DOCSLIB.ORG

The Bothner Piano Action, , 3 3

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Bothner Piano Action, , 3 3 Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org THE MUSIC TRADE REVIEW. Kimball Pianos Were accorded Highest Honors at tbe World's Pair and ar* Used and Recommended by the following eminent Musicians: Adelina Patti Jean de Reszke Emma Eames Emma Calve Edouard de Reszke JUllian Nordica * Ivilli Lehmann Jean Lassalle Francisco Tamajjno Sophia Scalchi I,. Mancinelli Max Alvary Minnie Hauk K.- fievienani Zclie de Lussan Emma Albani C. M. Ziehrer Victor Maurel K. Fursch-Madi John Phillip Sousa G. Campanaii Guirrina Fabbri Robert Goldbeck Francisco Vignu Clementine De Ver« W. E. Heimendahl Mario Ancona - Olimpia Guercia Giuseppe Del Puent* Paul Kalisch Marie Tavary Fernando De Lucia Luigi Arditi Pauline L'Allemand Conrad Behrens Durward Lely Marguerite Samuel Emil Fischer A. Mascheronl P. S. Gilmore Pablo De Sarasate B. Remenyi A. De Novellis Ovide Musin Theodor Salmon Pol. Plancon Luigi RavelH E. Ruschweyh Emil Liebling Julius Perotti Giov. Perugini Chas. Kunkel Antonio Galassi Franco Novara And many other prominent artists of Europe and America. The Piano thus indorsed by the collective genius and authorities of the world may be found in large variety; tog-ether with the Kimball Reed and Pipe . Organs, at tbe salesrooms of W. W. KIMBALL CO., PIANO AND ORGAN FAOTOniHS OP W. W. KIMBALL CO., CHICAGO. KIMBALL HALL, . CHICAGO. MANUFACTURERS«? TRADERS Who desire to obtain reliable information about their OOLB enstomers, in any branch of the music trade, should CO., subscribe for our book of OF "CREDIT RATINGS" for 1896. Special attention given to collection of past due Grand and Upright Pianos, daims in any part of the United States and Canada. Address all communications to the HUE. PA. THOMPSON REPORTING CO., NEW TORE OFFICBt 18 Eaat 17th Street, with <* W. HSRBZBft, 10 Tr«mrat Str*«t, THE BOTHNER PIANO ACTION, ,333k GRAND, UPRIGHT AND SQUARE. Manufactured by GEORGE BOTHNER, 135-137 Chrystie Street, New Yorfe atoa. UPRIGHT PIANO ACTIONS, SYLVESTER TOWER, ROTH & ENGELHARDT, Manufacturer of A. P. ROTH, F. ENGELHARDT, Grand and Upright Piano-Forte Actions, WITH fONMCMLV FOREMAN STEIN WAY & SONS' A. DOLOC. ACTION DEP-T. Also PIANO-FORTE AND ORGAN KEYS. OFFICE: I FACTORIES: Sap, Action, Hammers, Sraktti aod Hlokel BAII, Purnlihed Oomplrte. ., Boom 59,1TEW TOBS. ' St. JohniTllle, N. 7,, onN. 7.0. B. B. WWERS ABOVE ALL OTHERS. ISi to 447 BROIDWIT, C1MBRIDGEP0RT, MASl CORGEN & CRUBB, PIANO FORTE ACTIONS, SUOOESSOES TO F. FRIuiuwQER. The Oldest Action Firm in U. S. NASSAU, IT. Y. GRAND, SQUARE AND UPRIGHT THE OLD STANDARD MARTIN GUITARS THE ONLY RELIABLB Manufactured by C. F. Martin & Co. 1893 CONNECTION WITH ANY OTHER HOUSE OF THE SAME For over sixty years the MARTIN GUITARS were and are still the only reliable instruments used by all first-class Professors and Amateurs throughout . They enjoy a world-wide reputation, and testimonials could be added from the best Solo players ever known, such as i?t Madame DK GONI, | Mr. WM.SCHUBERT. | Mr.S._D«LA COVA^_ | Mr. H. WORRELL, I ¥*• N. J LEPKOWSKI. Url J. P. COUPA, Mr. I Mr. CHAS. DK JANON, Mr. N. W. GOULD, LUIS T. ROMERO, and many others, but deem It unnecessary to do so, as the public is well aware of the superior merits of the Martin Guitars. Parties have in vain tried to imitate them, not only h«re » * United States, but also in Europe. They still stand to this day without a rival, notwithstanding all attempts to puff up inferior and unreliable guitars. Depot at C. A. ZOBBISCH & SONS, 19 Murray St., near Broadway, New York. Importers of all kinds of MUSICAL. INSTRUMENTS STRINGS, etc., etc...
Load more

Recommended publications
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just the slightest marks. For collectors searching top copies, you’ve come to the right place! The further we get from the time of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually with a translation of the text or similarly related comments. BESSIE ABOTT [s]. Riverdale, NY, 1878-New York, 1919. Following the death of her father which left her family penniless, Bessie and her sister Jessie (born Pickens) formed a vaudeville sister vocal act, accompanying themselves on banjo and guitar. Upon the recommendation of Jean de Reszke, who heard them by chance, Bessie began operatic training with Frida Ashforth. She subsequently studied with de Reszke him- self and appeared with him at the Paris Opéra, making her debut as Gounod’s Juliette.
    [Show full text]
  • Edouard De Reszke: the Career of a Famous Basso
    Edouard de Reszke: The Career of a Famous Basso. 1855-1917 Author(s): Herman Klein Source: The Musical Times, Vol. 58, No. 893 (Jul. 1, 1917), pp. 301-302 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/908418 Accessed: 30-01-2016 05:05 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Musical Times Publications Ltd. is collaborating with JSTOR to digitize, preserve and extend access to The Musical Times. http://www.jstor.org This content downloaded from 142.51.1.212 on Sat, 30 Jan 2016 05:05:36 UTC All use subject to JSTOR Terms and Conditions THE MUSICAL TIMES.-JULY I, 1917. 30o as remainderthe segment measuring iooo mm.,emitting For Edouard de Reszke had also been here before.* an Eb in the ratio 12: 10 with the apparent tonic or With a four years' stage career behind him he had string note C, with which it accordingly forms a correct made his dbuit at Covent Garden in i880 as Indra in minor third. In its genesis from its generator, G, Massenet's 'Roi de Lahore,' a novelty of the previous this Et is seen to be the major third of the ratio 0 : 8, season, with Gayarre, Lassalle, and Albani in the which with the C gives the common chord on G principal parts.
    [Show full text]
  • Signerede Plader Og Etiketter Og Fotos Signed Records and Labels and Photos
    Signerede plader og etiketter og fotos Signed records and labels and photos Soprano Blanche Arral (10/10-1864 – 3/3-1945) Born in Belgium as Clara Lardinois. Studied under Mathilde Marchesi in Paris. Debut in USA at Carnegie Hall in 1909. Joined the Met 1909-10. Soprano Frances Alda (31/5-1879 – 18/9-1953) Born Fanny Jane Davis in New Zealand. Studied with Mathilde Marchesi in Paris, where she had her debut in 1904. Married Guilio Gatti-Casazza – the director of The Met – in 1910. Soprano Geraldine Farrar – born February 28, 1882 – in Melrose, Massachusetts – died March 11, 1967 in Ridgefield, Connecticut Was also the star in more than 20 silent movies. Amercian mezzo-soprano Zélie de Lussan – 1861 – 1949 (the signature is bleached) American tenor Frederick Jagel – June, 10, 1897 Brooklyn NY – July 5, 1982, San Francisco, California At the Met from 1927 - 1950 Soprano Elisabeth Schwartzkopf – Met radio transmission on EJS 176 One of the greatest coloratura sopranos. Tenor Benjamino Gigli (20/3-1890 – 30/11-1957) One of the greatest of them all. First there was Caruso, then Gigli, then Björling and last Pavarotti. Another great tenor - Guiseppe di Stefano (24/7-1921 – 3/3-2008) The Italian tenor Guiseppe Di Stefano’s carreer lasted from the late 40’s to the early 70’s. Performed and recorded many times with Maria Callas. French Tenor Francisco (Augustin) Nuibo (1/5-1874 Marseille – Nice 4.1948) The Paris Opéra from 1900. One season at The Met in 1904/05. Tenor Leo Slezak (18/8-1873 – 1/6-1946) born in what became Czeckoslovakia.
    [Show full text]
  • ARSC Journal
    A PROVISIONAL MAPIESON CYLINDER CHRONOLOGY 1865 - October 23. Lionel S. Mapleson born, London, England, of a line of music librarians going back to the mid-18th century. His uncle was the famed impressario "Colonel" James Henry Mapleson. 1889 - Emigration to New York, having been trained by his music librarian­ violinist father and having played under Hans Richter as violinist and violist. He joined the orchestra of the then six-year-old Metropolitan Opera and soon assumed the position of Librarian, serving in that capacity for 48 years. 1893 - Marriage to Helen White, a soprano in the Company. 1900 - Following acquisition of an Edison cylinder phonograph (Home - Model A - "suitcase" type), Mapleson undertakes initial recording experiements with Metropolitan Opera artists. Marcella Sembrich during March of this year records the cadenza from Johan Strauss's Friihlingstimmen (in its popular Italian language vocal version, Voci di primavera). Mapleson adds his own announcement at the close. 1901 - January 16. From the Metropolitan Opera prompter's box, Mapleson records Mme. Melba in the Infanta's Alleluia from Massenet's Le Cid, this being the earliest of the extant 2-minute wax cylinders taken by him from actual stage performances. other notable Melba cylinders from that season include items from Lucia di Lammermoor (March 2 and 18), Rom6o et Juliette (March 9, with closing announce­ ment by Mapleson), La Traviata (March 16), and Faust (March 4 and 28). From this season come also the only extant audio documentations of legendary tenor, Jean de Reszke, in bits from Le Cid (January 19), L 'Africaine (March 15), Les Huguenots (Marchil},Siegfried (March 19), and Lohengrin (March 29--de Reszke's final appearance at the Metroplitan).
    [Show full text]
  • The Evolution of the Heldentenor
    THE EVOLUTION OF THE HELDENTENOR : SIEGMUND, GRIMES, SAMSON, AND OTELLO by JAMES HENRY SEAY, III SUSAN CURTIS FLEMING, COMMITTEE CHAIR PAUL H. HOUGHTALING STEPHEN V. PELES LINDA PAGE CUMMINS AMANDA W. PENICK ELIZABETH S. AVERSA A DMA MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2014 Copyright James Henry Seay, III 2014 ALL RIGHTS RESERVED ABSTRACT The purpose of this manuscript is to set into context a recital which highlights the attributes of the Heldentenor. The recital was held on 11 March 2014 and was comprised of operatic excerpts from Wagner’s Die Walk üre (1870), Saints-Sa ëns’ Samson et Dalila (1877) , Britten’s Peter Grimes (1945), and Verdi’s Otello (1887). All four of these operas have become mainstays in the repertoire of the Heldentenor . The program from the recital appears in the appendix at the end of this manuscript, and the program includes translations of the operatic excerpts and the text of spoken introductions that were read as part of the recital. Since the mid-nineteenth century, the Heldentenor voice classification has played an integral role in popular opera theater. The origin of the Heldentenor classification can be traced back to the abrupt change in the performance practice of the upper register of the tenor voice with the now famous performance of the full-throated, chest high Cs in Rossini’s Guillame Tell sung by Gilbert-Louis Duprez (1806-1896) at the national opera in Paris in 1837.1 As the technique involving the upper register of the tenor voice changed, the vocal and dramatic demands placed on the voice type increased.
    [Show full text]
  • Tristan Und Isolde
    Richard Wagner Tristan und Isolde CONDUCTOR Opera in three acts James Levine Libretto by the composer PRODUCTION Dieter Dorn Saturday, March 22, 2008, 12:30–5:30pm SET AND COSTUME DESIGNER Jürgen Rose LIGHTING DESIGNER Max Keller The production of Tristan und Isolde was made possible by a generous gift from Mr. and Mrs. Henry R. Kravis. Additional funding for this production was generously provided by Mr. and Mrs. Sid R. Bass, Raffaella and Alberto Cribiore, The Eleanor Naylor Dana Charitable Trust, Gilbert S. Kahn and John J. Noffo Kahn, Mr. and Mrs. Paul M. Montrone, Mr. and Mrs. Ezra K. Zilkha, and one anonymous donor. The revival of this production is made possible by a generous gift from The Gilbert S. Kahn and John J. Noffo GENERAL MANAGER Kahn Foundation. Peter Gelb MUSIC DIRECTOR James Levine 2007-08 Season The 447th Metropolitan Opera performance of Richard Wagner’s Tristan und Isolde Conductor James Levine IN ORDER OF VOCAL APPEARANCE A Sailor’s Voice King Marke Matthew Plenk Matti Salminen Isolde A Shepherd Deborah Voigt Mark Schowalter Brangäne M A Steersman Deborah Voigt’s Michelle DeYoung James Courtney performance is underwritten by Kurwenal Eike Wilm Schulte the Annenberg English horn solo Principal Artist Tristan Pedro R. Díaz Fund. Robert Dean Smith DEBUT This afternoon’s performance is Melot being broadcast Stephen Gaertner live on Metropolitan Opera Radio, on Sirius Satellite Radio channel 85. Saturday, March 22, 2008, 12:30–5:30pm This afternoon’s performance is being transmitted live in high definition to movie theaters worldwide. The Met: Live in HD is generously supported by the Neubauer Family Foundation.
    [Show full text]
  • 18.5 Vocal 78S. Sagi-Barba -Zohsel, Pp 135-170
    VOCAL 78 rpm Discs EMILIO SAGI-BARBA [b]. See also: MIGUEL FLETA [t], LUISA VELA [s] 1824. 10” Blue Victor 45284 [17579u/18709u]. NAZARETH [VILLANCICO] (Francisco Titto) / PLEGARIA A LA SANTISSIMA VIRGEN DEL PILAR (F. Agüeral). One harm- less lt., small discoloration patch side two, otherwise just about 1-2. $15.00. 3075. 12” Blue Victor 55143 (74389/74350) [02898½v/492ac]. EL CANTO DEL PRESI- DARIO (Alvarez) / Á TUS OJOS (Fuster). Few lightest mks. Cons . 2. $15.00. MATHILDE SAIMAN [s] 2357. 12” Red acous. Eng. Columbia D14203 [LX 13/LX 8]. GISMONDA: La paix du cloï- tre (Février) / MADAMA BUTTERFLY: Sur la mer calmée (Puccini). Side one just about 1-2. Side two cons . 2. $15.00. GIUSEPPE SALA [t]. Kutsch-Riemens suggests a birthdate of around 1870. Sala appears to have been active particularly in comprimario roles through at least 1911. 1n 1910, Giovanni Martinelli, basically then unknown, replaced Sala in a 1910 Teatro dal Verme performance of the Verdi Requiem . Martinelli’s sucess that evening led to his operatic debut there three weeks later as Verdi’s Ernani. Sala, however, experienced success by participating in the Teatro dal Verme world premiere of Zandonai’s Conchita and the Teatro Costanzi Italian premiere of Puccini’s La Fanciulla del West , both in 1911. What became of him subsequently doesn’t seem to be known. 1199. 11” Brown Odeon 37351/37346 [Xm633/Xm577]. I PURITANI: A te o cara (Bel- lini)/ DORA DOMAR [s]. MARRIAGE OF FIGARO: Voi che sapete (Mozart). Side one cons. 2. Side two gen . 2.
    [Show full text]
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated Columbia pressings (1923- 1940) offer particularly fine sound. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-‘14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or similarly related comments. VERTICALLY CUT RECORDS. There were basically two systems, the “needle-cut” method employed by Edison, which was also used by Aeolian-Vocalion and Lyric and the “sapphire ball” system of Pathé, also used by Rex. and vertical Okeh.
    [Show full text]
  • Shall We Realize Wagner's Ideals?
    SHALL WE REALIZE WAGNER'S IDEALS? By CARL VAN VECHTEN Downloaded from ISTORIANS of operatic phenomena have observed that fashions in music change; the popular Donizetti and H Bellini of one century are only suffered to exist during the next for the sake of the opportunity they afford to some http://mq.oxfordjournals.org/ brilliant songstress. New tastes arise, new styles in music. Dukas' generally unrelished (and occasionally highly appreciated) Ariane et Barbe-Bleue may not be powerful enough to establish a place for itself in the repertoire, but its direct influence on composers and its indirect influence on auditors make this lyric drama highly important as an indication of the future of opera as a fine art. Moussorgsky's Boris Oodunow, first given in this country some forty years after its production in Russia, is another at Cambridge University on August 11, 2015 matter. That score contains a real thrill in itself, a thrill which when felt makes it just a little difficult to feel the intensity of a Wagner drama again: because Wagner is becoming just a little bit old-fashioned. Lohengrin and TannhUtuer are becoming a little shop-worn. They do not glitter with the glory of a Don Giovanni or the invincible splendor of an Armide. There are parts of Die WaUcUre which are growing old. Now1 Wagner, in many ways the greatest figure as opera composer which the world has yet produced, could hold his place, in the Hinging theatres for many decades to come if some proper effort were made to do justice to his dramas, the justice which in a large measure has been done to his music.
    [Show full text]
  • The Bothnerpiano Action
    Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org THE MUSIC TRADE REVIEW. Kimball Pianos Were accorded Highest Honors at the World's Pair and are Used and Recommended by the following eminent Musicians: Adelina Patti Jean de Reszke Emma Eames Emma Calvg Edouard de Reszke Lillian Nordica Lilli Lehmann Jean Lassalle Francisco Tamagno Sophia Scalchi L. Mancinelli Max Alvary Minnie Hauk E. Bevignani Zelie de Lussan Emma Albani C. M. Ziehrer Victor Maurel E. Fursch-Madi John Phillip Sousa G. Campanari Guirrina Fabbri Robert Goldbeck Francisco Vignafl Clementine De Vere W. E. Heimendahl Mario Aucona Olimpia Guercia Giuseppe Del Puente Paul Kalisch Marie Tavary Fernando De Lucia Luigi Arditi Pauline L'AIlemand Conrad Behrens Durward Lely Marguerite Samuel Emil Fischer A. Mascheronl P. S. Gilmore Pablo De Sarasate E. Remenyi A. De Novellis Ovide Musin Theodor Salmon Pol. Plancon Luipi Ravelli E. Ruschweyh Etnil Liebling Julius Perotti Giov. Perugini Chas. Kunkel Antonio Galassi Franco Novara And many other prominent artLsts of Europe and America. The Piano thus indorsed by the collective genius and authorities of the world may be found in large variety, together with the Kimball Reed and Pipe Organs, at the salesrooms of W. W. KIMBALL CO., PIANO AND ORGAN FACTORIES OF W. W. KIMBALL CO.. CHICAGO. KIMBALL HALL, . CHICAQO. MANUFACTURERS* TRADERS Whr desire to obtain reliable information about theii customers, in any branch of the music trade, should THE COLBY PIA1TO CO., subscribe for our book of ' >' •AJTCVAOTVKKK8 OF "CREDIT RATINGS" for 1896. Special attention given to collection of past due Grand and Upright Pianos, claims in any part of the United States and Canada.
    [Show full text]
  • EJC Cover Page
    Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.jstor.org/participate-jstor/individuals/early- journal-content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact [email protected]. SHALL WE REALIZE WAGNER'S IDEALS? By CARL VAN VECHTEN ISTORIANS of operatic phenomena have observed that fashions in music change; the popular Donizetti and Bellini of one century are only suffered to exist during the next for the sake of the opportunity they afford to some brilliant songstress. New tastes arise, new styles in music. Dukas' generally unrelished (and occasionally highly appreciated) Ariane et Barbe-Bleue may not be powerful enough to establish a place for itself in the repertoire, but its direct influence on composers and its indirect influence on auditors make this lyric drama highly important as an indication of the future of opera as a fine art.
    [Show full text]
  • The Recorded Legacy of Enrico Caruso and Its Influence on the Italian Vocal Tradition
    THE RECORDED LEGACY OF ENRICO CARUSO AND ITS INFLUENCE ON THE ITALIAN VOCAL TRADITION John Dee Garst, B.S.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2016 APPROVED: Dr. Jeffrey Snider, Major Professor Dr. Stephen F. Austin, Chair of the Division of Vocal Studies Dr. Carol Wilson, Committee Member Dr. Benjamin Brand, Director of Graduate Studies in the College of Music Dr. James Scott, Dean of the College of Music Dr. Costas Tsatsoulis, Dean of the Toulouse Graduate School Garst, John Dee. The Recorded Legacy of Enrico Caruso and Its Influence on the Italian Vocal Tradition. Doctor of Musical Arts (Performance). May 2016, 68 pp., 1 table, references, 145 titles. This dissertation presents evidence for the influence which tenor Enrico Caruso had on the Italian Vocal Tradition. This impact was clearly boosted by the revolution realized in the fledgling recording industry, and the recordable disc. In the years of 1902-1920, gramophones became commonplace, and collecting recordings became a growing interest for many. This new technology required specialized skills, and was especially suited to certain qualities of voice. Caruso enjoyed immense success in this medium, in recording over 250 records. Italian vocal style at the turn of the century was changing, and Caruso employed a new “modern” style in his singing. His interpretive decisions, vocal method, and repertoire which he championed had an impact on the vocal tradition of future generations. Comparison of his recordings with tenors Fernando De Lucia, Giuseppe Anselmi, and Alessandro Bonci shows a marked contrast in styles of “the old school” and Caruso’s “more straightforward” approach.
    [Show full text]