Enrico Caruso - Complete Recordings, Vol. 5

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Enrico Caruso - Complete Recordings, Vol. 5



Catalogue No:







79 minutes



Summer Opera Sale

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Enrico Caruso - Complete Recordings, Vol. 5

Selected arias for tenor and voices by Gounod, Franchetti and more

Enrico Caruso (tenor), Marcel Journet (bass), Geraldine Farrar (soprano), Gabrielle Gilibert, (mezzo-soprano), Garden Farara (soprano), Antonio Scotti (baritone), Louise Homer, (mezzo-soprano), Francis Lapitino (harp)


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Charles-Francois Gounod: Faust

Faust, Act I: O merveille!

Faust, Act III: Seigneur Dieu, que vois-je?

Faust, Act III: Eh! quoi! toujours seule?

Faust, Act III: Il se fait tard

Faust, Act III: Eternelle? O nuit d'amour

Faust, Act IV: Que voulez-vous, messieurs?

Faust, Act V: Mon coeur est penetre d'epouvante

Faust, Act V: Attends! Voici la rue

Faust, Act V: Alerte! Ou vous etes perdus!

Alberto Franchetti: Germania

Germania, Act I: Studenti! Udite!

Germania: No, non chiuder gli occhi vaghi

Giacomo Puccini: Madama Butterfly

Madama Butterfly, Act I: Amore o grillo

Madama Butterfly, Act III: Non ve l'avevo detto?

Amilcare Ponchielli: La Gioconda

La Gioconda, Act II: Cielo e mar!

Ruggero Leoncavallo: Pagliacci

Pagliacci, Act II: No! Pagliaccio non son

Giuseppe Verdi: Otello

Otello, Act II: Ora e per sempre addio

Henry Geehl: For You Alone

For You Alone

Giovanni Targioni-Tozzetti: Cavalleria rusticana

Cavalleria Rusticana, Siciliana: O Lola

Giuseppe Verdi: Il trovatore

II Trovatore, Act II: Mal reggendo

Il Trovatore, Act IV: Se m'ami ancor; Ai nostri monti

Francesco Paolo Tosti: Addio


Giuseppe Verdi: Aida

Aida, Act IV: Gia i sacerdoti adunansi

Aida, Act IV: Misero appien mi festi

Gramophone Classical Music Guide


“The 1906 recording of 'M'apparì' from Martha comes first, and it introduces an aspect of Caruso's singing that rarely finds a place in the critical commentaries: his subtlety. Partly, it's rhythmic.
The move–on and pull–back seems such an instinctive process that we hardly notice it (though no doubt a modern conductor would – and check it immediately). It makes all the difference to the emotional life of the piece, the feeling of involvement and spontaneous development.
Then there's the phrasing, marvellously achieved at the melody's reprise. The play of louder and softer tones, too, has every delicacy of fine graduation; and just as masterly is the more technical covering and (rare) opening of notes at the passaggio.
An edition of the score which brought out all these features of Caruso's singing would be a densely annotated document. It would, even so, be a simplification, for accompanying all this is the dramatic and musical feeling, which defies analysis – and, of course, the voice.
That voice! You may feel you know all these records and hardly need to play them, yet there's scarcely an occasion when the beauty of it doesn't thrill with a sensation both old and new (the first 'Ah!' is one of recognition, the second of fresh wonder). So it is with the items here: excepting the Eugene Onegin aria, which remains external, and the late L'Africaine recording, with its saddening evidence of deterioration. The transfers are excellent.”

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