THE ENRICO CARUSO TIMELINE
by George Jellinek
1873 Born in Naples, 25 February,
to a poor family, the third of seven children;
receives his primary education from his mother
1883 Works as a mechanic in the
daytime; attends a school for choral singing in
the evening
1888 Sings his first solo at
the Church of San Severino, Naples. His mother,
Anna Baldini Caruso dies; his father Marcellino remarries
1891 Begins vocal studies with
Guglielmo Vergine
1895 Sings the Tantum ergo at
Vespers in Caserta Cathedral (2 January);
makes his operatic debut at the Teatro Nuovo in Naples in Morelli's
L'amico Francesco (15
March); sings principal tenor roles at various
theatres in Naples, Caserta, Salerno, and Cairo
1896-97 Expands his repertory and improves his high notes through
coaching
with Vincenzo Lombardi. Creates leading roles in Giordano's Il voto
(10 November 1897) and Cilea's L'Arlesiana (27 November); Begins
decade-long liason with the soprano Ada Giachetti (two sons - Rodolfo,
b. 1898, and Enrico Jr., b. 1904 - will survive, both bearing Caruso's
name)
1898-99 Appears at leading theatres in Milan, Genoa, Livorno;
creates the principal
tenor part in Giordano's Fedora at Milan's Teatro Lirico (17 November
1898);
Tours Russia and Argentina with an Italian opera company
1900-01 La Scala debut in La Boheme under Toscanini;
also sings in L'elisir d'amore
and Mefistofele and creates the principal tenor part in Mascagni's
Le
Maschere
(17 January 1901) - all conducted by Toscanini. Travels to Buenos Aires
with
a company led by Toscanini; Debut at Teatro San Carlo in Naples; after
being
coolly received, resolves never to sing in Naples again - a vow he will
honour
1902 Sings at Monte Carlo and
Covent Garden, London; Creates principal tenor
roles in Franchetti's Germania (La Scala, 11 March) and Cilea's
Adriana
Lecouveur (Teatro Lirico, 6 November); Records twenty sides for
the
Gramophone and Typewriter Company in Milan
1903 Makes his Metropolitan Opera
debut (Rigoletto) on opening night (23 November)
(With one exception in 1906, he will be featured in every Metropolitan
opening
through 1920); Signs and exclusive contract with the Victor Talking Maching
Company
1904 Begins his lifelong recording
career with the Victor Talking Machine Company
by completing ten sides in a single afternoon (1 February); European tour
takes
him to Monte Carlo, Paris, London, Dresden, Berlin; Embarks on his first
tour
of the United States
1906 Sings in Washington DC for
a vast audience including President Theodore
Roosevelt, to whom he is introduced; Is appearing in San Fransisco when
the earthquake strikes (18 April)
1907 Although indisposed, he
sings Radames in Aida in Budapest; he is unkindly
received but makes a hit in the same role in Vienna two nights later; With
Nellie Melba, he entertains King Edward VII and Queen Alexandra at
Buckingham Palace (8 June)
1910 Visits Paris with the touring
Metropolitan Opera singing in Aida,
Pagliacci,
Manon Lescaut; creates the role of Dick Johnson in Puccini's La
Fanciulla
del West (10 December)
1915 Sings the leading tenor
role in Saint-Saens's Samson et Dalila for the first
time at the Met on opening night (15 December)
1918 Appears in two silent movies;
Married Dorothy Park Benjamin (20 August);
Performs for War Charities in New York along with John McCormack, Al
Jolson, and George M. Cohan; Sings Cohan's Over There before a huge
audience in New York's Central Park (19 September)
1919 Celebrates the start of
his 25th year in opera with a gala Metropolitan
performance (22 March); Sings Radames before 25,000 spectators in
a Mexico City bullring (2 November); adds his last role, Eleazar in La
Juive, to his repertory (22 November); daughter Gloria is born (December)
1920 Opens his last Met season
as Eleazar (15 November); sings his last
performance ever in the same role (24 December)
1921 Stricken with pleurisy (January);
undergoes several operations; Embarks for
Naples with his wife and daughter (28 May); Dies in Naples (2 August)
footnote:
It was on one of his first London visits that Caruso came to create some
of his earliest
caracatures. Henseforth this art would become a favourite form of relaxation
for him,
and it could have become quite profitable. In later years he chanced upon
one that had
found its way on to a dealer's list; the price seemed rather high and
his eyebrows shot
up - "That's good pay for ten minutes work", he said. "Better we stop singing
and
start drawing".
Michael Scott - The Great Caruso, p. 64
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