Sergio Franchi

Wikipedia:

Sergio Franchi (born Sergio Franci Galli; April 6, 1926 – May 1, 1990) was an Italian-born tenor and actor who enjoyed a meteoric rise to fame as a multimedia star and recording artist after being discovered on British television in 1962. Subsequent to a trans-Atlantic taped audition, RCA Victor signed him to an exclusive seven-year contract. Sol Hurok managed Franchi's initial American concert tour with a debut performance at Carnegie Hall in New York City. One of the most popular acts in show business, Sergio Franchi was a favorite headliner in Las Vegas, and his cabaret and concert appearances filled the largest venues on four continents. His earliest ambitions and studies were directed toward an operatic career, but fate intervened as opportunities opened instead in popular and romantic music. Franchi performed musical comedies on stage, appeared on numerous television variety shows, and starred in a major motion picture. Throughout his career, Sergio Franchi was a generous benefactor and philanthropist, donating his time and talent to many causes. He became an American citizen in 1972. His performing career spanned thirty six years before his untimely death at age 64 due to cancer. After his death, a foundation was formed in his name to award scholarships to talented young singers.

Early life in Italy

Sergio was one of three children born to a Neapolitan father and Ligurian (Genoa) mother, Sergio, Mirella, and Fausta (born 17 years after the older two) were all born in the Lombardy District. This includes Milan, Cremona, and the smaller village of Codogno - where the family lived. Some geographical over-simplifications resulted in listing Sergio's birthplace as Cremona, and Fausta's (Dana Valery) birthplace as "near Milan." Sergio Franchi stated for the record several times in later life that his birth place was Codogno, in the province of Lodi. An uncle who owned a vineyard in Alassio (near Sanremo on the Italian Riviera) was instrumental in family life on various occasions.

As a child, Sergio would sing for the family with his father, who played the piano and guitar. At age ten, he sang a comic role as a hunchback in a school play. Young Franchi formed a three-piece band at age sixteen to earn pocket money, and then later sang with a male vocal group in local jazz clubs. But,in spite of his musical talents, he soon followed his father's wishes that he pursue a career in engineering. Franchi pursued, but did not finish this training. The senior Galli had been a successful businessman who owned several shops, but lost all of his assets during World War II and the German occupation. After the war, he became friendly with a Captain in the South African medical corps who was stationed nearby. He soon followed the officer's suggestion that South Africa would be a land of more opportunity, and he immigrated to Johannesburg. The family followed in 1947 when Sergio completed his compulsory military service at age twenty-one and when Fausta was four years old.

Career

Early career in South Africa

When the family arrived in Johannesburg, they found that the senior Galli (skillful as a craftsman in wood) had established a successful furniture factory. Young Sergio Franci Galli began using his skills as an architectural draftsman and worked for his father as a designer of commercial and industrial interiors. He also began singing in informal concerts of Italian music. His powerful voice attracted growing attention; one of the principals of the Johannesburg Operatic and Dramatic Society (JODS) tracked him down and offered him the leading role in The Gypsy Baron. (Franchi's sister, Dana Valery, played one of the children in this 1953 production.) Speaking little English at the time, he learned the role phonetically. Franchi's enthusiastically received debut was followed by leading roles in Pink Champagne (1953), The New Moon (1954), and The Vagabond King (1955). Unfortunately, Johannesburg's once-thriving local opera season had collapsed after WWII, and it was not possible at this time to earn a full-time wage as a singer.

Alessandro Rota, a successful operatic tenor in the Southern Hemisphere, came from Cape Town to Johannesburg in 1955 and helped form The National Opera Association. Rota began making a difference by producing operatic concerts, full acts from operas, and then full opera productions. Under Rota's tutelage, Sergio Galli's voice matured, and he expanded his vocal range and technique. About his first experience with the fledgling opera company in a production of Carmen, Franchi later stated it was a disaster: He sang the tenor part in Italian, the baritone sang in Russian, but thankfully the soprano could sing her role in French! But the company quickly matured and Rota placed Franchi in leading tenor roles in at least two successful full opera productions - Puccini's Madama Butterfly in 1957, and then Verdi's La Traviata in 1959. Some references also list Sergio Franchi singing lead performances in Verdi's Rigoletto and Puccini's La Boheme. Sometime after the 1956 London production of Grab Me a Gondola premiered (1956 in music), Franchi performed in a Johannesburg stage production of the musical, and made his very first recording with the cast. During 1959 Franchi made an important contact with an English agent, James Gilmore, who encouraged Franchi to meet with him if he came to London. With these years of performing experiences, and aspiring to a career in opera, Franchi decided he would return to Italy. Beniamino Gigli, on a performing tour of South Africa, heard Franchi sing and encouraged him and his family in this regard.

Return to Europe

Leaving for Italy in 1959, Sergio Franchi scored some early successes. He was among the ten finalists in a La Scala competition with 250 other singers. He was offered the role of Cavaradossi in Tosca, which he played in a minor opera house. Looking back in 1983 about hoping to make it in Italian opera, Franchi stated that he didn't think he was in his right mind: "I was a dreamer." At the time, all seemed bright, so he sent for his wife and children. Suddenly, there was no more work, and within a year Franchi was broke. A Canadian newspaper summarized this period by stating that "Good things started to happen, but only after the door-knocking and counting pennies routine." With family in London, and from his Italian base in Alassio, Franchi began recording with Durium Records for the popular market.. having hits with "I tuoi occhi verde" and "Amore mio." An album of Italian songs and several EPs (in both Italy and London) followed. As a result, Sergio Franchi was drawing enough attention in musical circles that some of his activity was being tracked on Billboard (Magazine). Early in 1960 Franchi had played the role of Janni in the short-lived London production of The Golden Thread. His singing performance received favorable reviews. His agent James Gilmore arranged several TV appearances for Franchi. Sergio Franchi appeared on ATV's Startime. And then, during a two-week engagement at the London Palladium, he made two TV appearances on Sunday Night at the London Palladium; a show that launched the career of many performers, and the most popular TV show in Britain. Franchi's second televised show was a breakthrough performance, and led to a cascade of events that catapulted Sergio Franchi into American stardom. Viewing his performance that night was Norman Luboff, who called RCA Victor about the Italian tenor. An audition was arranged via four taped selections sent to New York. With RCA approval, Luboff facilitated Franchi's signature on an exclusive seven-year recording contract. RCA Victor added the prestigious Red Seal designation. Sol Hurok was engaged to provide bookings and direction for an American tour, and (while in London) Franchi recorded his first RCA Victor album-- Romantic Italian Songs, to be released concurrent with his American debut.

Stardom in America

The 1960s

The American debut: Ready to begin his tour, Sergio Franchi arrived in New York on September 25, 1962, and RCA had already launched an all-out saturation campaign to launch his American career. Concurrent with the release of his debut album; RCA provided the industry introductions in Boston, Philadelphia, Chicago, Cleveland, and New York. His album was also advertised extensively. Sergio Franchi made his American television debut with an appearance on The Ed Sullivan Show on October 14, 1962; and his Sol Hurok concert debut at Carnegie Hall on October 21, 1962. Singing the whole concert without a microphone, a New York reviewer commented favorably upon Franchi's "big, healthy voice," his penchant for ad-libbing, and upon Franchi's ability to establish instant rapport with his audience. Ed Sullivan was in the audience that night and soon contracted for future Franchi appearances—including a second TV appearance on his show the following week (October 28, 1962). [Sergio Franchi went on to become one of Ed Sullivan's "2 or 3 most favorite guests."] Within a week of these initial debut appearances, the feedback on sales of Franchi's first LP album proved most pleasing to RCA Victor, the album was listed as a "Favorite Album" by Mr. Pop History; and it peaked on the Billboard 200 at number seventeen at the end of December. The year was concluded with successful concert appearances in Washington, D.C.'s Constitution Hall, and in Boston's Music Hall..where he played to packed audiences (capacity 3,600) for four days.

1963 was a very busy year. Sergio Franchi made his night club debut at the Empire Room of the Waldorf-Astoria in New York City. While he was there he met Metropolitan Opera star, Anna Moffo, with whom he was to collaborate on two albums that year. Franchi's next appearance was at Miami's Eden Roc Hotel in a double-billing with Barbra Streisand, and an American Cancer Society benefit at the Paramount Theater in West Palm Beach hosted by Bob Hope. Next, he traveled to Chicago for a concert debut at the Palmer House Empire Room. Two more Ed Sullivan appearances facilitated national exposure, and Franchi made his Nevada casino debut starring in The International Follies at the Nugget Circus Room in Sparks, NV. Franchi made his Las Vegas debut (also noted by Mr. Pop History) at the Sahara Hotel as the opening act for Bob Newhart. These successful performances were interspersed with three European events: one to appear in a German television production in Austria (recorded on the 1963 DVD, Sing, aber spiel nicht mit mir); another trip to Vienna to collaborate with Anna Moffo for Franchi's only opera recording, Great Moments from Die Fledermaus; and a trip to London to record another album with Wally Stott-- Women in my Life (released in 1964). Franchi recorded three more Red Seal albums for RCA released in 1963 - Our Man From Italy, The Dream Duet, and Broadway, I Love You. All three peaked on the Billboard 200 in 1963. His debut album, Romantic Italian Songs continued on the Billboard 200; and with four albums on the Billboard 200, Franchi's star had truly ascended. He completed the year as the opening act for Juliet Prowse (they knew each other in Johannesburg) in an acclaimed performance at the Coconut Grove-- Los Angeles' most opulent supper club.

"New Favorite Son of Las Vegas"  Sergio Franchi's February 1964 appearance at the Sahara Hotel in Las Vegas attracted the attention of Time magazine, as his performance eclipsed that of the star performer, and "he kept getting standing ovations and multiple encores." Never again a lead-in act, Time magazine called him the "new favorite son of Las Vegas." His Las Vegas appearances were now regularly covered by Mr. Pop Culture and Mr. Pop History. Reviewers began commenting upon his new relaxation, development of a warm persona, and noted the emergence and appreciation of an innate sense of humor. Franchi returned to Chicago's Palmer House Empire Room (teaming with Pat Cooper) for an "extended stay," and the versatility of his repertoire was duly noted. In New York he opened as a headliner at the Copacabana, and Franchi's talents in singing, dancing, and comedy were prominently featured on six television specials: with "Victor Borge at Carnegie Hall" ("the evening's major hit"), Meredith Willson's Texaco Star Parade special, a Bob Hope Chrysler Special, and three appearances on "The Hollywood Palace." Franchi teamed with Jimmy Durante for a tour of the Northwest, with appearances in Portland, Seattle, and Vancouver, B.C. Very notable was Sergio Franchi's appearance at the "35th Annual Chicagoland Music Festival" in August 1964. Franchi was featured with such stars as Pete Fountain, Johnny Cash, June Carter, and Wayne King-- and all of the performers were ecstatic at their reception by an audience of 56,000 at Soldier Field. Sergio Franchi's year was capped with starring performances at the Coconut Grove, (where he recorded his Sergio Franchi - Live! at The Coconut Grove album on October 15, 1964). and a headlining return to Las Vegas at the Sahara Hotel with Phil Silvers. 1964 was an important year to Franchi for other professional and personal reasons. In a decisive move towards attracting a more main-stream Pop audience, he changed from the Red Seal to Black Seal label with RCA (recording The Exciting Voice of Sergio Franchi album), and changed his professional representation to the William Morris Agency. He moved his family from London to a Park Avenue apartment in New York City, filed the first papers in declaration of his intent to become an American citizen, and negotiations for a role in a Broadway musical were successfully concluded.

Do I Hear a Waltz?-- It was Meredith Willson who initially brought Sergio Franchi's name and talents to the attention of Richard Rodgers when he was casting the leading role of the romantic Venetian shopkeeper, Renato Di Rossi. But, as pointed out in a Billboard Magazine article, a successful show-business personality like Sergio Franchi was taking on a new importance for Broadway...especially in selling blocks of theater party tickets. (Regarding the financing for "Waltz;" Richard Rodgers provided $450,000 and Columbia Records provided about $105,640 of initial financing; with advance ticket sales of $900,000. This support indicated a lengthy run despite mixed reviews.) Franchi liked the score and embraced the idea starring in a Richard Rodgers production, although it meant giving up a large portion a year's income from his concert dates. Rehearsals started in January, and would be the focus of Franchi's endeavors until the musical closed on September 25, 1965. Rodgers wrote the song "Bargaining" especially to showcase Franchi's vocal dexterity and to provide comic relief in the score. With his powerful voice, Franchi sang all of his "Waltz" performances without a microphone. Having made his mark on Broadway with acclaim for his vocal performance (and some positive ones for his acting). the demand for Sergio Franchi appearances continued...with performance at a White House luncheon; a televised Madison Square Gardens Benefit; a United Nations delegates concert; and continued activity in recording albums and singles.

Franchi Continues Success as RCA Album Artist   In 1965 RCA released Franchi for the caster of Do I Hear a Waltz? which was recorded by Columbia Records; his Live! At The Coconut Grove album was released early in the year; he recorded The Songs of Richard Rodgers; and he recorded his evergreen Christmas album, The Heart of Christmas (Cuor' Di Natale). Franchi's Live! and Christmas albums both peaked on the Billboard 200. He also recorded two singles: one containing two selections from "Waltz," and "Moon Over Naples." For all of his successes with his albums, Sergio Franchi never had a "hit single," and at least one reviewer stated that Franchi was in need of better material for the singles market. RCA appeared happy to have a successful album artist, and used their Franchi album emphasis when signing other artists (e.g. John Gary) Franchi had heard the Bert Kaempfert tune and asked to record it. The lyrics for "Moon Over Naples" were then written by Charlie Singleton. When Franchi's record did not take off right away, it was re-written as "Blue Spanish Eyes," but given to another artist. Franchi did not record another single with RCA for at least a year.

In-Demand Entertainer  Over the next several years, Franchi's career shifted into high-gear with a packed schedule of memorable concert bookings. He did take time out in 1966 to welcome his sister, Dana Valery, to the States and catch her acclaimed Broadway performance in "Wait a Minim!" In 1968 he also took time to see "Waltz" co-star, Elizabeth Allen (actress), in her starring role in the " Cactus Flower" road show in Chicago. On the casino circuit, Franchi appeared in Las Vegas in a series of three Sahara Hotel bookings (usually 3-4 weeks each) co-starring with Buddy Hackett... and a gig at the Nugget Circus Room in Sparks, NV with the Osmond Brothers opening for him (Franchi now "one of the world's top entertainers"). He also starred in notable return engagements at the Copacabana and the Plaza Hotel Persian Room in New York; a debut with packed performances the Century Plaza Hotel's Westside Room (with Phil Silvers) in Los Angeles; debut at the Fairmont San Francisco Hotel; and several weeks at The Roosevelt New Orleans Hotel Blue Room Gala Reopening. On the International scene, Sergio Franchi was a regular annual performer for about a decade at the El San Juan Hotel in Puerto Rico during their high winter season; and he made several Centennial-related concert dates in Canada.. including the televised CBC Centennial International series. At the start of his popular annual appearances at Palumbos in Philadelphia, Franchi received a standing ovation before he sang a single note! Another memorable concert date (See Chicagoland above) in the Chicago area was in April of 1968 when he was the featured guest at the 78th Annual Sveas Soner ("sons of Sweden") Men's Chorus Concert in Rockford, IL. His performance garnered front-page coverage and a rave review in which the reviewer noted Franchi's meticulous per-performance rehearsals, a strong desire to please his audience, and humor directed at himself as key ingredients (including his voice) leading to audience acclaim. In spite of a crowded schedule, Franchi found time to continue appearances on The Ed Sullivan Show, The Hollywood Palace, The Tonight Show and other television specials...punctuated with regular benefit performances on behalf of his various philanthropies. Sergio Franchi had become one of the most popular acts in show business...a highly successful multimedia entertainer.

The Secret of Santa Vittoria and Other Projects   As noted elsewhere, the handsome Italian tenor had received numerous movie offers, but none that suited him. Touted as a "Mario Lanza with sex-appeal," the connections between the two tenors would diminish but not stop. In 1963 (noting that RCA got as much fan mail for Mario Lanza as for Elvis Presley), Franchi turned down an MGM offer to star in Lanza's life story. Hedda Hopper quoted him as saying "If I did it well, I'd always be remembered as the man who played Lanza. If I didn't do it well, heaven help me." On a more personal note Franchi stated, "I don't want go down in history as the man who played the role of Mario Lanza...I want to be remembered for myself." In 1968 Franchi accepted a non-singing, supportive role in MGM's The Secret of Santa Vittoria. Franchi was in awe of his co-stars, Anthony Quinn and Anna Magnani, but soon got tired of all the waiting around. He stated he preferred performing on Broadway, where each night is different and a challenge to make it new. Unlike Mario Lanza before him, the opportunities for musical films had almost completely disappeared. However, Franchi was considered for, but did not get the role he really coveted...starring in the film version of Man of La Mancha. Franchi was hoping good reviews of "Vittoria" would help... and, indeed, Franchi's performance drew strong praise from critics: Stanley Kramer was delighted by Franchi's performance, and stated that Franchi "went from slick nightclub performer to peasant beautifully." But "Mancha" was envisioned as a block-buster in need of a major star, and Peter O'Toole got the lead with singing dubbed by Simon Gilbert. After his Broadway role in "Waltz," Franchi continued to be considered for new roles on stage. At one point it was announced that he was to play in Meredith Willson's planned production of Christopher Columbus—1491; but for various reasons it never was produced on Broadway, but produced in 1969 by the Los Angeles Civic Light Opera Association. Also mentioned in the 1970s was a Broadway role in a Rudolph Valentino show ("Ciao, Rudy") that Marcello Mastroianni did in Rome. But Franchi's return to Broadway was more than a decade away. His down-time in Italy did afford Franchi some valuable reflection time, some considerable new fame (Ed Sullivan traveled to Italy to interview his friend Sergio Franchi and Virna Lisi), and Franchi returned from the five months filming in Anticoli Corrado, Italy ready to make some changes in his life. Franchi had recorded several more albums for RCA: From Sergio - with Love, and There Goes My Heart in 1967; I'm a Fool to Want You and Wine and Song in 1968. However, Franchi did not renew his contract with RCA in 1969: he signed instead with United Artists Records, with whom he had made the soundtrack recording, The Secret of Santa Vittoria. Later (in 1971), he signed with Metromedia. (Without a contract for new works, RCA Victor issued a series of compilation albums for the popular Franchi over the next decade...and dozens of collaboration albums with only one Franchi song). Franchi moved his family residence in 1969 to where many of the great singers of the day were working...Las Vegas!

The 1970s

The Vegas years and more  During the 1970s, gambling was not the main attraction in Vegas. With the collapse of the musical comedy genre in movies, Las Vegas became a prime vacation destination for entertainment, and the place to catch a live performance of your favorite star. Italian-Americans entertainers were well-represented and Sergio Franchi was one of the most prominent headliners. With a typical booking in Las Vegas lasting a month and appearing there regularly, it made sense that Franchi could spend more time with his family by living there. (He kept his Manhattan apartment and also continued his lucrative bookings in other venues during this period). Franchi returned from filming in Italy to an October 1968 booking at the Nugget Hotel Circus room with The Osmond Brothers. Franchi then began his Las Vegas association with the Flamingo Hotel in a November 1968 booking with Hines, Hines, and Dad. Sergio Franchi and Pat Cooper became a memorable duo with their unique blending of humor and Franchi's singing, and would be booked together intermittently through to the end of Franchi's life. After their 1969 SRO booking at the Flamingo Hotel, both Franchi and Pat Cooper were earning $25,000 a week. In 1970 Franchi appeared with Corbett Monica at the Flamingo Hotel, and was voted "Best Male Vocalist" by Fabulous Las Vegas Magazine.(Barbra Streisand was voted “Best Female Vocalist.”) In 1971 Franchi signed a three-year contract with the Flamingo Hotel and appeared there regularly through the end of 1973. Some of his opening acts included Pat Cooper (February 1971), Corbett Monica (October 1971), and Buddy Hackett (May, 1972). Franchi also worked bookings at Harrah's Reno Headliner Room in 1972 with Hudson & Landry doing the opening honors; and Lonnie Shorr opening for him in 1973. By 1972, Franchi had become a United States citizen, and by 1973, his business manager reported Franchi had hit the 7-figure income category. Sergio Franchi's biggest Las Vegas booking success occurred at the end of 1973. When the MGM Grand Hotel and Casino (at that time the largest resort hotel in the world) opened at the end of 1973, Sergio Franchi was the first star that was signed... an exclusive three-year contract to begin in February of 1974. His salary was more than double that which he had once received at the Flamingo Hotel (now @ $220K for each month performance); and his frequent MGM Grand Hotel co-star, Joan Rivers, became the highest paid opening act in Las Vegas.

Concert and cabaret highlights   After returning from Italy, Franchi returned to his cabaret performances with a big honor: His friend Anthony Quinn (who reportedly had not been in a night-club for years) flew with his wife from Rome to introduce Franchi at his Coconut Grove opening (Dana Valery opened for him) on February 25, 1969. Franchi returned to the Americana Royal Box in a “record-setting” month in April, 1969 where he had previously shook a mirror off the wall with his powerful voice and appeared at the Fairmont Venetian Room in Dallas, TX in May. A familiar face in Chicago, in July 1970 Sergio Franchi began almost a decade of annual performances at the Mill Run Playhouse Theater; this time with Joan Rivers as his opening act; and in 1975 with sister, Dana Valery. In October of 1970 Franchi did a whirlwind 21 cities tour beginning at the Saskatchewan Center of Arts in Canada. and ending with the Boys' Towns 25th Anniversary Benefit in New Orleans mentioned below.

After a 10-year absence, Franchi returned to London for three weeks in 1972 at The Talk of the Town. Critics said “We should never have allowed Franchi to be exported.” Franchi also had the opportunity to perform with the Norman Luboff Choir on November 16, 1974 for the closing performance at Augusta, GA's Famous Artist Series. Although extremely busy, Franchi performed several more notable concerts: A week in February, 1977 at the new 3,816-seat Sunrise Musical Theater in Ft. Lauderdale with Dana Valery and Pat Cooper; at Cedar Gardens (1,000 seat dinner show) in Hamilton, NJ for a very enthusiastic audience; in May in the Chicago area at the new Condesa Del Mar, Colombian Grand Ballroom theater (2,000 seats); and in August to the Saratoga NY PAC for concerts with Dana Valery & Pat Cooper for an audience of 4,300. In 1976, Sergio Franchi also took the opportunity to take his MGM Grand Show (key personnel were his Las Vegas musical director, Wayne J. Kirby & guitarist Al Caiola) on the road in 1976 to perform with Dana Valery at the new Film Trust Arena (seating 2,900) in Johannesburg, South Africa. Franchi was also welcomed there at a reception given by old friends at the Johannesburg Operatic and Dramatic Society...with whom he had started his singing career two decades before.

“The Straw Hat” summer circuit   The summer of 1969 was auspicious for Franchi fans in the when he launched on of the first of his perennial favorite appearances on the summer circuit concert agenda in the Eastern states. Franchi organized most of his summer appearances as “The Sergio Franchi Show” with a line-up of memorable co-stars and leading acts. These very popular record-setting shows (in some cases, seven to ten days to accommodate demand) would continue to be an important part of Franchi's professional life during the next twenty years. A concert deserving of special mention was in 1975: Sergio and Dana's 72-year-old father flew in From South Africa to watch his famous children perform at the Westbury Music Fair. A taste of the breadth and depth of Sergio Franchi's summer performance dates and venues in the 1970s can be sampled as follows: 1969—Miami's Deauville Star Theater; 1972—Cincinnati's Musicarnival with Corbett Monica; 1973—Valley Forge Music Fair with Myron Cohen, & The Trinidad Tripoli Steel Band; 1974—Latham, NY, Coliseum Summer Theatre; 1974—Storrowton Music Fair with Dana Valery & Marty Brill; 1975—Cleveland's Front Row theater with Louis Prima, Sam Butera & The Witnesses; 1976—Wallingford CT, Oakdale Theater with Dana Valery & Pat Cooper; 1976—Westbury Music Fair with Special Guest Star Michel Legrand; 1977—the Front Row theater with Caterina Valente; and in 1977—the South Shore Music Circus with Dana Valery & Pat Cooper

Media exposure & marketing successes   During the 1970s, Sergio Franchi continued to receive national exposure through his television appearances; but his most intensive exposure was through his role as the television spokesman for Chrysler Corporation. Chrysler embarked upon the “most extensive ad campaign for a new car line” in their history for the introduction of the Plymouth Volare; (Franchi was closely identified with the song, “Volare,” which he had recorded ten years earlier) and Franchi was given due credit for making the advertising campaign memorable. The upscale compact sold 400,00 units the first year on the market. While Franchi never revealed the remuneration he received for any of his endeavors, a 1976 article states that celebrities like Franchi were receiving compensation of $20K to $250k per year for their endorsements. In the recording department, Franchi issued three new albums...one through Dynamic House/TeleHouse (formerly part of Decca) which was marketed extensively on American TV, a similar one by DynaHouse for Australian TV, and his Sergio, Con Amore album. According to a major business journal, Franchi's 2-LP Dynamic House/TeleHouse album initially experienced sales of 20,000 a week over fifteen major markets. Time magazine stated that this form of record marketing was the fastest growing segment in the record business. RCA continued issuing albums (would be called “Greatest Hits” today) of prior Franchi recordings. 1975 was the year when Sergio Franchi was the honored recipient of The Mario Lanza Award for outstanding achievements in the field of music.

The 1980s

Personal life

Yvonne Lindsey was a South African ballerina of English extraction who married Sergio on February 14, 1953. They had two children: a daughter, Greta Teresa; and a son, Roberto Danilo. They divorced on December 31, 1981 in Clark County, Nevada.

Sergio Franchi married his second wife, Eva (née Simone), in New York City on June 14, 1982. Eva had emigrated with her family to America from Budapest after the 1956 Hungarian revolt. It was a second marriage for both.

Franchi and his sister, Dana Valery, purchased the 240-acre Farmholme property in Stonington, Connecticut in 1979. He intended it a refuge for his retirement years. The property included several residences, and Sergio was instrumental in making it a family compound. By 1982 Franchi had relocated his father, stepmother, and sister Mirella and her children to his estate. The dates of his mother's, father's, and stepmother's deaths are unknown. His sister Mirella died three months after Franchi.

Biographical bits and pieces

Presidential performances

Philanthropy and benefit concerts

Very early in his American career, Sergio Franchi possessed the star power to be in demand as a draw for major charity and benefit shows. During his dual-billing cabaret show with Barbra Streisand at the Eden Roc Hotel, who were both recruited for the American Cancer Society Benefit (MC, Bob Hope) at the Paramount Theater in Palm Beach, Florida on March 17, 1963. Along with other stars, they performed before a capacity audience at what was called "the highlight of the season." In 1965, Franchi (with Itzhak Perlman, Richard Tucker, & Vivienne della Chiesa) performed at Madison Square Garden-- raising $150,000 for the annual "Music Under the Stars" benefiting the American-Israeli Cultural Foundation. Later that year Sergio Franchi joined MC Jack Benny and other stars (John Browning, concert pianist; Yoel Sharr, Israeli comedian; and Phyllis Curtin, Metropolitan Opera star) for a United Nations Delegates Concert on September 10. Then, in 1967, New York City's WDNT held their annual fundraising (more than $125,000 anticipated) show, "13 Stars for Channel 13." Franchi joined Itzak Perlman, Shirley Verrett, & Buffy Sainte-Marie in the event hosted by Tony Randall. Some notable benefits at which Franchi performed during the 1970s include Milwaukee's "Fight for Sight" benefit hosted by Bob Hope at Philharmonic Hall (1971); and a star-filled Easter Seals telethon from Las Vegas at the enormous Sahara Hotel convention hall in 1972 (Raised a million dollars: Franchi performed and made a personal donation) On June 3, 1984, Franchi was a featured performer at the "7th Annual Lions Sight & Hearing Telethon" on New Orleans' WGNO-TV. In October 1979 while performing in Ohio, Franchi visited the Villa Serena Seniors and sang a program for them.

Perhaps Franchi's largest fund-raising benefit of all (a political event), in 1982 he single-handedly raised over $600,000 during a three-day concert tour of Massachusetts on behalf of the re-election campaign of Governor King. Again the Franchi-fete was referred to as "the social event of the season." But Franchi also responded to smaller local requests. In 1982 he performed at the Pawcatuck VFW in Stonington, CT to benefit the Jimmy Fund; and performed in 1985 to raise funds to place a fountain in Garibaldi Square in New London, CT. He also donated time to help the group find a suitable fountain for the site. In 1987 Sergio Franchi and his sister, Dana Valery, performed at the Pierre Hotel in NYC to support research for the Scleroderma Society. In later life, Franchi donated prints of some of his watercolors for charitable sales. When (in 1988) asked about his up-coming performance at Ninigret Park to benefit the Rhode Island chapter of the Muscular Dystrophy Association, Franchi stated; "When you've been as fortunate as I have, you have to do something for other people." Franchi cancelled a paid performance to assist the charity, and the show was expected to net over $100,000 for the MDA.

Though extremely proud to have become an American citizen on October 13, 1972, Franchi was a strong supporter of his Italian heritage. He became active very early with the National Italian American Foundation (NIAF), and regularly performed in benefit of the Boys' Towns of Italy and the Girls' Towns of Italy. The first Boys' Town facility was founded in Civitavecchia, Italy in 1945 by Irish Monseigneur John Patrick Carroll-Abbing... as a result of seeing the plight of Italy's destitute children after WWII. Subsequent facilities have been built by Americans of all faiths through benefit activities. As of 1977 these Towns organizations had assisted more than 200,000 children by building nurseries and day-care centers in poverty-stricken areas of Southern Italy; and by building facilities to house, school, and give vocational training to orphaned and abandoned children.

Some highlights of Franchi's support for these children's organizations include a 1967 sold-out concert at Carnegie Hall. When Sergio Franchi performed for a benefit at the Civic Auditorium in Chicago, the Italian-American organizing committee arranged for Mayor Richard J. Daley and Governor Richard B. Ogilvie to proclaim May 13, 1969 as "Boys Towns of Italy Day." As part of the 1970 celebrations of the Silver Jubilee of Boys' Towns of Italy, Franchi performed in benefits at New York's Philharmonic Hall, and at New Orleans' Municipal Auditorium. In 1975 he drew a full house of 2,300 in Milwaukee at the Performing Arts Center to benefit Boys' Towns of Italy. In Pittsburgh, Franchi performed benefits in 1975 and 1977 at Heinz Hall in support of Boys' Towns. Sergio Franchi performed in New Orleans for a Boys' Towns Benefit with Dana Valery in 1974; for the 30th Anniversary Benefit (1975) at the Theater for the Performing Arts; and for a Boys' Towns Benefit Gala on November 4, 1977. Franchi performed in New York at the Waldorf Hotel on March 17, 1980 on the occasion of the 35th Anniversary of the founding of Boys' Towns of Italy. But many of these children's benefits throughout his career were in local concert halls. (Larry King likes to tell a funny story about how he was recruited by a local organizer to MC one of these Franchi Boys' Towns benefits.)

Awards

As a result of the many charitable benefits performed by him in New Orleans, The Greater New Orleans Cultural Society honored Sergio Franchi with a special banquet (held March 12, 1982) and presented him the "16th Annual Italian American of the Year Award." In recognition of his support for them, the Boys' Towns of Italy presented Sergio Franchi with their prestigious "Michelangelo Award." and in 2001 he was posthumously awarded the title of Cavaliere in the "Order of Merit" (Stella al merito del lavoro) by the Italian Government.

Broadway and theater credits

Filmography