Franchi arrived in New York on September 25, 1962.
RCA Victor had begun a heavy promotional campaign to launch his American career, concurrent with the release of his debut album.
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 full length of the concert without a microphone, a New York reviewer commented on Franchi's "big, healthy voice", his penchant for ad-libbing, and his 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).
Franchi would later become one of Sullivan's "two or three most favorite guests,", and appeared 24 times.
Sales for the debut record did well, peaking on the Billboard 200 at number 17 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
Franchi made his nightclub debut at the Empire Room of the Waldorf-Astoria in New York City.
While he was there he met Metropolitan Opera soprano Anna Moffo, with whom he was to collaborate on two RCA Victor albums that year.
Franchi continued to have many successful appearances at many large venues, including one with Barbra Streisand, as well as more Sullivan television appearances.

He soon made his Las Vegas debut at the Sahara Hotel as the opening act for Bob Newhart.
These successful performances were interspersed with multiple European events.
Franchi recorded three more albums for RCA Victor (see discography), all three of which peaked on the Billboard 200 pop charts in 1963.
His debut album, Romantic Italian Songs continued on the Billboard 200; He completed the year as the opening act for Juliet Prowse at the Cocoanut Grove.

Franchi's February 1964 appearance at the Sahara Hotel in Las Vegas attracted the attention of Time magazine, as his performance garnered more attention and popularity than that of the star performer, including getting "standing ovations and multiple encores."
Franchi's singing, dancing, and comedy, were then prominently featured on six television specials.
Franchi made a noteworthy appearance at the "35th Annual Chicagoland Music Festival" in August 1964, as well as starring in a performance at the Cocoanut Grove, as well as doing other events.
While at Cocoanut Grove, he recorded his Sergio Franchi - Live!
at The Cocoanut Grove album.

1964 was a significant year for Franchi for professional and personal reasons.
In a move to attract more mainstream pop audiences, RCA Victor switched Franchi from the Red Seal label to their standard black pop label.
He also changed his professional representation to the William Morris Agency.
Although he had already received offers to star in several films, Franchi did not find a role he wished to play for a few more years.
Franchi then moved his family from London to a Park Avenue apartment in New York City.
He also filed the first papers in declaration of his intent to become an American citizen, among other endeavors.

Meredith Willson brought Franchi to the attention of Richard Rodgers when he was casting the leading role of the romantic Venetian shopkeeper, Renato Di Rossi, for the musical "Do I Hear a Waltz".
Rodgers provided $450,000 towards the financing of the show, and Columbia Records provided $105,640.
Advance ticket sales of $900,000 indicated a lengthy run, despite mixed reviews.
Franchi liked the score and embraced the idea, although it meant giving up a large portion of a year's income from his concert dates.
The Broadway show was the focus of Franchi's endeavors until the musical closed on September 25, 1965.
Reviews were generally favorable for his singing.
The song "Bargaining" was especially written by Rodgers to showcase Franchi's vocal dexterity and to provide comic relief in the score.
The show continued to be popular and Franchi continued success with it, and with ot
Franchi arrived in New York on September 25, 1962. RCA Victor had begun a heavy promotional campaign to launch his American career, concurrent with the release of his debut album. 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 full length of the concert without a microphone, a New York reviewer commented on Franchi's "big, healthy voice", his penchant for ad-libbing, and his 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). Franchi would later become one of Sullivan's "two or three most favorite guests,", and appeared 24 times. Sales for the debut record did well, peaking on the Billboard 200 at number 17 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
Franchi made his nightclub debut at the Empire Room of the Waldorf-Astoria in New York City. While he was there he met Metropolitan Opera soprano Anna Moffo, with whom he was to collaborate on two RCA Victor albums that year. Franchi continued to have many successful appearances at many large venues, including one with Barbra Streisand, as well as more Sullivan television appearances.
He soon made his Las Vegas debut at the Sahara Hotel as the opening act for Bob Newhart. These successful performances were interspersed with multiple European events. Franchi recorded three more albums for RCA Victor (see discography), all three of which peaked on the Billboard 200 pop charts in 1963. His debut album, Romantic Italian Songs continued on the Billboard 200; He completed the year as the opening act for Juliet Prowse at the Cocoanut Grove.
Franchi's February 1964 appearance at the Sahara Hotel in Las Vegas attracted the attention of Time magazine, as his performance garnered more attention and popularity than that of the star performer, including getting "standing ovations and multiple encores." Franchi's singing, dancing, and comedy, were then prominently featured on six television specials. Franchi made a noteworthy appearance at the "35th Annual Chicagoland Music Festival" in August 1964, as well as starring in a performance at the Cocoanut Grove, as well as doing other events. While at Cocoanut Grove, he recorded his Sergio Franchi - Live! at The Cocoanut Grove album.
1964 was a significant year for Franchi for professional and personal reasons. In a move to attract more mainstream pop audiences, RCA Victor switched Franchi from the Red Seal label to their standard black pop label. He also changed his professional representation to the William Morris Agency. Although he had already received offers to star in several films, Franchi did not find a role he wished to play for a few more years. Franchi then moved his family from London to a Park Avenue apartment in New York City. He also filed the first papers in declaration of his intent to become an American citizen, among other endeavors.
Meredith Willson brought Franchi to the attention of Richard Rodgers when he was casting the leading role of the romantic Venetian shopkeeper, Renato Di Rossi, for the musical "Do I Hear a Waltz". Rodgers provided $450,000 towards the financing of the show, and Columbia Records provided $105,640. Advance ticket sales of $900,000 indicated a lengthy run, despite mixed reviews. Franchi liked the score and embraced the idea, although it meant giving up a large portion of a year's income from his concert dates. The Broadway show was the focus of Franchi's endeavors until the musical closed on September 25, 1965. Reviews were generally favorable for his singing. The song "Bargaining" was especially written by Rodgers to showcase Franchi's vocal dexterity and to provide comic relief in the score. The show continued to be popular and Franchi continued success with it, and with ot
Sergio Franchi