Enrico Caruso: M'appari tutto amor from Flotows Martha

The beautiful aria - "M'appari tutto amor" - from Flotow's (1812--1883) opera "Martha" is one of my favorites.

Caruso recorded it twice. In 1906 and in 1917. Here are these two recordings. The first lyrical, the second "mature" and for me the most empathetic.

AN ANECDOTE:

The scene is Berlin (before the First World War) and Martino, Caruso's valet (whom the stickler for order Caruso had spontaniously hired because "he [as a porter] carried my suitcases with the utmost care"), tells the story to Dorothy Caruso (from her book "Wings of Song" - download it here:

http:www.enricocaruso.dk/musik/wings_of_song.pdf

"Once in Berlin the students bought standing room to hear Caruso sing. Oh ! Madonna mia! What crowds there were that night ! Even up to the dressing-room door they roll like waves, and when the house is full they overflow into the streets and nothing can pass by the opera house.

While the Commendatore [Order of the Crown of Italy] was singing, there came for him an immense horseshoe of
flowers that took up all the dressing room, and I think to myself I must put it in the hall, which was already full of bouquets. At the moment I was moving it Caruso came from the stage, tired and excited as always after a performance, and he stopped to look at the card attached to the flowers, which read: "To the Greatest Singer, From the Students"

"Let it stay", he say, and begin to change his costume.
So to help him I have to jump around that mountain of flowers wherever I move. Some gentleman come in at that
moment and look at the card and say, "Too bad, because the students did not hear you sing after all."

The Commendatore stop smoking a cigarette. "Why not?", he asks. "Don't I sing loud enough?" - "They didn't get into the opera house." answered the gentleman.

Caruso's dressing room opened on the street, and there sounded so much noise out there that I went to push down the window, thinking he might be disturbed; but he stopped me, saying, "Martino, what is the noise?" Listening, I hear a sound like humming and people calling, so I raised the window and look out again, and there all the students are in the street. "Those are the students", I say, "and I think they wait for you to come out."

Caruso looks at the big horseshoe of flowers and comes over to the open window. When the students see him they roar and howl and throw their caps in the air. Such a demonstration and such a terrible noise, signora, you never hear in all this world ! For even now it makes my ears ache to think of it.

Then Caruso puts up his hand and begins to sing the aria from Marta [M'appari tutto amor], and from those boys comes not a sound, not a breath till it is over, and then - Martino shut his eyes and pressed his hands over his ears - they shout, they roar like lions, they howl terrible, terrible.

When the Commendatore comes out to mount into his carriage, they take away the horses and put themselves in the harness and pull him to the hotel !"

Category:

Music

Tags:

• flotow
• martha
• enrico
• caruso
• german
• opera

[goodboybuddy1]

I've never heard any tenor sing with such profound declamation and intense expression as Caruso brings to the second recording. The diction and intonation are perfection, and he seems to pour every ounce of himself into the aria's meaning. Thanks also for the great anecdote. He was a giant.

[tomfroekjaer]

@goodboybuddy1: Yeah ! And THAT's what get's me about Caruso: He pours out his very soul for all to experience in the performance. IMO this is what geniouses in any art do.

[dantitustimshu]

Caruso's two recorded versions manifest the significant change in singing style during the first decade of the 20th century.The lyrical charm of the first version shows him still having one foot in the 19th century. By the time he came to record the second version, he had left the 19th century far behind. Some loss in the lyrical beauty of the first version is offset by the gain in dramatic veracity. One thing is for sure: BOTH versions are wonderful. Many thanks for posting, Tom.

[tomfroekjaer]

@dantitustimshu: Most welcome ! And your comment is spot on ! The very empathetic 1917 version definately breaks with the bel canto tradition of singing from the 19th century. 

[racheleleeba]

I can't choose between them; they both make me choke up. :)

[tomfroekjaer]

@racheleleeba: a very sensitive creature you are indeed, Roberta :-)

[irina4447]

love Love Love !!!!

[tomfroekjaer]

"One morning after Caruso's death the secretary brought me a box of Enrico's papers and among them we found a list of people in Italy whom he had supported for years. Besides the scores of relatives, the list included a hundred and twenty men and women who had shown him some small kindness in the past which he had never forgotten.

He had never mentioned these gifts, any more than he had ever spoken of the other countless good deeds which were a natural part of his daily life."

[tomfroekjaer]

@Aetion: You are very welcome. He was indeed a very helpful and generous person. Not only did he try to help his fellow Italian immigrants, but also people in Italy. See my next message - antother quote from Dorothy's book.

[tomfroekjaer]

@LordMgls: yes, Bergonzi is great in this. I also like Björling. And Fritz Wunderlich who sang it in the original German language.

The anecdote: didn't subtract from his popularity :-)