teeth coming toward this 15 year old, as the first opera singer I ever
saw in my life live! It was mario, but it took a few more years for me
to understand what the man really was.
I saw him about 40 times, including a rare Manrico and most of
his other roles. The unique thing for me about him was that his
recordings often accentuate the difficuty he had in negotiating the F-
F# in the passaggio(e.g. the Tokyo Aida.Celeste Aidoooooh).
However LIVE, that kind of tone which might have sound somewhat
strangulated in PERSON semed to be "filtered out' since the man's
voice was what I call a "bronze column of sound from bottom to top."
He never faked..and in fact, all the people who claim he only
shouted should listen to some attempts..some good some not as
suvccessful, in singing true pianos.(B flat pianissimo with Zinka in
1952 Aida tomb scene finale.
One of the most amazing Del Moanco phrases,which I believe I
have mentioned, was the low passage on "No,si vil non sono" in act
four Norma with Callas in 1956. The tone sounded like it came from
stereo earphones in my ears.
He once came out of the stage door and said, "Hello
boys" right in my poor little ears...imagine that resonance in a
rehearsal room.
I think he had one of the greatest voices in opera
history.That first 1954 Chenier convinced us,for example, that he
could be spectacular..and the FIRE in that voice at the end of the
Improvisso.("Del mondo..anima..Vita..e amoooooore") We went nuts!!!!!
Listen to the A at the end of the Mexico 1951 Nile Scene..He used to
walk across the stage on the "Io resto a te," driving us all crazy
My friend suppered in Otello..and in act three,where he yells,
"Anima mia, ti maledico!" and throws everyone out in act three..my
friend cowered in fear..but in awe of that tone....
Yes,the voice got terribly "white" in the middle, especially after
the accident..but even his last video...1976..the top was there (but
do NOT listen to "Panis Angelicus."

I am glad I saw the man..I loved Tucker and Corelli in other
ways..Nice to have them from 1951 to 1975...overlapping (of course
Mario and Franco would not appear in the same city!!!!)

A friend of mine visited him..loved him..and named his son after
him.His name was "Boni" and the son was "Mario delMonaco Boni."
These are some of my recollections..Hope you enjoyed them...and
remember..they do not DARE make them like this anymore!! CH


.

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