The greatest ever restoration of Enrico's voice I've ever heard. And I've heard many... It captures not only his unique baritone/tenor voice, but also his incredible empathy. - For me the very quality that made him the "voice of the century". If I had the money I'd gladly invest to have your restorations published on CD. Just an idea: make a facebook group to attract investors? My own Caruso uploads have had 1.6 million hits. So there seems to be an interest in this unique singer.
The photographs are great! He just comes alive. How can a voice cross time like his does? I think it was his emotional honesty, and, of course, the quality of the instrument. Thanks for the wonderful posting.
Caruso was the last, and only great, singer from the "pre-recording era" we can still hope to listen to, and thanks so much for producing this wonderful recording. Just imagine, what if we could go back more than a hundred years, and actually hear Giuditta Pasta sing Bellini's "Casta Diva?" Well, too bad, so sad, we can't - and that just makes this amazing recording so important. You have helped to preserve a magnificent artistic tradition. Thanks again!
This is like putting a Rembrandt in a plastic frame. The orchestra is on stage and Caruso sounds like he is singing from the the basement while standing in a big barrel. This is a sacrilege.
Pour la première fois j'ai vraiment l'impression d'être le plus près de la véritable voix de Caruso quoique les enregistrements d'origines sont aussi une excellente source. Merci!
Thanks for this posting. Sadly I missed hearing EC live by 80 yrs. Your version has the best voice quality I've heard. But I still have trouble hearing lyrics toward the end. Why argue about singers? Each has a quality that makes them special. Corelli (my favorite) is a Heroic/Dynamic & Bjorling is a fabulous Lyric/Spinto (sorry, forgotten the types of tenors). Was told EC range was tenor to baritone. This song was written especially for him & his Napoli accent, so he sings it best!
Notasi che core n’grato fu scritta pensando alle vicende sentimentali tra Caruso e Ada Giacchetti. Ora ho una domanda e spero che qualcuno possa rispondermi perché io ancora non ho trovato risposta. Questa è la prima nonché l’unica versione di core n’grato uscita con Caruso. Le parole della seconda parte sono un po’ diverse. Non compare il confessore e verso la fine dice una parola che da napoletano non capisco nemmeno io e dopo: aspetta sta grazia o sta condanna. Quindi le parole sono diverse dal testo che viene riportato. Qualcuno sa il perché? Grazie.
i used a sound program to try and get the sound closer to what i felt was natural to his vocals, the pitch was altered not sure what was right but this is close to the best one i found
Who ever this zucker guy is is showcasing his inmense ignorance when stating Caruso did not have musical imagination. The cadenza at the end of Una Furtiva Lagrima that we all know was improvised by Enrico! Lovelytenor is correct. We know who is the greatest because we know what it takes to sing. Enrico set the bar and we are all working to reach it.
@lincolncar1 While I have not seen what Zucker has had to say since these re-recordings have come out, I would give him the opportunity to first see what he would have to say; he's done so much for opera. Zucker's favorite tenor, to my knowledge, is Franco Corelli whom he interviewed on his old radio show; while Corelli's English wasn't the best, he was still a very articulate man whose observations, not just about opera but about MUSIC are something to admire.
Listen to Caruso 1904 Una Furtiva Lagrima and his Recondita Armonia from 1904. Personally, I can make out for whatever reason his voice from those, and his voice and Gigli's voice are the two greatest voices I have ever heard The time period had different taste, so the tenors might do things also that would further make it more difficult to hear. In Recondita Armonia, Caruso is singing much more with a lyric sound
Because of the primitive mechanical medium through which he sang, Caruso always sang 'live'. It wasn't possible to edit & splice wax cylinders. The smallest mistake by singer or accompaniment or technician, meant that the poor singer might have to sing the entire aria or song through again many many times. Imagine singing Che gelida Manina through 4 or 5 times, & trying to keep the spontaneity & feeling as fresh as the first! Not to mention the high C.
Oh, here is the link to the Recondita Armonia 1904. Its taken from the gramaphone; watch?v=wfVFhwumh8c There are reasons one should listen to these old recordings in that way, as some of the frequencies that need to be transmitted are. Its an excellent example of Caruso' voice
and the link to Una Furtiva Lagrima 1904 watch?v=6noHQXH0Qy4 his voice just 'flows' like a gentle spring and he sings it at a slow tempo showing his incredible breath control and sense of melody
I find Zucker's comment odd since it was this aria that made Toscannini exclaim the whole world will hear of him. Further his 1904 version shows, I think considerable nuance and delicacy as well as imagination. Just MHO. Ciao.
@Lovelytenor1 What you're saying is quite true; if you asked Bjorling and Corelli this question this is how they would answer. However in polls by opera fans, most notably those taken by Stefan Zucker, Corelli and Bjorling get rated ahead of Caruso. That may be unfair and I also think that Caruso will now be legitimately re-evaluated because of recordings such as this showing him in a vastly improved (to me, anyway) light.
@Lovelytenor1 We don't proclaim Caruso, though with these recordings, he obviously must be re-assessed. Jussi Bjorling an Franco Corelli are generally ranked ahead of Caruso, but as I said, with these recordings, this might just change; I can honestly say I'm a lot more interested in listening to Caruso under these conditions than I was before.
Enrico Caruso's son characterised his father's voice as 'sweet' and 'velvet'. This recording sounds nothing like Caruso, not even the one we can hear on poor reproductions.
smemr: I think that Stefan Zucker is a technically fixated, operatic fruitcake. A self proclaimed authority on opera who never understood that opera and singing is all about communicating human emotions and not high C's. A person that would discard Beethoven as an idiot because his structure/harmonics didn't agree with the mathematics of Mozart... Maybe I'm overdoing this somewhat, but I don't agree with him :-) Best Tom
Have any Italian men tryed to sing along with him? We have the correct voice box keep opera going how high can you belt out notes try to match it, you might be the next tennor.
Bjoerling, Caruso, each had a unique talent but, they were both so qualitatively alike that I'm astounded at the timbre, the lyric qualities of each
The greatest ever restoration of Enrico's voice I've ever heard. And I've heard many...
It captures not only his unique baritone/tenor voice, but also his incredible empathy. - For me the very quality that made him the "voice of the century".
If I had the money I'd gladly invest to have your restorations published on CD.
Just an idea: make a facebook group to attract investors?
My own Caruso uploads have had 1.6 million hits. So there seems to be an interest in this unique singer.
The photographs are great! He just comes alive. How can a voice cross time like his does? I think it was his emotional honesty, and, of course, the quality of the instrument. Thanks for the wonderful posting.
Caruso was the last, and only great, singer from the "pre-recording era" we can still hope to listen to, and thanks so much for producing this wonderful recording. Just imagine, what if we could go back more than a hundred years, and actually hear Giuditta Pasta sing Bellini's "Casta Diva?" Well, too bad, so sad, we can't - and that just makes this amazing recording so important. You have helped to preserve a magnificent artistic tradition. Thanks again!
questa musica arriva alle orecchie di chi sente e al cuore di chi ascolta!
UNBELIEVABLE GREATNESS
This is like putting a Rembrandt in a plastic frame. The orchestra is on stage and Caruso sounds like he is singing from the the basement while standing in a big barrel. This is a sacrilege.
Pour la première fois j'ai vraiment l'impression d'être le plus près de la véritable voix de Caruso quoique les enregistrements d'origines sont aussi une excellente source. Merci!
+Xavier Vivier Julien Incroyable! j'ai ecoute les 78's de Caruso et maintenaint j'ecoute la voix vrai de Caruso. Je veux la croire. Admirable!!!!
Il più grande di tutti i tempi.
AS ALWAYS with Caruso, the colors!
a cd with this quality would stir a buz in the musical community no doubt !
enorm , imens ....nu am cuvinte .
Wonderful. Just wonderful!
thank you. now i know how my voice really sounds.
Sinplesmente, maravilhoso.
Thanks for this posting. Sadly I missed hearing EC live by 80 yrs. Your version has the best voice quality I've heard. But I still have trouble hearing lyrics toward the end. Why argue about singers? Each has a quality that makes them special. Corelli (my favorite) is a Heroic/Dynamic & Bjorling is a fabulous Lyric/Spinto (sorry, forgotten the types of tenors). Was told EC range was tenor to baritone. This song was written especially for him & his Napoli accent, so he sings it best!
卡鲁索不是大男中音，也不算男高音，他是三者混合的歌唱家，有史以来最杰出的歌唱家，任何人都不能够跟他相比
Notasi che core n’grato fu scritta pensando alle vicende sentimentali tra Caruso e Ada Giacchetti. Ora ho una domanda e spero che qualcuno possa rispondermi perché io ancora non ho trovato risposta. Questa è la prima nonché l’unica versione di core n’grato uscita con Caruso. Le parole della seconda parte sono un po’ diverse. Non compare il confessore e verso la fine dice una parola che da napoletano non capisco nemmeno io e dopo: aspetta sta grazia o sta condanna. Quindi le parole sono diverse dal testo che viene riportato. Qualcuno sa il perché? Grazie.
СПАСИБО !!!💘🎙👤🎙💘........👵🇷🇺🇷🇺🇷🇺
Impressive! Like taking a Time Machine! Well done....
perfecto!!
IL RE - PER SEMPRE IL RE Assoluto!!!
Il testo di "core n'grato" è diRiccardo Cordiferro (Alessandro Sisca) nato a San Pietro in Guarano Cosenza Italia-
i used a sound program to try and get the sound closer to what i felt was natural to his vocals, the pitch was altered not sure what was right but this is close to the best one i found
¡Bien ahí! Thank you very much for this amazing job!
Who ever this zucker guy is is showcasing his inmense ignorance when stating Caruso did not have musical imagination. The cadenza at the end of Una Furtiva Lagrima that we all know was improvised by Enrico! Lovelytenor is correct. We know who is the greatest because we know what it takes to sing. Enrico set the bar and we are all working to reach it.
Stefan thinks he knows best. And he assumes everyone thinks so
Corazón ingrato ¡...
Perhaps we should take Bjorling&Corelli's recordings&attempt to remaster them to the tecnology that was used in Caruso's time
@lincolncar1 While I have not seen what Zucker has had to say since these re-recordings have come out, I would give him the opportunity to first see what he would have to say; he's done so much for opera.
Zucker's favorite tenor, to my knowledge, is Franco Corelli whom he interviewed on his old radio show; while Corelli's English wasn't the best, he was still a very articulate man whose observations, not just about opera but about MUSIC are something to admire.
Listen to Caruso 1904 Una Furtiva Lagrima and his Recondita Armonia from 1904. Personally, I can make out for whatever reason his voice from those, and his voice and Gigli's voice are the two greatest voices I have ever heard
The time period had different taste, so the tenors might do things also that would further make it more difficult to hear. In Recondita Armonia, Caruso is singing much more with a lyric sound
Because of the primitive mechanical medium through which he sang, Caruso always sang 'live'. It wasn't possible to edit & splice wax cylinders. The smallest mistake by singer or accompaniment or technician, meant that the poor singer might have to sing the entire aria or song through again many many times. Imagine singing Che gelida Manina through 4 or 5 times, & trying to keep the spontaneity & feeling as fresh as the first! Not to mention the high C.
카루소목소리는발성이자연스러워듣기편하다 다른테너들처럼억지로짜내는듯한고음이전혀없다
Oh, here is the link to the Recondita Armonia 1904. Its taken from the gramaphone;
watch?v=wfVFhwumh8c
There are reasons one should listen to these old recordings in that way, as some of the frequencies that need to be transmitted are. Its an excellent example of Caruso' voice
and the link to Una Furtiva Lagrima 1904
watch?v=6noHQXH0Qy4
his voice just 'flows' like a gentle spring and he sings it at a slow tempo showing his incredible breath control and sense of melody
I find Zucker's comment odd since it was this aria that made Toscannini exclaim the whole world will hear of him. Further his 1904 version shows, I think considerable nuance and delicacy as well as imagination. Just MHO. Ciao.
You increased the squillo harmonics?
@Lovelytenor1 What you're saying is quite true; if you asked Bjorling and Corelli this question this is how they would answer.
However in polls by opera fans, most notably those taken by Stefan Zucker, Corelli and Bjorling get rated ahead of Caruso.
That may be unfair and I also think that Caruso will now be legitimately re-evaluated because of recordings such as this showing him in a vastly improved (to me, anyway) light.
bon bon
@Lovelytenor1 We don't proclaim Caruso, though with these recordings, he obviously must be re-assessed.
Jussi Bjorling an Franco Corelli are generally ranked ahead of Caruso, but as I said, with these recordings, this might just change; I can honestly say I'm a lot more interested in listening to Caruso under these conditions than I was before.
Good
Why would any one give Zucker credibility by mentioning his name in the same sentance as Caruso ? Fruitcake is a good word.
Seriously.... how do actually you reconstruct something done 100 years ago?
Enrico Caruso's son characterised his father's voice as 'sweet' and 'velvet'. This recording sounds nothing like Caruso, not even the one we can hear on poor reproductions.
Great job! i just feel the instruments are too loud compare to the voice on the recording.. but still a great job reconstructing
dante = lincolncar1 ???
smemr: I think that Stefan Zucker is a technically fixated, operatic fruitcake. A self proclaimed authority on opera who never understood that opera and singing is all about communicating human emotions and not high C's. A person that would discard Beethoven as an idiot because his structure/harmonics didn't agree with the mathematics of Mozart...
Maybe I'm overdoing this somewhat, but I don't agree with him :-)
Best Tom
like
Have any Italian men tryed to sing along with him? We have the correct voice box keep opera going how high can you belt out notes try to match it, you might be the next tennor.
Ehrm.. .. What? If Punctuation exists it's surely for a reason
Worst title ever.. RECONSTRUCTED.. i dont want to hear that :(