“Di quella pira” In Caruso Style
Di Quella Pira from the opera "Il Trovatore" by Giuseppe Verdi
Tribute to Caruso
Some similarities between Lora and Caruso
- As Caruso also Lora started as self-taught and the first song that fascinated him was “Ridi Pagliaccio” which gave success to the great Neapolitan tenor.
- As Caruso also Lora interprets “Di quel Pira”; with the chorus cut and setting the final of the aria with a powerful and ringing High C.
- As Caruso also Lora grabs high-pitched with powerful treble, bringing the audience into ecstasy feeling.
- Lora was inspired by Enrico Caruso on the elegance of Neapolitan tailoring so dear to the great historic
The life of the great tenor
Enrico Caruso has born in Naples on February 25, 1873. At the age of ten he went to work with his father in the foundry, but under the insistence of his mother he enrolled in an evening school, where he discovered that he was gifted for drawing. In the meantime his talent and his voice grew in him. The first opera arias and the first notions of singing were taught to him by the masters Schirardi and De Lutio. His luck began when the baritone Eduardo Missiano introduced him to maestro Guglielmo Vergine, who agreed to give him lessons to improve his voice. He made his debut on November 16th 1894 singing a role in Mario Morelli’s “L’amico Francesco”. He then began to perform in the theaters of Caserta, Naples and Salerno, and made his first performance abroad, in Cairo. Then in 1897, in Salerno, Caruso met the conductor Vincenzo Lombardi who asked the tenor to follow him during the summer season in Livorno. Hence an incredible career begun and Caruso started to perform in major opera houses around the world. On 11 April 1902 in Milan, Caruso recorded ten records with opera arias on behalf of the English company Gramophone & Typewriter Company. The Neapolitan singer was the first to try, with great success, this new technology. He was the first artist in history to sell more than a million records with the air “Vesti la giubba” from the opera Pagliacci for the Victor label.nHe became the idol of the opera lovers of the time. In 1909 Caruso recorded a series of twenty-two Neapolitan songs which also included “Core ‘ngrato”, inspired by his sentimental stories. Caruso developed a personal vocal technique using the natural dark color of the voice as an element of virile seduction. In a vocal landscape that was abandoning the nineteenth-century soft singing style and with a lack of the right voices to render the violent passions brought to the scene by the young school, Caruso was the right personality at the right time: he knew how to give an extraordinary interpretation of Canio and others realist roles, such as Chénier, but also those of Aida, Rigoletto, or Faust, operas sung with a completely new taste and well testified by technically primordial records, but
exceptional from a purely vocal point of view. He therefore also entered into the good graces of Puccini who wrote La fanciulla del West for him. Caruso remained an unattainable interpreter for impetus and passion, able to grab thundering high notes with enthusiasm that thrilled the audience.