Enrico Caruso

Enrico Caruso

born on 25/2/1873 in Napoli, Campania, Italy

died on 2/8/1921 in Napoli, Campania, Italy

Enrico Caruso

From Wikipedia, the free encyclopedia.

Enrico Caruso (Italian pronunciation: [enriko karuzo]; February 25, 1873 August 2, 1921) was an Italian tenor. He sang to great acclaim at the major opera houses of Europe and the Americas, appearing in a wide variety of roles from the Italian and French repertoires that ranged from the lyric to the dramatic. Caruso also made approximately 290 commercially released recordings from 1902 to 1920. All of these recordings, which span most of his stage career, are available today on CDs and as digital downloads.

Caruso's 1904 recording of "Vesti la giubba" from Leoncavallo's opera Pagliacci was the first sound recording to sell a million copies.[1]

Historical and musical significance

Caruso's 25-year career, stretching from 1895 to 1920, included 863 appearances at the New York Metropolitan Opera before he died at the age of 48. Thanks in part to his tremendously popular phonograph records, Caruso was one of the most famous personalities of his day and his fame has endured to the present. He was one of the first examples of a global media celebrity. Beyond records, Caruso's name became familiar to millions through newspapers, books, magazines, and the new media technology of the 20th century: cinema, the telephone and telegraph.[2] Caruso toured widely both with the Metropolitan Opera touring company and on his own, giving hundreds of performances throughout Europe, and North and South America. He was a client of the noted promoter Edward Bernays, during the latter's tenure as a press agent in the United States. Beverly Sills noted in an interview: "I was able to do it with television and radio and media and all kinds of assists. The popularity that Caruso enjoyed without any of this technological assistance is astonishing."[3]

Caruso biographers Pierre Key, Bruno Zirato and Stanley Jackson[4][5] attribute Caruso's fame not only to his voice and musicianship but also to a keen business sense and an enthusiastic embrace of commercial sound recording, then in its infancy. Many opera singers of Caruso's time rejected the phonograph (or gramophone) owing to the low fidelity of early discs. Others, including Adelina Patti, Francesco Tamagno and Nellie Melba, exploited the new technology once they became aware of the financial returns that Caruso was reaping from his initial recording sessions.[6]

Caruso made more than 260 extant recordings in America for the Victor Talking Machine Company (later RCA Victor) from 1904 to 1920, and he earned millions of dollars in royalties from the retail sales of the resulting 78-rpm discs. (Previously, in Italy in 1902-1903, he had cut five batches of records for the Gramophone & Typewriter Company, the Zonophone label and Pathé Records.) He was also heard live from the stage of the Metropolitan Opera House in 1910, when he participated in the first public radio broadcast to be transmitted in the United States.

Caruso also appeared in motion pictures. In 1918, he played a dual role in the American silent film My Cousin for Paramount Pictures. This film included a sequence depicting him on stage performing the aria Vesti la giubba from Leoncavallo's opera Pagliacci. The following year Caruso played a character called Cosimo in another film, The Splendid Romance. Producer Jesse Lasky paid Caruso $100,000 to appear in these two efforts but they both flopped at the box office. Brief candid glimpses of Caruso offstage have been preserved in contemporary newsreel footage.

While Caruso sang at such venues as La Scala in Milan, the Royal Opera House, Covent Garden, in London, the Mariinsky Theatre in Saint Petersburg, and the Teatro Colón in Buenos Aires, he was also the leading tenor of the Metropolitan Opera in New York City for 18 consecutive seasons. It was at the Met, in 1910, that he created the role of Dick Johnson in Giacomo Puccini's La fanciulla del West.

Caruso's voice extended up to high C in its prime and grew in power and weight as he grew older. He sang a broad spectrum of roles, ranging from lyric, to spinto, to dramatic parts, in the Italian and French repertoires. In the German repertoire, Caruso sang only two roles, Assad (in Karl Goldmark's The Queen of Sheba) and Richard Wagner's Lohengrin, both of which he performed in Italian in Buenos Aires in 1899 and 1901, respectively.[7]

Life and career

Early life

Enrico Caruso came from a poor but not destitute background. Born in Naples in the Via San Giovannello agli Ottocalli 7 on February 25, 1873, he was baptised the next day in the adjacent Church of San Giovanni e Paolo. Called Errico in accordance with the Neapolitan dialect, he would later adopt the formal Italian version of his given name, Enrico (the equivalent of "Henry" in English). This change came at the suggestion of a singing teacher, Guglielmo Vergine, with whom he began lessons at the age of 16.

Caruso was the third of seven children and one of only three to survive infancy. There is a story of Caruso's parents having had 21 children, 18 of whom died in infancy. However, on the basis of genealogical research (amongst others conducted by Caruso family friend Guido D'Onoforio), biographers Pierre Key,[8] Francis Robinson,[9] and Enrico Caruso Jr. & Andrew Farkas,[10] have proven this to be an urban legend. Caruso himself and his brother Giovanni may have been the source of the exaggerated number.[11] Caruso's widow Dorothy also included the story in a memoir that she wrote about her husband. She quotes the tenor, speaking of his mother, Anna Caruso (née Baldini): "She had twenty-one children. Twenty boys and one girl too many. I am number nineteen boy."[12]

Caruso's father, Marcellino, was a mechanic and foundry worker. Initially, Marcellino thought his son should adopt the same trade, and at the age of 11, the boy was apprenticed to a mechanical engineer named Palmieri who constructed public water fountains. (Whenever visiting Naples in future years, Caruso liked to point out a fountain that he had helped to install.) Caruso later worked alongside his father at the Meuricoffre factory in Naples. At his mother's insistence, he also attended school for a time, receiving a basic education under the tutelage of a local priest. He learned to write in a handsome script and studied technical draftsmanship.[13] During this period he sang in his church choir, and his voice showed enough promise for him to contemplate a possible career in music.

Caruso was encouraged in his early musical ambitions by his mother, who died in 1888. To raise cash for his family, he found work as a street singer in Naples and performed at cafes and soirees. Aged 18, he used the fees he had earned by singing at an Italian resort to buy his first pair of new shoes. His progress as a paid entertainer was interrupted, however, by 45 days of compulsory military service. He completed this in 1894, resuming his voice lessons with Vergine upon discharge from the army.

Early career

At the age of 22, Caruso made his professional stage debut in serious music. The date was March 15, 1895 at the Teatro Nuovo in Naples. The work in which he appeared was a now-forgotten opera, L'Amico Francesco, by the amateur composer Domenico Morelli. A string of further engagements in provincial opera houses followed, and he received instruction from the conductor and voice teacher Vincenzo Lombardi that improved his high notes and polished his style. Three other prominent Neapolitan singers taught by Lombardi were the baritones Antonio Scotti and Pasquale Amato, both of whom would go on to partner Caruso at the Met, and the tenor Fernando De Lucia, who would also appear at the Met and later sing at Caruso's funeral.

Money continued to be in short supply for the young Caruso. One of his first publicity photographs, taken on a visit to Sicily in 1896, depicts him wearing a bedspread draped like a toga since his sole dress shirt was away being laundered. At a notorious early performance in Naples, he was booed by a section of the audience because he failed to pay a claque to cheer for him. This incident hurt Caruso's pride. He never appeared again on stage in his native city, stating later that he would return "only to eat spaghetti".

During the final few years of the 19th century, Caruso performed at a succession of theaters throughout Italy until, in 1900, he was rewarded with a contract to sing at La Scala in Milan, the country's premier opera house. His La Scala debut occurred on December 26 of that year in the part of Rodolfo in Giacomo Puccini's La bohème with Arturo Toscanini conducting. Audiences in Monte Carlo, Warsaw and Buenos Aires also heard Caruso sing during this pivotal phase of his career and, in 1899-1900, he appeared before the Tsar and the Russian aristocracy at the Mariinsky Theatre in Saint Petersburg and the Bolshoi Theatre in Moscow as part of a touring company of first-class Italian singers.

The first major operatic role that Caruso was given the responsibility of creating was Loris in Umberto Giordano's Fedora, at the Teatro Lirico, Milan, on November 17, 1898. At that same theater, on November 6, 1902, he would create the role of Maurizio in Francesco Cilea's Adriana Lecouvreur. (Puccini considered casting the young Caruso in the role of Cavaradossi in Tosca at its premiere in 1900, but ultimately chose the older, more established Emilio De Marchi instead.)

Caruso took part in a "grand concert" at La Scala in February 1901 that Toscanini organised to mark the recent death of Giuseppe Verdi. Among those appearing with him at the concert were two other leading Italian tenors of the day, Francesco Tamagno (the creator of the protagonist's role in Verdi's Otello) and Giuseppe Borgatti (the creator of the protagonist's role in Giordano's Andrea Chénier). He embarked on his last series of La Scala performances in March 1902, creating along the way the principal tenor part in Germania by Alberto Franchetti.

A month later, he was engaged by the Gramophone & Typewriter Company to make his first group of acoustic recordings, in a Milan hotel room, for a fee of 100 pounds sterling. These 10 discs swiftly became best-sellers. Among other things, they helped to spread 29-year-old Caruso's fame throughout the English-speaking world. The management of London's Royal Opera House, Covent Garden, signed him for a season of appearances in eight different operas ranging from Verdi's Aida to Don Giovanni by Mozart. His successful debut at Covent Garden occurred on May 14, 1902, as the Duke of Mantua in Verdi's Rigoletto. Covent Garden's highest-paid diva, the Australian soprano Nellie Melba, partnered him as Gilda. They would sing together often during the early 1900s. In her memoirs, Melba praised Caruso's voice but considered him to be a less sophisticated musician and interpretive artist than Jean de Reszkethe Met's biggest tenor drawcard prior to Caruso.

The Metropolitan Opera

The following year, 1903, Caruso traveled to New York City to take up a contract with the Metropolitan Opera. (The gap between his London and New York engagements was filled by a series of performances in Italy, Portugal and South America.) Caruso's Met contract had been negotiated by his agent, the banker and impresario Pasquale Simonelli. Caruso's debut at the Met was in a new production of Rigoletto on November 23, 1903. This time, Marcella Sembrich sang opposite him as Gilda. A few months later, he began a lasting association with the Victor Talking Machine Company. He made his first American discs on February 1, 1904, having signed a lucrative financial deal with Victor. Thereafter, his recording career ran in tandem with his Met career, the one bolstering the other, until he died in 1921.

Caruso purchased the Villa Bellosguardo, a palatial country house near Florence, in 1904. The villa became his retreat away from the pressures of the operatic stage and the grind of travel. Caruso's preferred address in New York City was a suite at Manhattan's Knickerbocker Hotel. (The Knickerbocker was erected in 1906 on the corner of Broadway and 42nd Street.) Caruso commissioned the New York jewelers Tiffany & Co. to strike a 24-carat-gold medal adorned with the tenor's profile. He presented the medal in gratitude to Simonelli as a souvenir of his many well-remunerated performances at the Met (see illustration, above).

In addition to his regular New York engagements, Caruso gave recitals and operatic performances in a large number of cities across the United States and sang in Canada. He also continued to sing widely in Europe, appearing again at Covent Garden in 190407 and 191314; and undertaking a UK tour in 1909.[14] Audiences in France, Belgium, Monaco, Austria, Hungary and Germany heard him, too, prior to the outbreak of World War I. In 1909, Melba asked him to participate in her forthcoming tour of Australia; but he declined the invitation because of the significant amount of travel time that such a trip would entail.

Members of the Met's roster of artists, including Caruso, had visited San Francisco in April 1906 for a series of performances. Following an appearance as Don Jose in Carmen at the city's Grand Opera House, a strong jolt awakened Caruso at 5:13 on the morning of the 18th in his suite at the Palace Hotel. He found himself in the middle of the San Francisco Earthquake, which led to a series of fires that destroyed most of the city. The Met lost all the sets and costumes that it had brought on tour but none of the artists was harmed. Holding an autographed photo of President Theodore Roosevelt, Caruso ran from the hotel, but was composed enough to walk to the St. Francis for breakfast. Charlie Olson, the broiler cook, made the tenor bacon and eggs. Apparently the quake had no effect on Caruso's appetite, as he cleaned his plate and tipped Olson $2.50.[15] Caruso made an ultimately successful effort to flee the city, first by boat and then by train. He vowed never to return to San Francisco and kept his word.[16][17]

In November 1906, Caruso was charged with an indecent act allegedly committed in the monkey house of New York's Central Park Zoo. The police accused him of pinching the bottom of a married woman. Caruso claimed a monkey did the bottom-pinching. He was found guilty as charged, however, and fined 10 dollars, although suspicions linger that he may have been entrapped by the victim and the arresting officer. The leaders of New York's opera-going high society were outraged initially by the incident, which received widespread newspaper coverage, but they soon forgot about it and continued to attend Caruso's Met performances.[18] Caruso's fan base at the Met was not restricted, however, to the wealthy. Members of America's middle classes also paid to hear him singor buy copies of his recordingsand he enjoyed a substantial following among New York's 500,000 Italian immigrants.

Caruso created the role of Dick Johnson in the world premiere of Puccini's La fanciulla del West on December 10, 1910. The composer conceived the music for the tenor hero with Caruso's voice specifically in mind. With Caruso appeared two more of the Met's star singers, the Czech soprano Emmy Destinn and baritone Pasquale Amato. Toscanini, then the Met's principal conductor, presided in the orchestra pit.

Later career and personal life

From 1916 onwards, Caruso began adding heroic parts such as Samson, John of Leyden, and Eléazar to his repertoire, while he planned to tackle Otello (the most demanding role written by Verdi for the tenor voice) at the Met during 1921.

Caruso toured the South American nations of Argentina, Uruguay, and Brazil in 1917, and two years later performed in Mexico City. In 1920, he was paid the then-enormous sum of 10,000 American dollars a night to sing in Havana, Cuba.[19]

The United States had entered World War I in 1917, sending troops to Europe. Caruso did extensive charity work during the conflict, raising money for war-related patriotic causes by giving concerts and participating enthusiastically in Liberty Bond drives. The tenor had shown himself to be a shrewd businessman since arriving in America. He put a sizable proportion of his earnings from record royalties and singing fees into a range of investments. Biographer Michael Scott writes that by the end of the war in 1918, Caruso's annual income tax bill amounted to $154,000.[20]

Prior to World War I, Caruso had been romantically tied to an Italian soprano, Ada Giachetti, who was a few years older than he was.[21] Though already married, Giachetti bore Caruso four sons during their liaison, which lasted from 1897 to 1908. Two survived infancy: Rodolfo Caruso (born 1898) and singer/actor Enrico Caruso, Jr. (1904-1987). Ada had left her husband, manufacturer Gino Botti, and an existing son to cohabit with the tenor. Information provided in Scott's biography of Caruso suggests that she was his vocal coach as well as his lover.[22] Statements by Enrico Caruso, Jr. in his book tend to substantiate this.[23][24] Her relationship with Caruso broke down after 11 years and they separated. Giachetti's subsequent attempts to sue him for damages were dismissed by the courts.[25]

Towards the end of the war, Caruso met and wooed a 25-year-old socialite, Dorothy Park Benjamin. She was the daughter of a wealthy New York patent lawyer. In spite of the disapproval of Dorothy's father, the couple wed on August 20, 1918. They had a daughter, Gloria Caruso (1919-1999). Dorothy lived until 1955 and wrote two books about Caruso, published in 1928 and 1945. The books include many of Caruso's letters to his wife.[26]

A fastidious dresser, Caruso took two baths a day and liked good Italian food and convivial company. He forged a particularly close bond with his Met and Covent Garden colleague Antonio Scotti an amiable and stylish baritone from Naples. Caruso was superstitious and habitually carried good-luck charms with him when he sang. He played cards for relaxation and sketched friends, other singers and musicians. Dorothy Caruso said that by the time she knew him, her husband's favorite hobby was compiling scrapbooks. He also amassed a valuable collection of rare postage stamps, coins, watches and antique snuffboxes. Caruso was a heavy smoker of strong Egyptian cigarettes, too. This deleterious habit, combined with a lack of exercise and the punishing schedule of performances that Caruso willingly undertook season after season at the Met, may have contributed to the persistent ill-health which afflicted the last 12 months of his life.[27][28][29]

Illness and death

On September 16, 1920, Caruso concluded three days of Victor recording sessions at Trinity Church in Camden, New Jersey. He recorded several discs including the Domine Deus and Crucifixus from the Petite messe solennelle by Rossini. These recordings were to be his last.

Dorothy Caruso noted that her husband's health began a distinct downward spiral in late 1920 after returning from a lengthy North American concert tour. In his biography, Enrico Caruso, Jr. points to an on-stage injury suffered by Caruso as the possible trigger of his fatal illness. A falling pillar in Samson and Delilah on December 3 had hit him on the back, over the left kidney (and not on the chest as popularly reported).[30] A few days before a performance of Pagliacci at the Met (Pierre Key says it was December 4, the day after the Samson and Delilah injury) he suffered a chill and developed a cough and a "dull pain in his side". It appeared to be a severe episode of bronchitis. Caruso's physician, Philip Horowitz, who usually treated him for migraine headaches with a kind of primitive TENS unit, diagnosed "intercostal neuralgia" and pronounced him fit to appear on stage, although the pain continued to hinder his voice production and movements.

During a performance of L'elisir d'amore by Donizetti at the Brooklyn Academy of Music on December 11, 1920, he suffered a throat haemorrhage and the performance was canceled at the end of Act 1. Following this incident, a clearly unwell Caruso gave only three more performances at the Met, the final one being as Eléazar in Halévy's La Juive, on December 24, 1920. By Christmas Day, the pain in his side was so excruciating that he was screaming. Dorothy summoned the hotel physician, who gave Caruso some morphine and codeine and called in another doctor, Evan M. Evans. Evans brought in three other doctors and Caruso finally received a correct diagnosis: purulent pleurisy and empyema.[31][32]

Caruso's health deteriorated further during the new year. He experienced episodes of intense pain because of the infection and underwent seven surgical procedures to drain fluid from his chest and lungs.[33] He returned to Naples to recuperate from the most serious of the operations, during which part of a rib had been removed. According to Dorothy Caruso, he seemed to be recovering, but allowed himself to be examined by an unhygienic local doctor and his condition worsened dramatically after that.[34][35] The Bastianelli brothers, eminent medical practitioners with a clinic in Rome, recommended that his left kidney be removed. He was on his way to Rome to see them but, while staying overnight in the Vesuvio Hotel in Naples, he took an alarming turn for the worse and was given morphine to help him sleep.

Caruso died at the hotel shortly after 9:00 a.m. local time, on August 2, 1921. He was 48. The Bastianellis attributed the likely cause of death to peritonitis arising from a burst subrenal abscess.[36][37] The King of Italy, Victor Emmanuel III, opened the Royal Basilica of the Church of San Francesco di Paola for Caruso's funeral, which was attended by thousands of people. His embalmed body was preserved in a glass sarcophagus at Del Pianto Cemetery in Naples for mourners to view.[38] In 1929, Dorothy Caruso had his remains sealed permanently in an ornate stone tomb.


During his lifetime, Caruso received many orders, decorations, testimonials and other kinds of honors from monarchs, governments and miscellaneous cultural bodies of the various nations in which he sang. He was also the recipient of Italian knighthoods. In 1917, he was elected an honorary member of the Phi Mu Alpha Sinfonia, the national fraternity for men involved in music, by the fraternity's Alpha chapter of the New England Conservatory of Music in Boston. One unusual award bestowed on him was that of "Honorary Captain of the New York Police Force". Caruso was posthumously awarded a Grammy Lifetime Achievement Award in 1987. On February 27 of that same year, the United States Postal Service issued a 22-cent postage stamp in his honor.[39] He was voted into Gramophone Magazine's Hall of Fame in 2012.[40]


Caruso's operatic repertoire consisted primarily of Italian works along with a few roles in French. He also performed two German operas, Wagner's Lohengrin and Goldmark's Die Königin von Saba, singing in Italian, early in his career. Below are the first performances by Caruso, in chronological order, of each of the operas that he undertook on the stage. World premieres are indicated with **.

  • L'amico Francesco (Morelli) Teatro Nuovo, Napoli, March 15, 1895 (debut)**
  • Faust Caserta, March 28, 1895
  • Cavalleria rusticana Caserta, April 1895
  • Camoens (Musoni) Caserta, May 1895
  • Rigoletto Napoli, July 21, 1895
  • La traviata Napoli, August 25, 1895
  • Lucia di Lammermoor Cairo, October 30, 1895
  • La Gioconda Cairo, November 9, 1895
  • Manon Lescaut Cairo, November 15, 1895
  • I Capuleti e i Montecchi Napoli, December 7, 1895
  • Malia (Francesco Paolo Frontini) Trapani, March 21, 1896
  • La sonnambula Trapani, March 24, 1896
  • Marriedda (Bucceri) Napoli, June 23, 1896
  • I puritani Salerno, September 10, 1896
  • La Favorita Salerno, November 22, 1896
  • A San Francisco (Sebastiani) Salerno, November 23, 1896
  • Carmen Salerno, December 6, 1896
  • Un Dramma in vendemmia (Fornari) Napoli, February 1, 1897
  • Celeste (Marengo) Napoli, March 6, 1897**
  • Il Profeta Velato (Napolitano) Salerno, April 8, 1897
  • La bohème Livorno, August 14, 1897
  • La Navarrese Milano, November 3, 1897
  • Il Voto (Giordano) Milano, November 10, 1897**
  • L'arlesiana Milano, November 27, 1897**
  • Pagliacci Milano, December 31, 1897
  • La bohème (Leoncavallo) Genova, January 20, 1898
  • The Pearl Fishers Genova, February 3, 1898
  • Hedda (Leborne) Milano, April 2, 1898**
  • Mefistofele Fiume, March 4, 1898
  • Sapho (Massenet) Trento, June 3(?), 1898
  • Fedora Milano, November 17, 1898**
  • Iris Buenos Aires, June 22, 1899
  • La regina di Saba (Goldmark) Buenos Aires, July 4, 1899
  • Yupanki (Berutti) Buenos Aires, July 25, 1899**
  • Aida St. Petersburg, January 3, 1900
  • Un ballo in maschera St. Petersburg, January 11, 1900
  • Maria di Rohan St. Petersburg, March 2, 1900
  • Manon Buenos Aires, July 28, 1900
  • Tosca Treviso, October 23, 1900
  • Le maschere (Mascagni) Milano, January 17, 1901**
  • L'elisir d'amore Milano, February 17, 1901
  • Lohengrin Buenos Aires, July 7, 1901
  • Germania Milano, March 11, 1902**
  • Don Giovanni London, July 19, 1902
  • Adriana Lecouvreur Milano, November 6, 1902**
  • Lucrezia Borgia Lisboa, March 10, 1903
  • Les Huguenots New York, February 3, 1905
  • Martha New York, February 9, 1906
  • Madama Butterfly London, May 26, 1906
  • L'Africana New York, January 11, 1907
  • Andrea Chénier London, July 20, 1907
  • Il trovatore New York, February 26, 1908
  • Armide New York, November 14, 1910
  • La fanciulla del West New York, December 10, 1910**
  • Julien New York, December 26, 1914
  • Samson et Dalila New York, November 24, 1916
  • Lodoletta Buenos Aires, July 29, 1917
  • Le prophète New York, February 7, 1918
  • L'amore dei tre re New York, March 14, 1918
  • La forza del destino New York, November 15, 1918
  • La Juive New York, November 22, 1919.

Caruso also had a repertory of more than 500 songs. They ranged from classical compositions to traditional Italian melodies and popular tunes of the day, including a few English-language titles such as George M. Cohan's "Over There", Henry Geehl's "For You Alone" and Arthur Sullivan's The Lost Chord.


See also: Enrico Caruso original recordings discography and Enrico Caruso compact disc discography

Caruso possessed a phonogenic voice which was "manly and powerful, yet sweet and lyrical", to quote the singer/author John Potter (see bibliography, below). Not surprisingly, he became one of the first major classical vocalists to make numerous recordings. He and the disc phonograph, known in the United Kingdom as the gramophone, did much to promote each other in the first two decades of the 20th century. Many of Caruso's recordings have remained continuously available since their original issue around a century ago, and every one of his surviving discs (including unissued takes) has been re-mastered and re-released in recent years.

Caruso's first recordings were arranged by recording pioneer Fred Gaisberg and cut on disc in three separate sessions in Milan during April, November and December 1902. They were made with piano accompaniments for HMV/EMI's forerunner, the Gramophone & Typewriter Company. In April 1903, he made seven further recordings, also in Milan, for the Anglo-Italian Commerce Company (AICC). These were released on discs bearing the Zonophone seal. Three more Milan recordings for AICC followed in October. This time they were released by Pathé Records on cylinders as well as on discs. On February 1, 1904, Caruso began recording exclusively for the Victor Talking Machine Company in the United States. While most of Caruso's American recordings would be made in studios in New York and Camden, New Jersey, Victor also recorded him occasionally in Camden's Trinity Church, which they acquired in 1917 for its acoustical properties and which could accommodate a large band of musicians. Caruso's first recordings for Victor In 1904 were made in Room 826 at Carnegie Hall, in New York. Caruso's final recording session took place at Camden on September 16, 1920 with the tenor singing Domine Deus" and "Crucifixus" from Rossini's Petite messe solennelle.

Caruso's earliest American records of operatic arias and songs, like their 30 or so Milan-made predecessors, were accompanied by piano. From February 1906, however, orchestral accompaniments became the norm, utilizing an ensemble of between eleven and twenty musicians. The regular conductors of these recording sessions with orchestra were Walter B. Rogers and, from 1916, Josef Pasternack. Beginning in 1932, RCA Victor in the US and EMI (HMV) in the UK, reissued several of the old discs with the existing accompaniment over-dubbed by a larger electrically recorded orchestra. (Earlier experiments using this re-dubbing technique, carried out by Victor in 1927, had been considered unsatisfactory.) In 1950, RCA Victor reissued a number of the fuller-sounding Caruso recordings on 78-rpm discs made of smoother vinyl instead of the usual shellac. As long-playing discs (LPs) became popular, many of his recordings were electronically enhanced for release on the extended format. Some of his recordings were also released by RCA Victor on the 45-rpm format in the early 1950s.

In the 1970s, Thomas G. Stockham of the University of Utah utilised an early digital reprocessing technique called "Soundstream" to remaster Caruso's Victor recordings for RCA. These early digitised efforts were issued in part on LP, beginning in 1976 and then they were issued complete by RCA on compact disc (in 1990 and again in 2004). Other complete sets of Caruso's recordings in newer digital restorations were issued on CD on the Pearl label and in 2000-2004 by Naxos. The 12-disc Naxos set was remastered by the noted American audio-restoration engineer Ward Marston. Pearl also released in 1993 a CD set devoted to RCA's electrically over-dubbed versions of Caruso's original acoustic discs. RCA has similarly issued three CD sets of Caruso material with modern, digitally recorded orchestral accompaniments added. Caruso's records are now available, on the internet as digital downloads. His best-selling downloads at iTunes have been the familiar Italian songs "Santa Lucia" and "O Sole Mio".

Caruso died before the introduction of higher fidelity, electrical recording technology in 1925. All of his recordings were made using the acoustic process, which required the recording artist to sing into a metal horn or funnel which relayed sound directly to a master disc via a stylus. This process captured only a limited range of the overtones and nuances present in the singing voice. Caruso's 12-inch acoustic recordings were limited to a maximum duration of about 4:30 minutes. Consequently, the selections that he recorded were limited to those that could be edited to fit this time constraint.


Over There
Caruso singing the popular World War I song by George M. Cohan.

See also

  • Birth of public radio broadcasting
  • Caruso Sauce
  • The Young Caruso


  • Key, P.V.R. and Zirato, B, Enrico Caruso, a Biography (Little, Brown and Co, Boston, 1922).
  • Scott, Michael, The Great Caruso (Hamish Hamilton, London, 1988).
  • Caruso, Dorothy, Enrico Caruso His Life and Death, with a discography by Jack Caidin (Simon and Schuster, New York, 1945).
  • Jean-Pierre Mouchon, "Particularités physiques et phonétiques de la voix enregistrée de Caruso", foreword by Prof.André Appaix (in Le Sud Médical et Chirurgical, 99e année, n°2509,Marseille, France, 31 octobre 1964, pp. 1181-211829).
  • Jean-Pierre Mouchon, "Enrico Caruso. 1873-1921. Sa vie et sa voix. Étude psycho-physiologique, physique, phonétique et esthétique", foreword by Dr.Édouard-Jean Garde (Académie régionale de chant lyrique, Marseille, France, 1966, 106 p. ill.).
  • Jackson, Stanley, Caruso (Stein and Day, New York, 1972).
  • Jean-Pierre Mouchon, "Enrico Caruso. His Life and Voice" (Éditions Ophrys, Gap, France, 1974, 77 p. ill.).
  • Jean-Pierre Mouchon, "Enrico Caruso. L'homme et l'artiste, 4 vol.: Première partie. L'homme (Étude psycho-physiologique et historique), pp. 1653 bis, ill.; deuxième partie. L'artiste (étude physique, phonétique, linguistique et esthétique), pp. 654975 bis, bibliographie critique, index des représentations données par Enrico Caruso entre 1895 et 1920, index de ses concerts et récitals, pp. 9761605 (Paris-Sorbonne 1978, published by Atelier national de reproduction des thèses, Université de Lille III, 9, rue Auguste Angellier, 59046 Lille, France in three volumes, and by Didier-Érudition, Paris, in microfiches).
  • Pleasants, Henry, The Great Singers (Macmillan Publishing, London, 1983).
  • Rothwell-Smith, Paul. Silent Films! the Performers (2011) ISBN 9781907540325
  • Caruso, Enrico Jr., and Farkas, Andrew, Enrico Caruso, My Father and My Family, with a discography by William Moran and a chronology by Tom Kaufman (Amadeus Press, Portland, 1990).
  • Gargano, Pietro and Cesarini, Gianni, Caruso, Vita e arte di un grande cantante (Longanesi, 1990).
  • Douglas, Nigel, Legendary Voices (Andre Deutsch, London, 1992).
  • Jean-Pierre Mouchon, "Chronologie de la carrière artistique du ténor Enrico Caruso" (Académie Régionale de Chant Lyrique, Marseilles, France, 1992, 423 p., ill.).
  • Vaccaro, Riccardo, Caruso, foreword by Dr. Ruffo Titta (Edizioni Scientifiche Italiane, Naples, Italy, 1995).
  • Gargano, Pietro, Una vita una leggenda (Editoriale Giorgio Mondadori, 1997).
  • Griffith, Hugh, CD liner notes for The Complete Recordings of Enrico Caruso, volumes 1 & 2, produced by Ward Marston (Naxos Historical, 8.110703, 8.110704, (c) 2000 HNH International Ltd).
  • Potter, John, Tenor: History of a Voice (Yale University Press, New Haven & London, 2009).
  • Steane, John, The Grand Tradition: 70 Years of Singing on Disc (Duckworth, London, 1974).
  • Jean-Pierre Mouchon, "Caruso in Concert" (in "Étude" n°46, "Hommage à Marguerite-Marie Dubois", JanuaryFebruaryMarchApril 2010, pp. 1237, Journal of Association internationale de chant lyrique "Titta Ruffo", Marseilles, France, edited by Professor Jean-Pierre Mouchon, M.A., PhD, Mus.D., D.Li).
  • Jean-Pierre Mouchon, "Enrico Caruso. L'homme et l'artiste", two volumes (Terra Beata, Société littéraire et historique), 45, bd. Notre-Dame, 13006Marseille, France, 2011, 1359 pp., ill.[41]
  • Il Progresso italo americano, Il banchiere[42] che portò Caruso[43] negli US[44], sezione B supplemento illustrato della domenica, New York, 27 luglio 1986.
  • Jean-Pierre Mouchon, "Enrico Caruso. Deuxième partie. (La voix et l'art, les enregistrements). Étude physique, phonétique, linguistique et esthétique." Volume III (Association internationale de chant lyrique TITTA RUFFO, 2012, 433 pp. ill. ISBN 2-909366-18-9).


  1. Chronomedia. Accessed on September 11, 2007.
  2. John Potter, Almost as Good as Presley: Caruso the Pop Idol. In Public Domain Review, online magazine, 2012-02-13, page found 2012-10-18.
  3. Enrico Caruso: The Voice of the Century (A & E Biography, 1998).
  4. Key, Pierre and Bruno Zirato, Enrico Caruso, a Biography. Little Brown and Co., 1922.
  5. Stanley Jackson, Caruso. Stein and Day, 1973.
  6. A.J. Millard, America On Record (Cambridge University Press, 2005), pp. 5960.
  7. Key, Pierre and Bruno Zirato, Enrico Caruso, a Biography. Little Brown and Co., 1922. p. 145
  8. Key, Pierre, Enrico Caruso: A Biography, Vienna House, 1972.
  9. Robinson, Francis, Caruso: His Life in Pictures, Brahmhall, 1957.
  10. Caruso, Enrico Jr. & Farkas, Andrew, Enrico Caruso: My Father and My Family, Amadeus Press, 1990, p.20.
  11. Caruso, Enrico Jr. & Farkas, Andrew, Enrico Caruso, My Father and My Family, Amadeus Press, 1990.
  12. Dorothy Caruso, Enrico Caruso, His Life and Death, p. 257.
  13. Key and Zirato, p. 16.
  14. {{#invoke:citation/CS1|citation |CitationClass=web }}
  15. Bronson, William, "The Earth Shook, The Sky Burned," p. 50
  16. William Bronson, The Earth Shook, The Sky Burned
  17. An account of the earthquake by Caruso's lifelong friend, the baritone Antonio Scotti, including Scotti's observations of Caruso's behavior, is found in Pierre Key's biography of Caruso, Enrico Caruso: A Biography free online at Google Books, pp. 22829.
  18. David Suisman, "Welcome to the Monkey House: Enrico Caruso and the First Celebrity Trial of the Twentieth Century". In The Believer, June 2004, webpage accessed 2009-05-14.
  19. Scott 1991, p. 181.
  20. Scott 1991, p. 168.
  21. Caruso Love Letters Reveal Passion Behind a Life of Epic Operatic Drama 2005 article describing the discovery of voluminous correspondence between Caruso and Giachetti.
  22. Orlando Barone, Caruso Mysteries, article written for the Opera-L discussion list 1996-02-21, page found 2010-10-29.
  23. Caruso Jr., p. 338.
  24. Wah Keung Chan, The Voice of Caruso from La Scena Musicale Vol. 7, No. 7 online, page found 2010-11-06.
  25. Caruso Jr. covers his father's relationship with Giachetti in great detail. Jackson (1973) and Scott (1988) also contain extensive information about the liaison.
  26. Gloria Caruso Murray, 79, Artist and Tenor's Daughter, William H. Honan, The New York Times, December 18, 1999
  27. Dorothy Caruso, Enrico Caruso: His Life and Death. Simon and Schuster, New York, 1945. Mrs, Caruso enumerated these facts partly to satisfy public curiosity and partly to dispel myths and rumors about her husband.
  28. Pierre Key, Enrico Caruso, a Biography written with Caruso's personal assistant Bruno Zirato. Little, Brown and Co, Boston, 1922.
  29. Stanley Jackson, Caruso. Stein & Day, 1972.
  30. Caruso, Jr.'s biography devotes an entire section to medical opinions concerning the tenor's ailments and possible causes of his death.
  31. Dorothy Caruso, pp. 23444.
  32. Pierre Key, p. 386.
  33. Caruso described his illness and surgical procedures in a letter to his brother Giovanni, reprinted in Enrico Caruso, His Life in Pictures by Francis Robinson (Bramhall, 1977), p. 137.
  34. Dorothy Caruso, pp. 26870.
  35. Biographer Pierre Key attributed Caruso's decline to over-exertion as he convalesced (see p. 389), as did Francis Robinson (p. 139). Dorothy agrees with this in part, saying (p. 262) that a group of hangers-on encouraged him to go on excursions, give dinners and otherwise exert himself.
  36. Dorothy Caruso, p. 275.
  37. Enrico Caruso Dies in Native Naples: Death Came Suddenly, New York Times, August 3, 1921, webpage found 2009-05-14.
  38. Pringle, Heather, The Mummy Congress, London, 2002, pp. 294296; see also http://www.time.com/time/magazine/article/0,9171,728911,00.html
  39. Scott catalog # 2250.
  40. {{#invoke:citation/CS1|citation |CitationClass=web }}
  41. http://enrico-caruso.dyndns.org/
  42. New Page 1 at bluehawk.monmouth.edu
  43. http://bluehawk.monmouth.edu/~psimonel/nonno3.jpg
  44. http://bluehawk.monmouth.edu/~psimonel/nonno4jpg.jpg


  • Scott, Michael (1991), The Great Caruso, Random House, ISBN 978-0-517-06766-6

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