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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 announcing a performance of Rigoletto (Verdi) in Bologna

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    A playbill from 1901 announcing 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

    Following the fire of 1838, a new house was inaugurated in 1840 until another ghastly blaze destroyed the theatre again in 1887, killing 84 people. The existing Opéra-Comique was inaugurated in 1898 with a capacity of 1,255 seats.
  • 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 - French tenor Gilbert Duprez (1806-1896) and daughter soprano Caroline Duprez (1832-1875) posing together in a 19th century print, ca. 1851.

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    3 - French tenor Gilbert Duprez (1806-1896) and daughter soprano Caroline Duprez (1832-1875) posing together in a 19th century print, ca. 1851.

    Duprez was the creator of many roles and invented the tenor’s chest voice high C. Caroline was gifted with an agile but diminutive voice and studied with her father. Like Marguerite Gauthier and Violetta in "La Traviata", she died of tuberculosis, aged 43.
  • 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 - French soprano Caroline Miolan-Carvalho (1827-1895) for Parisian weekly “Camées artistiques”, posing as an "ingénue" Marguerite (“Faust”).

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    4 - French soprano Caroline Miolan-Carvalho (1827-1895) for Parisian weekly “Camées artistiques”, posing as an "ingénue" Marguerite (“Faust”).

    A pupil of Gilbert Duprez, she was a coloratura soprano who fiercely negotiated cadenzas and embellishments with composers so that her “vocal fireworks” (her own words) would stun her audience! Married to French baritone and opera director Léon Carvalho.
  • A playbill from 1901 announcing a performance of Rigoletto (Verdi) in Bologna

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    A playbill from 1901 announcing 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 - French bass-baritone Hippolyte Belhomme (1854-1923) as a farcical Biju in Adolphe Adam’s opera « Le Postillon de Longjumeau », Monnaie, Brussels, 1907.

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    5 - French bass-baritone Hippolyte Belhomme (1854-1923) as a farcical Biju in Adolphe Adam’s opera « Le Postillon de Longjumeau », Monnaie, Brussels, 1907.

    A favorite at the Opéra-Comique, he was endowed with a diminutive but alluring presence and a resounding voice. He enjoyed paying funny tricks to his colleagues and as shown here, he had a strong comic talent! He left a recording legacy.
  • 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 - French soprano Rose Caron (1857-1930) as Elisabeth (“Tannhäuser”), Opéra de Paris, ca. 1885-1886.

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    6 - French soprano Rose Caron (1857-1930) as Elisabeth (“Tannhäuser”), Opéra de Paris, ca. 1885-1886.

    Following a modest debut and a stint as a chorister, she ruled as a primadonna, esteemed by composers and conductors alike. A respected personality in the Parisian posh circles. Her elegiac figure and acting skills were mesmerizing. She helped funding the construction of the new Opéra-Comique and left a recording legacy.
  • 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 - Opéra-comique at its best: French soprano Lise Landouzy (1861-1943) and French tenor Edmond Clément (1867-1928) in “Manon”, Monnaie, Brussels, 1903.

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    7 - Opéra-comique at its best: French soprano Lise Landouzy (1861-1943) and French tenor Edmond Clément (1867-1928) in “Manon”, Monnaie, Brussels, 1903.

    The sheer vocal and stylistic splendor of Manon and the Chevalier des Grieux was saluted by the press as “the ideal interpretation of ‘Manon’”, shortly after composer Jules Massenet congratulated the artists in Paris in 1893. Both soloists left a recording legacy.
  • 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 - Australian soprano Dame Nellie Melba (1861-1931) as Ophélie (“Hamlet”), Opéra de Paris, ca. 1890, a role in which she delivered vocal beauty paired with a dazzling technique.

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    8 - Australian soprano Dame Nellie Melba (1861-1931) as Ophélie (“Hamlet”), Opéra de Paris, ca. 1890, a role in which she delivered vocal beauty paired with a dazzling technique.

    Wherever she sang, she was greeted with rave critics, embodying a soprano’s dream come true. Her madness scene in “Hamlet” captured her audience until a ripe age, still sing beautifully the repertoire of her youth! She left a recording legacy.
  • 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 - French baritone Charles Badiali (1865-1907) as Escamillo (“Carmen”), in a typical pose, Monnaie, Brussels, 1890-1891

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    9 - French baritone Charles Badiali (1865-1907) as Escamillo (“Carmen”), in a typical pose, Monnaie, Brussels, 1890-1891

    Following a positive debut in Paris in 1889, his voice declined prematurely. His acting skills were considered to be too caricatural as can be seen here. He later settled in Brussels where his career was almost gone and where he taught singing and acting! He left a recording legacy.
  • 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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