Enrico Caruso - Voice of the Century
Hear the voice, see the man, and you’ll understand why Caruso is legendary
View record and artist detailsRecord and Artist Details
Composer or Director: Eduardo Di Capua, Ruggiero Leoncavallo, Teodoro Cottrau, Giacomo Puccini, Alberto Franchetti, Gaetano Donizetti, George (Michael) Cohan, Giuseppe Verdi, (Jacques-François-)Fromental(-Elie) Halévy
Genre:
DVD
Label: Red Seal
Magazine Review Date: 7/2004
Media Format: Digital Versatile Disc
Media Runtime: 141
Mastering:
Stereo
Catalogue Number: 82876 58240-9

Tracks:
Composition | Artist Credit |
---|---|
Rigoletto, Movement: ~ |
Giuseppe Verdi, Composer
Enrico Caruso, Tenor Giuseppe Verdi, Composer |
Rigoletto, Movement: La donna è mobile |
Giuseppe Verdi, Composer
Enrico Caruso, Tenor Giuseppe Verdi, Composer |
Pagliacci, 'Players', Movement: ~ |
Ruggiero Leoncavallo, Composer
Enrico Caruso, Tenor Ruggiero Leoncavallo, Composer |
(La) Juive, Movement: ~ |
(Jacques-François-)Fromental(-Elie) Halévy, Composer
(Jacques-François-)Fromental(-Elie) Halévy, Composer Enrico Caruso, Tenor |
(L')Elisir d'amore, 'Elixir of Love', Movement: Una furtiva lagrima |
Gaetano Donizetti, Composer
Enrico Caruso, Tenor Gaetano Donizetti, Composer |
Germania, Movement: Studenti udite |
Alberto Franchetti, Composer
Alberto Franchetti, Composer Enrico Caruso, Tenor |
(La) Bohème, 'Bohemian Life', Movement: Che gelida manina |
Giacomo Puccini, Composer
Enrico Caruso, Tenor Giacomo Puccini, Composer |
(La) Bohème, 'Bohemian Life', Movement: O soave fanciulla |
Giacomo Puccini, Composer
Enrico Caruso, Tenor Giacomo Puccini, Composer |
(La) Bohème, 'Bohemian Life', Movement: ~ |
Giacomo Puccini, Composer
Enrico Caruso, Tenor Giacomo Puccini, Composer |
Santa Lucia |
Teodoro Cottrau, Composer
Enrico Caruso, Tenor Teodoro Cottrau, Composer |
'O sole mio |
Eduardo Di Capua, Composer
Eduardo Di Capua, Composer Enrico Caruso, Tenor |
Over there |
George (Michael) Cohan, Composer
Enrico Caruso, Tenor George (Michael) Cohan, Composer |
Author: kYlzrO1BaC7A
Caruso is cast in a dual role as world-famous tenor and impoverished sculptor. In the first role we see him appearing in Pagliacci,/I>, showing the entrance (‘Un grande spettacolo’), arioso, ending and a curtain-call: not much, perhaps, but the nearest we shall ever come to seeing Caruso on stage. It looks as though he was actually singing, not just miming, and the face is unforgettable, almost shocking in its naked emotion.
The real gift and revelation, however, is Caruso’s portrayal of the sculptor. He is more than half a comic figure, ageing, unsuccessful, good-hearted and quite capable of laying out the bad guy and getting the girl in the end; he has a kind of dignity, and some pathos, too, but is still a figure of fun. And Caruso really is this character (and no doubt the duality was a mirror of his life). He plays up to the camera in the manner of silent films but he acts naturally, face and body always alive, convincing and compelling.
The biography, too, is a pleasure to watch. It wastes no time and is good at matching the story with the image, vivid in its evocation of the times as well as of the great tenor himself. The commentators speak with authority and almost entirely without the sanctimonious generalities which this kind of exercise tends to elicit. Two remarks have found their way to my heart. Enrico Jr says he prefers the 78s to any of the re-makes, and when he plays one says to himself ‘That’s my papa’. And Plácido Domingo recalls evenings at home in his youth when the record-collecting elders would get together, producing between them perhaps 20 different versions of an aria (also on 78s), and when the inevitable comparisons were made Caruso always emerged the winner. Enough of the voice is heard throughout the film to let a newcomer understand why.
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