Enrico caruso biography cortacab

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And he was extremely generous. He had numerous affairs with women, which often ended in court. He and the disc phonograph did much to promote each other in the first two decades of the twentieth century.

enrico caruso biography cortacab

Aunque fue un niño musical que cantaba canciones populares napolitanas por doquier y se unió al coro de su parroquia a los nueve años, no recibió formación musical formal hasta su estudio con Guglielmo Vergine a los 18 años. 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. The family was extremely poor and the father an alcoholic. Suscríbase ahora

Enrico Caruso (February 25 1873 – August 2 1921) was an Italian opera singer of the verissmo style, and one of the most famous tenors in history. "Caruso may have been a greater master of comedy than tragedy," Great Caruso author Scott wrote, "yet there was no levity in his approach to his art, for as each year passed and he became an ever more celebrated singer, his fame--ably demonstrated by frequent new issues of ever improving records--made increasing demands of him.

Caruso. New York: Stein and Day, 1972. They had one daughter, Gloria.

Repertoire

Caruso signing his autograph
  • L'Amico Francesco (Morelli)—Napoli, 15 March 1895 (Creation);
  • Faust—Caserta, March 28, 1895;
  • Cavalleria Rusticana—Caserta, April 1895;
  • Camoens (Musoni)—Caserta, May 1895;
  • Rigoletto—Napoli, July 21, 1895;
  • La Traviata - Napoli, 25 August 1895;
  • Lucia di Lammermoor—Cairo, October 1895;
  • La Gioconda—Cairo, November 1895;
  • Manon Lescaut—Cairo, November 1895;
  • I Capuleti e i Montecchi—Napoli, December 1895;
  • Malia—Trapani, March 1896;
  • La Sonnambula—Trapani, March 1896;
  • Marriedda—Napoli, June 1896;
  • I Puritani—Salerno, September 1896;
  • La Favorita—Salerno, November 1896;
  • A San Francisco—Salerno, November 1896;
  • Carmen—Salerno, December 1896;
  • Un Dramma in vendemmia—Napoli, February 1897;
  • Celeste—Napoli, March 1897 (Creation);
  • Il Profeta Velato—Salerno, April 1897;
  • La Bohème—Livorno, August 1897;
  • La Navarrese—Milano, November 1897;
  • Il Voto—Milano, November 1897 (Creation);
  • L'Arlesiana—Milano, November 1897 (Creation);
  • Pagliacci—Milano, December 1897;
  • La bohème (Leoncavallo)—Genova, January 1898;
  • The Pearl Fishers—Genova, February 1898;
  • Hedda—Milano, April 1898 (Creation);
  • Mefistofele—Fiume, March 1898;
  • Sapho—Trento, June 1898;
  • Fedora—Milano, November 1898 (Creation);
  • Iris—Buenos Aires, June 1899;
  • La Regina di Saba (Goldmark)—Buenos Aires, July 1899;
  • Yupanki—Buenos Aires, July 1899;
  • Aida—St.

    His marriage to Dorothy Park Benjamin in 1918 was happy and secure. ISBN 9780394536811. Debutó en Estados Unidos con Rigoletto en la noche de apertura de la Metropolitan Opera de Nueva York el 23 de noviembre de 1903, y continuó abriendo cada temporada allí durante los siguientes 17 años, presentando 36 papeles en total.

    Caruso's popular recordings and his extraordinary voice, known for its range, power, and beauty, made him one of the best-known stars of his time. Constant recording and performance demands and the singer's unchecked appetites took their toll on his health; he died in Naples, in 1921, from pneumonia and peritonitis. 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.

    The following year he began his lifelong association with the Victor Talking-Machine Company; his star relationships with both the Metropolitan and Victor would last until 1920. The Life and Death of Classical Music. New York: Anchor Books-Random House, 2007. His clothing and furnishings were luxurious.

    Caruso was portrayed by Mario Lanza in a highly fictionalized Hollywood motion picture, The Great Caruso, in 1951.