Composer: Enrico Caruso
Works: The Complete Recordings Volume 4
Label: Naxos Historical 8.110719
Recordings: Made in Camden, New Jersey by the Victor Talking Machine Co. between March 16, 1908, and January 12, 1910
Accompanied by: The Victor Orchestra
New Restorations by: Ward Marston
Duration: 68’29”
In the annals of recorded music, few figures loom as large as Enrico Caruso, whose voice encapsulated the operatic fervor of the early twentieth century. Naxos’s The Complete Recordings Volume 4 continues its commendable initiative of resurrecting Caruso’s historic recordings, this installment showcasing work predominantly from the late 1900s—a pivotal period in the evolution of both opera and the recording industry.
As with previous volumes, this collection features a rich tapestry of Verdi’s repertoire, alongside notable contributions from Puccini, Bizet, and Goldmark, reflecting the tenor’s multifaceted artistry. The repertoire is carefully curated to include pieces that not only highlight Caruso’s raw vocal power but also his nuanced interpretative abilities.
Musical Interpretation and Historical Context
The opening track, Buzzi-Peccia’s Lolita, sets the tone for the collection, immediately drawing listeners into the lush timbre and emotive expressiveness that define Caruso’s singing. His ability to convey the subtleties of the text is particularly evident in Verdi’s Rigoletto. In “Questa o quella,” Caruso’s phrasing exhibits a remarkable balance between bravura and lyricism, underscoring the character’s capricious nature. Here, his judicious use of rubato showcases a deep understanding of dramatic context—a quality that was, and remains, somewhat rare among tenors.
However, as noted in the review, the performances oscillate between moments of thrilling intensity and instances that verge on excess. This is particularly evident in “La donna è mobile,” where the exuberance of Caruso’s delivery seems at times to threaten to overwhelm the more delicate orchestral textures. Such choices, while exhilarating, can render the listening experience somewhat taxing when consumed in a single sitting.
Contrastingly, the two selections from Carmen, “Il fior che avevi a me tu dato” and “La fleur que tu m’avais jetée,” reveal Caruso’s capacity for tenderness and subtlety. In the former, his opening phrases are imbued with a beautiful legato, demonstrating a masterful control of dynamics that elevates the emotional weight of the aria. The latter, while still showcasing his vocal prowess, is marked by an intensity that feels more organic, reflecting the dramatic undercurrents of the narrative.
Performance Choices and Effectiveness
The effectiveness of Caruso’s interpretations often hinges on his choice of dynamics and phrasing. In the Miserere from Il Trovatore, the interplay between Caruso and Frances Alda reveals a compelling vocal dialogue, yet it is in the second rendition—the version featuring the Metropolitan Opera Chorus—where the limitations of the recording technology come to the fore. The chorus, while spirited, suffers from a lack of clarity, rendering the ensemble moments less impactful than they might be in a contemporary recording.
Ward Marston’s restoration work deserves particular commendation, as it successfully mitigates the inherent challenges of early acoustic recordings. The background noise is minimal, enhancing the clarity of Caruso’s voice, which remains remarkably resonant nearly a century later. The orchestral textures, too, are surprisingly well-preserved, allowing the listener to appreciate the Victor Orchestra’s contributions, which, although somewhat anonymous, display a commendable cohesion.
Historical Significance of the Works
The selections in this volume not only represent a personal best for Caruso but also serve as a historical panorama of operatic performance at the turn of the century. The prominence of Verdi in this collection reflects the composer’s enduring impact on the operatic canon and Caruso’s role in popularizing these works for a broader audience. This historical context is vital for understanding the significance of Caruso as a bridge between the operatic traditions of the past and the modern recording industry.
Conclusion
In summary, The Complete Recordings Volume 4 stands as a valuable document of Caruso’s artistry, though it may resonate more profoundly with aficionados than with casual listeners. While the exuberance of Caruso’s performances can at times overwhelm, it is the moments of restraint and interpretative depth that ultimately prove most rewarding. The remastering by Ward Marston offers a respectful homage to these historical treasures, ensuring that Caruso’s legacy continues to inspire and engage. The collection not only illuminates the brilliance of its star but also serves as a reminder of the artistry that shaped the operatic landscape of the early twentieth century. As a study of both performance practice and vocal artistry, it remains an essential listening experience for those interested in the evolution of opera and the enduring power of one of its greatest proponents.
