01. Mattinata
02. Libiamo, Libiamo
03. La Danza
04. O Sole Mio
05. Una Furtiva Lagrima
06. Santa Lucia                 play
07. Core `Ngrato
08. Hantise D`amour
09. A Granada
10. La Campana Di San Giusto
11. Tu Ca Nun Chiagne
12. Vieni Sul Mar (national italian song)
13. Quaroanno `A Luna
14. Over There… Par La-Bas
15. Cielo Turchino              play
16. Ml Par D` Udir Ancora
17. La Mia Canzone
18. Rigoletto "Questa O Quella"
19. Cavalleria Rusticana Siciliana "O Lola"
20. Un Bacio Ancora
21. Tosca "E Lucevan Le Stelle"
22. Germania "Studenti Udite"
23. La Partida

Enrico Caruso was born February 27, 1873 in Naples. He made his debut in Naples in 1895. Caruso to fame in 1897 when he played in Palermo Party Enzo (La Gioconda "Ponchielli). In 1900 he made his debut on the stage of Milan's La Scala (Nemorino in "love potions" Donizetti). In 1902 he made his debut in London's Covent Garden (the Duke in "Rigoletto" by Verdi). The greatest glory of the singer associated with the New York Theater Metropolitan Opera, soloist he was from 1903 to 1920. Caruso recorded a lot - one of the first opera singers recorded the bulk of his repertoire of gramophone records. Have a voice with a unique timbre, in which a natural baritone, velvety sound of the lower and middle registers, combined with the brilliant tenor on horseback. Thanks to exclusive possession of breath, impeccable intonation and, most importantly, a high performance culture has become a legend of vocal art 20 th century, a model for future generations of operatic tenors.

Caruso with equal success, performing the roles of the lyric and dramatic plan, primarily in operas by Verdi (Duke, Manrico in "Il Trovatore", Richard in "fancy-dress ball, Radames in Aida), and composers veristov (Canio in" clown "and Leoncavallo etc.). It was the first performer of roles Federico (Arlezianka "Cilea, 1897), Loris (Fedora Giordano, 1898), Johnson (" The Girl from the West "by Puccini, 1910). The concert repertoire Caruso principal place occupied Neapolitan songs.

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01. Vieni sul mar
02. O sole mio
03. Tu ca nun chiagne
04. Santa Lucia
05. Pecchè
06. L'Alba separa dalla luce l'ombra
07. Fenesta che lucive
08. Mamma mia che von sapé             play
09. Musica proibita
10. Core 'ngrato
11. Luna d'estate
12. Ideale
13. 'A vucchella
14. Vaghissima sembianza
15. Tarantella sicera                  play
16. Senza nisciuno
17. Addio a Napoli

Vienna Radio Orchestra
Rolando Villiaze - conductor

As a follow-up to its Caruso 2000 release, RCA here offers us a remastered, implemented selection of Neapolitan songs recorded by Enrico Caruso between 1906 and 1920. The gimmick is again that the old recordings have been digitally stripped of their oompah, blaring instruments. In their place, the Vienna Radio Symphony Orchestra has provided modern accompaniment. It's still anachronistic--the voice remains in another acoustical era from the orchestra--but this time, the balance is a little better, and conductor Gottfried Rabl is amazingly sensitive to Caruso's style and phrasing. Moreover, of course, the pops and clicks of the old pre-electrical shellacs are gone. The voice retains its timbre and quality, thank goodness, and one can still marvel at the way the sound grew over the 14 years recorded here. It's always magnificent, but it became more baritonal and muscular with age, without losing any of its thrills. The "Ideale" from 1906 remains an exquisitely tender piece of singing; elsewhere, the sheer visceral excitement of the voice dazzles. Purists may not approve. Those unfamiliar with the Caruso phenomenon should hear him under any circumstances, and this is as good a chance as any. --Robert Levine

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01 - Tu non mi vuoi piu 
02 - Tosca- E lucevan le stelle
03 - Les Huguenots - Qui sotto il ciel
04 - Rigoletto- Questa o quella
05 - Rigoletto- La donna e mobile
06 - L'elisir d'amore- Una furtiva lagrima
07 - Aida- Celeste Aida
08 - Tosca- Recondita armonia
09 - Tosca- E lucevan le stelle
10 - Cavelleria rusticana- Siciliana
11 - I pagliacci- Vesti la giubba
12 - Manon- Chiudo gli occhi (Il sogno)
13 - Mattinata
14 - I pescatori de perle- Mi par d'udir ancor
15 - Don Pasquale- Com'e gentil (Serenata)
16 - Carmen- Il fior che avevi a me
17 - Les Hugenots- Bianca al par di neve alpina
18 - La gioconda- Cielo e mar!
19 - Cavelleria rusticava- Brindisi
20 - Martha- M'appari tutt'amor
21 - La boheme- Che gelida manina
22 - Faust- Salut, demeure chaste et pure
23 - Il trovatore- Di quella pira
24 - La favorita- Spirto gentil, ne'sogni miei

Enrico Caruso - Tenor 
Bessie Abott - Soprano 
Mario Ancona - Baritone 
Francesco Daddi – Baritone
Geraldine Farrar – Soprano
Louise Homer - Mezzo-Soprano
Nellie Melba – Soprano
Antonio Scotti – Baritone
Marcella Sembrich – Soprano
Gina Severina - Mezzo-Soprano
Gina Viafora - Mezzo-Soprano
Marcel Journet - Bass
Francesco Cilèa - Piano
Salvatore Cottone - Piano
Luigi Denza - Piano
Ruggero Leoncavallo – Piano

Enrico Caruso, original name Errico Caruso (born Feb. 25, 1873, Naples, Italy—died Aug. 2, 1921, Naples), the most admired Italian operatic tenor of the early 20th century and one of the first musicians to document his voice on gramophone recordings.

Caruso was born into a poor family. Although he was a musical child who sang Neapolitan folk songs everywhere and joined his parish choir at the age of nine, he received no formal music training until his study with Guglielmo Vergine at age 18. Within three years, in 1894, he made his operatic debut, in Mario Morelli’s L’Amico Francesco in Naples at the Teatro Nuovo. Four years later, after adding a number of impressive roles to his repertoire, he was asked to create the role of Loris in the premiere of Umberto Giordano’s Fedora in Milan. He was a sensation and soon had engagements in Moscow, St. Petersburg (Russia), and Buenos Aires. He made his La Scala debut with La Bohème (1900). In 1901, after being unfavourably received in his performance in L’elisir d’amore in Naples, he vowed never again to sing in Naples, and he kept his word.

Caruso then created the chief tenor parts in Adriana Lecouvreur, Germania, and La fanciulla del West, and for the La Scala company the tenor roles in Le Maschere and L’elisir d’amore. World recognition came in the spring of 1902 after he sang in La Bohème at Monte Carlo and in Rigoletto at London’s Covent Garden. He made his American debut in Rigoletto at the opening night of the Metropolitan Opera in New York City on Nov. 23, 1903, and continued to open each season there for the next 17 years, presenting 36 roles in all. His last public appearance—his 607th performance with the Metropolitan—was as Eléazar in La Juive (Dec. 24, 1920).

Caruso became the most celebrated and highest paid of his contemporaries worldwide. He made recordings of about 200 operatic excerpts and songs; many of them are still being published. His voice was sensuous, lyrical, and vigorous in dramatic outbursts and became progressively darker in timbre in his later years. Its appealing tenor qualities were unusually rich in lower registers and abounded in warmth, vitality, and smoothness. --- britannica.com

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•  Manon - Il Sogno 
•  Tosca - E lucivan le stelle 
•  L'Elisir d'Amore - Una furtiva lagrima 
•  Il trovatore - Di quella pira 
•  L'Africaine - Mi batti il cor...O Paradiso 
•  Pagliacci - Recitar...Vesti la giubba 
•  Don Sebastiano - Deserto in terra solo 
•  Rigoletto - Questa o quella 
•  La Forza Del Destino - Della natal sua terra...O tu che in seno agli angeli 
•  La Regina Di Saba - Magiche note 
•  I Pagliacci - No! Pagliaccio non son 
•  Aida - Se quel guerrir io foss... Celeste Aida 
•  Manon - Je suis seul... Ah! fuyez douce image 
•  Un Ballo In Maschera - Di tu se fedele 
•  Un Ballo In Maschera - Forse la soglia...Ma se m'e forza 
•  Lo schiavo - Qui fortuna insistenza... Quando nascesti tu 
•  Rigoletto - Ella mi fu rapita...Parmi veder le lagrime 
•  Manon Lescaut - Donna non vidi mai 
•  Il Duca d'Alba - Angelo casto e bel 
•  La Juive - Rachel, quand du

Sounding across the years, through the haze of primitive (though remarkably vivid) recordings, the voice of Enrico Caruso is still a miracle. The sense of style, the feeling of effortless control and power held in reserve, and, most of all, the uncanny expressiveness that comes through in Caruso's combination of phrasing, accent, and intensity: it all compels the greatest admiration. Nimbus helpfully specifies the provenance of the takes collected on this disc. They span a period of 17 years, from several matrices recorded early in 1904--two years after Caruso had made his first recordings for The Grammophone Company--to a 1920 Victor recording of "Rachel, quand du Seigneur" from Halévy's La Juive, one of the tenor's signature pieces. Caruso died at the age of 48, when a lot of today's tenors are just reaching their peak. But as these selections show, he was a seasoned artist from the time he was 28. No wonder the world fell at his feet. --Ted Libbey, amazon.com

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