Enrico caruso biography brevettator

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Vergine, on hearing Caruso, compared the tenor's voice to "the wind whistling through the chimney," Michael Scott recounted in The Great Caruso. Although he disliked Caruso's Neapolitan cafe style, flashy gestures, and unrefined and unrestrained vocalizing, Vergine finally agreed to accept Caruso as his student. But, most important, his recordings brought grand opera to the uninitiated.

A gifted caricaturist, Caruso often gave drawings away. His vocal range was limited; he often had to transpose the musical score down a halftone since he had trouble in the upper register, especially hitting high C. But impresarios who heard Caruso recognized his innate gift and cast him in significant productions such as Faust, Rigoletto, and La Traviata. With stage experience and brief training with another vocal teacher, Vincenzo Lombardo, the singer made steady progress, refining the natural beauty of his voice.

In 1897, studying for the part of Rodolpho in Giacomo Puccini's La Boheme, Caruso went to the composer's villa to secure Puccini's consent of his interpretation.

Recordings

Caruso's first recordings, made on April 11, 1902, in Milan, were done for the Gramophone and Typewriter Company, and they represent the genesis of what would become the modern classical recording industry. His final recordings were made in September 1920, and the last two selections were excerpts from the RossiniPetite Messe Solennelle. Caruso's conductors in his recordings included Walter B.

Rogers and Joseph Pasternack. Millions cried along with his version of Canio's sobbing "Vesti la giubba," from I Pagliacci. The development of the American opera audience from a rarefied community at the turn of the century to a diverse populace in modern times can be directly attributed to Caruso's recordings.

But Caruso's allure was not solely the result of his singing.

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.

1883; debuted in L'Amico Francesco at Teatro Nuovo, Naples, 1894; expanded repertoire to include La Traviata, Rigoletto, Aida, and Faust, among others; first sang Canio in I Pagliacci, 1896, and Rodolfo in La Boheme, 1897; debuted in La Boheme at La Scala, Milan, 1899; performed internationally, including appearances in Moscow, Buenos Aries, Monte Carlo, and London, beginning in 1899; made first recordings, 1902; debuted in U.S.

at Metropolitan Opera, New York City, 1903.

Legacy

Enrico Caruso gave the music world a star performer who lifted the artistry of opera singing into a commercial level which created a greater access for these dramatic musical performances.

So why on earth spend hundred of hours, as I have, developing this site?

God?'"

Caruso's instrument was "a voice of the South, full of warmth, charm, and lusciousness," described a commentator of the era who was quoted in Howard Greenfeld's book Caruso. But what truly set Caruso apart--from his predecessors, contemporaries, and successors--was his ability to eliminate the space between singer and listener, to intensify "the emotional effects upon his audience," testified American Heritage contributor Kobler.

Earlier that year, he had made his first recordings, an album on 78-rpm vinyl record which sold more than a million units and led to an invitation to appear at Covent Garden in the U.K.

In 1903, with the help of his agent, the banker Pasquale Simonelli, Caruso traveled to New York City, where he made his debut with the Metropolitan Opera on November 23, as the Duke of Mantua in a new production of Verdi'sRigoletto.

The success of these recordings (with sales of one million units) led to his initial invitations to appear at Covent Garden in the UK and the Metropolitan Opera on New York City. Dorothy published a book about Caruso in 1945, which includes many of his letters to her. Worked as laborer, including jobs as mechanic and jute weaver, beginning c.

Enrico Caruso—His Life and Death. New York: Simon and Schuster, 1945.