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Enrico Caruso, His Career in Roles:His career, in roles.

Enrico Caruso (February 25, 1873 – August 2, 1921) was an Italian operatic tenor. He sang to great acclaim at the major opera houses of Europe and the Americas, appearing in a wide variety of roles from the Italian and French repertoires that ranged from the lyric to the dramatic. Caruso also made approximately 290 commercially released recordings from 1902 to 1920. All of these recordings, which span most of his stage career, are available today on CDs and as digital downloads.

  • Enrico Caruso: His Career, in Roles

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    Enrico Caruso: His Career, in Roles

    After his debut in 1895 in Naples, Italy, star tenor Enrico Caruso (1873-1921) performed in 61 roles in 24 years. This is a summary of his fantastic international career, shown in 49 photo-slides
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    In the title role in Faust (Gounod)

    After his debut in "L´Amico Francesco" in 1895, Faust was his first important role (Caserta, 1895)
    In the title role in Faust (Gounod)
  • As Turiddu, in Cavalleria Rusticana (Mascagni)

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    As Turiddu, in Cavalleria Rusticana (Mascagni)

    He debuted on this role also in Caserta in 1895
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    As Turiddu, in Cavalleria Rusticana (Mascagni)

    As Turiddu, in Cavalleria Rusticana (Mascagni)
  • A playbill from 1901 annoucing a performance of Rigoletto (Verdi) in Bologna

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    A playbill from 1901 annoucing a performance of Rigoletto (Verdi) in Bologna

    He had debuted on this role in Napoli, 1895. By 1901, his reputation as a tenor was alredy well established
  • Enrico Caruso: His Career, in Roles

    1

    Enrico Caruso: His Career, in Roles

    After his debut in 1895 in Naples, Italy, star tenor Enrico Caruso (1873-1921) performed in 61 roles in 24 years. This is a summary of his fantastic international career, shown in 49 photo-slides
  • Act One

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    Act One

    The square in front of Bartolo's house. In a public square outside Bartolo's house a band of musicians and a poor student named Lindoro are serenading, to no avail, the window of Rosina. Lindoro, who is really the young Count Almaviva in d
  • Enrico Background

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    Enrico Background

  • 1 - Period engraving of the Opéra-Comique or second Salle Favart in its full glory in 1864

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    1 - Period engraving of the Opéra-Comique or second Salle Favart in its full glory in 1864

    After the 1838 fire, a new house was inaugurated in 1840 until another blaze destroyed it again in 1887, killing 84 people. The existing theater was inaugurated in 1898
  • In the title role in Faust (Gounod)

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    In the title role in Faust (Gounod)

    After his debut in "L´Amico Francesco" in 1895, Faust was his first important role (Caserta, 1895)
  • Act One

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    Act One

    Rosina is the young ward of the grumpy, elderly Bartolo and she is allowed very little freedom because Bartolo plans to marry her, and her not inconsiderable dowry, himself – once she is of age.
  • 2 - French composer Jules Massenet’s historic piece of ephemera from the second 1887 fire

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    2 - French composer Jules Massenet’s historic piece of ephemera from the second 1887 fire

    Jules Massenet (1842-1912) was one of Opéra-Comique’s most beloved composers. These fragments of the boxes’ wallpapers with annotations in his hand are one-of-a-kind relics from his own collection!
  • As Turiddu, in Cavalleria Rusticana (Mascagni)

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    As Turiddu, in Cavalleria Rusticana (Mascagni)

    He debuted on this role also in Caserta in 1895
  • Act One

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    Act One

    Figaro approaches singing. Since Figaro used to be a servant of the Count, the Count asks him for assistance in helping him meet Rosina, offering him money should he be successful in arranging this. Figaro advises the Count to disguise himself as a d
  • 3 - Duprez, Gilbert and Carolina - Vintage Print

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    3 - Duprez, Gilbert and Carolina - Vintage Print

    French tenor Gilbert Duprez (1806-1896) and daughter soprano Caroline Duprez (1832-1875) posing together in a 19th century print, ca. 1851. Duprez created many roles, while Carolina, died at age 43 of tuberculosis.
  • As Turiddu, in Cavalleria Rusticana (Mascagni)

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    As Turiddu, in Cavalleria Rusticana (Mascagni)

  • Act One

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    Act One

    Knowing the Count only as Lindoro, Rosina writes to him. As she is leaving the room, Bartolo and Basilio enter. Bartolo is suspicious of the Count, and Basilio advises that he be put out of the way by creating false rumours about him.
  • 4 - Miolan-Carvalho, Caroline

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    4 - Miolan-Carvalho, Caroline

    French soprano Caroline Miolan-Carvalho (1827-1895) for Parisian weekly “Camées artistiques”, posing as an "ingénue" Marguerite (“Faust”).
  • A playbill from 1901 annoucing a performance of Rigoletto (Verdi) in Bologna

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    A playbill from 1901 annoucing a performance of Rigoletto (Verdi) in Bologna

    He had debuted on this role in Napoli, 1895. By 1901, his reputation as a tenor was alredy well established
  • Act One

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    Act One

    When the two have gone, Rosina and Figaro enter. Figaro asks Rosina to write a few encouraging words to Lindoro, which she has actually already written. Although surprised by Bartolo, Rosina manages to fool him, but he remains suspicious.
  • 5 - Belhomme, Hippolyte in Le Postillon de Longjumeau

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    5 - Belhomme, Hippolyte in Le Postillon de Longjumeau

    French bass-baritone Hippolyte Belhomme (1854-1923) as a farcical Biju in Adolphe Adam’s opera « Le Postillon de Longjumeau », Monnaie, Brussels, 1907.
  • Another photo as the Duke of Mantua in Rigoletto (Verdi)

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    Another photo as the Duke of Mantua in Rigoletto (Verdi)

  • Act II

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    Act II

    A room in Bartolo's house with a piano. Almaviva again appears at the doctor's house, this time disguised as a singing tutor and pretending to act as substitute for the supposedly ailing Basilio, Rosina's regular singing teacher.
  • 6 - Caron, Rose in Tannhauser

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    6 - Caron, Rose in Tannhauser

    French soprano Rose Caron (1857-1930) as Elisabeth in Tannhauser, Opera de Paris, ca. 1885-1886.
  • Playbill announcing Caruso´s first performance ever at the Met Opera

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    Playbill announcing Caruso´s first performance ever at the Met Opera

    Opening night season 1903-1904, Caruso singing with Marcella Sembrich and Antonio Scotti in the cast
  • Act II

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    Act II

    Initially, Bartolo is suspicious, but does allow Almaviva to enter when the Count gives him Rosina's letter. He describes his plan to discredit Lindoro whom he believes to be one of the Count's servants, intent on pursuing women for his mas
  • 7 - Landouzy, Lise and Clement, Edmond in Manon

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    7 - Landouzy, Lise and Clement, Edmond in Manon

    Opera-comique at its best: French soprano Lise Landouzy (1861-1943) and French tenor Edmond Clement (1867-1928) in Manon, Monnaie, Brussels, 1903.
  • As the Duke of Mantua, Met Opera (New York), season 1903-04

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    As the Duke of Mantua, Met Opera (New York), season 1903-04

    His debut role at the Met Opera
  • Act II

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    Act II

    When Basilio suddenly appears, he is bribed by a full purse from Almaviva and persuaded to leave again, with much discussion of how ill he looks. Figaro begins to shave Bartolo, but Bartolo overhears the lovers conspiring. He drives everybody away.
  • 8 - Melba, Nellie in Hamlet

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    8 - Melba, Nellie in Hamlet

    Australian soprano Dame Nellie Melba (1861-1931) as Ophelie (Hamlet), Opera de Paris, ca. 1890, a role in which she delivered vocal beauty paired with a dazzling technique.
  • 09-caruso-in-carmen

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    09-caruso-in-carmen

  • Act II

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    Act II

    The stage remains empty while the music creates a thunder storm to indicate the passage of time. The Count and Figaro climb up a ladder to the balcony and enter the room through a window. Rosina shows Almaviva the letter and expresses her feelings of
  • 9 - Badiali, Charles in Carmen

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    9 - Badiali, Charles in Carmen

    French baritone Charles Badiali (1865-1907) as Escamillo (Carmen), in a typical pose, Monnaie, Brussels, 1890-1891.
  • As Edgardo in Lucia di Lammermoor (Donizetti)

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    As Edgardo in Lucia di Lammermoor (Donizetti)

    He debuted on this role in Cairo (Egypt) in 1895
  • Act II

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    Act II

    Bartolo shows Rosina the letter she wrote to "Lindoro", and persuades her that this is evidence that Lindoro is merely a flunky of Almaviva. Rosina believes him and agrees to marry him.
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