Enrico Caruso - Bianca Al Par Di Neve Alpina (1905)
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Enrico Caruso sings "Bianca Al Par Di Neve Alpina" from Meyerbeer's opera Les Huguenots (Gli Ugonotti in Italian)
This is called the Romanza from Huguenots.
This is the 1909 version with orchestra.
It is not to be confused with the 1905 version that has piano.
Giacomo Meyerbeer was the most popular opera composer of the 1830s. He had taken opera as far as it could go in the format known at the time. It took the genius of Verdi and Wagner to pick up where Meyerbeer left off.
Caruso lived from February 25, 1873, to August 2, 1921.
He was born in Naples, and at the end of his life he returned to Naples, hoping to recover from illness but instead dying there. He did not live in Naples during his adult life. Caruso purchased the Villa Bellosguardo, a palatial country house near Florence, in 1904. Caruso's real home during his years of greatest fame was a suite at Manhattan's Knickerbocker Hotel.
The tenor made more than 260 recordings for the Victor Talking Machine Company. A sensation in opera houses and on concert stages, he is still famous because his records were incredibly popular during his own life and remained popular long after the tenor's death. Many singers of the twentieth century said they learned much while listening to Caruso's voice.
He was loved as the lead tenor in "warhorse" works--that is, in operas that stand the test of time, being produced often. But he also took risks, gambling on newly created roles (with no guarantee that the new opera would succeed) and also helping revive forgotten operas. He excelled in Italian and French role. His voice was not suited for Mozart or Wagner.
He created interesting roles--that is, he was first to sing those roles in new operas. On December 10, 1910, Caruso created the role of Dick Johnson in the world premiere of La fanciulla del West. Puccini, the composer, wrote with Caruso's voice specifically in mind.
Earlier, Caruso created the role of Loris in Umberto Giordano's Fedora, at the Teatro Lirico, Milan, on November 17, 1898. At that same theater, on November 6, 1902, he created the role of Maurizio in Francesco Cilea's Adriana Lecouvreur.
In March 1902, he created the main tenor part in Germania by Alberto Franchetti.
A month later, on April 11, 1902, Caruso was paid by the Gramophone & Typewriter Company's Fred Gaisberg to sing ten numbers into a recording horn in a Milan hotel room. The fee was 100 pounds sterling. The tenor sang to piano accompaniment. Gaisberg (either Fred or his brother Will) wrote "Carusso" on early wax blanks.
As time passed, people looked back and viewed this session as giving birth to a new era.
Before 1902, opera recordings aroused little enthusiasm since voices on discs and cylinders were distant, often drowned out by surface noise. Early opera recordings gave little satisfaction.
This is called the Romanza from Huguenots.
This is the 1909 version with orchestra.
It is not to be confused with the 1905 version that has piano.
Giacomo Meyerbeer was the most popular opera composer of the 1830s. He had taken opera as far as it could go in the format known at the time. It took the genius of Verdi and Wagner to pick up where Meyerbeer left off.
Caruso lived from February 25, 1873, to August 2, 1921.
He was born in Naples, and at the end of his life he returned to Naples, hoping to recover from illness but instead dying there. He did not live in Naples during his adult life. Caruso purchased the Villa Bellosguardo, a palatial country house near Florence, in 1904. Caruso's real home during his years of greatest fame was a suite at Manhattan's Knickerbocker Hotel.
The tenor made more than 260 recordings for the Victor Talking Machine Company. A sensation in opera houses and on concert stages, he is still famous because his records were incredibly popular during his own life and remained popular long after the tenor's death. Many singers of the twentieth century said they learned much while listening to Caruso's voice.
He was loved as the lead tenor in "warhorse" works--that is, in operas that stand the test of time, being produced often. But he also took risks, gambling on newly created roles (with no guarantee that the new opera would succeed) and also helping revive forgotten operas. He excelled in Italian and French role. His voice was not suited for Mozart or Wagner.
He created interesting roles--that is, he was first to sing those roles in new operas. On December 10, 1910, Caruso created the role of Dick Johnson in the world premiere of La fanciulla del West. Puccini, the composer, wrote with Caruso's voice specifically in mind.
Earlier, Caruso created the role of Loris in Umberto Giordano's Fedora, at the Teatro Lirico, Milan, on November 17, 1898. At that same theater, on November 6, 1902, he created the role of Maurizio in Francesco Cilea's Adriana Lecouvreur.
In March 1902, he created the main tenor part in Germania by Alberto Franchetti.
A month later, on April 11, 1902, Caruso was paid by the Gramophone & Typewriter Company's Fred Gaisberg to sing ten numbers into a recording horn in a Milan hotel room. The fee was 100 pounds sterling. The tenor sang to piano accompaniment. Gaisberg (either Fred or his brother Will) wrote "Carusso" on early wax blanks.
As time passed, people looked back and viewed this session as giving birth to a new era.
Before 1902, opera recordings aroused little enthusiasm since voices on discs and cylinders were distant, often drowned out by surface noise. Early opera recordings gave little satisfaction.