Look up -core or core in Wiktionary, the free dictionary.

Core may refer to:

Science and Academics[link]

• Core, the central part of a galaxy, see Mass deficit
• Core (group), in mathematics, an object in group theory
• Core (functional analysis), in mathematics, a subset of the domain of a closable operator
• Core (graph theory), in mathematics, the homomorphically minimal subgraph of a graph
• Core of a triangulated category in mathematics
• Core (game theory), the collection of stable allocations that no coalition can improve upon
• Planetary core, the center of a planet
  • Inner core of the Earth
  • Outer core of the Earth
• Solar core, the region of the Sun where nuclear fusion takes place
• Lithic core, in archaeology, a stone artifact left over from toolmaking
• Core curriculum, in education, an essential part of the curriculum
• Core sample, in Earth science, a sample obtained by coring
• Core countries, in dependency theory, an industrialized country on which peripheral countries depend
• Core (anatomy), everything except the appendages
• Hydrophobic core, the interior zone of a protein
• Nuclear reactor core, portion of a nuclear reactor containing the nuclear fuel components

Computers and Technology[link]

• Semiconductor intellectual property core, is a unit of design in ASIC/FPGA electronics and IC manufacturing
• Multi-core, a type of microprocessor design in which multiple processors coexist on the same chip
• Magnetic core, in electricity and electronics, ferromagnetic material around which wires are wound
  • Magnetic-core memory, in computing, the primary memory prior to semiconductor memory
• Nuclear reactor core, a portion containing the fuel components
• Core (optical fiber), the signal-carrying portion of an optical fiber
• Core (manufacturing), used in casting and molding
• Intel Core, in computing, a family of single-core and multi-core 32-bit and 64-bit CPUs released by Intel
• Core Animation, in computing, a data visualization API used in Mac OS X
• Core dump, in computing, is the recorded state of a running program
• Core International, Inc, trademark owner for Computers, Computer Peripherals and Programs

Media[link]

• Core (Stone Temple Pilots album), 1992
• Core (Persefone album), 2006
• Core (band), a stoner rock band
• Core (radio station), a defunct digital radio station in the United Kingdom
• 90.3 The Core RLC-WVPH, a radio station in Piscataway, New Jersey
• "The Core", a song from Eric Clapton's 1977 album Slowhand
• The Core, a 2003 science fiction film
• Core Design, a videogame developer best known for the Tomb Raider series
• C.O.R.E., a computer animation studio
• C.O.R.E. (video game), a 2009 NDS game
• CORE (advertising media) Advertising Agency in St. Louis, MO
• The Core, the 2006–2007 name for the programming block on Five currently known as Shake!
• Core (novel), a 1993 science fiction novel by Paul Preuss

Acronyms[link]

• Center for Operations Research and Econometrics at the Université catholique de Louvain in Belgium
• Central Organization for Railway Electrification, an organization in India
• China Open Resources for Education, an OpenCourseWare organization in China
• Congress of Racial Equality, United States civil rights organization
• Coordinated Online Register of Electors, central database in the United Kingdom

Other[link]

• Core, West Virginia
• The single seed in the center of a cherry, peach, plum, olive, avocado or other fruit
• Core, San Diego, California, a neighborhood in the United States
• Core, the working name of the Digestive Disorders Foundation
• Persephone, a Greek goddess also known as Kore or Cora (Greek κόρη = daughter)
• Korah, a biblical figure
• CORE (Brazil), state police SWAT team
• Core, the suffix for musical styles with hardcore punk influence and origins
• Earl Lemley Core (1902–1984), West Virginia botanist

See also[link]

• Corre (disambiguation)
• CORE (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Hans Zimmer
Hans Zimmer receiving his star at the Hollywood Walk of Fame (2010)
Background information
Birth name	Hans Florian Zimmer
Born	(1957-09-12) 12 September 1957 (age 54) Frankfurt am Main, Germany
Genres	Film score, Video game score
Occupations	Film composer, Video game composer, Music producer
Instruments	Piano, Keyboard, MIDI Master Keyboard, Synthesizer, Guitar
Years active	1977–present
Labels	Remote Control Productions
Website	hanszimmer.com

Hans Florian Zimmer, German pronunciation: [hans ˈfloːʁi̯aːn ˈtsɪmɐ]; (born 12 September 1957) is a German film composer and music producer. He has composed music for over 100 films, including award winning film scores for The Lion King (1994), Crimson Tide (1995), Gladiator (2000), The Last Samurai (2003),The Dark Knight (2008), and Inception (2010).

Zimmer spent the early part of his career in the United Kingdom before moving to the United States. He is the head of the film music division at DreamWorks studios, and works with other composers through the company which he founded, Remote Control Productions.^[1]

Zimmer's works are notable for integrating electronic music sounds with traditional orchestral arrangements. He has received four Grammy Awards, two Golden Globes, a Classical BRIT Award, and an Academy Award. He was also named on the list of Top 100 Living Geniuses, published by The Daily Telegraph.^[2]

Early life[link]

Zimmer was born in Frankfurt am Main, Germany. As a young child, he lived in Königstein-Falkenstein, where he played the piano at home, but had piano lessons only briefly as he disliked the discipline of formal lessons.^[3] He moved to London as a teenager, where he attended Hurtwood House school.^[4] In an interview with the German television station ZDF in 2006, he commented: "My father died when I was just a child, and I escaped somehow into the music and music has been my best friend."^[5]

Early career[link]

Zimmer began his career playing keyboards and synthesizers. He worked with The Buggles, a New Wave band formed in 1977 with Trevor Horn, Geoff Downes, and Bruce Woolley. Zimmer can be seen briefly in The Buggles' music video for the 1979 song "Video Killed the Radio Star".^[6] After working with The Buggles, he started to work for the Italian group Krisma, a New Wave band formed in 1976 with Maurizio Arcieri and Christina Moser. He was a featured synthesist for Krisma’s third album, Cathode Mamma. He has also worked with the band Helden (with Warren Cann from Ultravox).^[7] Both Zimmer (on keyboards) and Cann (on drums), were invited to be part of the Spanish group Mecano for a live performance in Segovia (Spain) in 1984. Two songs from this concert were included in the "Mecano: En Concierto" album released in 1985 only in Spain. In 1980 Zimmer co-produced a single, "The History Of The World Part 1," with, and for, UK Punk band The Damned, which was also included on their 1980 LP release, "The Black Album," and carried the description of his efforts as "Over-Produced by Hans Zimmer."

While living in London, Zimmer wrote advertising jingles for Air-Edel Associates.^[7] In the 1980s, Zimmer partnered with Stanley Myers, a prolific film composer who wrote the scores for over sixty films. Zimmer and Myers co–founded the London–based Lillie Yard recording studio. Together, Myers and Zimmer worked on fusing the traditional orchestral sound with electronic instruments.^[8] Some of the films on which Zimmer and Myers worked are Moonlighting (1982), Success is the Best Revenge (1984), Insignificance (1985), and My Beautiful Launderette (1985). Zimmer's first solo score was Terminal Exposure for director Nico Mastorakis in 1987, for which he also wrote the songs. Zimmer acted as score producer for the 1987 film The Last Emperor, which won the Academy Award for Best Original Score.^[7]

One of Zimmer's most durable works from his time in the United Kingdom is the theme song for the television game show Going for Gold, which he composed with Sandy McClelland in 1987. In an interview with the BBC, Zimmer said: "Going For Gold was a lot of fun. It's the sort of stuff you do when you don't have a career yet. God, I just felt so lucky because this thing paid my rent for the longest time."^[9]

Hollywood film scoring[link]

A turning point in Zimmer's career occurred with the 1988 film Rain Man.^[8] Hollywood director Barry Levinson was looking for someone to score Rain Man, and his wife heard the soundtrack CD of the anti-Apartheid drama A World Apart, for which Zimmer had composed the music. Levinson was impressed by Zimmer's work, and hired him to score Rain Man.^[10] In the score, Zimmer uses synthesizers (mostly a Fairlight CMI) mixed with steel drums. Zimmer explained that "It was a road movie, and road movies usually have jangly guitars or a bunch of strings. I kept thinking don't be bigger than the characters. Try to keep it contained. The Raymond character doesn't actually know where he is. The world is so different to him. He might as well be on Mars. So, why don't we just invent our own world music for a world that doesn't really exist?".^[11] Zimmer’s score for Rain Man was nominated for an Academy Award in 1989, and the film won four Academy Awards including Best Picture.^[12]

A year after Rain Man, Zimmer was asked to compose the score for Bruce Beresford's Driving Miss Daisy which, like Rain Man, won an Academy Award for Best Picture. Driving Miss Daisy’s instrumentation consisted entirely of synthesizers and samplers, played by Zimmer. According to an interview with Sound On Sound magazine in 2002, the piano sounds heard within the score come from the Roland MKS–20, a rackmount synthesizer. Zimmer joked: "It didn't sound anything like a piano, but it behaved like a piano."^[13]

1991's Thelma & Louise soundtrack by Zimmer featured the trademark slide guitar performance by Pete Haycock on the "Thunderbird" theme in the film. As a teenager, Zimmer was a fan of Haycock, and their collaboration on film scores includes K2 and Drop Zone.^[14]

For the 1992 film The Power of One, Zimmer traveled to Africa in order to use African choirs and drums in the recording of the score. On the strength of this work, Disney Animation Studios approached Zimmer to compose the score for the 1994 film The Lion King. This was to be his first score for an animated film. Zimmer said that he had wanted to go to South Africa to record parts of the soundtrack, but was unable to visit the country as he had a police record there "for doing 'subversive' movies" after his work on The Power of One. Disney studio bosses expressed fears that Zimmer would be killed if he went to South Africa, so the recording of the choirs was organized during a visit by Lebo M.^[15] Zimmer won numerous awards for his work on The Lion King, including an Academy Award for Best Original Score, a Golden Globe, and two Grammys. In 1997, the score was adapted into a Broadway musical version which won the Tony Award for Best Musical in 1998.^[16][17] As of April 2012^[update], the musical version of The Lion King is the highest grossing Broadway show of all time, having grossed $853.8 million.^[18]

	Crimson Tide - "Roll Tide" noicon A clip from the score of the 1995 film Crimson Tide.
Problems listening to this file? See media help.

Zimmer's score for Crimson Tide (1995) won a Grammy Award for the main theme, which makes heavy use of synthesizers in place of traditional orchestral instruments. For The Thin Red Line (1998), Zimmer said that the director Terrence Malick wanted the music before he started filming, so he recorded six and a half hours of music.^[11] Zimmer's next project was The Prince of Egypt (1998), which was produced by DreamWorks Animation. He introduced Ofra Haza, an Israeli Yemenite singer, to the directors, and they thought she was so beautiful that they designed one of the characters in the film to look like her.^[11]

Work: 2000–present[link]

	Gladiator - "Battle" noicon A clip from the score of the 2000 film Gladiator.
Problems listening to this file? See media help.

In the 2000s, Zimmer has composed scores for Hollywood blockbuster films including Gladiator (2000), Black Hawk Down and Hannibal (2001), The Last Samurai (2003), The Da Vinci Code (2006) The Simpsons Movie (2007), Angels and Demons (2009) and Sherlock Holmes (2009). While writing the score for The Last Samurai, Zimmer felt that his knowledge of Japanese music was extremely limited. He began doing extensive research, but the more he studied, the less he felt he knew. Finally, Zimmer took what he had written to Japan for feedback and was shocked when he was asked how he knew so much about Japanese music.^[11]

During the scoring of The Last Samurai in early 2003, Zimmer was approached by the producer Jerry Bruckheimer, with whom he had worked previously on Crimson Tide, The Rock and Pearl Harbor. Bruckheimer had finished shooting Pirates of the Caribbean: The Curse of the Black Pearl, but was unhappy with the music composed for the film by Alan Silvestri and wanted a replacement score.^[19] Bruckheimer wanted Zimmer to rescore the film, but due to his commitments on The Last Samurai, the task of composing and supervising music for Pirates of the Caribbean: The Curse of the Black Pearl was given to Klaus Badelt, one of Zimmer's colleagues at Media Ventures. Zimmer provided some themes that were used in the film, although he is not credited on screen.^[20][21] Zimmer was hired as the composer for the three subsequent films in the series, Pirates of the Caribbean: Dead Man's Chest (2006), Pirates of the Caribbean: At World's End (2007), and Pirates of the Caribbean: On Stranger Tides (2011), collaborating with Rodrigo y Gabriela.^[22]

For the 2009 film Sherlock Holmes, "The Daily Variety" reported that Zimmer purchased an out-of-tune piano for 200 dollars and used it throughout the scoring process because of its "quirkiness".^[23]

Hans Zimmer in 2008

Zimmer is also noted for his work on the scores of Christopher Nolan's Batman Begins (2005) and The Dark Knight (2008), on which he collaborated with James Newton Howard.^[9] The scores for these films were disqualified from receiving Academy Award nominations for Best Original Score due to too many composers being listed on the cue sheet.^[24] Zimmer succeeded in reversing the decision not to nominate The Dark Knight in December 2008, arguing that the process of creating a modern film score was collaborative, and that it was important to credit a range of people who had played a part in its production.^[25] Zimmer explained his approach to scoring with other musicians in an interview with Soundtrack.net in 2006:

	Hans Zimmer and Lisa Gerrard - "Now We Are Free" noicon A clip from the score of the 2000 film Gladiator.
Problems listening to this file? See media help.

"Originally I had this idea that it should be possible to create some kind of community around this kind of work, and I think by muddying the titles - not having "you are the composer, you are the arranger, you are the orchestrator" - it just sort of helped us to work more collaboratively. It wasn't that important to me that I had "score by Hans Zimmer" and took sole credit on these things. It's like Gladiator: I gave Lisa Gerrard the co-credit because, even though she didn't write the main theme, her presence and contributions were very influential. She was more than just a soloist, and this is why I have such a problem with specific credits."^[26]

Zimmer is also composing the score for The Dark Knight Rises, the final installment of Christopher Nolan's Batman trilogy. The film is scheduled for release in July 2012.^[27]

Zimmer works with other composers through his company Remote Control Productions, formerly known as Media Ventures. His studio in Santa Monica, California has an extensive range of computer equipment and keyboards, allowing demo versions of film scores to be created quickly.^[28] His colleagues at the studio have included Harry Gregson-Williams, James Dooley, Geoff Zanelli, Henning Lohner, Steve Jablonsky, Mark Mancina, John Van Tongeren, John Powell and Thomas J. Bergersen.

In October 2000, Zimmer performed live in concert for the first time with an orchestra and choir at the 27th Annual Flanders International Film Festival in Ghent.^[29] He has received a range of honors and awards, including the Lifetime Achievement Award in film Composition from the National Board of Review, the Frederick Loewe Award in 2003 at the Palm Springs International Film Festival, ASCAP’s Henry Mancini Award for Lifetime Achievement, and BMI's Richard Kirk Award for lifetime achievement in 1996. Recent work includes the Spanish language film Casi Divas,^[30] Sherlock Holmes, The Burning Plain (2009), and Inception (2010). He composed the theme for the television boxing series The Contender, and worked with Lorne Balfe on the music for Call of Duty: Modern Warfare 2, which was his first video game project.^[31] Zimmer also collaborated with composers Borislav Slavov and Tilman Sillescu to create the score for the video game Crysis 2.^[32]

In December 2010, Zimmer received a star on the Hollywood Walk of Fame. He dedicated the award to his publicist and long term friend Ronni Chasen, who was shot dead in Beverly Hills the previous month.^[33]

Zimmer composed and produced the music for the 84th Academy Awards with Pharrell Williams of The Neptunes.^[34]

Zimmer lives in Los Angeles with his wife Suzanne, and has four children.^[35][36]

Discography and awards[link]

References[link]

External links[link]

	Book: Hans Zimmer
Wikipedia books are collections of articles that can be downloaded or ordered in print.

Wikimedia Commons has media related to: Hans Zimmer

• Official website
• Hans Zimmer at the Internet Movie Database
• Interview with Hans Zimmer in Film Score Monthly
• Interview with Hans Zimmer about Sherlock Holmes from C Music TV
• Focus.De

v t e Hans Zimmer Soundtracks Angels and Demons  · Driving Miss Daisy  · Batman Begins  · Beyond Rangoon  · Black Hawk Down  · The Da Vinci Code  · The Dark Knight  · Gladiator  · Inception · Kung Fu Panda  · Kung Fu Panda 2  · The Lion King  · Madagascar  · Mission: Impossible II  · Pearl Harbor  · Pirates of the Caribbean: At World's End  · Pirates of the Caribbean: The Curse of the Black Pearl  · Pirates of the Caribbean: Dead Man's Chest  · Pirates of the Caribbean: On Stranger Tides  · Pirates of the Caribbean: Soundtrack Treasures Collection · Rango  · Sherlock Holmes  · The Thin Red Line Songs "Hoist the Colours" Related articles Discography · Remote Control Productions Book:Hans Zimmer  · Category:Hans Zimmer

Enrico Caruso, c. 1907

Enrico Caruso (Italian pronunciation: [enˈriːko kaˈruːzo]) (February 25, 1873 – August 2, 1921) was an Italian tenor. He sang to great acclaim at the major opera houses of Europe and North and South America, appearing in a wide variety of roles from the Italian and French repertoires that ranged from the lyric to the dramatic. Caruso also made approximately 290 commercially released recordings from 1902 to 1920. All of these recordings, which span most of his stage career, are available today on CDs and as digital downloads.

Caruso's 1904 recording of "Vesti la giubba" from Leoncavallo's opera Pagliacci was the first sound recording to sell a million copies.^[1]

Historical and musical significance[link]

Caruso's 25-year career, stretching from 1895 to 1920, included 863 appearances at the New York Metropolitan Opera before he died from an infection at the age of 48. His fame has lasted to the present day despite the limited marketing and promotional vehicles available during Caruso's era. (He was, nonetheless, a client of Edward Bernays, during the latter's tenure as a press agent in the United States.)^[2] Publicity in Caruso's time relied on newspapers, particularly wire services, along with magazines, photography and relatively instantaneous communication via the telephone and the telegraph, to spread a message and raise a performer's profile.

Caruso biographers Pierre Key, Bruno Zirato and Stanley Jackson^[3][4] attribute Caruso's fame not only to his voice and musicianship but also to a keen business sense and an enthusiastic embrace of commercial sound recording, then in its infancy. Many opera singers of Caruso's time rejected the phonograph (or gramophone) owing to the low fidelity of early discs. Others, including Adelina Patti, Francesco Tamagno and Nellie Melba, exploited the new technology once they became aware of the financial returns that Caruso was reaping from his initial recording sessions.^[5]

Caruso made more than 260 extant recordings in America for the Victor Talking Machine Company (later RCA Victor) from 1904 to 1920, and he earned millions of dollars in royalties from the retail sales of the resulting 78-rpm discs. (Previously, in Italy in 1902–1903, he had cut five batches of records for the Gramophone & Typewriter Company, the Zonophone label and Pathé 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.

Caruso appeared in newsreels too, as well as a short experimental film made by Thomas Edison and two commercial motion pictures. For Edison, in 1911, Caruso portrayed the role of Edgardo in a filmed scene from Donizetti's opera Lucia di Lammermoor. In 1918, he appeared in a dual role in the American silent film My Cousin for Paramount Pictures. This movie included a sequence of 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 movie, The Splendid Romance. Producer Jesse Lasky paid Caruso $100,000 to appear in these two efforts but they both flopped at the box office.

While Caruso sang at such venues as La Scala in Milan, the Royal Opera House, Covent Garden, in London, the Mariinsky Theatre in Saint Petersburg, and the Teatro Colón in Buenos Aires, he was also the leading tenor of the Metropolitan Opera in New York City 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.

Caruso's voice extended up to high C in its prime and grew in power and weight as he grew older. 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.^[6]

Life and career[link]

Early life[link]

Enrico Caruso in the role of Dick Johnson, 1910/1911

Enrico Caruso came from a poor but not destitute background. Born in Naples in the Via San Giovannello agli Ottocalli 7 on February 25, 1873, he was baptised the next day in the adjacent Roman Catholic Church of San Giovanni e Paolo. Called Errico in accordance with the Neapolitan dialect, he would later adopt the formal Italian version of his given name, Enrico (the equivalent of "Henry" in English). This change came at the suggestion of a singing teacher, Guglielmo Vergine, with whom he began lessons at the age of 16.

Caruso was the third of seven children and one of only three to survive infancy. There is a story of Caruso having had 17 or 18 siblings who died in infancy. Two of his biographers, Francis Robinson and Pierre Key, mentioned the tale in their books, but genealogical research by Caruso family friend Guido D'Onofrio suggested it was false. According to Caruso's son Enrico, Jr., Caruso and his brother Giovanni may have been the source of the exaggerated number.^[7] Caruso's widow Dorothy also included the story in a memoir that she wrote about her husband. She quotes the tenor, speaking of his mother, Anna Caruso (née Baldini): "She had twenty-one children. Twenty boys and one girl – too many. I am number nineteen boy."^[8]

Caruso's father, Marcellino, was a mechanic and foundry worker. Initially, Marcellino thought that his son should adopt the same trade, and at the age of 11, the boy was apprenticed to a mechanical engineer named Palmieri who constructed public water fountains. (Whenever visiting Naples in future years, Caruso liked to point out a fountain that he had helped to install.) Caruso later worked alongside his father at the Meuricoffre factory in Naples. At his mother's insistence, he also attended school for a time, receiving a basic education under the tutelage of a local priest. He learned to write in a handsome script and studied technical draftsmanship.^[9] During this period he sang in his church choir, and his voice showed enough promise for him to contemplate a possible career in music.

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 soirees. 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 with Vergine upon discharge from the army.

Early career[link]

At the age of 22, Caruso made his professional stage debut in serious music. The date was March 15, 1895 at the Teatro Nuovo in Naples. The work in which he appeared was a now-forgotten opera, L'Amico Francesco, by the amateur composer Domenico 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 Met, and the tenor Fernando De Lucia, who would also appear at the Met and later sing at Caruso's funeral.

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".

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 in Milan, the country's premier opera house. His La Scala debut occurred on December 26 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 was given the responsibility of creating was Loris in Umberto Giordano's Fedora, at the Teatro Lirico, Milan, on November 17, 1898. At that same theater, on November 6, 1902, he would create the role of Maurizio in Francesco Cilea's Adriana Lecouvreur. (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.)

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.

A month later, he was engaged by the Gramophone & Typewriter Company to make his first group of acoustic recordings, in a Milan hotel room, for a fee of 100 pounds sterling. These 10 discs swiftly became best-sellers. Among other things, they helped to 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 Don Giovanni by Mozart. His successful debut at Covent Garden occurred on May 14, 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.

The Metropolitan Opera[link]

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

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. (The Knickerbocker was erected in 1906 on the corner of Broadway and 42nd Street.) 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 (see illustration, above).

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.^[10] Audiences in France, Belgium, Monaco, Austria, Hungary and Germany heard him, too, prior to the outbreak of World War I. In 1909, Melba asked him to participate in her forthcoming tour of Australia; but he declined the invitation because of the significant amount of travel time that such a trip would entail.

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 Jose 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 and costumes that it had brought on tour but none of the artists was harmed. Holding an autographed photo of President Theodore Roosevelt, 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.^[11][12]

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 bottom of a married woman. Caruso claimed a monkey did the bottom-pinching. He was found guilty as charged, however, 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.^[13] 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.

Caruso created the role of Dick Johnson in the world premiere of Puccini's La fanciulla del West on December 10, 1910. The composer conceived the music for the tenor hero 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.

Later career and personal life[link]

From 1916 onwards, Caruso began adding heroic parts such as Samson, John of Leyden and Eléazar to his repertoire, while he planned to tackle Otello (the most demanding role written by Verdi for the tenor voice) at the Met during 1921.

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 then enormous sum of 10,000 American dollars a night to sing in Havana, Cuba.^[14]

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.^[15]

Prior to World War One, Caruso had been romantically tied to an Italian soprano, Ada Giachetti, who was a few years older than he was.^[16] Though already married, Giachetti bore Caruso four sons during their liaison, which lasted from 1897 to 1908. Two survived infancy: Rodolfo Caruso (born 1898) and singer/actor Enrico Caruso, Jr. (1904). Ada had left her husband, manufacturer Gino Botti, and an existing son to cohabit with the tenor. Information provided in Scott's biography of Caruso suggests that she was his vocal coach as well as his lover.^[17] Statements by Enrico Caruso, Jr. in his book tend to substantiate this.^[18][19] Her relationship with Caruso broke down after 11 years and they separated. Giachetti's subsequent attempts to sue him for damages were dismissed by the courts.^[20]

Towards the end of the war, Caruso met and wooed a 25-year-old socialite, Dorothy Park Benjamin. She was the daughter of a wealthy New York patent lawyer. In spite of the disapproval of Dorothy's father, the couple wed on August 20, 1918. They had a daughter, Gloria Caruso (1919–1999). Dorothy lived until 1955 and wrote two books about Caruso, whom she had called "Rico" in private life. Published in 1928 and 1945, her books include many of Caruso's letters to his "Doro".^[21]

A fastidious dresser, Caruso took two baths a day and liked good Italian food and convivial company. He forged a particularly close bond with his Met and Covent Garden colleague Antonio Scotti—an amiable and stylish baritone from Naples. Caruso was superstitious and habitually carried good-luck charms with him when he sang. He played cards for relaxation and sketched friends, other singers and musicians. Dorothy Caruso said that by the time she knew him, her husband's favorite hobby was compiling scrapbooks. He also amassed a valuable collection of rare postage stamps, coins, watches and antique snuffboxes. Caruso was a heavy smoker of strong Egyptian cigarettes, too. This deleterious habit, combined with a lack of exercise and the punishing schedule of performances that Caruso willingly undertook season after season at the Met, may have contributed to the persistent ill-health which afflicted the last 12 months of his life.

Illness and death[link]

On September 16, 1920, Caruso attended Victor's prime recording venue, Trinity Church, at Camden, New Jersey, for the final time. He recorded several discs over three days, including the "Domine Deus" and "Crucifixus" from the Petite Messe Solennelle by Rossini. These discs were to be his last.

Dorothy Caruso noted that her husband's health began a distinct downward spiral in late 1920 after returning 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 December 3 had hit him on the back, over the left kidney (and not on the chest as popularly reported).^[22] A few days before a performance of Pagliacci at the Met (Pierre Key says it was December 4, 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 December 24, 1920. (Also appearing that night was the Australian coloratura soprano, Evelyn Scotney, who had sung with Caruso a number of times.^[23]) 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.^[24][25]

Caruso's health deteriorated further during the new year. He experienced episodes of intense pain because of the infection and underwent seven surgical procedures to drain fluid from his chest and lungs.^[26] He returned to Naples 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.^[27][28] 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 a few minutes after 9:00 am local time, on August 2, 1921. He was 48. The Bastianellis attributed the likely cause of death to peritonitis arising from a burst subrenal abscess.^[29][30] 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.^[31] In 1929, Dorothy Caruso had his remains sealed permanently in an ornate stone tomb.

Honors[link]

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". Caruso was posthumously awarded a Grammy Lifetime Achievement Award in 1987. On February 27 of that same year, the United States Postal Service issued a 22-cent postage stamp in his honor.^[32] He was voted into Gramophone Magazine's Hall of Fame in 2012.^[33]

Repertoire[link]

Caruso's operatic repertoire consisted primarily of Italian works along with a few roles in French. He also performed two German operas, Wagner's Lohengrin and Goldmark's Die Königin von Saba, singing in Italian, early in his career. Below are the first performances by Caruso, in chronological order, of each of the operas that he undertook on the stage. World premieres are indicated with **.

Caruso signing his autograph; he was obliging with fans

• L'amico Francesco (Morelli) – Teatro Nuovo, Napoli, March 15, 1895 (debut)**
• Faust – Caserta, March 28, 1895
• Cavalleria rusticana – Caserta, April 1895
• Camoens (Musoni) – Caserta, May 1895
• Rigoletto – Napoli, July 21, 1895
• La traviata – Napoli, August 25, 1895
• Lucia di Lammermoor – Cairo, October 30, 1895
• La Gioconda – Cairo, November 9, 1895
• Manon Lescaut – Cairo, November 15, 1895
• I Capuleti e i Montecchi – Napoli, December 7, 1895
• Malia (Francesco Paolo Frontini) – Trapani, March 21, 1896
• La sonnambula – Trapani, March 24, 1896
• Marriedda (Bucceri) – Napoli, June 23, 1896
• I puritani – Salerno, September 10, 1896
• La Favorita – Salerno, November 22, 1896
• A San Francisco (Sebastiani) – Salerno, November 23, 1896
• Carmen – Salerno, December 6, 1896
• Un Dramma in vendemmia (Fornari) – Napoli, February 1, 1897
• Celeste (Marengo) – Napoli, March 6, 1897**
• Il Profeta Velato (Napolitano) – Salerno, April 8, 1897
• La bohème – Livorno, August 14, 1897
• La Navarrese – Milano, November 3, 1897
• Il Voto (Giordano) – Milano, November 10, 1897**
• L'arlesiana – Milano, November 27, 1897**
• Pagliacci – Milano, December 31, 1897
• La bohème (Leoncavallo) – Genova, January 20, 1898
• The Pearl Fishers – Genova, February 3, 1898
• Hedda (Leborne) – Milano, April 2, 1898**
• Mefistofele – Fiume, March 4, 1898
• Sapho (Massenet) – Trento, June 3(?), 1898
• Fedora – Milano, November 17, 1898**
• Iris – Buenos Aires, June 22, 1899
• La regina di Saba (Goldmark) – Buenos Aires, July 4, 1899
• Yupanki (Berutti)– Buenos Aires, July 25, 1899**
• Aida – St. Petersburg, January 3, 1900
• Un ballo in maschera – St. Petersburg, January 11, 1900
• Maria di Rohan – St. Petersburg, March 2, 1900
• Manon – Buenos Aires, July 28, 1900
• Tosca – Treviso, October 23, 1900
• Le maschere (Mascagni) – Milano, January 17, 1901**
• L'elisir d'amore – Milano, February 17, 1901

Caruso's sketch of himself as Don José in Carmen, 1904

• Lohengrin – Buenos Aires, July 7, 1901
• Germania – Milano, March 11, 1902**
• Don Giovanni – London, July 19, 1902
• Adriana Lecouvreur – Milano, November 6, 1902**
• Lucrezia Borgia – Lisboa, March 10, 1903
• Les Huguenots – New York, February 3, 1905
• Martha – New York, February 9, 1906
• Madama Butterfly – London, May 26, 1906
• L'Africana – New York, January 11, 1907
• Andrea Chénier – London, July 20, 1907
• Il trovatore – New York, February 26, 1908
• Armide – New York, November 14, 1910
• La fanciulla del West – New York, December 10, 1910**
• Julien – New York, December 26, 1914
• Samson et Dalila – New York, November 24, 1916
• Lodoletta – Buenos Aires, July 29, 1917
• Le prophète – New York, February 7, 1918
• L'amore dei tre re – New York, March 14, 1918
• La forza del destino – New York, November 15, 1918
• La Juive – New York, November 22, 1919.

Note: At the time of his death, Caruso was preparing to perform the title role in Verdi's Otello in an intended Met production.^[34][35]

Caruso also had a repertory of more than 520 songs. They ranged from classical compositions to traditional Italian melodies and popular tunes of the day, including a few English-language titles such as George M. Cohan's "Over There" and Henry Geehl's "For You Alone".

Recordings[link]

Caruso possessed a phonogenic voice which was "manly and powerful, yet sweet and lyrical", to quote the singer/author John Potter (see bibliography, below). Not surprisingly, he became one of the first major classical vocalists to make numerous recordings. He 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 around a century ago, and every one of his surviving discs (including unissued takes) has been re-engineered and re-released on CD in recent years.

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 Company. 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 seal. Three more Milan recordings for AICC followed in October. This time they were released by Pathé Records on cylinders as well as on discs. Then on February 1, 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 boxy studios in New York and nearby Camden, New Jersey, Victor also recorded him occasionally in Camden's Trinity Church, which could accommodate a larger band of musicians. (In 1904, however, Victor had elected to use Room 826 at Carnegie Hall, New York, as a makeshift recording venue for its initial bundle of Caruso discs.) Caruso's final recording session took place at Camden on September 16, 1920 with the tenor singing the sacred pieces "Domine Deus" and "Crucifixus" from Rossini's Petite Messe Solennelle.

Caruso's earliest American records of operatic arias and songs, like their 30 or so Milan-made predecessors, were accompanied by piano. From February 1906, however, so-called 'orchestral' accompaniments became the norm. The regular conductors of these instrumental-backed recording sessions were Walter B. Rogers and Joseph 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, more authentic sounding, electronically 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 the fuller-sounding Caruso recordings on 78-rpm discs made of smooth vinyl instead of brittle and gritty shellac, which was the traditional material used for "78s". Then, as vinyl long-playing discs (LPs) became popular, many of his recordings were electronically enhanced for release on the extended format. Some of these particular recordings, remastered by RCA Victor on the alternative 45-rpm format, were re-released in the early 1950s as companions to the same selections sung in the "Red Seal" series by movie tenor Mario Lanza. In 1951, Lanza had starred in a popular and profitable Hollywood biopic, The Great Caruso, which took numerous liberties with the facts of Caruso's life.

In the 1970s, Thomas G. Stockham of the University of Utah utilised an early digital reprocessing technique called "Soundstream" to remaster Caruso's Victor recordings for RCA, but the results were not entirely successful. Nonetheless, these early digitised efforts were issued in part on LP, beginning in 1976. Twice they were issued complete by RCA on compact disc (in 1990 and then in 2004). Other complete sets of Caruso's restored recordings have been issued on CD by the Pearl label and, more recently, in 2000–2004 by Naxos. The 12-disc Naxos set was remastered by the noted American audio-restoration engineer Ward Marston. Pearl also released in 1993 a CD set devoted to RCA's electrically over-dubbed versions of Caruso's original acoustic discs. RCA has similarly issued three CD sets of Caruso material with modern, digitally recorded orchestral accompaniments added. Caruso's records are now available, too, as digital downloads. His best-selling downloads at iTunes have been the familiar Italian songs "Santa Lucia" and "O Sole Mio".

Caruso died before the introduction of higher 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 the singing voice. Caruso's 12-inch acoustic recordings were limited to a maximum duration of about 4:30 minutes. Consequently, some of the selections that he recorded had to be edited in order to fit this time constraint.

Media[link]

Caruso alongside his piano

Over There

Caruso singing the popular World War I song by George M. Cohan.

See also[link]

• Birth of public radio broadcasting
• Enrico Caruso discography (CD)
• Caruso Sauce
• Enrico Caruso: leggenda di una voce
• The Great Caruso

Bibliography[link]

• Key, P.V.R. and Zirato, B, Enrico Caruso, a Biography (Little, Brown and Co, Boston, 1922).
• Scott, Michael, The Great Caruso (Hamish Hamilton, London, 1988).
• Caruso, Dorothy, Enrico Caruso – His Life and Death, with a discography by Jack Caidin (Simon and Schuster, New York, 1945).
• Jean-Pierre Mouchon, "Particularités physiques et phonétiques de la voix enregistrée de Caruso", foreword by Prof.André Appaix (in Le Sud Médical et Chirurgical, 99e année, n°2509,Marseille, France, 31 octobre 1964, pp. 11812–11829).
• Jean-Pierre Mouchon, "Enrico Caruso. 1873-1921. Sa vie et sa voix. Étude psycho-physiologique, physique, phonétique et esthétique", foreword by Dr.Édouard-Jean Garde (Académie régionale de chant lyrique, Marseille, France, 1966, 106 p., ill.).
• Jackson, Stanley, Caruso (Stein and Day, New York, 1972).
• Jean-Pierre Mouchon, "Enrico Caruso. His Life and Voice" (Éditions Ophrys, Gap, France, 1974, 77 p., ill.).
• Jean-Pierre Mouchon, "Enrico Caruso. L'homme et l'artiste, 4 vol.: Première partie. L'homme (Étude psycho-physiologique et historique), p.1-653 bis, ill.; deuxième partie. L'artiste (étude physique, phonétique, linguistique et esthétique), pp.654–975 bis, bibliographie critique, index des représentations données par Enrico Caruso entre 1895 et 1920, index de ses concerts et récitals,pp. 976-1605 (Paris-Sorbonne 1978, published by Atelier national de reproduction des thèses, Université de Lille III, 9, rue Auguste Angellier, 59046 Lille, France in three volumes, and by Didier-Érudition, Paris, in microfiches).
• Pleasants, Henry, The Great Singers (Macmillan Publishing, London, 1983).
• Caruso, Enrico Jr., and Farkas, Andrew, Enrico Caruso, My Father and My Family, with a discography by William Moran and a chronology by Tom Kaufman (Amadeus Press, Portland, 1990).
• Gargano, Pietro and Cesarini, Gianni, Caruso, Vita e arte di un grande cantante (Longanesi, 1990).
• Douglas, Nigel, Legendary Voices (Andre Deutsch, London, 1992).
• Jean-Pierre Mouchon, "Chronologie de la carrière artistique du ténor Enrico Caruso" (Académie Régionale de Chant Lyrique, Marseilles, France, 1992, 423 p., ill.).
• Vaccaro, Riccardo, Caruso, foreword by Dr. Ruffo Titta (Edizioni Scientifiche Italiane, Naples, Italy, 1995).
• Gargano, Pietro, Una vita una leggenda (Editoriale Giorgio Mondadori, 1997).
• Griffith, Hugh, CD liner notes for The Complete Recordings of Enrico Caruso, volumes 1 & 2, produced by Ward Marston (Naxos Historical, 8.110703, 8.110704, (c) 2000 HNH International Ltd).
• Potter, John, Tenor: History of a Voice (Yale University Press, New Haven & London, 2009).
• Steane, John, The Grand Tradition: 70 Years of Singing on Disc (Duckworth, London, 1974).
• Jean-Pierre Mouchon, "Caruso in Concert" (in "Étude" n°46, "Hommage à Marguerite-Marie Dubois", January–February–March–April 2010, pp. 12–37, Journal of Association internationale de chant lyrique "Titta Ruffo", Marseilles, France, edited by Professor Jean-Pierre Mouchon, M.A., PhD, Mus.D., D.Li).
• Jean-Pierre Mouchon, "Enrico Caruso. L'homme et l'artiste", two volumes (Terra Beata, Société littéraire et historique, 45, bd. Notre-Dame, 13006--Marseille, France, 2011, 1359 pp., ill.^[36]
• Il Progresso italo americano, Il banchiere^[37] che portò Caruso^[38] negli US^[39], sezione B – supplemento illustrato della domenica, New York, 27 luglio 1986.

Notes[link]

References[link]

• Scott, Michael (1991), The Great Caruso, Random House, ISBN 978-0-517-06766-6. 

External links[link]

Wikimedia Commons has media related to: Enrico Caruso

Wikisource has the text of a 1922 Encyclopædia Britannica article about Enrico Caruso.

• Complete Thesis of Jean-Pierre Mouchon "Enrico Caruso. The men and the Artist website" (Terra Beata, 45, bd. Notre-Dame, 13006—Marseille, France, 2011, 1359 pp., ill. ISBN 2-909366-16-2) http://enrico-caruso.dyndns.org/
• Caruso, Dorothy : Enrico Caruso His Life And Death (1945) complete text
• Caruso, Enrico and Luisa Tetrazzini: Caruso and Tetrazzini on the Art of Singing (1909), complete text at Project Gutenberg
• "Caruso and the San Francisco Earthquake" San Francisco Museum
• Discography of Enrico Caruso on Victor Records from the Encyclopedic Discography of Victor Recordings (EDVR)
• Enrico Caruso at the Internet Movie Database
• The Enrico Caruso Museum of America
• The Enrico Caruso Page
• Enrico Caruso – Sound Clips and Narration at History of the Tenor
• Key, Pierre V.R.: Enrico Caruso; a biography (1922) complete text
• Recordings of Caruso Part 1, Part 2 Audio files at Internet Archive
• Video of Caruso at 1908 opening of Teatro Colon in Buenos Aires
• Enrico Caruso at Find A Grave