Enrico Caruso & Antonio Scotti - Dio, che nell'alma infondere (Victor, 1912) скачать в хорошем качестве

Enrico Caruso & Antonio Scotti - Dio, che nell'alma infondere (Victor, 1912)

Dead Tenors’ Society continues its two month retrospective of the recordings of Enrico Caruso (1873-1921). August focused on the solo recordings made by Caruso and, so far, September has been featuring the many wonderful duets recorded by Caruso with his illustrious colleagues. This week will continue that trend, showcasing some of the duets that I missed during the first three weeks of this month. Based on your comments and suggestions, I was able to infer that nobody would object to yet another week of Caruso. Anyone who DOES object is probably looking at the wrong YouTube channel… Caruso’s duet recordings are a marvel to listen to. The great tenor had an uncanny ability to change the color of his voice (without actually changing the voice itself) to match whatever colleague he was singing with. I am hard pressed to think of another artist who had not only the ability to do this, but who possessed the same sense of generosity toward his colleagues to make such a gesture. By doing this, Caruso elevates his singing partner, the music, the drama of the piece and, of course, his own performance by creating the perfect vocal blend. This is just one of the many things that combined to make Enrico Caruso the unparalleled vocal artist he was. Caruso and his old friend Antonio Scotti (1866-1936) entered the studios of Victor Records together for the final time on December 30, 1912 for this recording of “Dio, che nell’ alma infondere” from Verdi’s Don Carlo. Although Caruso’s top notes developed a more dramatic edge in the six years since the duo’s first visit to the recording studio, the tenor sings very lyrically and beautifully here, blending perfectly with Scotti. The phrasing, particularly the portamento to the reprise of the phrase “Dio, che nell’ alma infondere”, is elegant and noble. In fact, so noble is the entire performance, that one can overlook the large cut…as well as Caruso’s slight indulgence on the high A of “Grido estremo sarà”. As I've mentioned before, I DO enjoy a good indulgence. Truly a recording for the ages.