Recorded 24. March 1907. More info La bohéme: en.wikipedia.or... More info Enrico Caruso: www.enricocarus... More info Nellie Melba: en.wikipedia.or...
At one time Melba was criticized for her accent when she was first singing in French. The composer of Lakme (Leo De libes) with whom Melba studied the role), was quoted as saying "I don't care if she sings in French or Chinese, so long as she SINGS!"
It's so nice that he doesn't try to go up t the end with the soprano, like most tenors do today;very sensitive.Melba's voice doesn't record as well as his, though she must have been fabulous live. Everything is kind of understated and intimate. These guys knew Puccini, so it must be terribly authentic...just thinking it was lovely.
Very beautifully intimate--ive listened to this for nearly 50 years and have outside this recording never found it quite so. Puccini was proud i am sure. This was the same year Caruso recorded his famous aria Vesti la Giubba from Pagliacci which was the first recording to sell a million copies--VERY dramatic and LOUD!! --which of course he could do as none other (i studied with Maestro Enzo DellOrefice who was Carusos accompanist 1910-13 and we often listened to Cs recordings from that era which the Maestro always said were "but souvenirs" being acoustically recorded in the studio)--but as you will notice whenever C. sang in either duet or ensemble he always blended and never tried to overshadow his colleagues--save for his solo passages. Again as someone else commented--these guys really knew their Puccini!!!! Thanks so much for posting!!
Ma : de gustibus non est disputadis ! A me piace di gran lunga di più : Lauri Volpi/Corelli/Pertile/Del Monaco/Kraus - fatte salve le pur presenti carenze di registrazione !
Melba wasn't "a" top liner in her day; she was THE top liner. She demanded, and got, the highest fee at Covent Garden. Even Caruso had to settle for 399 pounds (per performance) to Melba's 400. Melba was THE diva wherever she sang and she sang in all the major opera houses in Europe and in America. She saved Hammerstein's opera venture by selling every seat at every performance at which she sang (she received $3,000 per performance) and this was when she was well into her forties.
For curiosity’s sake, I looked up the inflation adjustment. £400 in 1900 translates to roughly £52,000 in 2021. $3,000 USD is worth over $100k today! That’s some big money!
Recently I was at the ROH and took a guided tour. The guide talked about Melba and Adelina Patti and according to what he said, Patti was the most famous and the one with the biggest fee.
@@hillit76 I read somewhere decades ago that Melba, Patti and Galli-Curci received up to $5k per night: Caruso told them to pay him only $2.5k and surround him with a better cast of baritones, mezzos, etc. than they could afford with the divas. Probably just a legend.
She must have been a top liner in her day. She sang with and against all the other "greats" of her day. what gets me is the way she sings the high notes of the piece. there is no hesitation or hedging she just goes for it.
It makes EVERY opera singer of today sound like they are oversinging, which they are. But if you aren't born with the talent of Caruso and Melba then you have to either overproject or shriek the soprano parts which 99% do..I'd rather hear a countertenor like Jaroussky sing the soprano parts every day and twice on Sunday. He has great control and doesn't need to rely on shrieking and excess vibrato to compensate for a lack of what Melba has...the ability to sing a simple pure note in a high key like an angel.
what mary gardens said about nelly melba voice,timber and pro yection,is true!!the clarity of her voice!!the high position of the voice is true.you can appreciate it,many,many years later!!is there to anybody who wants to listen carefully,about singers of the past and their voices and technique. is there to appreciate.
Absolutely! I wish every female opera soprano would study her and stop overprojecting, oversinging and overvibrato and shrieking! But they don't have her talent and range, so they have to strain and rely on tricks to try to do it. I used to be a singer before thyroid cancer, but I was a mezzo. I could sing the whole soprano range except for the very top notes, and I had to rely on the same tricks, that's how I know. Personally, I'd rather hear Jaroussky sing any soprano opera part than any female soprano Ive heard. He can sing a pure note.
Dame Melba Died almost 10 years after Enrico Caruso on Monday 23rd of February 1931 and three years later on the Same date Sir Edward Elgar died from Cancer and his Most famous Recording his Violin Concerto he made with a 16 year old Yehudi Menuhin Recorded on Thursday and Friday July 14th and 15th 1932
I love Pavarotti, however its Caruso's softness, his innate sensitivity with the subject matter and his supreme ability to be soft when its required, stronger as needed and then finally he like the Gentleman he was...tears your heart, but he does this so gently that you do not even know its happening...as in Pagliacci.
@John Mitchell: Well (?) Have you done the research on it (?) What day of the week it was (?) What the weather was (?) Got copies of daily newspapers for that date (?) Photos of the neighborhood (?) Checked bios of Caruso and Melba to see where this fit in their lives (?)
Ore21-che dire di nuovo? Caruso canta con la facilità che ci dice che nacque per cantare- il suo timbro dice che ogni personaggio eo suo- non si devono fare”classifiche”- ma il suo caso lo permette -il più grande !
Caruso's the master of us all. The recording's good despite the conditions at that time. The final high ut is given only by the soprano, as written ! By the way, who conducts the orchestra : Puccini ?
I wanted to add, that no doubt, Caruso was on his best behavior here. I'm sure Melba had all sorts of demands on the day and in the studio with everyone involved in the recording. We see Caruso 'playing it safe' here, being in the presence of the indomitable Melba. Yet, we see, for some reason, no other records with her. I wonder why?
Dame Nellie Melba was not so fond of Caruso and I guess he was not so fond of her. The snob and the working class Neapolitan. And the "sausage incident" undoubtedly played a part too.
Please, can you tell me the story of the sausage? I've been waiting eleven years until I was old enough to sign up for TH-cam to be able to reply to your comment, and ask if you could tell me the story.
@@twilaight idk how it goes exactly but maybe in a rehearsal of Che gelida manina Caruso put a hot sausage in Melbas hand that's basically the jist of it anyway
Come volevasi dimostrare al grande Caruso manca il do di quarta : sarà un limite alla sua fama ? Forse sì !!! D'altronde Caruso è stato uno straordinario tenore lirico/drammatico spinto , con inflessioni nettamente baritonali . Si ascolti , al riguardo , i grandissimi competitors : Lauri Volpi/Corelli/Pertile etc.
Si prega di studiare l'argomento prima di dire che Caruso aveva note di testa limitate. aveva note di testa brillanti. ha preso C5! a Londra, a Parigi, a San Pietroburgo. leggere i commenti dei critici musicali che hanno vissuto con lui allo stesso tempo. Mi scuso per non conoscere la lingua. questa è la traduzione di google.
Hmm... the most striking is not Melba, but to me Caruso has such projecting power and lovely voice, that the technical quality is not decisive. I got to side with Puccini - as long as the voice is so beautiful who cares if he has a high C! Personally i like Tetrazzini better from the period. But again: How to compare a main course with a dessert.
Tettrazzini was certainly better suited to the Italian repertoire than Melba. I think Melba should have been a Mozart specialist, but Mozart wasn’t as big a deal in the late-Victorian/Edwardian era.
Questo storico Victor USA (1907) esalta l'incontro tra il 34 enne Caruso e la 46enne Melba, che ci donano il più incantevole duetto alla chiusura del 1 atto. Il duetto è condotto su una linea di canto morbida e affettuosa, dove tecnica e stile vanno a braccetto. La stupenda chiusura calante di Caruso e ascendente al do acuto del soprano in pianissimo ( lo spartito prevede un semplice mi3 ) ottiene un effetto meraviglioso che si fa totalmente preferire al do acuto all'unisono che, in un opera "notturna" come Bohème, non ha ragion d'essere né valore espressivo, ma si esegue per ottenere il consenso del pubblico e la beatificazione dei loggionisti.
Hai perfettamente ragione.finale 1atto di un incanto e dolcezza infinita.tanti non lo hanno ancora capito!!!!!!!!!bello altrettanto la versione Domingo Caballe.
The best description I've found is here: books.google.dk/books?id=zpWvCwAAQBAJ&pg=PA97&lpg=PA97&dq=caruso+melba+sausage&source=bl&ots=zDgQpDt9ph&sig=7_iClM9pqKvHAmPTaXcBujLV7HM&hl=da&sa=X&ved=0ahUKEwj2qquX6OnRAhWlB5oKHUXlDbEQ6AEIPzAE#v=onepage&q=caruso%20melba%20sausage&f=false
Caro Vincenzo e proprio così.Figurarsi che questo disco raggiunse quasi il milione di copie quante invece ne raggiunse la celeberrima romanza dei Pagliacci Vesti la giubba sempre incisa nel 1907.Altra curiosità, la regina di GB Alessandra sponsorizzo molto Caruso nel suo paese insieme al Re Edoardo,infatti questa incisione trovo molti favori proprio in GB dove Caruso aveva cantato sia al teatro di corte proprio con La Melba la Boheme ,dia con la casa discografica Monarch dei reali di GB qualche anno prima
Ma come la mettiamo con il carente Do di quarta di Caruso ? Solo raramente sa inerpicarsi su quelle note . Ciò non toglie che Caruso sia stato un grande tenore lirico/drammatico/spinto con inflessioni vocali degne di un baritono .
Da la impresión, comparándolos con cantantes posteriores, de que no van al máximo, de que todavía pueden subir más los agudos y lanzar con más potencia la voz. No se... si alguien pudiera explicarme.. gracias. Puede ser también la grabación.
It wasn't, until IRCC released it in the 1930's. In spite of the problematic final note, I much prefer the Caruso and Farrar version since their voices blend a good deal better. Someone once pointed out that the Melba version was like "Chocolate cake with silver icing."
Melba was never an actress and Farrar very much so. It is very evident in the recordings. Farrar fares badly on one note, but gives poetry that Melba is incapable of.
Caruso sings heavenly and Melba's voice comes right from heaven too. But the result of them both makes me cry. Their voces dont fit together. He is a heldentenor, she is a soubrette. Perhaps even the greatest heldentenor ever, and the greatest soubrette ever.
and she's nothing of a soubrette. those ignorant people will never read books, or reviews from the period and have no clue on to how sopranos were recorded on acoustic technology.
I still find it amusing that Caruso and Melba technically didn't get along. Caruso found Melba pretentious and cold, and even played an on stage practical joke on her by handing her a warm sausage. Melba, to her part, though she did praise his voice, didn't seem to care much for him as a person.
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The only thing missing is the applause of the audience. Beautiful.
Remarkable. Thank goodness they were near enough in age to have performed this in the first years of recorded sound.
She had the voice of an angel.
At one time Melba was criticized for her accent when she was first singing in French. The composer of Lakme (Leo De libes) with whom Melba studied the role), was quoted as saying "I don't care if she sings in French or Chinese, so long as she SINGS!"
my fathers sheet music says AS SUNG BY NELLI MELBA even though it was the 30s she was done singing
Queste fantastiche interpretazioni possiamo riascoltarle grazie a. TOTUBE paradiso!
The ultimate pair with the best ending ever recorded.
Listen to montserrat caballe and placido domingo they have the best ending ever period
It is exactly as you say
Caruso & Melba, maravillosos..¡¡
It's so nice that he doesn't try to go up t the end with the soprano, like most tenors do today;very sensitive.Melba's voice doesn't record as well as his, though she must have been fabulous live. Everything is kind of understated and intimate. These guys knew Puccini, so it must be terribly authentic...just thinking it was lovely.
Very beautifully intimate--ive listened to this for nearly 50 years and have outside this recording never found it quite so. Puccini was proud i am sure. This was the same year Caruso recorded his famous aria Vesti la Giubba from Pagliacci which was the first recording to sell a million copies--VERY dramatic and LOUD!! --which of course he could do as none other (i studied with Maestro Enzo DellOrefice who was Carusos accompanist 1910-13 and we often listened to Cs recordings from that era which the Maestro always said were "but souvenirs" being acoustically recorded in the studio)--but as you will notice whenever C. sang in either duet or ensemble he always blended and never tried to overshadow his colleagues--save for his solo passages. Again as someone else commented--these guys really knew their Puccini!!!! Thanks so much for posting!!
Thomas Rexdale thanks......love you
MERAVIGLIOSI!!!;WHAT A MARVELOUS DUET OF INMORTAL ARTISTS LIKE CARUSO AND MELBA!!!,THANK YOU SO MUCH FOR SHARING!!!
I have this autographed photo of Melba as above...signed 1903.
Straight to the heart
Imagine: Caruso and Melba on the same video. I can die now. Just entered heaven
Well, if only it was a video!
WONDERFUL ! Brava NELLIE MELBA !& ENRICO CARUSO
Fantastico, questo duetto con meravigliosa chiusura finale ci viene certamente trasmesso dal........paradiso.
Ma : de gustibus non est disputadis ! A me piace di gran lunga di più : Lauri Volpi/Corelli/Pertile/Del Monaco/Kraus - fatte salve le pur presenti carenze di registrazione !
Errata corrige : DISPUTANDIS e non Disputadis , come erroneamente su scritto . Mi scuso .
@@lucianozanella5833 ma se posso permettermi,il detto esatto è disputandum..de gustibus non disputandum est .
beautiful recording with two lovely voices ... 113 years old but still fascinating.....
2 of the golden age great singers
Beautiful 🤩
Melba wasn't "a" top liner in her day; she was THE top liner. She demanded, and got, the highest fee at Covent Garden. Even Caruso had to settle for 399 pounds (per performance) to Melba's 400. Melba was THE diva wherever she sang and she sang in all the major opera houses in Europe and in America. She saved Hammerstein's opera venture by selling every seat at every performance at which she sang (she received $3,000 per performance) and this was when she was well into her forties.
+carl spelvin
interesting. Thank you for this information.
For curiosity’s sake, I looked up the inflation adjustment. £400 in 1900 translates to roughly £52,000 in 2021. $3,000 USD is worth over $100k today! That’s some big money!
Recently I was at the ROH and took a guided tour. The guide talked about Melba and Adelina Patti and according to what he said, Patti was the most famous and the one with the biggest fee.
@@hillit76 I read somewhere decades ago that Melba, Patti and Galli-Curci received up to $5k per night: Caruso told them to pay him only $2.5k and surround him with a better cast of baritones, mezzos, etc. than they could afford with the divas. Probably just a legend.
It has been reported that audiences went into hysterics listening to hear Melba sing!
She must have been a top liner in her day. She sang with and against all the other "greats" of her day. what gets me is the way she sings the high notes of the piece. there is no hesitation or hedging she just goes for it.
It makes EVERY opera singer of today sound like they are oversinging, which they are. But if you aren't born with the talent of Caruso and Melba then you have to either overproject or shriek the soprano parts which 99% do..I'd rather hear a countertenor like Jaroussky sing the soprano parts every day and twice on Sunday. He has great control and doesn't need to rely on shrieking and excess vibrato to compensate for a lack of what Melba has...the ability to sing a simple pure note in a high key like an angel.
LISTEN TO GIGLI'S
what mary gardens said about
nelly melba voice,timber and pro
yection,is true!!the clarity of her
voice!!the high position of the
voice is true.you can appreciate
it,many,many years later!!is there
to anybody who wants to listen
carefully,about singers of the past
and their voices and technique.
is there to appreciate.
Absolutely! I wish every female opera soprano would study her and stop overprojecting, oversinging and overvibrato and shrieking! But they don't have her talent and range, so they have to strain and rely on tricks to try to do it. I used to be a singer before thyroid cancer, but I was a mezzo. I could sing the whole soprano range except for the very top notes, and I had to rely on the same tricks, that's how I know. Personally, I'd rather hear Jaroussky sing any soprano opera part than any female soprano Ive heard. He can sing a pure note.
Oh my God this is good.
This is considered the GILD STANDARD recording to La Boheme.
Voci del cielo,chiare,scandite e forti!!
What a shame this was the only record they made together.
Yes. They are wonderful together. Caruso was in his prime 34, Melba 46 years old.
Dame Melba Died almost 10 years after Enrico Caruso on Monday 23rd of February 1931 and three years later on the Same date Sir Edward Elgar died from Cancer and his Most famous Recording his Violin Concerto he made with a 16 year old Yehudi Menuhin Recorded on Thursday and Friday July 14th and 15th 1932
WOW!!!!
Uno de lo me😮Jones due😅tos con dos dioses d🎉e canto🎉
+Luceafarul
This is the real art, inspired and beautiful...
I love Pavarotti, however its Caruso's softness, his innate sensitivity with the subject matter and his supreme ability to be soft when its required, stronger as needed and then finally he like the Gentleman he was...tears your heart, but he does this so gently that you do not even know its happening...as in Pagliacci.
inarrivabili da altri esseri umani, per l'eternità
I own a 1906 Covent Garden programme of a Boheme performance with them.
@John Mitchell: Well (?) Have you done the research on it (?) What day of the week it was (?) What the weather was (?) Got copies of daily newspapers for that date (?) Photos of the neighborhood (?) Checked bios of Caruso and Melba to see where this fit in their lives (?)
QED okay chill out he just said he had one
How exciting it must be to hold an artifact like that in your hands! Imagine what that night must have been like for the person who first held it?
@@QED_ Jeez! get a life!
Ore21-che dire di nuovo? Caruso canta con la facilità che ci dice che nacque per cantare- il suo timbro dice che ogni personaggio eo suo- non si devono fare”classifiche”- ma il suo caso lo permette -il più grande !
Confermo!
Caruso's the master of us all. The recording's good despite the conditions at that time.
The final high ut is given only by the soprano, as written !
By the way, who conducts the orchestra : Puccini ?
I wanted to add, that no doubt, Caruso was on his best behavior here. I'm sure Melba had all sorts of demands on the day and in the studio with everyone involved in the recording. We see Caruso 'playing it safe' here, being in the presence of the indomitable Melba. Yet, we see, for some reason, no other records with her. I wonder why?
Dame Nellie Melba was not so fond of Caruso and I guess he was not so fond of her. The snob and the working class Neapolitan. And the "sausage incident" undoubtedly played a part too.
Love it but I'm looking forward to the promised digitals of the near future
anyway to know how many opera performances not recordings these two did together ?.
Monumental duet!! I love this duet and Caruso's interpretation. *****
Do you know the story of the sausage?
Please, can you tell me the story of the sausage? I've been waiting eleven years until I was old enough to sign up for TH-cam to be able to reply to your comment, and ask if you could tell me the story.
@@twilaight idk how it goes exactly but maybe in a rehearsal of Che gelida manina Caruso put a hot sausage in Melbas hand that's basically the jist of it anyway
Solo Caruso poteva uscire alla fine dell'opera assieme alla Melba.
Bravo! RIP.
Google: Judi Grace StoryCorps.
ネルバとかルーソーの協演の録音があったとは(；゜∀゜)！
Come volevasi dimostrare al grande Caruso manca il do di quarta : sarà un limite alla sua fama ? Forse sì !!! D'altronde Caruso è stato uno straordinario tenore lirico/drammatico spinto , con inflessioni nettamente baritonali . Si ascolti , al riguardo , i grandissimi competitors : Lauri Volpi/Corelli/Pertile etc.
La sua voce baritoneggiante lo ha certamente limitato nelle note alte, ma gli ha da potenza ed è stato, innanzitutto, un caposcuola.
Si prega di studiare l'argomento prima di dire che Caruso aveva note di testa limitate. aveva note di testa brillanti. ha preso C5! a Londra, a Parigi, a San Pietroburgo. leggere i commenti dei critici musicali che hanno vissuto con lui allo stesso tempo. Mi scuso per non conoscere la lingua. questa è la traduzione di google.
Hmm... the most striking is not Melba, but to me Caruso has such projecting power and lovely voice, that the technical quality is not decisive. I got to side with Puccini - as long as the voice is so beautiful who cares if he has a high C! Personally i like Tetrazzini better from the period. But again: How to compare a main course with a dessert.
Tettrazzini was certainly better suited to the Italian repertoire than Melba. I think Melba should have been a Mozart specialist, but Mozart wasn’t as big a deal in the late-Victorian/Edwardian era.
Questo storico Victor USA (1907) esalta l'incontro tra il 34 enne Caruso e la 46enne Melba, che ci donano il più incantevole duetto alla chiusura del 1 atto. Il duetto è condotto su una linea di canto morbida e affettuosa, dove tecnica e stile vanno a braccetto. La stupenda chiusura calante di Caruso e ascendente al do acuto del soprano in pianissimo ( lo spartito prevede un semplice mi3 ) ottiene un effetto meraviglioso che si fa totalmente preferire al do acuto all'unisono che, in un opera "notturna" come Bohème, non ha ragion d'essere né valore espressivo, ma si esegue per ottenere il consenso del pubblico e la beatificazione dei loggionisti.
Hai perfettamente ragione.finale 1atto di un incanto e dolcezza infinita.tanti non lo hanno ancora capito!!!!!!!!!bello altrettanto la versione Domingo Caballe.
What is the story regarding the sausage? 😁
The best description I've found is here:
books.google.dk/books?id=zpWvCwAAQBAJ&pg=PA97&lpg=PA97&dq=caruso+melba+sausage&source=bl&ots=zDgQpDt9ph&sig=7_iClM9pqKvHAmPTaXcBujLV7HM&hl=da&sa=X&ved=0ahUKEwj2qquX6OnRAhWlB5oKHUXlDbEQ6AEIPzAE#v=onepage&q=caruso%20melba%20sausage&f=false
불세출의 테너와 소프라노의출연
Famos.
Molly O'Shea
Caro Vincenzo e proprio così.Figurarsi che questo disco raggiunse quasi il milione di copie quante invece ne raggiunse la celeberrima romanza dei Pagliacci Vesti la giubba sempre incisa nel 1907.Altra curiosità, la regina di GB Alessandra sponsorizzo molto Caruso nel suo paese insieme al Re Edoardo,infatti questa incisione trovo molti favori proprio in GB dove Caruso aveva cantato sia al teatro di corte proprio con La Melba la Boheme ,dia con la casa discografica Monarch dei reali di GB qualche anno prima
Ma come la mettiamo con il carente Do di quarta di Caruso ? Solo raramente sa inerpicarsi su quelle note . Ciò non toglie che Caruso sia stato un grande tenore lirico/drammatico/spinto con inflessioni vocali degne di un baritono .
Anyone noticed this recording playng in one of RDR 2 cuscenes? (th-cam.com/video/lnVj20N58us/w-d-xo.html 0:27)
Da la impresión, comparándolos con cantantes posteriores, de que no van al máximo, de que todavía pueden subir más los agudos y lanzar con más potencia la voz. No se... si alguien pudiera explicarme.. gracias. Puede ser también la grabación.
Creo que es por la técnica de grabación en ese momento. Ambos tenían voces muy fuertes. No hay micrófonos entonces. (Traductor de google).
@@tomfroekjaer Gracias!!
@@tomfroekjaer el micrófono de inventó en el año 1878. Sí había micrófono.
@@r.j.delahoya7679 Not used in recording. See www.wikiwand.com/en/Enrico_Caruso
@@r.j.delahoya7679 Take a look at this: en.wikipedia.org/wiki/History_of_sound_recording#The_Acoustic_Era_(1877_to_1925)
The superior version. The Farrar version should NEVER been released...
It wasn't, until IRCC released it in the 1930's. In spite of the problematic final note, I much prefer the Caruso and Farrar version since their voices blend a good deal better. Someone once pointed out that the Melba version was like "Chocolate cake with silver icing."
Melba was never an actress and Farrar very much so. It is very evident in the recordings. Farrar fares badly on one note, but gives poetry that Melba is incapable of.
Caruso sings heavenly
and Melba's voice comes right from heaven too.
But the result of them both makes me cry.
Their voces dont fit together.
He is a heldentenor, she is a soubrette.
Perhaps even the greatest heldentenor ever, and the greatest soubrette ever.
Wim dude caruso is not a heldentenor lol
and she's nothing of a soubrette. those ignorant people will never read books, or reviews from the period and have no clue on to how sopranos were recorded on acoustic technology.
@@operalover3966 And Melba wasn't a soubrette, but a spinto.
God doesn´t exist...but Caruso does¡¡¡
7
I still find it amusing that Caruso and Melba technically didn't get along. Caruso found Melba pretentious and cold, and even played an on stage practical joke on her by handing her a warm sausage. Melba, to her part, though she did praise his voice, didn't seem to care much for him as a person.
Interesting do Italians and Aussies in opera not find a mutual love ??
I don't know what is but these early recordings make the singers sounds like amateur choir singers, really!
I'll take Jussi Bjorling and Renata Trebaldi's version over this any day!
It's painful to listen to
Prefer Jussi Bjorling and Renata Trebaldi's version anyday!
Melba overrated. Caruso divine.