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No non chiuder gli occhi vaghi

Opera details:

Opera title:

Germania

Composer:

Alberto Franchetti

Language:

Italian

Synopsis:

Germania Synopsis

Libretto:

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Translation(s):

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Aria details:

Type:

aria

Role(s):

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Voice(s):

Tenor

Act:

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Previous scene: Studenti ! Udite

Enrico Caruso opera Germania "Ah vieni qui...No, non chiuder gli occhi vaghi" G & T 1902

Singer: Enrico Caruso

Enrico Caruso sings an aria from Alberto Franchetti's opera Germania.

Caruso recorded this on April 11, 1902, for G & T (Gramophone and Typewriter Company). Piano accompaniment is by Salvatore Cottone.

Germania was performed for the first time in 1902. Arturo Toscanini was the conductor. Enrico Caruso enjoyed success in the opera and two arias from it during his first recording session (the aria "Studenti udite" was his very first recording).

Germania was Franchetti's most successful work.

Don't confuse this 1902 version with the 1903 version, which opens with Caruso's spoken introduction. The tenor recorded it this second time in 1903 for the Anglo Italian Commerce Company, Milan, in Italy. This latter company would be the source for Caruso's Zonophone discs, his rare Pathe discs, and the fragile Pathe cylinders.

Caruso later recorded it with orchestra (issued on Victor 87054 and later on two-sided Victor 508).

Germania was staged for the first time in 1902. Arturo Toscanini was the conductor. Enrico Caruso enjoyed success in the opera and two arias from it during his first recording session (the aria "Studenti udite" was his very first recording).

Germania was Franchetti's most successful work.

On April 11, 1902, Caruso was paid by the Gramophone & Typewriter Company’s Fred Gaisberg to sing ten numbers into a recording horn in a Milan hotel room. The fee was 100 pounds sterling. The tenor sang to piano accompaniment. Gaisberg (either Fred or his brother Will) wrote “Carusso” on early wax blanks.

As time passed, people looked back and viewed this session as giving birth to a new era.

Before 1902, opera recordings aroused little enthusiasm since voices on discs and cylinders were distant, often drowned out by surface noise. Early opera recordings gave little satisfaction.

Caruso helped make the gramophone respected because his voice--a superb one--recorded well. Before 1902, recording officials had difficulty convincing celebrities to make records since the final product was crude. Some celebrities did make recordings in 1902 (they include Plançon, Van Rooy, Calvé, Scotti, Bispham, and Renaud)--partly to earn large fees for little work, partly to satisfy curiosity about how they sound. But Caruso’s success inspired many others.

With the first Caruso discs available in the summer of 1902, the gramophone was clearly more than a toy--that is one way to view Caruso’s contribution to the infant industry. Lovers of great singing realized that recording devices could capture and preserve great singing. Caruso’s voice on his early discs came across clearly enough to be satisfying, Caruso’s interpretations compelling.

Caruso had other Milan sessions. The next one (again for the Gramophone & Typewriter Company) was on November 30, 1902, with some titles recorded a day or two later (in December 1902).

I once assumed that Will Gaisberg (Fred’s brother--Fred himself was touring, making records in exotic locations) produced all the Milan recordings of the November-December sessions, but I read that B.G. Royal recorded four of the recordings, and these have "-R" embossed next to the matrix numbers, indicating that Royal was the producer.

On April 19,1903, Caruso made seven recordings in Milan for the Anglo-Italian Commerce Company. As I wrote earlier, these were released as Pathe disc, Pathe cylidners and Zonophone discs.

In late October 1903, three more titles were recorded in Milan. There were issued by Pathe on both cylinder and disc--and on Zonophone discs.

Next, Caruso cut two titles for the Gramophone & Typewriter Company--the last Milan session.

Thereafter Caruso recorded only for the Victor Talking Machine Company.

Caruso’s records helped make him a star in opera houses, and Caruso’s success in opera houses helped record sales. Victor Talking Machine Company discs brought wealth and fame to the artist, and Caruso’s name brought prestige to the Victor Talking Machine Company.

On September 16, 1920, the ailing tenor visited a recording studio for the last time (at Trinity Church at Camden, New Jersey).

At the Brooklyn Academy of Music on December 11, 1920, the tenor suffered a throat hemorrhage. The curtain did not come up after Act I on that sad day, but Caruso did not retire. He would give three more Met performances under great strain and discomfort.

In 1921 he was diagnosed with purulent pleurisy and empyema.

Watch videos with other singers performing No non chiuder gli occhi vaghi:

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