Alfred Arnold Cocozza who is known by his stage name Mario Lanza. Was an American tenor and Hollywood movie star of the late 1940s and the 1950s he was in January 31, 1921, at Philadelphia, Pennsylvania, Mario began studying to be a professional singer at the age of 15. Orchestral conductor Arturo Toscanini would reputedly later call him "the greatest voice of the twentieth century." Others referred to him extravagantly as the "new Caruso", after his "instant success" in Hollywood films, while MGM hoped that he would become the movie studio's "singing Clark Gable" due to his good looks and powerful voice.
His debut in the opera world was 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. It was here that Cocozza adopted the stage name Mario Lanza, for its similarity to his mother’s maiden name, Maria Lanza. 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."
After becoming the big star as an opera singer it was inevitable that he would go to discover more and more success regarding his talent and that was when he become a Hollywood star. It all started at a Hollywood Bowl in August 1947 when Lanza had 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. 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.