Non conoscevo questo brano. Cantato da Caruso poi è gradevolissimo per il colore molto particolare e un po' scuro della voce e per gli acuti strepitosi , tenuti molto a lungo e sempre più in crescendo, per poi scendere come una parabola! 💎💎💎💯
Thanks, Andy. I don't know much about singing or opera for that matter, but this "simple", uneducated Neapolitan just keeps knocking me out emotionally ... a hundred years later and with miserable recording technique. Stunning ! Tom
How is it that a man, over a century ago, bearing his soul into a little cone, with limited accompaniment, and with technology that was primitive by our standards, could give us today such paralleled enjoyment? The more I listen to this great Maestro, the more amazed I am at his incredible talent. What would it be like to have actually heard the fullness of his great voice? I can't even imagine.
The famous soprano Geraldine Farrar was struck dumb by the power and beauty of the voice when she heard Caruso in rehearsal. Eyewitnesses report that he had so many resonances to his voice that they could not believe what they were hearing. A miracle of the ages that the greatest voice was allied to the greatest technique
Tone, technique, and artistry are perfectly wed in this extraordinary recording by the fabulous Caruso. I marvel once again at the perfect legato, not equaled by any other male singer on record except Pol Plancon. Thanks for sharing the Caruso legacy, Tom.
@@richardcleaver5440 Battistini is my very favorite baritone. However, the quality of his voice, while superb, does not match that of Caruso. His singing perhaps does, but not the voice per se. With regard to Ruffo, it is the opposite. His voice matches Caruso's; however his singing does not.
I have just spent half an hour listening to all the recordings of this beautiful aria currently available on RUclips. Some tenors bleat, others bray, yet others scoop and/or turn the words to mush. Caruso alone is worthy of Donizetti's genius.
I always loved this recording. I first heard it in 1972 when i was in school. (back in the days when they had records in schools) I listened to that recording a lot and marveled at his technique. I also enjoyed the other more fancy take of this same aria recorded the same day if I recall correctly.. But as always thank you for posting, This recording has brought back memories.
GREATNESS!!!!!!!! I absolutely agree with the ones who pointed out that this voice is so marvelous despite the recording technology. Think at what could be the nowadays voices of singers if recorded with that technology.....
@@cooloox, man darf keine "ähnlichen" verwenden, sondern man muss *"identische"* nehmen! An solchen Beispielen sollten mAn. Ton-Techniker studieren, wie die Restauration einer alten Aufnahme digital verbessert werden muss, um dem *'echten'* Klang gerecht zu werden. A.R.T.S. reicht nicht.
Gives the word legato a whole new meaning. Pavarotti and Vargas made excellent versions of this in their youth, but neither had the velvety depth of King Enrico.
Today, we've heard at S. Carlos Theater (Lisbon Opera House) an opera by Alfredo Keil, celebrating the centenary of Portuguese Republic. I was answering to the comments to my blog's review on the show, and I suddenly remembered this beautiful aria and rendition. Dona Branca is an opera that recalls as well to this sort of theme.
bodiloto No mention of Lanza Or Pavarotti CARUSO = Pioneer And Ingenious Lanza = Theatrical And Ingenious Pavarotti = Combination of both And Also Ingenious . All the others , mere shadows and echoes of these 3 Master's .
Mario Lanza - Hollywood star ... Luciano Pavarotti - tenore leggero ... ma molto leggero ... Caruso,Fleta,Gigli,Bonci,De Lucia,Masini,Partile,Schipa,Lauri-Volpi,Merli, Piccaluga,Del Monaco,Corelli,Tucker etc.etc.etc....= tenori fenomeni .
TOM ~ Yes, absolutely, the textural warmth of Caruso's voice was and is so great, so unusually handsome and the emotion in his delivery so obvious, It does matter if we know the translation of his song or aria. As you noted, his voice "penetrated" the old-time recording equipment and stings us with its beauty, in this case 101 years later! ~ ANDY
TOM ~ May it never end: the astonishment we share in hearing Enrico's voice again, and always again when he spins his golden sound into our music rooms! A wonderful choice of an aria as well as the choice of a relatively early year from his recording career ~ Bravo! ~ ANDY
You are very welcome Emoe ! BTW, I tried to post our "mystery music" from the 1990 World Championships to YT asking others to identify it. But YT cut out the music because of some copyright issue - don't understand how this happens, but they did it .... No sound !
Andy, you wrote: "It does matter if we know the translation of his song or aria." This might indeed one of Caruso's "secrets". I think he had the ability to communicate the very essence of a song/aria in his singing. "He sang the words for themselves for their significance feeling and meaning them. Hence the pathos of his voice, and his superb enunciation, which made the audience understand and feel every word he was singing." ("Caruso's Method of Voice Production" by Dr. P. Mario Marafioti).
One of my favourites. Was unexpectedly played at my father in law's funeral. Asked by my son, who knew it from my own musical interest, if there was a background, I could only answer, not that I know of. Know only that this man was cultured beyond his means. (factory worker). Such a pity.He tried to pass on his love of music by way of records, but, unfortunately, to deaf ears. Can only hope it only skipped a generation.
mary marycib come rimane unico Fleta ... come rimane unico De Lucia ... Bonci, Gigli,Merli,Pertile,Masini,Del Monaco, Corelli,Schipa,Lauri - Volpi e compagnia cioè più di 100 tenori tutti sublimi ... le loro voci meravigliose brillavano sul firmamento operistico con la loro bellezza unica . si può dire chi era il migliore soltanto se abbiamo sentito tutte queste voci meravigliose dal vivo durante una recita . una utopia . sovente una voce grande e poco bella su una registrazione e viceversa ... spesso dico che una registrazione è una illusione dolce o può essere anche una sorpresa bruttissima ...
Of course such a beautiful aria could only be sung by the "Portuguese king". :-P The tone that Caruso used in this recording - which slighty remembers his 1905's recordings - is kind of ingenuous, or something alike. It is perfectly suited to D. Sebastião. He was young (remember Caruso's youth in his recording debut) and foolish. Of course he died. LOL, we still have a legend that says he will return in his horse's back in a foggy morning.
@tklogan11809 If you prefer Pavarotti's version, it's all personal taste after all. But there is one difference; When Caruso & his contemporaries recorded into the tin horn, the aria had to be sung in one take every single time. If the singer or orchestra made a mistake, the entire aria had to be sung again. Caruso therefore may have had to sing an aria many many times before all were satisfied. It was not spliced together from many takes like modern recordings, including Pavarotti's.
MAGNIFICENT singing. Perfect technical command, glorious tone, spun line and legato phrasing. Only at the end does he get a little violent with the line, if just for a change of pace. This is real di grazia singing from Caruso!
I can accept that you personally find Pavarotti's voice to be more beautiful. People who are unaware of the huge frequency limitations of the old acoustic recording process, (akin to singing into a baked bean can & scratching the results onto a wax cylinder via a needle) - could have no conception of the incomparable greatness of the voice necessary to make it sound beautiful. Luciano had the enormous advantage of recording on equipment light years ahead, & splicing. He was good too though.
@@kimmillard9445, in diesen Fällen ist das Orchester eine Art *'Surrogatparameter'* für die einigermaßen richtige Beurteilung einer Stimmaufnahmequalität mAn.
The young Pavarotti's version of this (1968) is fantastic. One can, of course, compare it with Caruso's version, if one likes, but they are 60 years apart - and 60 years of technical improvements apart. According to people who both heard Caruso sing live at the opera and on recordings about half of the quality/overtones of his voice were lost in the recordings.
Whenever I hear Caruso sing high notes, I marvel at the ease of emission, the freedom of the vibrato. The power & squillo. At the end of La Donna e Mobile, I marvel at the agility of the cadenza, which has only been equalled by Tauber & Bjorling, - much smaller, lighter voices like Pavarotti's, who never equalled Caruso's agility even in recordings. Extreme high notes aren't a good benchmark. Rock tenors go far higher than any operatic tenor. I saw Pav live, & it was a surprisingly small voice.
Most of Caruso's 'takes' were single takes, but he recorded some takes up to (I believe) a maximum of four. There was NEVER any editing of different takes into a single record. There are records of all the takes, so that Caruso made approx 280 different records but there are approx 450 different recordings (typing from memory). There is no splicing of Caruso records. Virtually all the unused takes were destroyed, but some have turned up thanks to sterling work by Ward Marston and others.
perfect technique and breath control. It can't touch the beauty of Pavarotti however. I've always found Caruso strangulated and forced on the top. His C was a problem, Puccini almost removed it from Che gelida manina because Caruso couldn't quite master it. Pavarotti and Kraus had glorious Cs and Ds. Pavarotti even had a phenomenal F falsetto.
astroboy royale the higher you go, the better you sing ? What a poor metric to measure the greatness of a singer. You can listen to Matteuzzi, he can rich high F in full voice....... Pavarotti and Krauss are great (thinner but beautiful voices) but Caruso is at the highest level.
Non conoscevo questo brano. Cantato da Caruso poi è gradevolissimo per il colore molto particolare e un po' scuro della voce e per gli acuti strepitosi , tenuti molto a lungo e sempre più in crescendo, per poi scendere come una parabola! 💎💎💎💯
So glorious, that is why I always go back to Caruso. Finest!!!
Thanks, Andy. I don't know much about singing or opera for that matter, but this "simple", uneducated Neapolitan just keeps knocking me out emotionally ... a hundred years later and with miserable recording technique. Stunning !
Tom
Immenso
How is it that a man, over a century ago, bearing his soul into a little cone, with limited accompaniment, and with technology that was primitive by our standards, could give us today such paralleled enjoyment? The more I listen to this great Maestro, the more amazed I am at his incredible talent. What would it be like to have actually heard the fullness of his great voice? I can't even imagine.
The famous soprano Geraldine Farrar was struck dumb by the power and beauty of the voice when she heard Caruso in rehearsal. Eyewitnesses report that he had so many resonances to his voice that they could not believe what they were hearing. A miracle of the ages that the greatest voice was allied to the greatest technique
NIEMAND SINGT DIESE ARIE SO WIE ER ❤
Unutterably sweet, and I keep clicking replay. Donizetti + Caruso = heaven.
Chessie Pique enrico sei unico
Caruso; he just sings and there is no other like him
Agreement with all who find this astonishing beautiful-Caruso never fails to delight. Thank you for this upload Tom Frøkjær
Tone, technique, and artistry are perfectly wed in this extraordinary recording by the fabulous Caruso. I marvel once again at the perfect legato, not equaled by any other male singer on record except Pol Plancon. Thanks for sharing the Caruso legacy, Tom.
Let us not forget Mattia Battistini, too
@@richardcleaver5440 Battistini is my very favorite baritone. However, the quality of his voice, while superb, does not match that of Caruso. His singing perhaps does, but not the voice per se. With regard to Ruffo, it is the opposite. His voice matches Caruso's; however his singing does not.
grandiose Interpretation dieser sehr selten gehörten Arie.caruso war einzigartig unter den Sängern.hier ist es hörbar.
*EQ-Regelung* ist *KEINE* Änderung einer mgl. zugrunde liegenden Restauration. Sie wirkt wie z.B. eine 'Kirchenorgel stimmen' oder eine 'OhrBrille' und kann (bei alten Aufnahmen fast stets) zu brillanterem Kontrast der Wiedergabe führen. Das Schöne ist, dass es ohne großen Aufwand erreicht wird. Wer die Musikanlage vom Handy aus (Bluetooth Audio) steuert, sollte damit keine Probleme haben. Intensität der BBooster-(EQ) App bitte *vollständig* nutzen; Gesamtlautstärke ggf auf der externen Anlage einstellen!
Es ist NICHT leicht, mittels eines EQ eine merkliche Besserung der Klangqualität antiker Aufnahmen zu finden! Hierzu gibt's *kein* Preset. Die angegebene Präzisionseinstellung© hat hunderte Stunden meist kleiner Schritte der Verfeinerung erfordert (durch Abgleich vieler historischer Aufnahmen u. a. von ECaruso, LTetrazzini, Orgel, Violine, Klavier usw. - mit WFurtwängler, ATatum, KRichter, ACortot, SFiorentino etc), um alle Praxistests zu bestehen. Insofern ist nur *exakte, genaueste* ! Befolgung wirklich zielführend in "die 1. Reihe".
I have just spent half an hour listening to all the recordings of this beautiful aria currently available on RUclips. Some tenors bleat, others bray, yet others scoop and/or turn the words to mush. Caruso alone is worthy of Donizetti's genius.
I always loved this recording. I first heard it in 1972 when i was in school. (back in the days when they had records in schools) I listened to that recording a lot and marveled at his technique. I also enjoyed the other more fancy take of this same aria recorded the same day if I recall correctly.. But as always thank you for posting, This recording has brought back memories.
Era una voz privilegiada!!!
GREATNESS!!!!!!!!
I absolutely agree with the ones who pointed out that this voice is so marvelous despite the recording technology. Think at what could be the nowadays voices of singers if recorded with that technology.....
Villazon had a go at singing into similar technology equipment to what Caruso did and it sounded terrible. Caruso must have been amazing.
@@cooloox, man darf keine "ähnlichen" verwenden, sondern man muss *"identische"* nehmen!
An solchen Beispielen sollten mAn. Ton-Techniker studieren, wie die Restauration einer alten Aufnahme digital verbessert werden muss, um dem *'echten'* Klang gerecht zu werden. A.R.T.S. reicht nicht.
Listening to Caruso really can inspire wonder and awe... as it has here. Thanks to Tom for posting, and to Nate for sharing!
Doug --
Gives the word legato a whole new meaning.
Pavarotti and Vargas made excellent versions of this in their youth, but neither had the velvety depth of King Enrico.
@minnie888444: yes, Monica, these old recordings are genuine or "true" - no technical manipulation and mostly recorded in "one take."
Today, we've heard at S. Carlos Theater (Lisbon Opera House) an opera by Alfredo Keil, celebrating the centenary of Portuguese Republic. I was answering to the comments to my blog's review on the show, and I suddenly remembered this beautiful aria and rendition. Dona Branca is an opera that recalls as well to this sort of theme.
CARUSO , LANZA AND PAVAROTTI
THEE THREE GREATEST OF ALL TIME .
BRAVO BRAVO BRAVO 👏👏👏
Love And Knowledge from Old Hibernia 🍀
Caruso,Fleta,De Lucia,Bonci,Gigli,Pertile,Merli,Masini,Piccaluga,
Del Monaco,Corelli etc.etc.etc....
bodiloto
No mention of Lanza Or Pavarotti
CARUSO = Pioneer And Ingenious
Lanza = Theatrical And Ingenious
Pavarotti = Combination of both
And Also Ingenious .
All the others , mere shadows and echoes of these 3 Master's .
Mario Lanza - Hollywood star ...
Luciano Pavarotti - tenore leggero ... ma molto leggero ...
Caruso,Fleta,Gigli,Bonci,De Lucia,Masini,Partile,Schipa,Lauri-Volpi,Merli,
Piccaluga,Del Monaco,Corelli,Tucker etc.etc.etc....= tenori fenomeni .
@@bodiloto Also Curtis, and Helge Roswaenge
This aria is actually a favorite of mine! I hadn't heard Caruso's rendition of it though. Brilliant..
TOM ~
Yes, absolutely, the textural warmth of Caruso's voice was and is so great, so unusually handsome and the emotion in his delivery so obvious, It does matter if we know the translation of his song or aria.
As you noted, his voice "penetrated" the old-time recording equipment and stings us with its beauty, in this case 101 years later!
~ ANDY
Yes, you are right about there being two recordings of this on the same day. The second one was not published until 1948.
TOM ~
May it never end: the astonishment we share in hearing Enrico's voice again, and always again when he spins his golden sound into our music rooms!
A wonderful choice of an aria as well as the choice of a relatively early year from his recording career ~ Bravo!
~ ANDY
Barry Manilof
canta I ant smile whithout you
You are very welcome Emoe !
BTW, I tried to post our "mystery music" from the 1990 World Championships to YT asking others to identify it. But YT cut out the music because of some copyright issue - don't understand how this happens, but they did it .... No sound !
Magnificent.
Andy, you wrote: "It does matter if we know the translation of his song or aria." This might indeed one of Caruso's "secrets". I think he had the ability to communicate the very essence of a song/aria in his singing.
"He sang the words for themselves for their significance feeling and meaning them. Hence the pathos of his voice, and his superb enunciation, which made the audience understand and feel every word he was singing." ("Caruso's Method of Voice Production" by Dr. P. Mario Marafioti).
Thank you so much, dear Tom, for these treasures!
You are very welcome.
Great recording, thanks for the upload ;)
CARAY! QUE MAGNIFICENCIA!
MARAVILLOSA VOZ GRACIAS POR COMPARTIRLO TOM
One of my favourites. Was unexpectedly played at my father in law's funeral. Asked by my son, who knew it from my own musical interest, if there was a background, I could only answer, not that I know of. Know only that this man was cultured beyond his means. (factory worker). Such a pity.He tried to pass on his love of music by way of records, but, unfortunately, to deaf ears. Can only hope it only skipped a generation.
Io non posso paragonare. Enrico Caruso con nessuno. .......e'e. Rimane. Unico !!!!!!!!!!Mari
mary marycib
come rimane unico Fleta ...
come rimane unico De Lucia ... Bonci, Gigli,Merli,Pertile,Masini,Del Monaco, Corelli,Schipa,Lauri - Volpi e compagnia cioè più di 100 tenori tutti sublimi ...
le loro voci meravigliose brillavano sul firmamento operistico con la loro bellezza unica .
si può dire chi era il migliore soltanto se abbiamo sentito tutte queste voci meravigliose dal vivo durante una recita .
una utopia .
sovente una voce grande e poco bella su una registrazione e viceversa ...
spesso dico che una registrazione è una illusione dolce o può essere anche una sorpresa bruttissima ...
Bravo
Of course such a beautiful aria could only be sung by the "Portuguese king". :-P
The tone that Caruso used in this recording - which slighty remembers his 1905's recordings - is kind of ingenuous, or something alike. It is perfectly suited to D. Sebastião. He was young (remember Caruso's youth in his recording debut) and foolish. Of course he died.
LOL, we still have a legend that says he will return in his horse's back in a foggy morning.
@tklogan11809 If you prefer Pavarotti's version, it's all personal taste after all. But there is one difference; When Caruso & his contemporaries recorded into the tin horn, the aria had to be sung in one take every single time. If the singer or orchestra made a mistake, the entire aria had to be sung again. Caruso therefore may have had to sing an aria many many times before all were satisfied. It was not spliced together from many takes like modern recordings, including Pavarotti's.
"The Best"
MAGNIFICENT singing. Perfect technical command, glorious tone, spun line and legato phrasing. Only at the end does he get a little violent with the line, if just for a change of pace. This is real di grazia singing from Caruso!
Io adoro ,,Fleta ,ma Caruso e' sempre il meglio!!!!!!!!Mari
🎤 💞💞💞💞💞💞💞💞💞💞
EINE SEINER SCHÖNSTEN AUFNAHMEN
AMAZING
GOD BLESS THE WORLDS.
TRAUMHAFT
WUNDERBAR
I can accept that you personally find Pavarotti's voice to be more beautiful. People who are unaware of the huge frequency limitations of the old acoustic recording process, (akin to singing into a baked bean can & scratching the results onto a wax cylinder via a needle) - could have no conception of the incomparable greatness of the voice necessary to make it sound beautiful. Luciano had the enormous advantage of recording on equipment light years ahead, & splicing. He was good too though.
Listen to the orchestra on both recordings and remember that what the recording techniques are doing to the orchestras are also doing to he voices.
@@kimmillard9445, in diesen Fällen ist das Orchester eine Art *'Surrogatparameter'* für die einigermaßen richtige Beurteilung einer Stimmaufnahmequalität mAn.
WUNDERSCHÖN
The young Pavarotti's version of this (1968) is fantastic. One can, of course, compare it with Caruso's version, if one likes, but they are 60 years apart - and 60 years of technical improvements apart.
According to people who both heard Caruso sing live at the opera and on recordings about half of the quality/overtones of his voice were lost in the recordings.
Caruso's son is our source that his father's voice was less baritonal than we hear. He describes it as 'velvet' and 'sweet'
@@chastenor That may really be the case. For me it is not really his voice that makes him so special. It what he puts into it. Pure beauty.
@@tomfroekjaer Yes. The voice is incredible, but more important is the soul of his singing
Único
Whenever I hear Caruso sing high notes, I marvel at the ease of emission, the freedom of the vibrato. The power & squillo. At the end of La Donna e Mobile, I marvel at the agility of the cadenza, which has only been equalled by Tauber & Bjorling, - much smaller, lighter voices like Pavarotti's, who never equalled Caruso's agility even in recordings.
Extreme high notes aren't a good benchmark. Rock tenors go far higher than any operatic tenor. I saw Pav live, & it was a surprisingly small voice.
E vero
Most of Caruso's 'takes' were single takes, but he recorded some takes up to (I believe) a maximum of four. There was NEVER any editing of different takes into a single record. There are records of all the takes, so that Caruso made approx 280 different records but there are approx 450 different recordings (typing from memory). There is no splicing of Caruso records. Virtually all the unused takes were destroyed, but some have turned up thanks to sterling work by Ward Marston and others.
any "takes" that Caruso deemed flawed for any reason had to be destroyed within his eyesight
@@FISTRIG Mais ou sont les FRANÇAIS pour commenter ????
@@felixriffaud71 Et ou sont les neiges d'antan?
perfect technique and breath control. It can't touch the beauty of Pavarotti however. I've always found Caruso strangulated and forced on the top. His C was a problem, Puccini almost removed it from Che gelida manina because Caruso couldn't quite master it. Pavarotti and Kraus had glorious Cs and Ds. Pavarotti even had a phenomenal F falsetto.
astroboy royale the higher you go, the better you sing ? What a poor metric to measure the greatness of a singer.
You can listen to Matteuzzi, he can rich high F in full voice.......
Pavarotti and Krauss are great (thinner but beautiful voices) but Caruso is at the highest level.
High C be problematic measure to anyone, to put Pavarotti and Kraus on top of Caruso is crazy and laughable.
Orfeo
Está aria no es para su voz. Le falta legatto y matización.