Mono HD-Vinyl 24/96 (Supraphon) Enrico Caruso – Operatic Arias And Songs

If one has ever needed the evidence, that Caruso was (and will be forever) the greatest opera singer of all times, so please, here it is. What a voice, what a pity, that we will never know, how this terrific voice would have sounded, if captured with the modern technics of our days. Fine transfer of the around 100 years old recordings into mono vinyl. Compliments, Supraphon, I can say, I never heard Caruso in a better way.

# Composer: Eldo di Capua, Friedrich von Flotow, G.F. Händel, Georges Bizet, Giacomo Meyerbeer, Giacomo Puccini, Giuseppe Verdi, Ruggiero Leoncavallo
# Performer: Enrico Caruso
# Vinyl 1965
# Number of Discs: 1
# Format: Flac
# Label: Supraphon
# DR-Analysis: DR 8
not found
# Size: 481 MB
# Scan: yes
# Server: Fi

Track Listing

A1 O Sole Mio

Composed By – Eldo di Capua*

A2 Vieni Sul Mar

Composed By – Eldo di Capua*

A3 Rigoletto, Act 1 (Questo O Quella)

Composed By – Giuseppe Verdi

A4 Rigoletto, Act 3 (La Donna É Mobile)

Composed By – Giuseppe Verdi

A5 Il Trovatore, Act 4 (Ai Nostri Monti)

Composed By – Giuseppe VerdiVocals [Azucena] – Louise Homer

A6 Aida, Act 1 (Celeste Aida)

Composed By – Giuseppe Verdi

A7 I Pagliacci, (Vesti La Giubba)

Composed By – Ruggiero Leoncavallo

B1 Xerxes, Act 1 (Ombra Mai Fu)

Composed By – G. F. Händel*

B2 L’Africaine, Act 4 (O Paradiso)

Composed By – Giacomo Meyerbeer

B3 Martha, Act 3 (M’Appari)

Composed By – Friedrich von Flotow

B4 Carmen, Act 2 (La Fleur Que Tu M’avais Jetée)

Composed By – Georges Bizet

B5 La Bohéme, Act 1 (Che Gelida Manina)

Composed By – Giacomo Puccini

B6 Tosca, Act 1 (Recondita Armonia)

Composed By – Giacomo Puccini

B7 Manon Lescaut, Act 1 (Donna Non Vidi Mai)

Composed By – Giacomo Puccini


  • Compilation Producer [Editor] – Dr. Ladislav Šíp*
  • Engineer [Sound], Edited By [Cut] – Jiří Očenášek, Ing. Josef Platz*
  • Tenor Vocals, Illustration [Selfportrait] – Enrico Caruso
Historical Recordings
Made in Czechoslovakia Artia Prague
℗ 1965
Tracklist on back cover in English and Russian.



Ripping Infos

  • RCM: Okki Nokki (L’art du son, Clearaudio’s Diamond Cleaner)
  • TT: Vintage (1982) Yamaha PX-3
  • TT: Clearaudio Champion Level II
  • Cartridge: Sumiko Black Bird
  • Cartridge: Ortofon Virtus
  • Cartridge: Audio Technica AT 33 E MC
  • Phono amp: Pro-Ject Phono Box RS
  • ADC/DAC: RME Fireface UC


  • Pre Amp: Vintage (1979) Luxman L-55A
  • Finals: Opera Consonance 9.9 Mono (Tube)
  • Speakers: Dali Helikon 400
  • Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz

If You hear some clicks and pops here and there, Who cares?
Id rather have a few light anomalies instead of destroying the music. Enjoy the music, not the ticks & pops.
I tend more and more, in the last time, to de-click with an automatic setting between 1.0 and 1.2 so you can say, my rips are like half rough rips.

  • Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5, Twisted Wave 1.9
  • Very light de-clicking with iZotope, significant clicks manually removing, no de-noising
  • DR-Analisys before converting to Flac
  • Converting Wave -> Flac: Twisted Wave 1.9
  • Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5

If you like what i do, please consider that a little donation would be very appreciate.
I reinvest all donations in maintenance of my rig, for purchasing cleaning solutions and, most important of all, purchasing of new vinyls.

Click on the “Donate”-button. Thank you very much !

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PW: LaWally

12 thoughts on “Mono HD-Vinyl 24/96 (Supraphon) Enrico Caruso – Operatic Arias And Songs

  1. WOW! What an artist! I knew you would do it! The other day was thinking of it.. Thanks so much Rach! Peace and health!!!

  2. Interesting to note that Caruso’s widow Dorothy said his recordings sounded as if he was singing from the next room. I often think how similar Gigli’s acoustic recordings are compared to his electric post 1925 ones when Gigli was in his prime that is. Interesting! And grateful thank to you Rach as ever. loris

  3. I had the old RCA LPs of Caruso, and much later the CDs by Cedar, etc. but none of them were able to do what you did for this recording. Somehow, you’ve gotten rid of the ‘tunnel sound’ of the “horn” he had to sing into, and you’ve ben able to focus just the voice. Fabuloso!
    What is incredible is to hear how strong his lower voice was, and how quickly he got into the resonant squillo of his mid and upper range. I feel like I’m hearing Caruso for the first time.
    Just a thought of comparison:
    In my humble opinion the only two modern tenors who do what Caruso did are Franco Corelli and Luciano Pavarotti.
    But Caruso’s lower voice is more baritonal than theirs.
    How about the Three Greatest Tenors? Unfortunately we have no complete opera recordings of Caruso; but Corelli (I like his Faust, Romeo, and Carmen, but he’s not good in French) in Ernani, Don Carlo, La Forza, Trovatore, Norma, Cavalleria, Pagliacci, Chenier, Aida, Tosca, Turandot, and Gioconda is fabulous. Pavarotti in Boheme, Rigoletto, Ballo, Verdi’s Requiem, Luisa Miller, Lucia & La Filie du Regiment, and Puritani and La Sonnambula is absolutely beautiful.
    Of course, I love Bjoerling and Del Monaco – I have everything all of these recorded. Talk about feasting.; many of which you’ve done in Hi Def.
    An emotional Bob!

    • Hard to say…they lived in different eras. Undoubtely the same league of super-tenors, togheter with Corelli, Pavarotti and few other….all great, all different, all gods. All in all I would say, Caruso had a little more explosive and fuller voice. And, compared with super-Mario, Caruso was more the Belcanto-tenor…Mario the Verismo- and dramatic-tenor

      • Good response Rach,
        The first time I heard Mario was on the London Decca LP, which I must have sent to you, because it is no longer on my shelf. But to me you are the keeper of the archives. Any way his high “C” in Che gelida manina was open, clear and unvbelievable he could carry that open throat that high and not crack. But as the years went by somebody messed with his technique and by the time you get to the album he made with Montavani he was using a nasal technique that was awful.
        His earlier stuff was unbelievably great. I say that to go here: very few tenors had the ringing high tones: Lauri-Volpi was probably the earliest (Tebaldi recorded Trovatore with him). And later, Filipeschi, (hear his “o muto asil,” etc. from Wm. Tell) but neither of them had really pleasing voices. but none had the high tones like Corelli and Pavarotti. I saw Bonisolli in Washington, DC in several shows. He strutted like a Peacock on stage, and he could hit the high ones. Saw him in Trovatore; the conductor even gave him an encore of di quella pira; talk about a divo, and then some. He believed his stuff didn’t stink (oops, sorry).
        But what a hobby listening to all these; to me the sweetest voice was Bjoerling. And, oh to have heard John McCormack live: his “Macushla,” and “I hear you calling me” are “other-worldly” beautiful.
        Fun to reminisce. Thanks for all your labors, man!

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