Screenland (Nov 1949-Oct 1950)

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Mario Lanza and jo$« Iturbi in his first Mario and Kathryn Grayson in MCM's "Thaf Kathryn and Mario are together again in "The big film success. "That Midnight Kiss." Midnight Kiss." His life's been difficult. Toast Of New Orleans," MCM musical. ario Is M ^ T'lf 'Off THE first time I ever saw Mario Lanza he rendered me completely .speechies.s. I might add that, in my case, thi.s is a somewhat unusual condition. But Lanza accomplished it simply l)y opening his mouth and singing. It was in August, 1945, that he came into a room in New York's Carnegie Hall and I .saw him for the first time. I was tlien coaching with a woman named Polly Robert.son. who was helping me to sing better — purely for my own amusement. Lanza was coaching with her, too, for a more serious purpose: he was appearing regularly on the air and had l)ookings for concerts. He came early to his lesson one day, and walked in on mine. I saw before me a huge, brown-haired boy of twentythree, with a barrel chest and big Italian eyes. He .smiled, and I liked him at sight. Miss Robertson suggested that I might enjoy hearing him sing. In her small studio, he ripped off "Mattinata," which you are now hearing in Engli.sh as ■■^Ou'rc Breaking My Heart." The effect was overwhelming. The size and j)ower of his voice in that .small space compielely astounded me. It was one of the greatest voices I had ever heard. I was then a real estate man, as I am again in Beverly Hills now. Music had always been a passion of mine, and I had heard most of the finest singers of current years. I knew, therefore, that Lanza had a future. Embracing the lovely Rita Moreno in his latest film. She's a beauty from Puerto Rico.