Understandably, a prospective listener might regard this reissue with skepticism: after all, do we really need another Caruso compilation? In truth, though, these 44 selections add up to an intelligently programmed, well-balanced cross-section of the great tenor’s discography. While ASV’s transfers do not equalize Caruso’s timbre with the same clarity and focus Ward Marston obtains in his ongoing Naxos series, they’re still very good non-interventionist remasterings and, happy to report, properly pitched. Producer Peter Dempsey’s enthusiastic annotations take the tenor’s transpositions into account, and also provide valuable discographical context. Too bad that recording dates are only provided inside the booklet–meaning, of course, that hard core Caruso fans will not be able to ascertain which of the tenor’s six “Celeste Aidas” or three “Vesti la giubbas” ASV includes until they purchase the discs and tear open the shrink wrap.
Artistically speaking, little can be added to what’s been written about Caruso’s justly legendary voice–still phonogenic after all these years–and his generous artistry. How do you catalog all the wonderful moments? For suave delivery and a frighteningly secure high C, check out the tenor’s great 1906 “Salut! demeure” from Gounod’s Faust, or his amazing breath control and sense of dramatic build throughout Ponchielli’s “Cielo e mar!” from La Gioconda (Caruso’s 1905 piano-accompanied version). Recorded in 1920 (the year before Caruso’s death), Handel’s “Ombra mai fu” from Serse and “Rachel, quand du Seigneur” from Halévy’s La Juive reveal a darker, more baritonal timbre than in previous years. Then there’s a handsome handful of Neopolitan chestnuts and Tosti favorites, from “Serenata” to “O sole mio”. All in all, a nice overview for listeners wishing to explore Caruso in depth without going the “complete” route.
