Enrico Caruso

Opernsänger (Tenor), 1873-1921

Enrico Caruso war der größte Tenor der ersten Hälfte des 20. Jahrhunderts und eine der bedeutendsten Figuren der Opernwelt. Berühmt für seinen baritonalen Stimmklang und seine Bühnenpräsenz, war Caruso auch ein Großverdiener der Opernszene und der erste, der Stierkampfarenen mit seinem Gesang füllte (im November 1919 in Mexiko-Stadt vor 25.000 Menschen). Caruso hält auch den Rekord von 863 Auftritten in der Metropolitan Opera binnen 17 Jahren. Somit sang er mehr Vorstellungen an der Met als an allen anderen Opernhäusern weltweit. Eine enge künstlerische Freundschaft verband ihn mit Paolo Tosti und Giacomo Puccini, die viele ihrer Werke für ihn schrieben.

Quelle:

Caruso, Enrico

Tenor (1873-1921). Rollenphotographie mit vollem Namenszug auf der Bildseite. London. 90:140 mm.
700 € (1539)

Dreigeteilte Postkarte mit Darstellungen Carusos in „Rigoletto“, „Marta“ und einem Portrait. Mit vierseitigem Goldschnitt.

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Caruso Enrico

Tenor (1873-1921). Portraitpostkarte mit eigenh. Namenszug auf der Bildseite. O. O. u. D. 8vo.
880 € (196)

Aufnahme in ganzer Figur in Kostüm des Offiziers der portugiesischen Flotte „Vasco di Gama“. Die Oper von Giacomo Meyerbeer „Die Afrikanerin“ wurde am 28. April 1865 in Paris uraufgeführt. - Aufnahme von Breitkopf & Härtel in New York. Stärkere Knickspuren. Rückseitig Montagespuren.

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Caruso Enrico

Tenor (1873-1921). Portraitpostkarte mit eigenh. U. auf der Bildseite. O. O. u. D. 8vo.
780 € (484)

Aufnahme in ¾-Figur mit Anzug und Mantel. - Die Photographie ist von Mertens, veröffentlicht von Breitkopf & Härtel, New York.

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Caruso Enrico

Tenor (1873-1921). Portraitpostkarte mit eigenh. U. auf der Bildseite. London. 8vo.
850 € (540)

Brustbild von vorne im Anzug. - Der obere und untere Rand leicht beschnitten; postgelaufen.

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Caruso Enrico

Tenor (1873-1921). Portraitpostkarte mit eigenh. U. Wien. 1 S. 8vo.
780 € (542)

Kniestück im Sitzen. - Postgelaufen.

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Caruso, Enrico

Tenor (1873-1921). Signed postcard photograph. Berlin. 140 : 90 mm.
800 € (73643)

Nice head and shoulders postcard of the tenor. - Stamped and addressed on the verso in a different hand.

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Caruso, Enrico

Italian operatic tenor (1873-1921). 2 autograph letters signed. New York. 4to. 4 pp. 8vo. 6 pp. with two punch holes in upper margins with minor loss to text.
2.500 € (80579)

„Vorrei, tante volte, ritornare invietro di 25 anni e essere quel piccolo tenore al quale non si questava attenzione!“, Enrico Caruso writes to his friend James O'Connell (“Mio Carissimo D. Giacomino" or "Caro D. Giacomino"), in Italian. „Sometimes I just wish I could turn back 25 years and be that little tenor that nobody paid any attention to!“ The first letter from January 12, 1920 is written on „Hotel Knickerbocker" stationery, Caruso is explaining that he had not decided on the baptism date for Gloria, adding that the Marquis and Marquess Cappelli have offered to be the godparents, apologizing for the miscommunication when he last visited, and asking to convey his devotion to His Eminence.

The second letter on personal stationary (“East Hampton“) from July 22, 1920 is describing how a bomb exploded in the Havana theater where he was to perform, briefly describing his daily routine including the four hours he spends on correspondence, dreaming of again being a young tenor with no responsibilities, hoping that he and his family are well, including His Eminence, and, in a postscript, conveying his wife's greetings and adding that Gloria says hello using her new teeth: "[...] The bomb was placed in a corner of a restroom on the top level, obviously with the idea not to cause victims but rather damage to the building since it is privately owned. To everything there is a comical side and when the explosion happened, I was in my dressing room. I ran out on the stage right away but was bodily rushed out and, dressed as I was, put in a private car, escorted by a warrior on horseback [...] to my house. That was the end of the Havana visit, a visit that gave me a lot to think about because, being Italian and being down there with all the Spanish artists, I had to fight and I won honorably. [...] Time has been passing with playing tennis and bridge, going fishing and taking care of my correspondence for about four hours a day, then studying, reading the papers, taking care of my accounts, receiving visitors, and answering telephone calls from lawyers and detectives. There is no shortage of lawyers and insurance agents giving us their advice, nor of anonymous letters of insults and blackmail. So this is my pastime, aside from being the head of the family . [...] Sometimes I just wish I could turn back 25 years and be that little tenor that nobody paid any attention to! [...]“ Encolosed is the invoice for the first letter and several photographs of other personalities by established Autograph Firm Walter R. Benjamin from April 14, 1947. Enrico Caruso (original name Errico Caruso) was born in Naples, Italy, and became the most admired Italian operatic tenor of the early 20th century and one of the first musicians to document his voice on recordings. He made his La Scala debut with La Bohème (1900). In 1901, after being unfavourably received in his performance in L’elisir d’amore in Naples, he vowed never again to sing in Naples, and he kept his word. World recognition came in the spring of 1902 after he sang in La Bohème at Monte Carlo and in Rigoletto at London’s Covent Garden. He made his American debut in Rigoletto at the opening night of the Metropolitan Opera in New York City on November 23, 1903, and continued to open each season there for the next 17 years, presenting 36 roles in all. His last public appearance—his 607th performance with the Metropolitan Opera—was as Eléazar in La Juive (December 24, 1920). Caruso became the most celebrated and highest paid of his contemporaries worldwide. He made recordings of about 200 operatic excerpts and songs; many of them are still being published. His voice was sensuous, lyrical, and vigorous in dramatic outbursts and became progressively darker in timbre in his later years. Its appealing tenor qualities were unusually rich in lower registers and abounded in warmth, vitality, and smoothness. (Source: Britannica) James P.E. O'Connell (d. 1948) was the nephew of His Eminence William Henry O’Connell, Cardinal and Archbishop of Boston..

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Caruso, Enrico

Italian operatic tenor (1873-1921). Collection of 13 autogr. postcards, all signed. O. O. o. D. 90 : 140 mm. Small area of faint toning at upper right touching portrait, scattered remnants of prior mounting verso. 3 with loss at upper right affecting only postage stamp.
3.500 € (80582)

Enrico Caruso was travelling a lot throughout his career. This is also documented by this group of 13 postcards, each with an Autograph Note Signed, „Caruso," „Enrico," or „E Caruso," to various recipients, including Enrico and Ada Giachetti, Selma Stieglitz Schubart, Met treasurer Frank Garlich, and others, in Italian, English, French, or German. 5 of them are showing a portrait of Caruso, mostly sending greetings from Saint Petersburg, Saint Paul (MN), Cincinnati, Niagara Falls, New York City, Key West, Florence, or elsewhere. Enrico Caruso became the most admired Italian operatic tenor of the early 20th century and one of the first musicians to document his voice on recordings.

He made his La Scala debut with La Bohème (1900). In 1901, after being unfavourably received in his performance in L’elisir d’amore in Naples, he vowed never again to sing in Naples, and he kept his word. World recognition came in the spring of 1902 after he sang in La Bohème at Monte Carlo and in Rigoletto at London’s Covent Garden. He made his American debut in Rigoletto at the opening night of the Metropolitan Opera in New York City on November 23, 1903, and continued to open each season there for the next 17 years, presenting 36 roles in all. His last public appearance—his 607th performance with the Metropolitan Opera—was as Eléazar in La Juive (December 24, 1920). Caruso was the highest paid of his contemporaries worldwide. He made recordings of about 200 operatic excerpts and songs; many of them are still being published. His voice was sensuous, lyrical, and vigorous in dramatic outbursts and became progressively darker in timbre in his later years. Its appealing tenor qualities were unusually rich in lower registers and abounded in warmth, vitality, and smoothness..

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Caruso, Enrico

Italian operatic tenor (1873-1921). 4 autograph letters signed. Frankfurt am Main, London, Monte Carlo, Viareggio. 4to or 8vo. 11 pp.
2.000 € (80583)

A group of 4 Autograph Letters Signed, „Henry il Brutto“ or in full, to various recipients, in Italian or French, announcing a tour in Germany, thanking for condolences [not clear whether for death of his father?], discussing a letter from soprano Marcella Sembrich's husband, and arranging a meeting. Most on folded sheet with terminal page written vertically across internal pages; condition generally good. Enrico Caruso became the most admired Italian operatic tenor of the early 20th century and one of the first musicians to document his voice on recordings.

He made his La Scala debut with La Bohème (1900). In 1901, after being unfavourably received in his performance in L’elisir d’amore in Naples, he vowed never again to sing in Naples, and he kept his word. World recognition came in the spring of 1902 after he sang in La Bohème at Monte Carlo and in Rigoletto at London’s Covent Garden. He made his American debut in Rigoletto at the opening night of the Metropolitan Opera in New York City on November 23, 1903, and continued to open each season there for the next 17 years, presenting 36 roles in all. His last public appearance — his 607th performance with the Metropolitan Opera — was as Eléazar in La Juive (December 24, 1920). Caruso was the highest paid of his contemporaries worldwide. He made recordings of about 200 operatic excerpts and songs; many of them are still being published. His voice was sensuous, lyrical, and vigorous in dramatic outbursts and became progressively darker in timbre in his later years. Its appealing tenor qualities were unusually rich in lower registers and abounded in warmth, vitality, and smoothness. (Source: Britannica).

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Caruso, Enrico

Italian operatic tenor (1873-1921). Autograph letter signed „Caruso“. Monte Carlo. Small 8vo. 3 pp. Minor loss to two corners, pinholes in upper margin. On „Hôtel de Paris" stationery. With the original envelope, with cancelled 25-centime postage stamp.
1.500 € (80584)

„[...] I have already given two performances of Aida with spectacular success. Life is very busy, despite all the wounded soldiers in the streets. The impresario from the Colon in Buenos Aires who is negotiating with me came by boat from Napoli to Genoa, and within two days I signed a contract for 10 performances at 35,000 francs each. [...]." The autograph letter signed, „Caruso," is addressed to cellist Enrico M. Scognamillo, in Italian, thanking for the clothing sent to Caruso's son Enrico (“Mimmi").

The letter is written on a folded sheet with third page written vertically across interior pages with minor loss to two corners, pinholes in upper margin. With the original envelope, with cancelled 25-centime postage stamp. In the letter Caruso is reporting two successful performances in Aida, noting the presence of wounded soldiers in the streets, stating that he has been contracted to perform in Buenos Aires, and giving travel dates. Caruso became the most celebrated and highest paid of his contemporaries worldwide. He made recordings of about 200 operatic excerpts and songs; many of them are still being published. His voice was sensuous, lyrical, and vigorous in dramatic outbursts and became progressively darker in timbre in his later years. Its appealing tenor qualities were unusually rich in lower registers and abounded in warmth, vitality, and smoothness. Enrico Scognamillo was a close friend of the tenor. In December 1923 New York newspapers are reporting on a legal battle, Scognamillo’s widow fought a legal battle with against Caruso’s manager, for a third of the profits received by Mr. Coppicus from the Caruso engagements..

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Caruso, Enrico

Italian operatic tenor (1873-1921). Autograph Letter Signed, "Caruso," to his private secretary Bruno Zirato ("Dear Zirato"), in Italian. East Hampton. Small 8vo. 3 pp. folds.
1.500 € (80586)

This letter was written one year before Caruso’s death, signed, „Caruso“, on personal stationary, to his private secretary Bruno Zirato (“Dear Zirato"), in Italian, sending a check for expenses [not present], declining to read articles because he is engaged in other things at the moment, complaining of pain, reporting that he has read about the success at the stadium: "[...]. Articles -- I am not in such a hurry since I have only to do Mexico and begin the Metropolitan [...] [H]ere it is rather cool, and I suffer terribly with pain all over.

I have read about the immense success at the stadium and so many congratulate me about it. [...]“ Bruno Zirato (1884-1972) was Enrico Caruso's private secretary and managing director of the New York Philharmonic from 1956 to 1959. Only a few months after this letter, Caruso’s health began a distinct downward spiral in late 1920 after he returned from a lengthy North American concert tour. 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. Caruso was the most celebrated and highest paid of his contemporaries worldwide. He made recordings of about 200 operatic excerpts and songs; many of them are still being published. His voice was sensuous, lyrical, and vigorous in dramatic outbursts and became progressively darker in timbre in his later years. Its appealing tenor qualities were unusually rich in lower registers and abounded in warmth, vitality, and smoothness..

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Caruso, Enrico

Tenor (1873-1921). Portraitphotographie mit eigenh. Unterschrift auf der Bildseite. Wien. 8vo (140 : 90 mm). 1 p.
650 € (86763)

Bekanntes Kniestück des Tenors. Leicht fleckig. Auf der Rückseite von fremder Hand adressiert und postgelaufen. Aus der Sammlung des Wiener Anwalts Max Bettelheim (1912-1971). Von dessen Nachfahren übernommen.

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Caruso, Enrico

Tenor (1873-1921). Eigenhändige Selbstkarikatur mit Unterschrift und Datierung. ohne Ort. 8vo (119 : 186 mm). 1 p.
2.500 € (86974)

Hübsche Selbstkarikatur mit feiner Feder des äußerst talentierten Zeichners. In der unteren Ecke voll signiert und datiert. Hübsches Sammelstück.

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Caruso, Enrico

Tenor (1873-1921). Ms. Brief mit eigenh. Unterschrift. New York. 8vo. 1 p. Hotelbriefpapier „Hotel Knickerbocker“, New York“.
400 € (92842)

An Herrn Ara: „Ho ricevuto la sua lettera e la ringrazio assai della sua squisita esibizione e gentilezza a mio riguardo. Le auguro buon viaggio e in Italia il piu’ gran possibile successo, ed al piacere di riverderla ancora in America la stagione ventura, mi creda con sensi di osservanza […]“

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Caruso, Enrico

Tenor (1873-1921). Eigenh. Bildpostkarte ohne U. St. Petersburg. 02.03.1900. 1 S. Qu.-8vo. Mit eh. Adresse.
250 € (33211/BN28116)

An Enrico Giachetti in Mailand: "[...] Oggi 2 non ò recevuto niente perche? Avvisami quando hai finito [...] Siamo sempre da capo con la storia dei giornali, perche non me la spedisce giorno per giorno [...]". - Künstlerpostkarte von Meissner & Buch in Leipzig; die Adreßseite mit Montageresten.

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