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The 1914 recording by Titta Ruffo and Enrico Caruso of Giuseppe Verdi's Otello
"Ombra mai fu"
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"Ombra mai fu" (and the introductory recitative) from George Frideric Handel's Serse, recorded in 1920.
"Recondita armonia"
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A 1907 performance of "Recondita armonia" from Giacomo Puccini's Tosca
O Mimì, tu più non torni
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A 1907 recording with Enrico Caruso as Rodolfo and Antonio Scotti as Marcello of "O Mimì, tu più non torni" from Act IV of Giacomo Puccini's La bohème.
"Una furtiva lagrima"
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"Una furtiva lagrima" from Gaetano Donizetti's L'elisir d'amore Sung in 1911 for the Victor Talking Machine Company.
O soave fanciulla
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"O soave fanciulla" from Giacomo Puccini's La bohème, sung by Enrico Caruso and Nellie Melba in 1906.
La donna è mobile
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Caruso sings La donna è mobile from Verdi's Rigoletto, c. 1908
Ave Maria
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Caruso sings Ave Maria by Percival Benedict Kahn, Mischa Elman on violin (1913)
Vesti La Giubba
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March 17, 1907, recording of 'Vesti La Giubba' from Pagliacci
No Pagliaccio non son
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Recording of 'No Pagliaccio non son' from Pagliacci
La Partida
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Manon! avez-vous peur ... On l'appelle Manon
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1912 recording of Enrico Caruso and Geraldine Farrar performing a scene from Act II of Jules Massenet's Manon.
O souverain, O juge, O père!
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1916 recording of Rodrigue's Act III aria in Jules Massenet's Le Cid (1885).
Faust: "O merveille! ... A moi les plaisirs"
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The Act I finale of Charles Gounod's Faust (1859), sung by Enrico Caruso and Marcel Journet in 1910.
"È scherzo od è follia"
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Enrico Caruso, Frieda Hempel, Maria Duchêne, Andrés De Segurola and Léon Rothier performing "È scherzo od è Follia" from Giuseppe Verdi's Un ballo in maschera in 1914
Over There
Caruso singing the popular World War I song by George M. Cohan.
“The media network has its idols, but its principal idol is its own style which generates an aura of winning and leaves the rest in darkness. It recognises neither pity nor pitilessness.” —John Berger (b. 1926)
“One can describe a landscape in many different words and sentences, but one would not normally cut up a picture of a landscape and rearrange it in different patterns in order to describe it in different ways. Because a photograph is not composed of discrete units strung out in a linear row of meaningful pieces, we do not understand it by looking at one element after another in a set sequence. The photograph is understood in one act of seeing; it is perceived in a gestalt.” —Joshua Meyrowitz, U.S. educator, media critic. “The Blurring of Public and Private Behaviors,” No Sense of Place: The Impact of Electronic Media on Social Behavior, Oxford University Press (1985)
“Today the discredit of words is very great. Most of the time the media transmit lies. In the face of an intolerable world, words appear to change very little. State power has become congenitally deaf, which is why—but the editorialists forget it—terrorists are reduced to bombs and hijacking.” —John Berger (b. 1926)