Caruso, Enrico ()
Enrico Caruso, the quintessential Italian tenor, was the most beloved singer of his day. Critics agreed that he was also probably the best. Known throughout the Western world for his interpretations of operatic roles, he also captured the popular imagination with Neapolitan songs, sentimental period ballads, and that patriotic favorite of World War I, Over There, rendered in his unique variant of the English language. The emergence of the phonograph made Caruso an entertainer as well as an artist, and he, perhaps more than anyone else, demonstrated its potential as a creative medium.
Born in Naples near the end of Europe's most placid century, Caruso was one of 18 children of working class parents. At considerable financial sacrifice, he studied voice with Vergine, a noted Neapolitan teacher, who, nevertheless, envisioned for him only a modest future. Singing first in provincial theaters and later with touring companies, Caruso gradually made his way to important opera houses in Monte Carlo, Milan, and London. Though his initial reviews were not always good, audiences responded to him. Despite his increasing girth and a slightly comical stage appearance, h
Caruso Biography Part I
Enrico Caruso (baptized Henricus and called Errico - the Neapolitan version of Enrico - during his youth) was born in Naples, Italy on the 25th of February as the third child of seven. The family was extremely poor and the father an alcoholic.
Enrico received very little primary education - the family was struggling to pay the monthly school fee of 5 lire and his father - as opposed to his mother - wanted him to work for his own bread.
Caruso took up singing with passion at the age of At the age of 18, he had a pleasing yet small voice with a baritonal timbre. In , while singing on a rotunda at the pier, the young baritone Eduardo Missiano heard Caruso and insisted on taking him to his own voice teacher, Guglielmo Vergine. The Maestro's first judgment was discouraging: The voice was "too small and sounded like the wind whistling through the windows." Missiano insisted on a second hearing and eight days later, Vergine agreed to teach Caruso; in lieu of payment, Caruso was contracted to pay Vergine 25% of his earnings for "five years of actual singing."
The contract clause "five years of actual singing" came back to haunt Caruso. Vergine me
Homage to Enrico Caruso (25/02/ - 02/08/)
This is a non-profit homepage created as a post mortem tribute to the legendary Neapolitan singer and opera star Enrico Caruso who, with his voice, empathy, charisma and gramophone recordings, contributed to making opera known and loved in the world in the beginning of the past century.
When I say non-profit website, that's exactly what this is: No banners, no selling, no adds, no fees, no links that I make money on when clicked, no hidden agenda.
So why on earth spend hundred of hours, as I have, developing this site? Very simple I want to share the beauty of Caruso's singing with others!
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Click above to listen to:
"Amore o grillo"
(Madame Butterfly - Puccini, Giacomo)
&#; Recorded &#;
More information here
Caruso's Music
Until now I have uploaded arias/songs (partly in different versions). View/listen to them here.
Random Quote (view all here)
Caruso about Nellie Melba and Melba about Caruso:
Not a quote but an acti
Opera singer For the Record&#x; Who Has Sent You to Me? God?
Recording Pioneer Offstage Shenanigans Selected discography Sources Enrico Caruso&#x;s ascendancy coincided with the dawn of the twentieth century, when the world of opera was moving away from the contrived bel canto (beautiful singing
) style, with its emphasis on artifice and vibrato, to a verismo (realism
) approach. The warmth and sincerity of his voice&#x;and personality&#x; shone in this more natural style and set the standard for contemporary greats like Luciano Pavarotti, Placido Domingo, and José Carreras. Through his exploitation of the nascent phonograph industry, Caruso is also largely responsible for the sweeping interest in opera of the s and &#x;20s. And for this, Stanley Jackson wrote in his book Caruso, he may never be rivaled, for later tenors could not hope to find themselves in a similarly fortuitous position and thus would most certainly find it more difficult to win such universal affection as the bubbly, warm-hearted little Neapolitan whose voice soared and sobbed from the first wheezy phonographs to bring a new magic into coun
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Caruso, Enrico
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