Caruso biography

The country is Italy Karuzo, Enriko Ital. Enrico Caruso; 24 on other in childhood he sang in the church choir. He took the singing lessons from the pianist Skirardi and the maestro de Lutio. With the singing school under the leadership of the famous musician G. in the stage of the Neuo Theater, the young singer in the opera Francesco’s opera Morelli took place. B was invited to Milan, where he made a great success on the stage of the Liriko Theater in the opera “Navarka” by Massa, “Arletsian” Chilea in the Federico party, the 1st production and others.

In the same theater, the party of the Fedor Party Lauris took part in the first performance of the opera of Fedor. With great success, he toured with great success in the largest opera theaters of the world: in Buenos Aires, Montevideo, London, Lisabon, Rio de Janeiro, in St. Petersburg, Moscow, etc., he first performed on the stage of the Milan Skala Theater in Rudolf’s party “Bohemia” under the following years, remaining the soloist of this theater, Karuzo Karuzo.

He toured in the cities of North and South America, performed a tour of the cities of Europe: he sang in Hungary, Spain, France, England, Austria, Germany, Belgium, etc. The last time he performed on the opera stage in December in the party of Eleasar “Daughter of Cardinal” Galevi, “Metropolitan Opera”. An outstanding artist, Caruso is a phenomenal phenomenon in vocal art.

His voice, vast in the range and power of sound, unique in the beauty of the timbre with a magnificent metal echo and limitless modulating capabilities, with bright saturation of the upper notes and the baritonal coloring of the lower register, with amazing breathing power, impressed the touching penetration and special warmth of the sound. From his teachers - G. Verdzhina and V.

Lombardi with whom he passed the opera parties at the beginning of his artistic career - Karuzo deeply perceived the best traditions of the Italian classical school of Belcanto. The true instantry of the artist, a huge will and a constant desire to improve his vocal skill, the versatility of artistic nature, sensitive attention to the poetic word, subtle lyricism, bright dramatic temperament, the unusual power of emotional influence and lively contact with the audience - these are the main features of the creative appearance of Karuzo.

The great artist was equally close to the most diverse tenor parties: lyrical, lyrical-dramatic, messo-characteristic, heroic-dramatic and tragic, especially the heroes of the operas J. Verdi; His favorite party is Manriko. There were over 80 operas in the singer’s repertoire. The best parties of K. in the singer’s chamber repertoire were classic works of church music, Italian patriotic hymns in the ton.

With special penetration and subtlest taste, Caruso performed Neapolitan songs. The singer himself composed several songs: “Old Times”, “Serenade”, “Sweet torment” together with R. Barteli, Caruso - the first singer whose repertoire was recorded on gramples. Caruso played the piano, guitar, flute, pipe, was a gifted caricaturist. Works: how to sing, “Theater Gazeta”, M. Literature: Lvov M.

Karuzo, “cm”,, no 1, p. Karuzo, Memoen, per. Karuzo, per. A biography, Boston,; Monaldi G. Caruso, mil. Storia di un emigrante, mil. A Personal History, N. Sa Vie et Sa Voix, L. Grishchenko Source: Musical Encyclopedia, - GG. One of the singers right during the Aria lost lace patho, but managed to stuff them with their foot under the bed. She did not rejoice for long.

Caruso raised his pants, straightened them and brought them with a ceremonial bow to the lady ... The auditorium exploded with laughter. At lunch to the Spanish king, he granted his pasta, assuring that they were much tastier, and invited the guests to try. In English, he knew only a few words, which was known to very few: thanks to artistry and good pronunciation, he always easily emerged from a difficult situation.

And here is what the Polish singer J. Vaida-Korolevich writes with a brilliant singer: “Enriko Caruso, the Italian, born and grew up in a magic Naples, surrounded by a marvelous nature, Italian sky and scorching sun, was very impressive, impulsive and hot-free. The power of his talent was three main features: the first is an enchanting hot, passionate voice that cannot be compared with any other.

The beauty of his timbre was not in the evenness of the sound, but, on the contrary, in the wealth and variety of colors. Karuzo expressed all his feelings and experiences in his voice - at times it seemed that the game and stage action for him is unnecessary. The second feature of Caruso talent is a palette of feelings, emotions, psychological nuances in singing unlimited in its wealth; Finally, the third line is his huge, spontaneous and subconscious dramatic talent.

Enriko Karuzo was born on February 24 on the outskirts of Naples, in the San Jovanello region, in a worker’s family. His first performances took place near the house in the small church of San Jovanello. Enrico graduated only to elementary school.As for musical training, he received the minimum necessary knowledge in the field of music and singing acquired from local teachers.

Already a teenager Enriko entered the factory where his father worked. But he continued to sing, which for Italy, however, is not surprising. Karuzo even took part in the theater production - the musical farce "Robbers in the garden of Don Raffael." The further path of Karuzo is described by A. Filippov: “In Italy of that time, the first -class tenors were registered, 44 of which were considered famous.

In the back of the head they were breathing several hundred singers with a lower rank. With such competition, Caruso had little prospects: it is quite possible that his lot would have remained in the slums with a bunch of half -starved children and a career of street soloist, with a hat in the hand of a bypassing listeners. But here to help, as is usually the case in novels, his Majesty came the case.

Enriko was immediately invited to the Italian troupe gathering on tour to Cairo. Karuzo returned to the hotel in the morning riding a donkey, all covered with mud: he fell into the Nile and miraculously escaped from the crocodile. Caruso, embarrassed and touched by a warm technique, responding to the numerous praises of Russian listeners, said: “Oh, do not thank me - thank Verdi! After a stunning success in La Scala, where Caruso sang in Donitnitti, even conducting the opera Arturo Tuscanini, very stingy for praise, he could not stand it and, hugging Caruso, said.

If this Neapolitan continues to sing like that, he will make the whole world talk about himself! He sang in Rigoletto. The famous singer immediately and forever conquers the American public. The director of the theater was Enri Ebey, who immediately signed a contract with Caruso for a whole year. When the Ferrarier Julio Gatti-Kazaktsa later became the director of the Metro Theater, the Caruso fee began to grow steadily every year.

As a result, he received so much that other theaters of the world could no longer compete with the New York. For fifteen years, the commander Julio Gatti-Kazaktsa was led by the Metropolitan theater.

He was cunning and calculating. And if sometimes there were exclamations that the fee of forty, fifty thousand lire for one performance is excessive, that not a single artist in the world received such a fee, then the director only laughed. And he was right. When Karuzo participated in the play, the directorate raised the prices for tickets at its discretion.

Baryshnikov appeared, buying tickets at any price, and then reselling them at three, four, and even ten times more! The appearance of the name Caruso on the posters was every time a big event in the city. At the theater, it caused complications: the large hall of the theater could not accommodate everyone. I had to open the theater in two, three, or even four hours before the start of the performance, so that the temperamental public of the gallery would calmly take its places.

This ended with the fact that the theater for evening performances with the participation of Caruso began to be opened at ten in the morning. Spectators with handbags and baskets filled with provisions occupied the most comfortable places. For almost twelve hours, people came to hear the magical, enchanting voice of the singer, the performances began then at nine o’clock in the evening.

” Caruso was busy with Metro only during the season; At the end of him, he went to other numerous opera theaters, besieging him with invitations. Say, in October, Caruso has made a grand tour of the cities of Europe: he sang in Hungary, Spain, France, England and Holland. In these countries, as in North and South America, an enthusiastic reception of joyful and reverent listeners awaited him.

At the end of Arioso Hoza, fake notes sounded in the orchestra. They remained not noticed by the public, but did not slip away from the conductor. Having settled down from the remote control, he, beside himself with rage, headed for the orchestraants with the intention of making a reprimand. However, the conductor noticed that many soloists of the orchestra cried, and did not dare to say a word.

Confused, he returned to his place. But the impressions of the impresario about this performance printed in the New York weekly Follia: “Until now, I believed that the rate of 35 thousand lire, which was requested by Caruso for one evening performance, was excessive, and now I am convinced that for such an inaccessible artist no compensation would be excessive.

Call tears from the orchestras! Think about it! After all, this is Orpheus! He knew the party and his play partners well. This allowed him to better understand the work and intentions of the composer and organically live on stage.