Enrico Caruso (1873–1921) possessed a voice so remarkable for its power, range, and emotional expressiveness that its distinctive timbre was instantly recognizable. His versatility is illustrated by an incident in Philadelphia when the baritone about to sing the “Coat Song” in La Boheme suddenly lost his voice. Caruso stepped in and sang the aria with his back to the audience while the baritone mimed the singing and received thunderous applause.

Born in Naples, Caruso was initially destined for a mechanical trade, but his mother’s insistence on a broader education led him to vocal training. He made his professional debut in 1895 and quickly gained acclaim for his powerful tenor voice. His breakthrough came in 1900 when he performed Rodolfo in La Bohème at the La Scala in Milan, Italy’s most prestigious opera house. The turning point in his career, however, came in 1903 when he made his debut at the Metropolitan Opera in New York City, where his performance as the Duke of Mantua in Verdi’s Rigoletto was nothing short of sensational. American audiences, many of which had little prior exposure to opera, were immediately captivated by his charismatic stage presence and magnificent voice.

The Metropolitan Opera became Caruso’s artistic home. He would perform there for eighteen consecutive seasons, establishing himself as the company’s leading tenor. He sang there some 700 times in roles such as Canio in Pagliacci and Cavaradossi in Tosca, and his portrayal of Radamès in Aida and Manrico in Il Trovatore became legendary. His influence extended far beyond the opera house. In 1902 he became one of the first major artists to embrace the relatively new technology of sound recording.

His music was played in homes, restaurants, and public spaces throughout America and Europe, familiarizing millions with operatic music, and democratizing an art form that had previously been accessible only to those who could afford to buy expensive theater tickets. He made nearly 300 recordings between 1902 and 1920, and some of these became the bestsellers of his time. His famous recording of “Vesti la giubba” from Leoncavallo’s Pagliacci became the first record by a single artist to sell over a million copies. Also famous was the special issue with the quartet from Rigoletto on one side and the sextet quartet from Lucia de Lammermoor on the other.

Through his recordings, Caruso fundamentally changed the cultural landscape of the early twentieth century. He appeared in early films and was featured in countless newspapers and magazines, becoming one of the first international celebrities in the modern sense. His success helped establish New York as a major cultural center and contributed to America’s growing influence in the world of classical music.

Caruso was also a gifted visual artist with a penchant for drawing. Throughout his life, he created hundreds of caricatures—often humorous, sometimes satirical—depicting fellow performers, composers, and even himself. His caricatures were published in newspapers such as La Follia di New York and are now preserved in collections at Yale University and Johns Hopkins. Known for his generosity and philanthropy, he regularly sent money to support poor families in his hometown of Naples and contributed to various charitable causes. During World War I, he performed numerous benefit concerts to support the war effort and helped raise funds for wounded soldiers and war victims. His personal warmth and genuine concern for others endeared him to colleagues and audiences alike.

Caruso’s health began to deteriorate in the late 1920s. After a strenuous North American tour, he suffered a series of medical complications, including pleurisy and peritonitis. His condition worsened despite multiple surgeries and hospitalizations, and he returned to Naples in hopes of recovery. He died on August 2, 1921, in Naples, at the age of forty-eight. The exact cause of death remains debated, with theories ranging from empyema to peritonitis due to a burst subphrenic abscess. His death was mourned around the world, and his funeral in Naples drew thousands of grieving fans. His influence on music and culture continued long after his passing, and his recordings remain popular today more than a century after they were made.