Enrico Caruso
Enrico Caruso

Celebrity Profile

Name: Enrico Caruso
Occupation: Opera Singer
Gender: Male
Height: 175 cm (5' 9'')
Birth Day: February 25, 1873
Death Date: Aug 2, 1921 (age 48)
Age: Aged 48
Birth Place: Naples, Italy
Zodiac Sign: Pisces

Social Accounts

Height: 175 cm (5' 9'')
Weight: in kg - N/A
Eye Color: N/A
Hair Color: N/A
Blood Type N/A
Tattoo(s) N/A

Enrico Caruso

Enrico Caruso was born on February 25, 1873 in Naples, Italy (48 years old). Enrico Caruso is an Opera Singer, zodiac sign: Pisces. Find out Enrico Carusonet worth 2020, salary 2020 detail bellow.

Trivia

His recording of "Vesti la giubba" was the first sound recording to sell a million copies.

Does Enrico Caruso Dead or Alive?

As per our current Database, Enrico Caruso died on Aug 2, 1921 (age 48).

Net Worth

Net Worth 2020

Undisclosed

Salary 2020

Not known

Enrico Caruso Salary Detail

The United States had entered World War I in 1917, sending troops to Europe. Caruso did extensive charity work during the conflict, raising money for war-related patriotic causes by giving concerts and participating enthusiastically in Liberty Bond drives. The tenor had shown himself to be a shrewd businessman since arriving in America. He put a sizable proportion of his earnings from record royalties and singing fees into a range of investments. Biographer Michael Scott writes that by the end of the war in 1918, Caruso's annual income tax bill amounted to $154,000.

Before Fame

He was apprenticed to a mechanical engineer but showed no interest.

Biography Timeline

1873

Enrico Caruso came from a poor but not destitute background. Born in Naples in the via Santi Giovanni e Paolo n° 7 on 25 February 1873, he was baptised the next day in the adjacent Church of San Giovanni e Paolo. His parents originally came from Piedimonte d'Alife (now called Piedimonte Matese), in the Province of Caserta in Campania, Southern Italy.

1888

Caruso was encouraged in his early musical ambitions by his mother, who died in 1888. To raise cash for his family, he found work as a street singer in Naples and performed at cafes and soirées. Aged 18, he used the fees he had earned by singing at an Italian resort to buy his first pair of new shoes. His progress as a paid entertainer was interrupted, however, by 45 days of compulsory military service. He completed this in 1894, resuming his voice lessons upon discharge from the army.

1895

On 15 March 1895 at the age of 22, Caruso made his professional stage debut at the Teatro Nuovo in Naples in the now-forgotten opera, L'Amico Francesco, by the amateur composer Mario Morelli. A string of further engagements in provincial opera houses followed, and he received instruction from the conductor and voice teacher Vincenzo Lombardi that improved his high notes and polished his style. Three other prominent Neapolitan singers taught by Lombardi were the baritones Antonio Scotti and Pasquale Amato, both of whom would go on to partner Caruso at the Metropolitan Opera (the "Met"), and the tenor Fernando De Lucia, who would also appear at the Met and later sing at Caruso's funeral.

1896

Money continued to be in short supply for the young Caruso. One of his first publicity photographs, taken on a visit to Sicily in 1896, depicts him wearing a bedspread draped like a toga since his sole dress shirt was away being laundered. At a notorious early performance in Naples, he was booed by a section of the audience because he failed to pay a claque to cheer for him. This incident hurt Caruso's pride. He never appeared again on stage in his native city, stating later that he would return "only to eat spaghetti".

1899

Caruso's voice extended up to high D-flat in its prime and grew in power and weight as he grew older. At times, his voice took on a dark, almost baritonal coloration. He sang a broad spectrum of roles, ranging from lyric, to spinto, to dramatic parts, in the Italian and French repertoires. In the German repertoire, Caruso sang only two roles, Assad (in Karl Goldmark's The Queen of Sheba) and Richard Wagner's Lohengrin, both of which he performed in Italian in Buenos Aires in 1899 and 1901, respectively.

1900

During the final few years of the 19th century, Caruso performed at a succession of theaters throughout Italy until in 1900 he was rewarded with a contract to sing at La Scala. His La Scala debut occurred on 26 December of that year in the part of Rodolfo in Giacomo Puccini's La bohème with Arturo Toscanini conducting. Audiences in Monte Carlo, Warsaw and Buenos Aires also heard Caruso sing during this pivotal phase of his career and, in 1899–1900, he appeared before the tsar and the Russian aristocracy at the Mariinsky Theatre in Saint Petersburg and the Bolshoi Theatre in Moscow as part of a touring company of first-class Italian singers.

The first major operatic role that Caruso created was Federico in Francesco Cilea's L'arlesiana (1897); then he was Loris in Umberto Giordano's Fedora (1898) at the Teatro Lirico, Milan. At that same theater he created the role of Maurizio in Francesco Cilea's Adriana Lecouvreur (1902). Puccini considered casting the young Caruso in the role of Cavaradossi in Tosca at its premiere in 1900, but ultimately chose the older, more established Emilio De Marchi instead.

1901

Caruso took part in a grand concert at La Scala in February 1901 that Toscanini organised to mark the recent death of Giuseppe Verdi. Among those appearing with him at the concert were two other leading Italian tenors of the day, Francesco Tamagno (the creator of the protagonist's role in Verdi's Otello) and Giuseppe Borgatti (the creator of the protagonist's role in Giordano's Andrea Chénier). He embarked on his last series of La Scala performances in March 1902, creating along the way the principal tenor part in Germania by Alberto Franchetti.

1902

A month later, on 11 April, he was engaged by the Gramophone Company to make his first group of acoustic recordings in a Milan hotel room for a fee of 100 pounds sterling. These ten discs swiftly became best-sellers. Among other things, they helped spread 29-year-old Caruso's fame throughout the English-speaking world. The management of London's Royal Opera House, Covent Garden, signed him for a season of appearances in eight different operas ranging from Verdi's Aida to Mozart's Don Giovanni. His successful debut at Covent Garden occurred on 14 May 1902, as the Duke of Mantua in Verdi's Rigoletto. Covent Garden's highest-paid diva, the Australian soprano Nellie Melba, partnered him as Gilda. They would sing together often during the early 1900s. In her memoirs, Melba praised Caruso's voice but considered him to be a less sophisticated musician and interpretive artist than Jean de Reszke—the Met's biggest tenor drawcard prior to Caruso.

1903

In 1903, Caruso made his debut with the Metropolitan Opera in New York City. The gap between his London and New York engagements had been filled by a series of performances in Italy, Portugal and South America. Caruso's contract had been negotiated by his agent, the banker and impresario Pasquale Simonelli. Caruso's debut was in a new production of Rigoletto on 23 November 1903. This time, Marcella Sembrich sang opposite him as Gilda. A few months later, he began his lifelong association with the Victor Talking Machine Company. He made his first American records on 1 February 1904, having signed a lucrative financial deal with Victor. Thereafter, his recording career ran in tandem with his Met career, both bolstering each other, until his death in 1921.

Caruso's first recordings were arranged by recording pioneer Fred Gaisberg and cut on disc in three separate sessions in Milan during April, November and December 1902. They were made with piano accompaniments for HMV/EMI's forerunner, the Gramophone & Typewriter Limited. In April 1903, he made seven further recordings, also in Milan, for the Anglo-Italian Commerce Company (AICC). These were released on discs bearing the Zonophone label. Three more Milan recordings for AICC followed in October 1903, released by Pathé Records on cylinders as well as on discs. He made one final disc for the Gramophone & Typewriter Ltd in April, 1904. On 1 February 1904, Caruso began recording exclusively for the Victor Talking Machine Company in the United States. While most of Caruso's American recordings would be made in Victor's studios in New York and Camden, New Jersey, Caruso later recorded in Camden's Trinity Church, which Victor acquired as a recording studio in 1917 for its acoustical properties and which could accommodate a large band of musicians. Caruso's first recordings for Victor In 1904 were made in Room 826 at Carnegie Hall in New York. "Questa o quella" and "La donna è mobile" from Verdi's Rigoletto were the first to be recorded. Caruso's final recording session took place at the Trinity Church studio in Camden on September 16, 1920, with the tenor singing the "Domine Deus" and "Crucifixus" from Rossini's Petite messe solennelle.

1904

Caruso purchased the Villa Bellosguardo, a palatial country house near Florence, in 1904. The villa became his retreat away from the pressures of the operatic stage and the grind of travel. Caruso's preferred address in New York City was a suite at Manhattan's Knickerbocker Hotel. Caruso commissioned the New York jewelers Tiffany & Co. to strike a 24-carat-gold medal adorned with the tenor's profile. He presented the medal in gratitude to Simonelli as a souvenir of his many well-remunerated performances at the Met.

1906

Members of the Met's roster of artists, including Caruso, had visited San Francisco in April 1906 for a series of performances. Following an appearance as Don José in Carmen at the city's Grand Opera House, a strong jolt awakened Caruso at 5:13 on the morning of the 18th in his suite at the Palace Hotel. He found himself in the middle of the San Francisco earthquake, which led to a series of fires that destroyed most of the city. The Met lost all the sets, costumes and musical instruments that it had brought on tour but none of the artists was harmed. Holding an autographed photo of President Theodore Roosevelt, Caruso ran from the hotel, but was composed enough to walk to the St. Francis Hotel for breakfast. Charlie Olson, the broiler cook, made the tenor bacon and eggs. Apparently the quake had no effect on Caruso's appetite, as he cleaned his plate and tipped Olson $2.50. Caruso made an ultimately successful effort to flee the city, first by boat and then by train. He vowed never to return to San Francisco and kept his word.

In November 1906, Caruso was charged with an indecent act allegedly committed in the monkey house of New York's Central Park Zoo. The police accused him of pinching the buttocks of a married woman. Caruso claimed a monkey did the bottom-pinching. He was found guilty and fined 10 dollars, although suspicions linger that he may have been entrapped by the victim and the arresting officer. The leaders of New York's opera-going high society were outraged initially by the incident, which received widespread newspaper coverage, but they soon forgot about it and continued to attend Caruso's Met performances. Caruso's fan base at the Met was not restricted, however, to the wealthy. Members of America's middle classes also paid to hear him sing—or buy copies of his recordings—and he enjoyed a substantial following among New York's 500,000 Italian immigrants.

1908

Caruso possessed a phonogenic voice which was "manly and powerful, yet sweet and lyrical", to quote the singer/author John Potter (see bibliography, below). He became one of the first major classical vocalists to make numerous recordings. Caruso and the disc phonograph, known in the United Kingdom as the gramophone, did much to promote each other in the first two decades of the 20th century. Many of Caruso's recordings have remained continuously available since their original issue over a century ago, and all of his surviving discs (including unissued takes) has been remastered and reissued several times over the years. Although full operas were recorded on discs since the early 1900s, Carmen in 1908 for example, there are no recordings of Caruso performing in a fully recorded opera.

1909

In addition to his regular New York engagements, Caruso gave recitals and operatic performances in a large number of cities across the United States and sang in Canada. He also continued to sing widely in Europe, appearing again at Covent Garden in 1904–07 and 1913–14, and undertaking a UK tour in 1909. Audiences in France, Belgium, Monaco, Austria, Hungary and Germany also heard him before the outbreak of World War I. In 1909, Melba asked him to participate in her forthcoming tour of Australia, but he declined because of the significant amount of travel time that such a trip would entail.

1910

Caruso created the role of Dick Johnson in the world premiere of Puccini's La fanciulla del West on 10 December 1910. The composer conceived the music for Johnson with Caruso's voice specifically in mind. With Caruso appeared two more of the Met's star singers, the Czech soprano Emmy Destinn and baritone Pasquale Amato. Toscanini, then the Met's principal conductor, presided in the orchestra pit.

Caruso made more than 260 extant recordings in America for the Victor Talking Machine Company (later RCA Victor) from 1904 to 1920, and he and his heirs earned millions of dollars in royalties from the retail sales of these records. He was also heard live from the stage of the Metropolitan Opera House in 1910, when he participated in the first public radio broadcast to be transmitted in the United States.

While Caruso sang at such venues as La Scala in Milan, the Royal Opera House, in London, the Mariinsky Theatre in Saint Petersburg, and the Teatro Colón in Buenos Aires, he appeared most often at the Metropolitan Opera in New York City, where he was the leading tenor for 18 consecutive seasons. It was at the Met, in 1910, that he created the role of Dick Johnson in Giacomo Puccini's La fanciulla del West.

1917

Caruso's timbre darkened as he aged and, from 1916 onwards, he began adding heroic parts such as Samson, John of Leyden, and Eléazar to his repertoire. Caruso toured the South American nations of Argentina, Uruguay, and Brazil in 1917, and two years later performed in Mexico City. In 1920, he was paid the enormous sum of 10,000 U.S. dollars a night (~$126,000 in 2018) to sing in Havana, Cuba.

The United States had entered World War I in 1917, sending troops to Europe. Caruso did extensive charity work during the conflict, raising money for war-related patriotic causes by giving concerts and participating enthusiastically in Liberty Bond drives. The tenor had shown himself to be a shrewd businessman since arriving in America. He put a sizable proportion of his earnings from record royalties and singing fees into a range of investments. Biographer Michael Scott writes that by the end of the war in 1918, Caruso's annual income tax bill amounted to $154,000.

During his lifetime, Caruso received many orders, decorations, testimonials and other kinds of honors from monarchs, governments and miscellaneous cultural bodies of the various nations in which he sang. He was also the recipient of Italian knighthoods. In 1917, he was elected an honorary member of the Phi Mu Alpha Sinfonia, the national fraternity for men involved in music, by the fraternity's Alpha chapter of the New England Conservatory of Music in Boston. One unusual award bestowed on him was that of "Honorary Captain of the New York Police Force". In 1960, for his contribution to the recording industry, Caruso received a star located at 6625 Hollywood Boulevard on the Hollywood Walk of Fame. Caruso was posthumously awarded a Grammy Lifetime Achievement Award in 1987. On 27 February of that same year, the United States Postal Service issued a 22-cent postage stamp in his honor. He was voted into Gramophone's Hall of Fame in 2012.

1918

Towards the end of the war, Caruso met and courted a 25-year-old socialite, Dorothy Park Benjamin (1893–1955). She was the daughter of a wealthy New York patent lawyer. In spite of the disapproval of Dorothy's father, the couple wed on 20 August 1918. They had a daughter, Gloria Caruso (1919–1999). Dorothy wrote two biographies of Caruso, published in 1928 and 1945. The books include many of Caruso's letters to his wife.

Caruso also appeared in two motion pictures. In 1918, he played a dual role in the American silent film My Cousin for Paramount Pictures. This film included a sequence depicting him on stage performing the aria Vesti la giubba from Leoncavallo's opera Pagliacci. The following year Caruso played a character called Cosimo in another film, The Splendid Romance. Producer Jesse Lasky paid Caruso $100,000 each to appear in these two efforts but My Cousin flopped at the box office, and The Splendid Romance was apparently never released. Brief candid glimpses of Caruso offstage have been preserved in contemporary newsreel footage.

1920

On 16 September 1920, Caruso concluded three days of recording sessions at Victor's Trinity Church studio in Camden, New Jersey. He recorded several discs, including the Domine Deus and Crucifixus from the Petite messe solennelle by Rossini. These recordings were to be his last.

Dorothy Caruso noted that her husband's health began a distinct downward spiral in late 1920 after he returned from a lengthy North American concert tour. In his biography, Enrico Caruso Jr. points to an on-stage injury suffered by Caruso as the possible trigger of his fatal illness. A falling pillar in Samson and Delilah on 3 December had hit him on the back, over the left kidney (and not on the chest as popularly reported). A few days before a performance of Pagliacci at the Met (Pierre Key says it was 4 December, the day after the Samson and Delilah injury) he suffered a chill and developed a cough and a "dull pain in his side". It appeared to be a severe episode of bronchitis. Caruso's physician, Philip Horowitz, who usually treated him for migraine headaches with a kind of primitive TENS unit, diagnosed "intercostal neuralgia" and pronounced him fit to appear on stage, although the pain continued to hinder his voice production and movements.

During a performance of L'elisir d'amore by Donizetti at the Brooklyn Academy of Music on December 11, 1920, he suffered a throat haemorrhage and the performance was canceled at the end of Act 1. Following this incident, a clearly unwell Caruso gave only three more performances at the Met, the final one being as Eléazar in Halévy's La Juive, on 24 December 1920. By Christmas Day, the pain in his side was so excruciating that he was screaming. Dorothy summoned the hotel physician, who gave Caruso some morphine and codeine and called in another doctor, Evan M. Evans. Evans brought in three other doctors and Caruso finally received a correct diagnosis: purulent pleurisy and empyema.

1921

Caruso's health deteriorated further during the new year, lapsing into a coma and nearly dying of heart failure at one point. He experienced episodes of intense pain because of the infection and underwent seven surgical procedures to drain fluid from his chest and lungs. He slowly began to improve and he returned to Naples in May 1921 to recuperate from the most serious of the operations, during which part of a rib had been removed. According to Dorothy Caruso, he seemed to be recovering, but allowed himself to be examined by an unhygienic local doctor, and his condition worsened dramatically after that. The Bastianelli brothers, eminent medical practitioners with a clinic in Rome, recommended that his left kidney be removed. He was on his way to Rome to see them but, while staying overnight in the Vesuvio Hotel in Naples, he took an alarming turn for the worse and was given morphine to help him sleep.

Caruso died at the hotel shortly after 9:00 a.m. local time, on 2 August 1921. He was 48. The Bastianellis attributed the likely cause of death to peritonitis arising from a burst subphrenic abscess. The King of Italy, Victor Emmanuel III, opened the Royal Basilica of the Church of San Francesco di Paola for Caruso's funeral, which was attended by thousands of people. His embalmed body was preserved in a glass sarcophagus at Del Pianto Cemetery in Naples for mourners to view. In 1929, Dorothy Caruso had his remains sealed permanently in an ornate stone tomb.

1925

Caruso died before the introduction of high fidelity, electrical recording technology in 1925. All of his recordings were made using the acoustic process, which required the recording artist to sing into a metal horn or funnel which relayed sound directly to a master disc via a stylus. This process captured only a limited range of the overtones and nuances present in his singing voice. Caruso's 12-inch acoustic recordings were limited to a maximum duration of around four and one half minutes. Consequently, most of the selections that he recorded were limited to those that could be edited to fit this time constraint. Longer selections were occasionally issued on two or more record sides.

1932

Caruso's earliest American records of operatic arias and songs, like their thirty or so Milan-made predecessors, were accompanied by piano. From February 1906, however, orchestral accompaniments became the norm, utilizing an ensemble of between eleven and twenty musicians. The regular conductors of these recording sessions with orchestra were Walter B. Rogers and, from 1916, Josef Pasternack. Beginning in 1932, RCA Victor in the US and EMI (HMV) in the UK, reissued several of the old discs with the existing accompaniment over-dubbed by a larger electrically recorded orchestra. Earlier experiments using this re-dubbing technique, carried out by Victor in 1927, had been considered unsatisfactory. In 1950, RCA Victor reissued a number of Caruso recordings on 78-rpm discs pressed on red vinylite instead of the usual shellac. As long-playing discs (LPs) became popular, many of his recordings were electronically enhanced with reverb and similar effects to make them sound "fuller" for release on the extended format. Several Caruso recordings were also released by RCA Victor on their 45-rpm format during the 1950s.

1976

In the 1970s, Thomas Stockham of the University of Utah developed an early digital reprocessing technique called "Soundstream" to remaster Caruso's recordings for RCA. This computer process removed or reduced some of the undesirable resonances and surface noise typical of the early acoustically recorded discs. These early digitised efforts were issued in part on LP, beginning in 1976 and were issued complete by RCA Victor on compact disc (in 1990, again in 2004 and a third time, in 2017). Other complete sets of Caruso's recordings in new remasterings were issued on CD on the Pearl label and in 2000–2004 by Naxos. The 12-disc Naxos set was remastered by the noted American audio-restoration engineer Ward Marston. In 1993, Pearl also released a two-CD collection devoted to RCA and EMI's electrically over-dubbed versions of some of Caruso's original acoustic discs, originally issued in the 1930s. RCA has issued three CDs of Caruso recordings with over-dubbed modern, orchestral accompaniments, digitally recorded. Since the expiration of their original copyrights, Caruso's records are now in the public domain and have been reissued by several different record labels with varying degrees of sound quality. They are also available over the internet as digital downloads. Caruso's best-selling downloads at iTunes have been the popular Italian folk songs "Santa Lucia" and "’O sole mio".

Family Life

Enrico married Dorothy Caruso on August 20, 1918 and had two children with her.

🎂 Upcoming Birthday

Currently, Enrico Caruso is 149 years, 11 months and 4 days old. Enrico Caruso will celebrate 150th birthday on a Saturday 25th of February 2023. Below we countdown to Enrico Caruso upcoming birthday.

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