Repertoire
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 **.
- 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
- 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.
Caruso also had a repertory of more than 500 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".
Read more about this topic: Enrico Caruso
Famous quotes containing the word repertoire:
“The best joke-tellers are those who have the patience to wait for conversation to come around to the point where the jokes in their repertoire have application.”
—Joseph Epstein (b. 1937)
“For good teaching rests neither in accumulating a shelfful of knowledge nor in developing a repertoire of skills. In the end, good teaching lies in a willingness to attend and care for what happens in our students, ourselves, and the space between us. Good teaching is a certain kind of stance, I think. It is a stance of receptivity, of attunement, of listening.”
—Laurent A. Daloz (20th century)