Regular readers will know of my dislike
for ‘crossover’, more for the results that are often produced
in its name than for the concept itself. However, it’s nice
to be able to make an exception to one’s own views once in
a while. This disc is one such, as I must confess I am something
of a sucker for Ezio Pinza’s luxuriantly rich tones no matter
what the repertoire. There is something irresistible about
the voice itself that to my mind puts him in the same bracket
as Johnny Cash and Frank Sinatra.
Answer me this:
how many people can you think of whose life encompassed being
a champion racing cyclist, world class opera singer – many
would claim he’s unsurpassed still as Don Giovanni or in Verdi’s
Requiem, quitting classical music to take on starring roles
in Broadway musicals, and trying his hand at film acting and
being a TV chat show host? Indeed, Pinza must have been one
helluva guy. Some people have it, whatever it is, and
others don’t. You can’t learn it – you’re born with it – call
it a desire to succeed or raw natural talent: Pinza had both
by the spade-full.
As the track listing
shows this disc provides an overview of Pinza in opera, song
and musicals. The emphasis is on light song rather than opera,
as the bulk of the recordings he made in his later career
for Victor or US Columbia focused on less demanding repertoire.
Whilst he still had vocal allure and could produce a rich,
commanding tone that was never forced whatever the volume,
there is some slight loss of flexibility when placed alongside
his operatic recordings of the early 1920s. Of course they
are by and large of inferior sound quality overall, which
is a shame, so maybe its understandable why collectors of
Pinza’s arias may want several versions from throughout his
career.
Don Giovanni became,
despite initial misgivings, his signature operatic role. The
three arias here are given with feeling and suavity. The voice
alone could have made girls fall at his feet, and you can’t
say that for every Don you encounter. La, ci darem la
mano with Elizabeth Rethberg captures a notable singing
partnership of the mid-1920s. Pinza portrays the pain of Philip
II’s predicament in Dormiro sol nel manto mio Regal
and the sense of self-sacrifice made in Vecchia zimarra
senti from La Boheme. More than some he brings to life
the bacchanalian quality needed in Gounod’s Le Veau d'Or,
even if the tempo is a touch considered.
The song and musical
items are also mostly success. Some are outright winners as
Pinza lends them his noble voice to make the music more than
it intrinsically is. Tosti’s La Serenata, Levitzki’s
Do You Remember? and Edwards’ Into The Night
(a song written for Pinza) all benefit in this way. Many of
the last ten tracks on this disc similarly impress.
There’s no denying
that Pinza’s reading of Deep River has feeling, but
when heard against that of, say, Paul Robeson, you realise
it doesn’t get so much into the spirit of the piece. Of course,
there is Pinza’s Italianate English to take into account –
by and large it doesn’t bother too much – but it’s out of
place in Deep River.
Inevitably, we
come to South Pacific – perhaps the best example of
Pinza’s ability to raise music to a higher level that we have
here. The soliloquies capture tenderness with Mary Martin,
and his mature tone is a notable asset for this item. Some
Enchanted Evening is of course a classic of its kind and
Pinza’s recording is one I wouldn’t want to without. It should
not overshadow the fine singing he also gives in This nearly
was mine or Bali Ha'i.
Supported by useful
notes this disc provides enjoyable and varied listening. A
good introduction to the lighter side of Pinza’s art.
Evan Dickerson
Further listening: Pinza’s opera aria recordings 1923-1930
– Pearl GEMM CD 9306
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Crotchet
Ezio Pinza (bass-baritone)
