Editing Enrico Caruso (section)

===Early career===
On 15 March 1895 at the age of 22, Caruso made his professional stage debut at the [[Teatro Nuovo (Naples)|Teatro Nuovo]] in Naples in the now-forgotten opera, ''L'Amico Francesco'', by the amateur composer Mario Morelli. A string of further engagements in provincial opera houses followed, and he received instruction from the conductor and voice teacher Vincenzo Lombardi that improved his high notes and polished his style. Three other prominent Neapolitan singers taught by Lombardi were the baritones [[Antonio Scotti]] and [[Pasquale Amato]], both of whom would go on to partner Caruso at the [[Metropolitan Opera]] and the tenor [[Fernando De Lucia]], who would also appear at the Met and later sing at Caruso's funeral.

Money continued to be in short supply for the young Caruso. One of his first publicity photographs, taken on a visit to Sicily in 1896, depicts him wearing a bedspread draped like a toga since his sole dress shirt was away being laundered.

During the final few years of the 19th century, Caruso performed at a succession of theatres throughout Italy until 1900, when he was rewarded with a contract to sing at [[La Scala]]. His La Scala debut occurred on 26 December of that year in the part of Rodolfo in Giacomo Puccini's ''[[La bohème]]'' with [[Arturo Toscanini]] conducting. Audiences in [[Monte Carlo]], [[Warsaw]] and [[Buenos Aires]] also heard Caruso sing during this pivotal phase of his career and, in 1899–1900, he appeared before the [[Nicholas II of Russia|Tsar]] and the Russian aristocracy at the [[Mariinsky Theatre]] in [[Saint Petersburg]] and the [[Bolshoi Theatre]] in [[Moscow]] as part of a touring company of first-class Italian singers.

The first major operatic role that Caruso created was Federico in [[Francesco Cilea]]'s ''[[L'arlesiana]]'' (1897); then he was Loris in [[Umberto Giordano]]'s ''[[Fedora (opera)|Fedora]]'' (1898) at the Teatro Lirico, Milan. At that same theatre, he created the role of Maurizio in Francesco Cilea's ''[[Adriana Lecouvreur]]'' (1902). [[Giacomo Puccini|Puccini]] considered casting the young Caruso in the role of Cavaradossi in ''[[Tosca]]'' at its premiere in January 1900, but ultimately chose the older, more established [[Emilio De Marchi (tenor)|Emilio De Marchi]] instead. Caruso appeared in the role later that year and Puccini stated that Caruso sang the part better.

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File:Enrico Caruso as the Duke in Rigoletto.jpg|Enrico Caruso as Duke in ''Rigoletto'', 1904
File:The-Theatre-FC-December-1912.jpg|Caruso as Duke in ''The Theatre'', 1912
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Caruso took part in a grand concert at La Scala in February 1901 that [[Arturo Toscanini|Toscanini]] organised to mark the recent death of [[Giuseppe Verdi]]. Among those appearing with him at the concert were two other leading Italian tenors of the day, [[Francesco Tamagno]] (the creator of the protagonist's role in Verdi's ''[[Otello]]'') and [[Giuseppe Borgatti]] (the creator of the protagonist's role in Giordano's ''[[Andrea Chénier]]''). In December 1901, Caruso made his debut at the [[Teatro di San Carlo|San Carlo Opera House]] in Naples in ''[[L'Elisir d'Amore]]'' to a lukewarm reception; two weeks later he appeared as Des Grieux in Massenet's ''[[Manon]]'' which was even more coolly received. The indifference of the audiences and harsh critical reviews in his native city hurt him deeply and he vowed never to sing there again. He later said: "I will never again come to Naples to sing; it will only be to eat a plate of spaghetti". Caruso embarked on his last series of La Scala performances in March 1902, creating the principal tenor part of Federico Loewe in ''[[Germania (opera)|Germania]]'' by [[Alberto Franchetti]].

A month later, on 11 April, he was engaged by the British [[Gramophone Company]] to make his first group of recordings in a Milan hotel room for a fee of 100 pounds sterling. These ten records swiftly became best-sellers. Among other things, they helped spread 29-year-old Caruso's fame throughout the English-speaking world. The management of London's Royal Opera House, Covent Garden, signed him for a season of appearances in eight different operas ranging from Verdi's ''[[Aida]]'' to Mozart's ''[[Don Giovanni]]''. His successful debut at Covent Garden occurred on 14 May 1902, as the Duke of Mantua in Verdi's ''[[Rigoletto]]''. Covent Garden's highest-paid diva, the Australian soprano [[Nellie Melba]], partnered him as Gilda. They would sing together often during the early 1900s. In her memoirs, Melba praised Caruso's voice but considered him to be a less sophisticated musician and interpretive artist than [[Jean de Reszke]], the Met's star tenor prior to Caruso.