ANONYMOUS (Folk Song) Vieni sul mar
Adolphe-Charles ADAM (1803 – 1856) Cantique de Noel
Fermin Maria ALVAREZ (?-1898) A Granada; La Partida
Anton y MICHELENA A la luz de la luna
Colombino ARONA (b. 1885) La Campana di San Giusto
Richard BARTHELEMY Trise ritorno
Richard BARTHELEMY and Enrico CARUSO Adorables tourments (Valse Lente)
James Carroll BARTLETT (1850 – 1929) A Dream
Vincenzo BILLI (1869 – 1938) Campane a sera
Georges BIZET (1838 – 1875) Agnus Dei; La fleur que tu m’avais jetée (Carmen); Parle-moi de ma mère (Carmen); Au Fond du temple saint (Les Pecheurs de Perles); Je crois entendre (Les Pecheurs de Perles); De mon amie, fleur endormie (Les Pecheurs de Perles)
Arrigo BOITO (1842 – 1918) Dai campi, dai prati (Mefistofele); Giunto sul passo estremo (Mefistofele).
C. A. BRACCO (fl. 1885) Serenata
Arturo BUZZI-PECCIA (1856 – 1943) Lolita
Salvatore CARDILLO (1874 – 1947) Core ’ngrato
Enrico CARUSO (1873 – 1921) Dreams of Long Ago; Tiempo antico;
Ruperto CHAPI (1851 – 1909) Flores Purisimas (El Milagro de la Virgen)
Vincenzo Legrenzio CIAMPI (1719 – 1762) Nina
Francesco CILEA (1866 – 1950) No, piu nobile (Adriana Lecouvreur)
M. S. CIOCIANO Cielo turchino
George M. COHAN (1878 – 1942) Over There
Mario P. COSTA Sei morta ne la vita mia
Guglielmo COTTRAU Fenesta che lucive
Teodoro COTTRAU (1827 – 1879) L’addio a Napoli; Santa Lucia
Guy D’HARDELOT (Mrs. W.I. Rhodes) (1838 – 1936) Because
Vincenzo de CRESCENZO (b. 1875) Guardanno a luna; Premiere caresse; Tarantella sincera; Uocchie celeste;
Ernesto de CURTIS (1875 – 1937) Canta pe’me; Senza nisciuno; Tu ca nun chiagne;
Luigi DENZA (1846 – 1922) Non t’amo piu; Si vous l’aviez compris;
Eduardo di CAPUA (1865 – 1917) O sole mio
Stefano DONAUDY (1879 – 1925) Vaghissima sembianza
Gaetano DONIZETTI (1797 – 1848) Com’e gentil (Don Pasquale); Deserto in terra (Don Sebastiano); Angelo casto e bel (Il Duca d’Alba); Una furtiva lagrima (L’Elisir d’Amore); Venti Scudi! (L’Elisir d’Amore); Spirito genril, ne’sogni miei (La Favorita); Chi mi frena in tal momento? (Sextet) (Lucia di Lamermoor)
Jean-Baptiste FAURÉ (1830 – 1914) Crucifix; Les rameaux; Sancta Maria;
Friedrich von FLOTOW (1812 – 1883) Ma’appari tutt’amor (Marta); Presto, presto andiam (Marta); Solo profugo reietto (Marta); Dormi Pur - Goodnight Quartet (Marta)
Alberto FRANCHETTI (1860 – 1942) Ah, vieni qui (Germania); Studenti! Udite! (Germania);
César FRANCK (1822 – 1890) La procession
Salvatore FUCITO (1875 – 1929) Scordame; Sultanto a te;
Clarence G. GARTNER Love is Mine; Trusting Eyes
Stanislao GASTALDON (1861 – 1939) Musica proibita
Henry Ernest GEEHL (1881 – 1961) For you Alone
Giuseppe GIOE (1890 – 1957) L’m’arricordo ’e Napule
Umberto GIORDANO (1867 – 1948) Come un bel di di maggio (Andrea Chenier); Improvviso (Andrea Chenier); Amor ti vieta (Feodora);
Benjamin GODARD (1849 – 1895) Chanson de Juin
Karl GOLDMARK (1830 – 1915) Magiche Note (Die Königin von Saba)
Carlos GOMES (1836 – 1896) Sento una forza indomita (Il Guarany); Quando nascesti tu (O Escravo); Mia piccirella (Salvator Rosa)
Charles GOUNOD (1818 – 1893) Eh! quoi! toujours seule? (Faust); Eternelle! O nuit d’amour (Faust); Alerte! ou vous êtes perdues (Faust); A moi les plaisirs (Faust); Salut demeure chaste et pure (Faust); Seigneur Dieu; que vois-je (Faust); Inspirez mois, race divine (La Reine de Saba);
Jules GRANIER Hosanna
J.F. Fromental HALÉVY (1799 – 1862) Rachel, quand du Seigneur (La Juive)
George Frideric HANDEL (1685 – 1759) Ombra mai fu (Serse)
Percy B. KAHN Ave Marie
Ruggero LEONCAVALLO (1857 – 1919) No! Pagliaccio non son (I Pagliacci); Vesti la giubba (I Pagliacci); Io no ho che una povera stanzetta (La Boheme); Testa adorata (La Boheme); Lasciati amar; Les Deus serenades; Mattinata
Jean-Baptiste LULLY (1632 – 1687) Bois epais (Amadis de Gaule)
Pietro MASCAGNI (1863 – 1945) Brindisi (Cavalleria rusticana); Addio alla madre (Cavalleria rusticana); Siciliana (Cavalleria rusticana); Serenata (Iris);
A MASCHERONI Eternamente
Jules MASSENET (1842 – 1912) Elégie; O Souverain, O Juge, O Père (Le Cid); Chiudo gli occhi (Manon); Ah, fuyez, douce image (Manon); On l’appelle Manon (Manon)
Giacomo MEYERBEER (1791 – 1864) Bianca al par di neve (Les Huguenots); Qui sotto il ciel (Les Huguenots); Deh ch’io ritorni (L’Africaine); O Paradiso (L’Africaine)
Louis Abraham NIEDERMEYER (1802 – 1861) Pieta Signore
Emanuele NUTILE Mamma mi ache vo sape
Geoffrey O’HARA (1882 – 1967) Your Eyes have told me what I did not know
Alessio OLIVIERI Inno di Garibaldi
Gaetano Enrico PENNINO Pecche
Antonio PINI-CORSI (1859 – 1918) Tu non mi vuoi piu ben
Robert PLANQUETTE (1848 – 1903) Le Régiment de Sambre et Meuse
Amilcare PONCHIELLI (1834 – 1886) Cielo e mar (La Gioconda)
Guillermo POSADAS Noche Feliz
Giacomo PUCCINI (1858 – 1924) Addio, Dolce sveliare all mattina (La Boheme); Che gelida manina (La Boheme); O Mimi, tu piu non torni (La Boheme); O soave fanciulla (La Boheme); Vecchi zimarra, senti (La Boheme); Amore or grillo no saprei (Madama Butterfly); Addio fiorito asil (Madama Butterfly); O quanti occi fisi (Madama Butterfly); Donna non vidi mai (Manon Lescaut); E lucevan le stele (Tosca); Recondita armonia (Tosca);
V. RICCIARDI Amor mio
Sir Landon RONALD (1873 – 1938) Serenade espagnole
Gioachino ROSSINI (1792 – 1868) La danza (Les soirees musicales); Crucifixus (La Petite Messe Solennelle); Domine Deus (La Petite Messe Solennelle); Cujus animam (Stabat Mater)
Augusto ROTLOI (1847 – 1904) Mia sposa sara la mia bandiera
Anton RUBINSTEIN (1828 – 1894) Oh! Lumiere du jour (Neron)
Camille SAINT-SAËNS (1835 – 1921) Je viens celebrer la victoire (Samson et Dalila); Vois ma misere (Samson et Dalila)
Matteo SALVI Angelo casto e bel
A. SECCHI Love me not
Sir Arthur SULLIVAN (1842 – 1900) The Lost Chord
Josef Zygmunt SZULC (1875 – 1956) Hantise d’amour
Piotr Ilyich TCHAIKOVSKY (1840 – 1893) Pour mi ce jour est tout mystere (Evgeny Onegin); Pimpinella; Pourquoi; Serenade de Don Juan
Sir Francesco Paolo TOSTI (1846 – 1912) A Vucchella; Addio; Ideala; L’Alba separa dalla luce l’ombra; La mia canzone; Luna d’estate; Parted; Pour un baiser
Rocco TRIMARCHI (1861 – 1936) Un bacio ancora
Vincenzo VALENTE Manella mia
Giuseppe VERDI (1813 – 1901) Celeste Aida (Aida); Aide a me togliesti (Aida); La fatal pietra (Aida); O Terra addio (Aida); Dio, che nell’alma infondere (Don Carlo); Qual volutta trascorrere (I Lombardi); Ah si, ben mio (Il Trovatore); Di quella pira (Il Trovatore); Mal reggendo all’aspro assalto (Il Trovatore); Miserere (Il Trovatore) Ai nostril monti (Il Trovatore); O tu che in seno agl’angeli (La forza del destino); Le minaccie, I fieri accenti (La Forza del Destino); Sleale! il segreto fu dunque violato? (La Forza del Destino); Solenne in quest’ora (La Forza del Destino); Brindisi (La Traviata); Ah la paterna mano (Macbeth); Ingemisco (Messa da Requiem); Ora e per sempre addio (Otello); Si, pel ciel (Otello); Quartet (Rigoletto); Parmi veder le lagrime (Rigoletto); La donna e mobile (Rigoletto); Questa o quella (Rigoletto); La rivedra nell’estasi (Un ballo in maschera); E’scherzo od e follia (Un ballo in maschera); Di tu se fedel (Un ballo in maschera); Ma se m’e forza perderti (Un ballo in maschera);
Redento ZARDO Luna Fedel

This collection comprises the recorded legacy, a few cylinders recorded for Pathé Frères in 1898 apart, of the tenor voice that ‘made the gramophone’, or as some would have it, was made by the gramophone.

Caruso made his professional debut in 1895 at the small Teatro Nuovo in Naples, his hometown. By 1897 he was singing in the major theatres of other Italian provincial towns and creating roles in operas by Giordano and Cilea. In 1898 he sang in Saint Petersburg and in South America where he essayed his one and only Wagner role the following year. Caruso had a slight setback on his debut at La Scala in December 1900 as Rodolfo in La Bohème. The opera was substituted at short notice when the tenor for the scheduled a performance of Tristan withdrew. The under-prepared and ever-nervous Caruso blew it with Puccini present in the theatre and Toscanini on the rostrum. The critics had a field day at his expense. Two months later Caruso had a triumph at the theatre as Nemorino in L’elisir d’amore when the fiery Toscanini, with whom the tenor had crossed swords, was forced by the audience to encore Una furtive lagrima; Toscanini didn’t do encores for singers, at least not in the normal course of events, but that February night in 1901 wasn’t normal.

On 11 March 1902 and now firmly established at La Scala, Caruso created the tenor role in Franchetti’s Germania with Toscanini again on the rostrum. In the audience was Fred Gaisberg, European representative of the Gramophone and Typewriter Company. Emil Berliner had set up this company in 1898 after he had perfected a method of flat disc recording. This process had significant advantages over the earlier cylinder method in terms of improved musical fidelity, longer playing time and the potential for mass production of classical music. To help ensure commercial success for its new system, the company was on the look out for suitable artists to record. Convinced that Caruso’s voice had the richness of tone suitable for the new recording process, Gaisberg approached the singer. Caruso agreed on the basis that the recordings take place at his hotel and would be completed in an afternoon. He further agreed to record ten arias and demanded £10 per item. When Gaisberg cabled his employers they demurred at the cost and told him to cancel the arrangements. So convinced was Gaisberg that he was on to a winner that he stumped up the fee from his own pocket. On a day in April 1902 Gaisberg set up his primitive recording apparatus in a room of the Grand Hotel in Milan. It comprised a horn suspended from the ceiling into which Caruso sang. The sound waves generated by the singing vibrated a needle connected to the narrow end of the horn. The needle cut a groove in a wax disc rotating somewhere between 73 and 82 revolutions per minute. With Salvator Cottone at the piano Caruso recorded ten items, and pocketed his £100 (CD 1 trs. 1-10). The recording session was completed in two hours. The recordings made a profit of fifteen thousand pounds! The tenor recorded another ten items in similar circumstances in Milan on 30 November (CD 1 trs. 11-20). These second recordings are notable for the fact that the composers Umberto Giordano and Francesca Cilea accompany their own compositions on the piano as Caruso sings (CD 1 trs. 12 and 19).

These Gramophone and Typewriter Company recordings were to be fundamental to Caruso’s next big career step. After his debut at Covent Garden in 1902, alongside Nellie Melba, he was tenor king of Europe. South America had been conquered, but North America remained. The new managing director of the Metropolitan Opera, New York, had heard Caruso’s records. Bereft of a lead tenor with the retirement of Jean de Reszke, he decided to invite Caruso to open the 1903-04 season as the Duke in Rigoletto. His performance was well received by the critics and he went on to open every season at the theatre except one, 1906, until his premature retirement seventeen years later following his injury and illness. A couple of cancellations apart, whilst his voice got used to the different climatic conditions in America, Caruso’s first season at the Met was a triumph. When, at the close of the season he returned to Europe, the dock was filled with enthusiastic well-wishers. More importantly for his financial future was the exclusive contract he signed with the Victor Talking Machine Company. All his subsequent recordings were made with this Company, the first on the afternoon of 1 February 1904 when he recorded ten items (CD 2 trs. 4-13). The composer Leoncavallo accompanied his own Mattinata (tr. 12). Although no individual recording dates are given, I believe it was not until the recording sessions of February 1906 that an orchestra accompanied Caruso’s recordings for Victor (CD 2 trs. 20 et seq).

This 12 CD issue covering Caruso’s complete recordings are sequenced as recorded. As indicated, neither individual recording dates nor venues are given. Details of the other singers involved in the various duets and ensembles are provided under a section titled ‘artists’ in the accompanying booklet (pp. 17-20) and which is preceded by a track listing (pp. 4-16). The track listing and timings are duplicates of that which are printed on the back of the cardboard slipcase containing each disc. There is a brief chronology of Caruso’s life (pp. 31-33). More usefully, albeit annoyingly and frustratingly incomplete, there is an index, by composer, of all the contents, indicating the discs and tracks on which the song, aria, duet etc appears (pp. 21-30). The notes appearing with the comparable 12 discs of Caruso’s recorded legacy on the Naxos label are far superior. Each gives relevant facets of the singer’s career and life as well as full recording dates and venues. In assessing the recording quality of these discs I will refer to the Naxos restorations carried out by Ward Marston.

When comparing the Naxos and EMI issues of the 1953 recording of Pagliacci I came down in favour of the EMI version for its marginally better sound and presence. I ascribed the difference to the fact that they had access to the master tapes whilst Naxos was working from LP pressings. The key word there is ‘tapes’. In the days of 78s the process sequence was somewhat different. The masters available to RCA for the current issue could have been used for many pressings and be in poor condition compared to the shellacs used by Naxos. What is certain is that the extraneous noise on many of the tracks is far greater here than that on the Naxos. On the latter, as well as reducing background noise, the restorer has also deliberately sought to equalise pitch where there is variation within a track, or when playing at 78rpm gave what he believed to be a false impression of Caruso’s voice. However, it must be questioned whether, in getting rid of the mush and lifting out the tenor’s voice, Naxos have lost something of the tenor’s true tone. It is possible to hear the differences in timbre of the singer between the recording here (CD 1 tr. 5) of Una furtiva lagrima and the Naxos version.

Nemorino was a favourite role of Caruso and illustrates a facet of his singing that was to remain with him throughout his career, the ability to lighten his tone for the role despite singing heavier parts contemporaneously. The quality of the recording on the RCA is very poor with that on the Naxos significantly better. On the RCA, Caruso’s voice has a lighter timbre than the Naxos where the tenor’s baritonal hue is more evident and the voice thicker and heavier. Which represents the true Caruso? Certainly commentators from early in Caruso’s career had commented on the full tone and darker hue to his voice than was normal with lirico spinto tenors. One of the great appeals of Caruso’s singing on both stage and record was the rich, potent masculinity of his voice allied to even legato and vocal strength. The matter of the speed at which the original recording was made further clouds the whole issue. As I have indicated earlier this could vary significantly. On the RCA recording, among the surface noise and swishings, there are sufficient significant differences to the singer’s timbre and also the piano tone within the recording, as to raise doubts as to the accuracy and steadiness of the original speed. When comparing Caruso’s later recording of the aria (CD 6 tr. 9), made with the benefit of Victor’s studio conditions and the backing of an orchestra, the differences in vocal tone between the RCA and the Naxos are less evident. The issue then is more about the noisier surfaces on the RCA compared with the much quieter surfaces on the Naxos that has a more recessed sound. I highlight these issues and deal with them in some detail because I know that they are major considerations with enthusiasts used to listening to historical issues. Such enthusiasts are not greatly worried about surface noise if they believe they are getting nearer to the original. Caveat emptor.

By the end of his first Met seasons in 1904, Caruso was firmly established as the leading tenor in the house. He went on to visit and triumph in Monte Carlo, Dresden, London and Berlin. He turned down a fee of £20,000 to tour Australia. He returned to America for the 1904-05 season at the Met where he sang fourteen roles, no fewer than nine of them in the first five weeks! This was not only a prodigious feat of learning but of physical stamina too. At the conclusion of that season he undertook a U.S. tour taking in nine major centres. Now a celebrity he was feted wherever he went. After this exhausting tour he returned to Italy via Covent Garden for a two-month season. In Italy he bought a large estate near Florence. It was a large and fitting symbol of his status and success.

The 1905-06 season at the Met was as equally hectic as the preceding one for Caruso. In the tour that followed he was lucky to escape with his life when caught in the San Francisco earthquake of 18 April. With his records selling by the thousands he was soon back at Victor’s studios (CD 3). Most importantly for the recorded legacy, Victor starred him alongside other leading singers of the time as well as in solo items. In the 1906 sessions Antonio Scotti, Bessie Abbot and Louise Homer join him in the Rigoletto quartet (CD 3 tr. 7) and Scotti shares the duet O Mimi, tu píu non torni from La Bohème, and what a fabulous duo they are (CD 3 tr. 8). Similar quality is found in his partners for the March 1907 recordings when he sings the love duet, O soave fanciulla from the same opera, with Nellie Melba. Ever a ladies man he doesn’t steal her thunder on the concluding high C (CD 3 tr. 11). On the 1908 recordings of the sextet from Lucia and quartet from Rigoletto, again, he is joined by Marcella Sembrich as Lucia and Gilda, with Scotti again in the lead baritone roles (CD 3 trs.16-17). As well as illustrating Caruso’s sumptuous tone these tracks also illuminate something of the histrionic style of singing of the day. His sobs in Vesti la giubba (CD 3 tr10), like those of Gigli twenty years later, are excessive by today’s standards.

At the opening of the 1908-09 season at the Met, Caruso sang in six of the first seven performances. This punishing schedule, perhaps aggravated by his domestic circumstances when Ada Giachetti, the mother of his two boys, ran off with the chauffeur, began to have its effect on his voice. Performances were cancelled. He returned to Europe and had a nodule removed from his vocal chords in Milan in May 1909. Much newsprint in the U.S. and Europe speculated on the seriousness and consequences of the operation for the world’s foremost tenor. This was in fact the second such operation. The first, in 1907, had been kept quiet and after some indifferent singing in Budapest he opened the 1907-08 season and sang in two out of every five performances presented at the theatre that season. His roles included the heavy vocal demands of Manrico in Il Trovatore (CD 4 trs. 4-5) and Radames in Aida (CD 4 tr.6). Some Caruso cognoscenti have suggested that after the second of his nodule operations Caruso’s timbre was significantly different and more baritonal than ever. The contents of CD 5, all recorded in 1910, allow for personal judgements to be made on that matter. To my ears his Cielo e mar (CD 5 tr.9) shows no diminution of his beauty of tone, elegance of phrasing, vocal strength or range. Caruso did however commence a more realistic schedule of appearances.

By 1911 Caruso had recorded his entire stage repertoire with orchestra for Victor including the aria Studenti! Udite! (CD 5 tr. 7). With piano accompaniment this had been his very first recording for Fred Gaisberg. Victor were reluctant to keep re-recording arias but wished to maximise financial returns on their prize asset. Increasingly, as well as recording the new roles he was learning for stage appearances at the Met, Victor recorded Caruso singing the songs of his native Italy and hometown Naples. Whilst many of these songs are musically undistinguished they are ideal for hearing Caruso’s stylish singing and way with words. Victor didn’t object to re-recording the likes of the Lucia sextet as these items featured the current stars appearing at the Met and had a ready market in America. The January 1912 recording of the Lucia sextet features Luisa Tetrazzini, Antonio De Luca and Marcel Journet (CD 7 tr. 4), whilst the 1917 version has Amelita Galli-Curci as Lucia alongside De Luca and Journet (CD 10 tr. 16). In the earlier extended extracts from Faust (CD 5 trs. 1-6) Caruso’s elegant phrasing and honeyed head voice is matched by the powerful Mephisto of Journet, the flexible soprano of Geraldine Farrar as Marguérite and the firm tone of Scotti as Valentin. These are sung in French of which Caruso, unlike many Italian singers, had a firm idiomatic grasp. As well as the language he also had a command of the style of the French repertoire as can be heard in his singing of Je suis seul (CD 6 tr. 14) and Manon! avez vous peur? (CD 7 tr. 11) from Massenet’s Manon. Most interestingly he sings the Flower Song from Carmen first in Italian and then in French (CD 4 trs. 15-16). Both versions are sung with a wide variety of colour and expression whilst his rendering in idiomatic French illustrates what is missing in the aria when sung in another language.

On 29 June 1914 Caruso sang Cavaradossi at Covent Garden. The previous day, Franz Ferdinand, heir apparent of the dual monarchy of Austro-Hungary was assassinated in Sarajevo. This event lit the fuse on World War I. It was Caruso’s last appearance in London and there would be no more appearances in Germany or Austria either. When Italy joined the war the following year he was unable to return home until 1919, the summer after the signing of the Armistice. It meant that Caruso would no longer journey from America to Europe at the end of each Met season. To maintain his income he substituted hectic tours of South America. One tour involved fifty-two appearances in one hundred days including performances of Lucia with Galli-Curci and Pagliacci with Tito Ruffo. His recordings for Victor filled the odd gap in suitable repertoire including the Brindisi from La Traviata where he lightens his tone most effectively (CD 9 tr. 3) and the Ingemisco from Verdi’s Requiem (CD 9 tr. 10). Contemporary critics of Caruso’s performances in these war years noted his greater involvement and increased abilities as an actor. He lived the parts he sang, confident of his own vocal ability. In the Met season of 1915-16 he undertook the dramatic part of Samson for the first time and his 1916 recording of Vois ma misère hélas (CD 10 tr. 7) defines this period. The singer and Victor considered his voice suitable for Tchaikovsky’s Onegin. He recorded Lensky’s aria (CD 10 tr. 8) and the composer’s Op. 6 No. 5 Pourquoi (CD 10 tr.7), both in French. To my ears there is a lack of involvement, even sameness, which I also find in the Fauré Sancta Maria (CD 10 tr.1). Similarly when Caruso prepared Les Pecheurs des perles for the Met in 1916 it was not a success. Singing the aria Je crois entendre a semitone down, he sounds too heavy for the role (CD 10 tr. 12). No such reservations detract from the manner in which he caresses the phrases and lyrics of Flotow’s M’appari, and the high B flat (CD 10 tr. 18). Like the other recordings of this period, and succeeding ones, the tracks here are sonically superior in terms of detail and quieter surfaces than those on the earlier discs. The accompanying orchestra as well as the singer(s) are heard to better effect.

When America entered the War in 1917, on the side of England, France and Italy, Caruso threw himself into support of the cause with benefit concerts and recordings of patriotic songs such as Over There (CD 11 tr. 9) and Le Régiment (CD 11 tr. 11) for the English and French speakers, whilst Inno di Garibaldi (CD 11 tr. 13) and La Campana (CD 11 tr. 14) gave spirit to his fellow Italians. None of these items are great music and are well within Caruso’s vocal compass but he imbues them with passion and meaning. The 1918-1919 season at the ‘Met’ saw his first performance there in Verdi’s ‘La Forza del Destino’, and the duet included here, recorded the previous July, is a foretaste of that event. Rather than the standard ‘Solenne in quest’ ora’, it is the later confrontation Nè gustare m’è dato; Sleale! Il segreto fu dunque violato? The point when Don Alvaro faces the fact that Don Carlo has discovered his true identity and wishes to fight him to the death (CD 11 tr. 8). The singing of both Caruso and de Luca is of the highest quality of tone, expression and characterisation, although it has to be said the conducting has not the same distinction. The other operatic items, Venti Scudi (CD 11 tr.18), again with de Luca, and the Samson trio Je viens célébrer (CD 11 tr. 13), with the firm tones of Louise Homer and Marcel Journet, show Caruso as a very fine ‘team’ player, interacting vocally with his colleagues. None of these fellow artists are credited in the booklet. Perhaps the best example of Caruso as a team player occurred during a performance of La Bohème in Philadelphia in 1913. The bass singing the part of Colline was suffering from a throat condition. As the final act approached where Colline had to sing goodbye to his overcoat in the aria Vecchia zimara the bass indicated he had no voice. Caruso sang the aria instead. Nobody in the theatre was aware that a bass aria had been sung by the leading tenor. The aria itself doesn’t reach the depths of the basso cantante range; that Caruso was able to darken his baritonal hue to that extent is illuminating of his vocal skills. He recorded the aria in 1916. It was never intended for public sale, a few copies being distributed to Caruso’s friends as a memento of a feat he had performed on stage three years earlier (CD 10 tr. 2).

In September 1919 and 1920, for what turned out to be his final visits to the recording studio, the singer and Victor cast their net very wide in respect of repertoire suitable for his voice. Neapolitan songs were easy on the ear and popular particularly with Italian immigrants. These songs further illustrate the baritonal tone that the tenor’s voice had acquired by 1919. This was rather like Domingo in our time, who recorded a light-toned Nemorino in ‘L’Elisir d’amore’ whilst Otello was in his repertoire. Caruso could also still lighten his voice. This ability is evident in the songs by de Curtis and Bracco (CD 12 trs. 7 and 9) either side of Mia picarella from Gomes’ Salvator Rosa, which is a soprano aria, transposed down by a ninth, for the tenor. It is also relevant to remember that in December 1920 Caruso sang Nemorino as well as the distinctly heavier, more heroic, roles of Samson and Eleazar from La Juive. It was during a performance of Samson in early December that Caruso was hit above the kidney by falling scenery and a week later sang the whole of Act I of ‘L’Elisir’ whilst wiping blood from his mouth. The performance had to be abandoned. His final stage performance was in La Juive and his firm heroic tones and baritonal hue are evident in his expressive rendition of Rachel, quand du Seigneur (CD 12 tr. 14).

Elsewhere on this final disc Caruso’s capacity in languages is evident with tracks sung in French, (trs.6, 14, and 18) in English, (trs. 11 and 18), in Spanish (tr. 13) and in Latin (trs. 20-21). In stylistic terms both the Handel (tr. 12) and Lully (tr. 18) are completely different to what we now understand and expect in this genre. Caruso sounds particularly lugubrious in the opening recitative of Handel’s Ombra mai fu but floats a lovely mezza voce at the start of the aria proper, whilst by 2:28 it could be the baritone De Luca singing, such is the vocal timbre. The two extracts from Rossini’s Petite Messe Solenelle (trs. 20-21), his last recordings, are with orchestra. I suggest his voice at this time would have been far too heavy for the original piano version. They were set down on 16 September 1920, a mere fourteen weeks before Caruso’s final stage appearance on Christmas Eve that year. At that final appearance at the Met, his six hundred and seventh, he sang the heavy and dramatically demanding role of Eleazar. During the interval Gatti Casazza, the Met’s Managing Director, visited Caruso in his dressing room and found the tenor in tears from his chest pains. He was suffering from acute pleurisy. Having failed to complete one performance of L’Elisir, and cancelled another, Caruso was determined to finish that evening’s performance. Two operations in January and February to drain fluid from his lungs, the second involving the removal of four ribs, had limited success. He returned home to Naples on 28 May. The chest pains returned and he died on 2 August 1921, aged 48.

Caruso’s place in the pantheon of singers is assured by the qualities of artistry and vocal properties he brought to his performances. He is often referred to as the king of tenors. Unlike many great singers who preceded him, Caruso left this remarkable recorded legacy of his singing. This complete RCA collection of that recorded legacy, by the company who own the masters, allows enthusiasts of great singers to make their own judgements. Even if individuals do not think him the king of tenors, allowing for the restrictions of sound, this collection is a formidable legacy of great singing.

Robert J. Farr

see also review by Robert Hugill

RCA-BMG Complete Caruso box contents details
1. Germania, opera Act I: Student! Udite!
Composed by Alberto Franchetti
with Enrico Caruso, Salvatore Cottone
2. Rigoletto, opera Act 1~Questa o quella
Composed by Giuseppe Verdi
with Enrico Caruso, Salvatore Cottone
3. Aida, opera Celeste Aida
Composed by Giuseppe Verdi
with Enrico Caruso, Salvatore Cottone
4. Manon, opera Chiudo glli occhi (Il Sogno)
Composed by Jules Massenet
with Enrico Caruso, Salvatore Cottone
5. L'elisir d'amore, opera Act 2: Una Furtiva Lagrima
Composed by Gaetano Donizetti
with Enrico Caruso, Salvatore Cottone
6. Mefistofele, opera Epilogue: Guinto Sul Passo Estremo
Composed by Arrigo Boito
with Enrico Caruso, Salvatore Cottone
7. Germania, opera: Act 1, "Ah, Vieni Qui . . . No Act 1: Ah, Vieni Qui...No, Non Chiuder Gli Occhi
Composed by Alberto Franchetti
with Enrico Caruso, Salvatore Cottone
8. Mefistofele, opera Act 1: Dai Campi, Dai Prati
Composed by Arrigo Boito
with Enrico Caruso, Salvatore Cottone
9. Tosca, opera Act 3: E lucevan le stelle
Composed by Giacomo Puccini
with Enrico Caruso, Salvatore Cottone
10. Iris, opera in 3 acts Act 1: Apri La Tua Finestra! (Serenade)
Composed by Pietro Mascagni
with Enrico Caruso, Salvatore Cottone
11. Mefistofele, opera Act 1: Dai Campi, Dai Prati
Composed by Arrigo Boito
with Enrico Caruso, Salvatore Cottone
12. Fedora, opera Act 2: Amor Ti Vieta, aria of Loris
Composed by Umberto Giordano
with Enrico Caruso, Umberto Girodano
13. Aida, opera Celeste Aida
Composed by Giuseppe Verdi
with Enrico Caruso, Salvatore Cottone
14. La Gioconda, opera in 4 acts Act 2: Cielo e Mar
Composed by Amilcare Ponchielli
with Enrico Caruso, Salvatore Cottone
15. Pagliacci, opera Act 1: Recitar!...Vesti La Giubba
Composed by Ruggiero Leoncavallo
with Enrico Caruso, Salvatore Cottone
16. Cavalleria rusticana, opera in 1 act O Lola (Siciliana)
Composed by Pietro Mascagni
with Enrico Caruso, Salvatore Cottone
17. Non t'amo più, for voice & piano
Composed by Luigi Denza
with Enrico Caruso, Salvatore Cottone
18. La Mia canzone, for voice & piano/orchestra
Composed by Francesco Paolo Tosti
with Enrico Caruso, Salvatore Cottone
19. Adriana Lecouvreur, opera No, più nobile
Composed by Francesco Cilea
with Enrico Caruso, Francesco Cilea
20. Luna fedel, for voice & piano
Composed by Redento Zardo
with Enrico Caruso, Salvatore Cottone
21. Un Bacio ancora, for voice & piano
Composed by Rocco Trimarchi
with Enrico Caruso
22. Luna fedel, for voice & piano
Composed by Redento Zardo
with Enrico Caruso
23. L'elisir d'amore, opera Act 2: Una Furtiva Lagrima
Composed by Gaetano Donizetti
with Enrico Caruso
24. Tosca, opera Act 3: E lucevan le stelle
Composed by Giacomo Puccini
with Enrico Caruso
25. Germania, opera: Act 1, "Ah, Vieni Qui . . . No Act 1: Ah, Vieni Qui...No, Non Chiuder Gli Occhi
Composed by Alberto Franchetti
with Enrico Caruso
26. Rigoletto, opera La donna è mobile
Composed by Giuseppe Verdi
with Enrico Caruso
27. Cavalleria rusticana, opera in 1 act O Lola (Siciliana)
Composed by Pietro Mascagni
with Enrico Caruso
28. Tu non mi vuoi più ben, for voice & piano
Composed by Antonio Pini-Corsi
with Enrico Caruso
29. Tosca, opera Act 3: E lucevan le stelle
Composed by Giacomo Puccini
with Enrico Caruso
30. Les Huguenots, grand opera in 5 acts Act 1: Qui soto il ciel
Composed by Giacomo Meyerbeer
with Enrico Caruso
31. Rigoletto, opera Act l~Questa o quella
Composed by Giuseppe Verdi
with Enrico Caruso
32. Rigoletto, opera La donna è mobile
Composed by Giuseppe Verdi
with Enrico Caruso
33. L'elisir d'amore, opera Act 2: Una Furtiva Lagrima
Composed by Gaetano Donizetti
with Enrico Caruso
34. Aida, opera Celeste Aide
Composed by Giuseppe Verdi
with Enrico Caruso
35. Tosca, opera Act 3: E lucevan le stelle
Composed by Giacomo Puccini
with Enrico Caruso
36. Tosca, opera Act 1: Recondita armonia
Composed by Giacomo Puccini
with Enrico Caruso
37. Cavalleria rusticana, opera in 1 act O Lola (Siciliana)
Composed by Pietro Mascagni
with Enrico Caruso
38. Pagliacci, opera Act 1: Recitar!...Vesti La Giubba
Composed by Ruggiero Leoncavallo
with Enrico Caruso
39. Manon, opera Chiudo gli occhi (Il Sogno)
Composed by Jules Massenet
with Enrico Caruso
40. Mattinata, song for voice & piano (or orchestra)
Composed by Ruggiero Leoncavallo
with Enrico Caruso
41. Les Pêcheurs de perles, opera in 3 acts Act 1: Mi par d'udir ancora
Composed by Georges Bizet
with Enrico Caruso, Salvatore Cottone
42. Don Pasquale, opera Act 3: Com'è gentil (Serenata)
Composed by Gaetano Donizetti
with Enrico Caruso
43. Carmen, opéra-comique in 4 acts Il fior che avevi a me tu dato
Composed by Georges Bizet
with Enrico Caruso
44. Les Huguenots, grand opera in 5 acts Act 1: Ah, qual soave vision...Bianca al par di neve
Composed by Giacomo Meyerbeer
with Enrico Caruso
45. La Gioconda, opera in 4 acts Act 2: Cielo e Mar
Composed by Amilcare Ponchielli
with Enrico Caruso
46. Cavalleria rusticana, opera in 1 act Intanto amici...Viva il vino (Brindisi)
Composed by Pietro Mascagni
with Enrico Caruso
47. Martha, opera Act 3: M'apparì tutt'amor ("Ach, so fromm")
Composed by Friedrich von Flotow
with Enrico Caruso
48. La bohème, opera Act 1: Che Gelida Manina
Composed by Giacomo Puccini
with Enrico Caruso
49. Faust, opera Act 3: Salut demeure chaste et pure
Composed by Charles Gounod
with Enrico Caruso
50. Il Trovatore, opera Di quella pira
Composed by Giuseppe Verdi
with Enrico Caruso
51. La favorita, opera Act 4: Spirto Gentil
Composed by Gaetano Donizetti
with Enrico Caruso
52. La forza del destino, opera Solenne in quest'ora
Composed by Giuseppe Verdi
with Enrico Caruso, Antonio Scotti
53. Aida, opera Celeste Aida
Composed by Giuseppe Verdi
with Enrico Caruso
54. Triste Ritorno for voice & orchestra
Composed by Richard Barthelemy
with Enrico Caruso
55. Ideale for voice & piano (or orchestra)
Composed by Francesco Paolo Tosti
with Enrico Caruso
56. L' Africaine, grand opera in 5 acts Act 4: Mi batte il cor...O paradiso!
Composed by Giacomo Meyerbeer
with Enrico Caruso
57. Rigoletto, opera Bella figlia dell'amore [Quartet]
Composed by Giuseppe Verdi
with Enrico Caruso, Bessie Abott, Louise Homer, Antonio Scotti
58. La bohème, opera Act 4: O Mimi Tu Piu Non Torni
Composed by Giacomo Puccini
with Enrico Caruso, Antonio Scotti
59. Andrea Chénier, opera Act 1: Un Di All'Azzurro Spazio (Improvviso)
Composed by Umberto Giordano
with Enrico Caruso
60. Pagliacci, opera Act 1: Recitar!...Vesti La Giubba
Composed by Ruggiero Leoncavallo
with Enrico Caruso
61. La bohème, opera Act I: O soave fanciulla
Composed by Giacomo Puccini
with Enrico Caruso, Dame Nellie Melba
Conducted by Walter B. Rogers
62. Les Pêcheurs de perles, opera in 3 acts Mi Par D'Udi
Composed by Georges Bizet
with Enrico Caruso, Mario Ancona
Conducted by Walter B. Rogers
63. Dom Sébastien, roi du Portugal, opera Act 2: Deserto in terra
Composed by Gaetano Donizetti
with Enrico Caruso
64. Dom Sébastien, roi du Portugal, opera Act 2: Deserto in terra
Composed by Gaetano Donizetti
with Enrico Caruso
65. Adorables Tourments for voice & orchestra "Valse Lente"
Composed by Richard Barthelemy
with Enrico Caruso
66. Lucia di Lammermoor, opera Chi mi frena in tal momento? [Sextet]
Composed by Gaetano Donizetti
with Enrico Caruso, Francesco Daddi, Marcel Journet, Antonio Scotti, Marcella Sembrich, Gina Severina
Conducted by Walter B. Rogers
67. Rigoletto, opera Bella figlia dell'amore [Quartet]
Composed by Giuseppe Verdi
with Enrico Caruso, Antonio Scotti, Marcella Sembrich, Gina Severina
Conducted by Walter B. Rogers
68. La bohème, opera Act 3: Addio, dolce svegliare alla mattina
Composed by Giacomo Puccini
with Enrico Caruso, Gina Ciaparelli-Viafora, Geraldine Farrar, Antonio Scotti
Conducted by Walter B. Rogers
69. Madama Butterfly (Madame Butterfly), opera Un po' di vero c'è
Composed by Giacomo Puccini
with Enrico Caruso, Geraldine Farrar
Conducted by Walter B. Rogers
70. Lolita, serenata spagnola for voice & orchestra
Composed by Arturo Buzzi-Peccia
with Enrico Caruso
71. Rigoletto, opera Act l~Questa o
Composed by Giuseppe Verdi
with Enrico Caruso
72. Rigoletto, opera Act 3, "La Donna E Mobile"
Composed by Giuseppe Verdi
with Enrico Caruso
73. Il Trovatore, opera Ah sì, ben mio
Composed by Giuseppe Verdi
with Enrico Caruso
74. Il Trovatore, opera Se m'ami ancor...Ai nostri monti
Composed by Giuseppe Verdi
with Enrico Caruso, Louise Homer
75. Aida, opera Celeste Aida
Composed by Giuseppe Verdi
with Enrico Caruso
76. Pour un Baiser for voice & piano (or orchestra)
Composed by Francesco Paolo Tosti
with Enrico Caruso
Conducted by Walter B. Rogers
77. Tosca, opera Act 1: Recondita armonia
Composed by Giacomo Puccini
with Enrico Caruso
Conducted by Walter B. Rogers
78. Tosca, opera Act 3: E lucevan le stelle
Composed by Giacomo Puccini
with Enrico Caruso
Conducted by Walter B. Rogers
79. Mamma mia, che vo' sapè, for voice & orchestra
Composed by Emanuele Nutile
with Enrico Caruso
Conducted by Walter B. Rogers
80. La forza del destino, opera Act 3, "O Tu Che in Seno Agli
Composed by Giuseppe Verdi
with Enrico Caruso
Conducted by Walter B. Rogers
81. Aida, opera O terra addio
Composed by Giuseppe Verdi
with Enrico Caruso, Johanna Gadski
Conducted by Walter B. Rogers
82. Aida, opera La fatal pietra
Composed by Giuseppe Verdi
with Enrico Caruso, Johanna Gadski
Conducted by Walter B. Rogers
83. Die Königin von Saba, opera, Op. 27 Act 2: Magische Töne
Composed by Karl Goldmark
with Enrico Caruso
Conducted by Walter B. Rogers
84. Carmen, opéra-comique in 4 acts Il fior che avevi a me tu dato
Composed by Georges Bizet
with Enrico Caruso
Conducted by Walter B. Rogers
85. Carmen, opéra-comique in 4 acts La fleur que tu m'avais jetée
Composed by Georges Bizet
with Enrico Caruso
Conducted by Walter B. Rogers
86. Les Huguenots, grand opera in 5 acts Act 1: Ah, quaal soave vision...Bianca al par di neve
Composed by Giacomo Meyerbeer
with Enrico Caruso
Conducted by Walter B. Rogers
87. Il Trovatore, opera Quel suon, quelle preci...Ah! che la morte (Misere
Composed by Giuseppe Verdi
with Enrico Caruso, Frances Alda
Conducted by Walter B. Rogers
88. Il Trovatore, opera Quel suon, quelle preci...Ah! che la morte (Misere
Composed by Giuseppe Verdi
Performed by Metropolitan Opera Chorus with Enrico Caruso, Frances Alda
Conducted by Walter B. Rogers
89. Martha, opera Solo, profugo, reietto!
Composed by Friedrich von Flotow
with Enrico Caruso, Marcel Journet
Conducted by Walter B. Rogers
90. Faust, opera Ô merveille!...A moi les plaisers
Composed by Charles Gounod
with Enrico Caruso, Marcel Journet
Conducted by Walter B. Rogers
91. Faust, opera Seigneur Dieu, que vois-je!
Composed by Charles Gounod
with Enrico Caruso, Geraldine Farrar, Marcel Journet, Gabrielle Lejeune-Gilbert
Conducted by Walter B. Rogers
92. Faust, opera Eh! quoi! toujours seule?
Composed by Charles Gounod
with Enrico Caruso, Geraldine Farrar, Marcel Journet, Gabrielle Lejeune-Gilbert
Conducted by Walter B. Rogers
93. Faust, opera Il se fait tard...Laisse-moi...Éternelle! Ô nuit d
Composed by Charles Gounod
with Enrico Caruso, Geraldine Farrar
Conducted by Walter B. Rogers
94. Faust, opera Que voulez-vous, messieurs?
Composed by Charles Gounod
with Enrico Caruso, Marcel Journet, Antonio Scotti
Conducted by Walter B. Rogers
95. Faust, opera Mon coeur est pénétré d'épouvante...Attends! Voici
Composed by Charles Gounod
with Enrico Caruso, Geraldine Farrar, Marcel Journet
Conducted by Walter B. Rogers
96. Germania, opera Act I: Student! Udite!
Composed by Alberto Franchetti
with Enrico Caruso
97. Germania, opera: Act 1, "Ah, Vieni Qui . . . No Act 1: Ah, Vieni Qui...No, Non Chiuder Gli Occhi
Composed by Alberto Franchetti
with Enrico Caruso
98. La Gioconda, opera in 4 acts Act 2: Cielo e Mar
Composed by Amilcare Ponchielli
with Enrico Caruso
99. Madama Butterfly (Madame Butterfly), opera Amore o grillo dir non saprei
Composed by Giacomo Puccini
with Enrico Caruso, Antonio Scotti
100. Madama Butterfly (Madame Butterfly), opera Non ve l'avevo detto?...Addio fiorito asil
Composed by Giacomo Puccini
with Enrico Caruso, Antonio Scotti
101. For You Alone for voice & piano (or orchestra)
Composed by Henry Geehl
with Enrico Caruso
102. Otello, opera Nell'ore arcane della sua lussuria...Ora e per sem
Composed by Giuseppe Verdi
with Enrico Caruso
103. Cavalleria rusticana, opera in 1 act O Lola (Siciliana)
Composed by Pietro Mascagni
with Enrico Caruso, Francis J. Lapitino
104. Pagliacci, opera No! Pagliaccio non son
Composed by Ruggiero Leoncavallo
with Enrico Caruso
105. Goodbye (Addio), for voice & piano (or orchestra)
Composed by Francesco Paolo Tosti
with Enrico Caruso
106. Il Trovatore, opera Mal reffendo all'aspro assalto
Composed by Giuseppe Verdi
with Enrico Caruso, Louise Homer
107. Il Trovatore, opera Se m'ami ancor...Ai nostri monti
Composed by Giuseppe Verdi
with Enrico Caruso, Louise Homer
108. Aida, opera Gìa i sacerdoti adunansi...Misero appien mi festi.
Composed by Giuseppe Verdi
with Enrico Caruso, Louise Homer
109. Un ballo in maschera, opera Di' tu se fedele
Composed by Giuseppe Verdi
Performed by Metropolitan Opera Chorus with Enrico Caruso
110. La bohème, opera Musette! O gioia della mia dimora...Testa adorata
Composed by Ruggiero Leoncavallo
with Enrico Caruso
111. Eternamente, for voice & orchestra
Composed by Edoardo Mascheroni
with Enrico Caruso
112. Core 'Ngrato for voice & orchestra
Composed by Manuel Cardoso
with Enrico Caruso
113. Lo Schiavo, opera L'importuna insistenza...Quando nascesti tu
Composed by Carlos Gomes
with Enrico Caruso
114. Canta pe'me, for voice & orchestra
Composed by Ernesto de Curtis
with Enrico Caruso
115. La bohème, opera Il non ho che una povera stanzetta
Composed by Ruggiero Leoncavallo
with Enrico Caruso
116. L'elisir d'amore, opera Act 2: Una Furtiva Lagrima
Composed by Gaetano Donizetti
with Enrico Caruso
117. La forza del destino, opera Invano, Alvaro...Le minaccie, i fieri accenti
Composed by Giuseppe Verdi
with Enrico Caruso, Pasquale Amato
118. Love Is Mine for voice & orchestra
Composed by Clarence G. Gartner
with Enrico Caruso
Conducted by Walter B. Rogers
119. Aida, opera Se quel guerrier io fossi...Celeste Aida
Composed by Giuseppe Verdi
with Enrico Caruso
Conducted by Walter B. Rogers
120. Un ballo in maschera, opera Forse la soglia attinse...Ma se m'è forza perderti
Composed by Giuseppe Verdi
with Enrico Caruso
Conducted by Walter B. Rogers
121. Manon, opera Je suis seul...Ah, fuyez, douce image
Composed by Jules Massenet
with Enrico Caruso
Conducted by Walter B. Rogers
122. Crucifix for tenor, baritone (chorus ad lib) & orchestra
Composed by Research Composer
with Enrico Caruso, Marcel Journet
Conducted by Walter B. Rogers
123. I Lombardi alla prima Crociata, opera Qual voluttà trascorrere
Composed by Giuseppe Verdi
with Enrico Caruso, Frances Alda, Marcel Journet
Conducted by Walter B. Rogers
124. Martha, opera Siam giunti, o giovinette...Questa camera è per vo
Composed by Friedrich von Flotow
with Enrico Caruso, Frances Alda, Josephine Jacoby, Marcel Journet
Conducted by Walter B. Rogers
125. Martha, opera T'ho raggiunta, sciagurata!...Dormi pur (Goodnight
Composed by Friedrich von Flotow
with Enrico Caruso, Frances Alda, Josephine Jacoby, Marcel Journet
Conducted by Walter B. Rogers
126. Tarantella Sincera for voice & orchestra
Composed by Vencenzo De Crescenzo
with Enrico Caruso
Conducted by Walter B. Rogers
127. Lucia di Lammermoor, opera Chi mi frena in tal momento? (Sextet)
Composed by Gaetano Donizetti
with Enrico Caruso, Pasquale Amato, Angelo Bada, Josephine Jacoby, Marcel Journet, Luisa Tetrazzini
Conducted by Walter B. Rogers
128. Soirées musicales, song collection for voices & piano No 8, La danza (Tarantella napolitana)
Composed by Gioachino Rossini
with Enrico Caruso
Conducted by Walter B. Rogers
129. Rigoletto, opera Bella figlia dell'amore (Quartet)
Composed by Giuseppe Verdi
with Enrico Caruso, Pasquale Amato, Josephine Jacoby, Luisa Tetrazzini
Conducted by Walter B. Rogers
130. Dreams of Long Ago for voice & orchestra
Composed by Enrico Caruso
with Enrico Caruso
Conducted by Walter B. Rogers
131. The Lost Chord, song for voice & piano
Composed by Arthur Sullivan
with Enrico Caruso
132. Because for voice & piano (or orchestra)
Composed by Guy d' Hardelot
with Enrico Caruso
133. Hosanna for voice & orchestra
Composed by Jules Granier
with Enrico Caruso
134. La bohème, opera Act I: O soave fanciulla
Composed by Giacomo Puccini
with Enrico Caruso, Geraldine Farrar
Conducted by Walter B. Rogers
135. Don Carlo, opera Domanda al ciel...Dio, che nell'alma infondere
Composed by Giuseppe Verdi
with Enrico Caruso, Antonio Scotti
Conducted by Walter B. Rogers
136. Il Trovatore, opera Se m'ami ancor...Ai nostri monti
Composed by Giuseppe Verdi
with Enrico Caruso, Ernestine Schumann-Heink
137. Pimpinella (The Florence Song), for voice & piano, Op. 38/6 No 06 "Pimpinella"
Composed by Pyotr Il'yich Tchaikovsky
with Enrico Caruso, Gaetano Scognamiglio
138. Rigoletto, opera Act lll~Ella mi fu rapita! Parmi veder le lagrime
Composed by Giuseppe Verdi
with Enrico Caruso
139. Agnus Dei, for voice & piano (or orchestra) (Intermezzo from L'arlésienne Suite No. 2/6, arranged by Ernest Guirard)
Composed by Georges Bizet
with Enrico Caruso, Gaetano Scognamiglio
140. Manon Lescaut, opera Act 1: Donna non vidi mai
Composed by Giacomo Puccini
with Enrico Caruso, A. Regis-Rossini
141. Ave Maria for voice & piano
Composed by Percy B. Kahn
with Enrico Caruso, Mischa Elman, Percy B. Kahn
142. Les Érinnyes, tragédie antique Elégie (arr. for voice, cello & piano)
Composed by Jules Massenet
with Enrico Caruso, Mischa Elman, Percy B. Kahn
143. Lasciate amar, song for voice & piano (or orchestra)
Composed by Ruggiero Leoncavallo
with Enrico Caruso
144. Guardann'A Luna for voice, harp & orchestra
Composed by Vencenzo De Crescenzo
with Enrico Caruso, Francis J. Lapitino
145. Your Eyes Have Told Me What I Did Not Know, for voice & piano
Composed by Geoffrey O'Hara
with Enrico Caruso
146. Fenesta che lucive for voice & orchestra
Composed by Teodoro Cottrau
with Enrico Caruso
147. Stabat mater for 2 sopranos, tenor, bass, chorus, & orchestra Cujus animam
Composed by Gioachino Rossini
with Enrico Caruso
148. Les Rameaux for voice & piano (or orchestra) "The Palms"
Composed by Research Composer
with Enrico Caruso
Conducted by Walter B. Rogers
149. Cavalleria rusticana, opera in 1 act Mamma, Mamma, quel vino!...Voi dovrete fare (Addio alla madre)
Composed by Pietro Mascagni
with Enrico Caruso
150. Otello, opera Oh!mostruosa colpa!...Sì, pel ciel
Composed by Giuseppe Verdi
with Enrico Caruso
Conducted by Walter B. Rogers
151. Don Juan's Serenade, song for voice & piano, Op. 38/1 No 01 "Don Juan's Serenade"
Composed by Pyotr Il'yich Tchaikovsky
with Enrico Caruso
Conducted by Walter B. Rogers
152. Amor Mio for voice & orchestra
Composed by V. Ricciardi
with Enrico Caruso
Conducted by Walter B. Rogers
153. Manella Mia for voice & orchestra
Composed by Vincenzo Valente
with Enrico Caruso
Conducted by Walter B. Rogers
154. Les Rameaux for voice & piano (or orchestra) "The Palms"
Composed by Research Composer
with Enrico Caruso
Conducted by Walter B. Rogers
155. Trusting Eyes for voice & orchestra
Composed by Clarence G. Gartner
with Enrico Caruso
Conducted by Walter B. Rogers
156. Sérénade Espagnole for voice & orchestra
Composed by Sir Landon Ronald
with Enrico Caruso
Conducted by Walter B. Rogers
157. Parted! for voice & piano/orchestra
Composed by Francesco Paolo Tosti
with Enrico Caruso
Conducted by Walter B. Rogers
158. Un ballo in maschera, opera Amici miei, soldate...La rivedrà nell'estasi
Composed by Giuseppe Verdi
Performed by Metropolitan Opera Chorus with Enrico Caruso, Andre DeSegurola, Frieda Hempel, Leon Rothier
Conducted by Gaetano Scognamiglio
159. Un ballo in maschera, opera Così scritto è lassù...E' scherzo od è follia
Composed by Giuseppe Verdi
Performed by Metropolitan Opera Chorus with Enrico Caruso, Andre DeSegurola, Maria Duchene, Frieda Hempel, Leon Rothier
Conducted by Gaetano Scognamiglio
160. La Partida for voice & piano/orchestra
Composed by Fermin Maria Alvarez
with Enrico Caruso, Gaetano Scognamiglio
161. El Milagro de la Virgen, zarzuela Flores purisimas
Composed by Ruperto Chapi y Lorenta
with Enrico Caruso, Gaetano Scognamiglio
162. La Traviata, opera Libiamo, libiamo (Brindisi)
Composed by Giuseppe Verdi
Performed by Metropolitan Opera Orchestra and Chorus with Enrico Caruso, Alma Gluck
Conducted by Giulio Setti
163. Il Guarany, opera Sento una forza indomita
Composed by Carlos Gomes
with Enrico Caruso, Emmy Destinn
Conducted by Walter B. Rogers
164. Hantise D'amour for voice & orchestra
Composed by Josef Zygmunt Szulc
with Enrico Caruso
Conducted by Walter B. Rogers
165. Carmen, opéra-comique in 4 acts Parle-moi de ma mère
Composed by Georges Bizet
with Enrico Caruso, Frances Alda
Conducted by Walter B. Rogers
166. La Mia canzone, for voice & piano/orchestra
Composed by Francesco Paolo Tosti
with Enrico Caruso
Conducted by Walter B. Rogers
167. Cielo Turchino for voice & orchestra
Composed by M.S. Ciociano
with Enrico Caruso
Conducted by Walter B. Rogers
168. Pecchè? for voice & orchestra
Composed by Gaetano Errico Pennino
with Enrico Caruso, Bianculli
Conducted by Walter B. Rogers
169. Requiem Mass, for soloists, chorus & orchestra (Manzoni Requiem) Ingemisco
Composed by Giuseppe Verdi
with Enrico Caruso
Conducted by Walter B. Rogers
170. Angelo casto e bel (in Donizetti's "Le duc d'Albe")
Composed by Matteo Salvi
with Enrico Caruso
Conducted by Walter B. Rogers
171. Si Vous L'Aviez Compris for voice & piano (or ensemble)
Composed by Luigi Denza
with Enrico Caruso, Mischa Elman, Gaetano Scognamiglio
172. Les duex sérénades, 2 songs for voice & piano
Composed by Ruggiero Leoncavallo
with Enrico Caruso, Mischa Elman, Gaetano Scognamiglio
173. La procession: Dieu s'avance à travers les champs!, for voice & orchestra (or piano), M. 88
Composed by Cesar Franck
with Enrico Caruso, Francis J. Lapitino
Conducted by Walter B. Rogers
174. Le Cid, opera Ah! Tout est Bien Fini... O Souverain, O Juge, O Pere
Composed by Jules Massenet
with Enrico Caruso
Conducted by Walter B. Rogers
175. Luna d'estate, for voice & piano/orchestra
Composed by Francesco Paolo Tosti
with Enrico Caruso
Conducted by Walter B. Rogers
176. O Sole Mio for voice & piano (or orchestra)
Composed by Eduardo di Capua
with Enrico Caruso
Conducted by Walter B. Rogers
177. La Reine de Saba, opera Act 2: Faiblesse de la race humaine; Inspirez-moi race divine
Composed by Charles Gounod
with Enrico Caruso
Conducted by Walter B. Rogers
178. Mia sposa sarà la mia bandiera for voice & piano (or orchestra)
Composed by Augusto Rotoli
with Enrico Caruso
Conducted by Walter B. Rogers
179. Macbeth, opera O figli, o figli miei...Ah, la paterna mano
Composed by Giuseppe Verdi
with Enrico Caruso
Conducted by Walter B. Rogers
180. La bohème, opera Vecchia zimarra, senti
Composed by Giacomo Puccini
with Enrico Caruso
Conducted by Walter B. Rogers
181. Cantique de Noel for voice & orchestra, "O Holy Night"
Composed by Adolphe Adam
with Enrico Caruso
182. Sancta Maria for voice & orchestra
Composed by Anonymous
with Rosario Bourdon, Enrico Caruso
Conducted by Walter B. Rogers
183. Tiempo Antico for voice & orchestra
Composed by Enrico Caruso
with Enrico Caruso
Conducted by Walter B. Rogers
184. Santa Lucia for voice & orchestra
Composed by Teodoro Cottrau
with Enrico Caruso, Bianculli
Conducted by Walter B. Rogers
185. Why?, song for voice & piano, Op. 6/5 No 05 "Why?"
Composed by Pyotr Il'yich Tchaikovsky
with Enrico Caruso
Conducted by Josef A. Pasternack
186. Eugene Onegin, opera, Op. 24 Pour moi ce jour est tout mystère
Composed by Pyotr Il'yich Tchaikovsky
with Enrico Caruso
Conducted by Josef A. Pasternack
187. Chanson de Juin for voice & orchestra, Op 102/6
Composed by Benjamin Godard
with Enrico Caruso
Conducted by Josef A. Pasternack
188. Andrea Chénier, opera Act 4: Come un bel dì dì maggio
Composed by Umberto Giordano
with Enrico Caruso
Conducted by Josef A. Pasternack
189. Samson et Dalila, opera in 3 acts, Op. 47 Vois ma misère, hélas
Composed by Camille Saint-Saens
Performed by Metropolitan Opera Chorus with Enrico Caruso
Conducted by Josef A. Pasternack
190. Les Pêcheurs de perles, opera in 3 acts Act 1: Mi Par D'Udit Ancora (Je Crois Entendre Encore)
Composed by Georges Bizet
with Enrico Caruso
Conducted by Josef A. Pasternack
191. Les Pêcheurs de perles, opera in 3 acts Act 2: De mon amie, fleur endormie
Composed by Georges Bizet
with Adams, Enrico Caruso, Francis J. Lapitino
192. Rigoletto, opera Bella figlia dell'amore (Quartet)
Composed by Giuseppe Verdi
with Enrico Caruso, Giuseppe DeLuca, Amelita Galli-Curci, Flora Perini
Conducted by Josef A. Pasternack
193. Rigoletto, opera Bella figlia dell'amore (Quartet)
Composed by Giuseppe Verdi
with Enrico Caruso
Conducted by Josef A. Pasternack
194. Lucia di Lammermoor, opera Chi mi frena in tal momento? (Sextet)
Composed by Gaetano Donizetti
with Enrico Caruso, Angelo Bada, Giuseppe DeLuca, Minnie Egener, Amelita Galli-Curci, Marcel Journet
Conducted by Josef A. Pasternack
195. Lucia di Lammermoor, opera Chi mi frena in tal momento? (Sextet)
Composed by Gaetano Donizetti
with Enrico Caruso, Angelo Bada, Giuseppe DeLuca, Minnie Egener, Amelita Galli-Curci, Marcel Journet
Conducted by Josef A. Pasternack
196. Martha, opera Act 3: M'apparì tutt'amor ("Ach, so fromm")
Composed by Friedrich von Flotow
with Enrico Caruso
Conducted by Josef A. Pasternack
197. Musica proibita, for voice & orchestra, Op 5
Composed by Stanislas Gastaldon
with Enrico Caruso
Conducted by Josef A. Pasternack
198. Tarantella Sincera for voice & orchestra
Composed by Vencenzo De Crescenzo
with Enrico Caruso, Francis J. Lapitino
Conducted by Josef A. Pasternack
199. Canzoni d'Amaranta (4) for voice & piano, No. 2, "L'alba separa dalla luce l'ombra"
Composed by Francesco Paolo Tosti
with Enrico Caruso
Conducted by Josef A. Pasternack
200. Canzoni d'Amaranta (4) for voice & piano, No. 2, "L'alba separa dalla luce l'ombra"
Composed by Francesco Paolo Tosti
with Enrico Caruso
Conducted by Josef A. Pasternack
201. Nero, opera Oh! lumière du jour
Composed by Anton Rubinstein
with Enrico Caruso, Francis J. Lapitino
Conducted by Josef A. Pasternack
202. Nero, opera Oh! lumière du jour
Composed by Anton Rubinstein
with Enrico Caruso, Francis J. Lapitino
Conducted by Josef A. Pasternack
203. La Luz de la Luna, for 2 voices & orchestra
Composed by Anton y Michelena
with Enrico Caruso, Emilio de Gogorza
Conducted by Josef A. Pasternack
204. Sei Morta Ne la Vita Mia for voice & piano
Composed by Pasquale Costa
with Enrico Caruso, Vincenzo Bellezza
205. La Partida for voice & piano/orchestra
Composed by Fermin Maria Alvarez
with Enrico Caruso
Conducted by Josef A. Pasternack
206. La forza del destino, opera Nè gustare m'è dato un'ora
Composed by Giuseppe Verdi
with Enrico Caruso, Giuseppe DeLuca
Conducted by Josef A. Pasternack
207. Over There
Composed by George M. Cohan
with Enrico Caruso
Conducted by Josef A. Pasternack
208. Pietà, Signore! for voice & piano (or orchestra)
Composed by Louis Niedermeyer
with Enrico Caruso
Conducted by Josef A. Pasternack
209. A Granada for voice & orchestra
Composed by Fermin Maria Alvarez
with Enrico Caruso
Conducted by Josef A. Pasternack
210. Campane a Sera for voice & orchestra
Composed by Vincenzo Billi
with Enrico Caruso
Conducted by Josef A. Pasternack
211. Inno di Garibaldi, for voice & orchestra
Composed by Dino Olivieri
with Enrico Caruso
Conducted by Josef A. Pasternack
212. La Campana di San Giusto, for voice & orchestra (& chorus ad lib)
Composed by Columbo Arona
with Rosario Bourdon, Enrico Caruso
Conducted by Josef A. Pasternack
213. Le Régiment de Sambre et Meuse for brass ensemble
Composed by Robert Planquette
with Enrico Caruso
Conducted by Josef A. Pasternack
214. Sultanto a Te for voice & orchestra
Composed by Salvatore Fucito
with Enrico Caruso
Conducted by Josef A. Pasternack
215. Samson et Dalila, opera in 3 acts, Op. 47 Je viens célébrer la victoire
Composed by Camille Saint-Saens
with Enrico Caruso, Louise Homer, Marcel Journet
Conducted by Josef A. Pasternack
216. L'elisir d'amore, opera Act 2: Venti Scudi
Composed by Gaetano Donizetti
with Enrico Caruso, Giuseppe DeLuca
Conducted by Josef A. Pasternack
217. A vucchella ("Arietta di Posilippo") for voice & piano (or orchestra)
Composed by Francesco Paolo Tosti
with Enrico Caruso
Conducted by Josef A. Pasternack
218. Vieni Sul Mar
Composed by Italian Traditional
with Enrico Caruso
Conducted by Josef A. Pasternack
219. Tu, ca nun chiagne!, for voice & piano (or orchestra)
Composed by Ernesto de Curtis
with Enrico Caruso
Conducted by Josef A. Pasternack
220. Addio a Napoli for voice & orchestra
Composed by Teodoro Cottrau
with Enrico Caruso
Conducted by Josef A. Pasternack
221. Nina ("Tre giorni son che Nina"), song for voice & keyboard
Composed by Vincenzo Ciampi
with Enrico Caruso
Conducted by Josef A. Pasternack
222. Premiere caresse, for voice & orchestra
Composed by Vencenzo De Crescenzo
with Enrico Caruso
Conducted by Josef A. Pasternack
223. Senza nisciuno for voice & orchestra
Composed by Ernesto de Curtis
with Enrico Caruso
Conducted by Josef A. Pasternack
224. Salvator Rosa, opera Mia piccirella
Composed by Carlos Gomes
with Enrico Caruso
Conducted by Josef A. Pasternack
225. Serenata for voice & orchestra, "Memories of a Concert"
Composed by C.A. Bracco
with Rosario Bourdon, Enrico Caruso
Conducted by Josef A. Pasternack
226. Scordame for voice & orchestra
Composed by Salvatore Fucito
with Enrico Caruso
Conducted by Josef A. Pasternack
227. Love Me or Not for voice & orchestra
Composed by Antonio Secchi
with Enrico Caruso
Conducted by Josef A. Pasternack
228. Serse (Xerxes), opera, HWV 40 Act 1: Frondi tenere e belle...Ombra mai fu (Largo)
Composed by George Frideric Handel
with Enrico Caruso, Francis J. Lapitino
Conducted by Josef A. Pasternack
229. Noche Feliz for voice & orchestra
Composed by Guillermo Posadas
with Enrico Caruso
Conducted by Josef A. Pasternack
230. La Juive, opera Rachel, quand du Seigneur
Composed by Fromental Halevy
with Enrico Caruso
Conducted by Josef A. Pasternack
231. I' M'Arricordo 'E Napule for voice & orchestra
Composed by Joseph Giuseppe Gioe
with Enrico Caruso
Conducted by Josef A. Pasternack
232. Vaghissima sembianza for voice & piano (or orchestra)
Composed by Stefano Donaudy
with Enrico Caruso
Conducted by Josef A. Pasternack
233. L' Africaine, grand opera in 5 acts Che dicon mai?...Deh, ch'io ritorni
Composed by Giacomo Meyerbeer
with Enrico Caruso
Conducted by Josef A. Pasternack
234. Amadis de Gaule, opera, LWV 63 Bois épais
Composed by Jean-Baptiste Lully
with Enrico Caruso
Conducted by Josef A. Pasternack
235. A Dream
Composed by John Bartlet
with Enrico Caruso
Conducted by Josef A. Pasternack
236. Petite messe solennelle, for soloists, 2 pianos, harmonium & choir Domine Deus
Composed by Gioachino Rossini
with Enrico Caruso
Conducted by Josef A. Pasternack
237. Petite messe solennelle, for soloists, 2 pianos, harmonium & choir Crucifixus
Composed by Gioachino Rossini
with Enrico Caruso
Conducted by Josef A. Pasternack
CONTENT - DISC BY DISC
Disc: 1
1. Rigoletto, Act I: Studenti! Udite!
2. Rigoletto, Act I: Questa o quella
3. Aida, Act I: Celeste Aida
4. Manon, Act II: Chiudi gli occhi (II Sogno)
5. L'elisir d'amore, Act II: Una furtiva lagrima
6. Mefistofele, Epilogue: Giunto sul passo estremo
7. Germania, Act I: Ah, vieni qui ... No, non chiuder gli occhi vaghi
8. Mefistofele, Act I: Dai campi, dai prati
9. Tosca, Act III: E lucevan le stelle
10. Iris, Act I: Apri la tua finestra
11. Mefistofele, Act I: Dai campi, dai prati
12. Fedora, Act II: Amor ti vieta
13. Aida, Act I: Celeste Aida
14. La Gioconda, Act II: Cielo e mar
15. Pagliacci, Act I: Recitar! mentre preso dal delirio...Vesti la giubba
16. Cavalleria Rusticana: O Lola (Siciliana)
17. Non t'amo piu
18. La mia canzone
19. Adriana Lecouvreur, Act II: No, pui nobile
20. Luna fedel
21. Un bacio ancora
22. Luna fedel
23. L'elisir d'amore, Act II: Una furtiva lagrima
24. Tosca, Act III: E lucevan le stelle
25. Germania, Act I: Ah, vieni qui ... No, non chiuder gli occhi vaghi
26. Rigoletto, Act IV: La donna e mobile
27. Cavalleria Rusticana: O Lola (Seciliana)
Disc: 2
1. Tu non mi vuoi piu ben
2. Tosca, Act III: E lucevan le stelle
3. Gli Ugonotti (Les Hugenots), Act I: Qui sotto ii ciel
4. Rigoletto, Act I: Questa o quella
5. Rigoletto, Act IV: La donna e mobile
6. L'elisir d'amore, Act II: Una furtiva lagrima...Un solo isante
7. Aida, Act I: Celeste Aida
8. Tosca, Act III: E lucevan le stelle
9. Tosca, Act I: Recondite armonia
10. Cavalleria Rusticana: O Lola (Siciliana)
11. I Pagliacci, Act I: Recitar! mentre preso dal delirio...Vesti la giubba
12. Maron, Act II: Chiudi gli occhi (II Sogno)
13. Mattinata
14. I pescatori di perle (Les pecheurs de perles), Act I: Mi par d'udir ancora
15. Don Pasquale, Act III: Com'e gentil (Serenata)
16. Carmen, Act II: Il fior che avevi a me tu dato
17. Gli Ugonotti (Les Huguenots), Act I: Ah, quel soave vision
18. La Gioconda, Act II: Cielo e mar
19. Cavalleria Rusticana: Intanto amici...Viva il vino (Brindisi)
20. Marta, Act III: M'appari tutt'amore
21. La Boheme, Act I: Che gelida manina
22. Faust, Act III: Salut demeure chaste et pure
23. Il Trovota, Act III: Di quella pira
Disc: 3
1. La Favorita, Act IV: Spirito gentil, ne' sogni miei (Romanza)
2. La forza del destino, Act III: Solenne in quest'ora
3. Aida, Act I: Celeste Aida
4. Triste ritorno
5. Ideale
6. L'Africana (L'Africaine), Act IV: O Mimi, tu piu non torni
7. Rigoletto, Act IV: Bella figlia dell'amore (Quartet)
8. La Boheme, Act IV: O mimi, tu piu non torni
9. Andrea Chenier, Act I: Un di all'azzurro spazio (Improvviso)
10. I Pagliacci, Act I: Recitar! mentre preso dal delirio...Vesti la giubba
11. La Boheme, Act I: O soave fanciulla
12. I prescatori di perle (Les pecheurs de perles), Act I: Del tempio al limitar
13. Don Sebastiano, Act II: Deserto in terra
14. Don Sebastiano, Act II: Deserto in terra
15. Adorables tourments (Valse lente)
16. Lucia di Lammermoor, Act II: Chi mi frena in tal mometno? (Sextet)
17. Rigoletto, Act IV: Bella figlia dell'amore (Quartet)
18. La Boheme, Act III: Addio, dolce svegliare alla mattina
19. Madama Butterfly, Act I: Un po' di vero c'e...Oh quanti occhi fisi
Disc: 4
1. Lolita (Spanish Serenade)
2. Rigoletto, Act I: Questa o quella
3. Rigoletto, Act IV: La donna e mobile
4. Il Travatore, Act III: Ah si ben mio
5. Il Trovatore, Act IV: Se m'ami ancor... Ai nostri monti
6. Aida, Act I: Celeste Aida
7. Pour un baiser
8. Tosca, Act I: Recondita armonia
9. Tosca, Act III: E lucevan le stelle
10. Mamma mia che vo' sape
11. La forza del destino, Act III: Della natal sua terra il padre...O tu che in sena agl' angeli
12. Aida, Act IV: O terra addio
13. Aida, Act IV: La fatal pietra
14. La Regina di Saba (Die Konigin von Saba), Act II: Magiche note
15. Carman, Act II: Il fior che avevi a me tu dato
16. Carmen, Act II: La fleur que tu m'avais jetee
17. Gli Ugonotti (Les Huguenots), Act I: Ah, qual soave vision...bianca al par di neve
18. Il Trovatore, Act IV: Quel suon, quelle preci...Ah! che la morte (Miserere)
19. Il Trovatore, Act IV: Quel suon, quelle preci...Ah! che la morte (Miserere)
20. Marta, Act I: Solo, profugo, reietto!
Disc: 5
1. Faust, Act I: O mereveille!...A moi les plaisirs
2. Faust, Act III: Siegneur dieu, que voi-je!
3. Faust, Act III: Eh! quoi! toujours seule?
4. Faust, Act III: Il se fait tard...Laisse moi...Eterbekke! O nuit d'amour
5. Faust, Act IV: Que voulez vous messieurs?
6. Faust, Act V: Mon coeur est penetre d'epouvante...Attends!Voici la rue...Alerte! ou vous etes perdus
7. Germania, Act I: Studenti! Udite!
8. Germania, Act I: Ah, vieni qui...no, non chiudi gli occchi vaghi
9. La Gionconda, Act II: Cielo e mar
10. Madama Butterfly, Act I: Amore o grllo dir non saprei
11. Madama Butterfly, Act III: Non ve l'avevo detto...addio fiorito asil
12. For You Alone
13. Otello, Act II: Nell'ore arcane della sua lussuria...Ora e par sempre addio
14. Cavalleria Rusticana: O Lola (Siciliana)
15. I Pagliacci, Act II: No, pagliaccio non son
16. Addio
17. Il Trovatore, Act II: Mal reggenda all'aspro assalto
18. Il Trovatore, Act IV: Se m'ami ancor...Ai nostri moni
Disc: 6
1. Aida Act IV: Gia i sacerdoti adunansi...Misero appien mi festi...Aida a me togliesti
2. Un ballo in machera, Act I: Di tu se fedele
3. La Boheme, Act III: Musette! O gioia della mia dimora...Testa adorata
4. Eternamente
5. Core' ngrato
6. Lo Schiavo (O Escravo), Act II: L'importuna insistenza...Quando nascesti tu
7. Canta pe' me
8. La Boheme, Act II: Io non ho che una povero stanzetta
9. L'elisir d'amore, Act II: Una furtiva lagrima
10. La forza del destino, Act IV: Invano, Alvaro...Le minaccie, i fieri accenti
11. Walter B. Rogers: Love Is Mine
12. Aida, Act I: Se quel quel guerrier io fossi...Celeste Aida
13. Un ballo in maschera, Act III: Forse la soglia attinse...ma se m'efora perderti
14. Je suis seul...Ah, fuyez, douce image
15. Crucifix
16. I Lombardi, Act III: Qual volutta trascorere
Disc: 7
1. Marta, Act II: Siam giunti, o giovanette...Questa camera e per voi!...Che vuol dir cio?...Presto, presto andiam
2. Marta, Act II: T'ho raggiunta, sciagurata!...Dormi pur ('Goodnight' Quartet)
3. Tarantella sincera
4. Lucia di Lammermoor, Act II: Chi mi frena in tal momento? (Sextet)
5. Les soirees musicales, No.8: La danza (Tarantella napolitana)
6. Rigoletto, Act IV: Bella figlia dell'amore (Quartet)
7. Dreams Of Long Ago
8. The Lost Chord
9. Because
10. Hosanna
11. Manon, Act II: Manon! Avez-vous peur...On l'appelle Manon
12. La Boheme, Act I: O soave fanciulla
13. Don Carlo, Act I: Domanda al ciel...Dio, che nell'alma infondere
14. Il Trovatore, Act IV: Se m'ami ancor...Ai nostri monti
15. Op. 38, No. 6: Pimpinella (Canzone floretina)
16. Rigoletto, Act III: Ella mi fu rapita!...Parmi veder le lagrime
17. Agnus Dei
Disc: 8
1. Manon Lescaut, Act I: Donna non vidi mai
2. Ave Maria
3. Elegie (Song of Mourning)
4. Lasciati amar
5. Guardanno 'a luna
6. Your Eyes Have Told Me What I Did Not Know
7. Fenesta che lucive
8. Stabat Mater: Cujus animam
9. The Palms
10. Cavalleria Rusticana: Mamma, Mamma, quel vino!...Voi dovrete far (Addio alla madre)
11. Otello, Act II: Oh! Mostruosa colpa!..Si, pel ciel
12. Op. 38, No. 1: Serenade de Don Juan
13. Amor mio
14. Manella mia
15. The Palms
16. Trusting Eyes
17. Serenade espagnole
18. Parted
19. Un ballo in maschera, Act I: Amici miei, soldati...La rivedra nell'estasi
20. Un ballo in maschera, Act I: Cosi scritto e lassu...E'scherzo od e follia
Disc: 9
1. La Partida
2. El Milagro de la Virgen: Flores purisimas
3. La Traviata, Act I: Libiamo, libiamo (Brindisi)
4. Il Guarany (O Guarani), Act I: Sento una forza indomita
5. Hantis d'amour
6. Carman, Act I: Parle-moi de ma mere ( w Frances Alda)
7. La mia canzone
8. Cielo turchino
9. Pecche
10. Messa da requiem: Ingemisco
11. Il Duca d'Alba, Act IV: Angelo casto e bel
12. Si vous l'aviez compris
13. Les duex serenades: Serenade francaise
14. La procession
15. Le Cid, Act III: Ah! tout est bien fini!...O Souverain, o Juge,o Pere!
16. Luna d'estate
17. 'O sole mio
18. La Reine de Saba, Act II: Faiblesse de la race humaine!...Inspirez-moi, race divine
19. Mia sposa sara la mia bandiera
Disc: 10
1. Macbeth, Act IV: O fifgli, o figli miei...Ah, la paterna mano
2. La Boheme, Act IV: Vecchia zimarra, senti
3. Cantique de Noel
4. Sancta Maria
5. Tiempo antico
6. Santa Lucia
7. Op. 6, No. 5: Pourquoi?
8. Eugene Oneguine (Evgeny Onegin), Act II: Pour moi ce jour est tout mystere
9. Op. 102, No. 6: Chanson de juin
10. Andrea Chenier, Act IV: Come un bel di di maggio
11. Samson et Dalila, Act III: Vois ma misere, helas
12. Les pecheurs de perles, Act I: A cette voix quel trouble...Je crois entendre encore
13. Les pecheurs de perles, Act II: De mon amie, fleur endormie
14. Rigoletto, Act IV: Bella figlia dell'amore (Quartet)
15. Verdi: Bella figlia dell'amore (Quartet)
16. Lucia di Lammermoor, Act II: Chi mi frena in tal momento? (Sextet)
17. Lucia di Lammermoor, Act II: Chi mi frena in tal momento? (Sextet)
18. M'appari tutt'amor
19. Op. 5: Musica proibita
20. Uocchie celeste
Disc: 11
1. L'alba separa dalla luce l'ombra
2. L'alba separa dalla luce l'ombra
3. Neron, Act II: Oh! lumiere du jour
4. Neron, Act III: Oh! lumiere du jour
5. A la luz de la luna
6. Sei morta ne la vita mia
7. La Partida
8. La forza del destino