Full-length role portrait of the famed tenor as the Duke of Mantua in Verdi's Rigoletto by A. Bert, Paris, ca. 210 x 134 mm. Signed and inscribed in black ink at lower portion "À Madame Jeritza – la belle Marie. Sincerement Enrico Caruso Wien 1919." Laid down to original ivory mount (ca. 350 x 260 mm.) with photographer's name embossed at lower right.
Slightly worn, soiled and foxed, slightly heavier to mount; date somewhat smudged with final digit altered; two small tears to upper edge of mount.
"The winning quality of the sound, the tender mezza voce (particularly in the early years), and his phrasing, based on a rare mastery of legato and portamento, enabled Caruso to sing the French and Italian lyric repertory as well as lighter operas. In addition, his noble, incisive declamation, his broad, generous phrasing, and his vigor in dramatic outbursts made him a notable interpreter of Verdi as well as of French grand opéra. In this repertory his performances were characterized by the irresistible erotic appeal of his timbre allied to a temperament as warm and vehement as his voice. His numerous recordings, now faithfully remastered on CD, not only made him universally famous, they also did much to encourage the acceptance of recording as a medium for opera." Rodolfo Celletti and Alan Blyth in Grove Music Online.
Maria Jeritza was one of the greatest sopranos of her generation, celebrated for her singing as well as for her acting, which included acrobatic elements. World famous composers wrote roles specifically with her in mind. For Richard Strauss, she created Ariadne (both versions, 1912 and 1916) and the Empress in Die Frau ohne Schatten (1919). Puccini wrote Turandot for her; she performed it, but she did not create the role. Other roles in which Jeritza excelled were Salome and Jenůfa. She gave her debut at the Metropolitan Opera in New York in 1921 as Marietta in Korngold's Die tote Stadt and appeared on the Met's stage no fewer than 290 times in 20 roles. Item #25298
Price: $1,750.00 other currencies