George Frideric Handel

NAME George Frideric Handel (born Georg Friedrich Händel)

WHAT FAMOUS FOR  Baroque composer, best known for his oratorios, operas, anthems, and concerti grossi, including Messiah, Water Music, and Music for the Royal Fireworks.

BIRTH George Frideric Handel was born on February 23, 1685, in Halle, Saxony (now part of Germany). Interestingly, his gravestone at Westminster Abbey records his birth year as 1684, which reflects the old English calendar system where the new year began on March 25 rather than January 1.

FAMILY BACKGROUND Handel came from a prosperous middle-class family of Silesian origin. His grandfather, Valentine Handel, was a master coppersmith at Breslau. His father, Georg Händel, was a distinguished barber-surgeon who served various courts, including the armies of Saxony, Sweden, France, and finally Duke Augustus of Saxony. He was 63 years old when George was born and died when his son was 11. His father was described as "a man of gigantic stature, serious, severe, energetic, religiously attached to duty, upright and affable".  (1)

His mother, Dorothea Taust, was the daughter of a pastor and thirty years younger than her husband. She came from a clerical family and was described as having "a calm courage" and being "imbued with the Bible".

Handel's mother encouraged her son’s interest in music, though his father initially forbade it.

CHILDHOOD Handel displayed musical talent from an early age, but his father objected to a musical career, preferring him to study law. His father forbade him from owning musical instruments, calling music "musical nonsense". However, with his mother's support, Handel secretly practiced music. He smuggled a small clavichord to the top of the house and played quietly at night while the family slept.  (2)

During a trip to Weissenfels the eight-year-old George Frideric was lifted onto an organ's stool, where he surprised everyone with his playing, revealing his hidden musical abilities. This performance helped convince his father to allow him to take lessons in musical composition  (2)

EDUCATION Handel's formal education began at the Lateinschule in Halle, where he studied language, literature, and music. 

Handel's father engaged the organist at the Halle parish church, the young Friedrich Wilhelm Zachow, to give his son music lessons.  Zachow taught him organ, harpsichord, violin, oboe, counterpoint, and composition. Under Zachow's tutelage, Handel mastered composing for multiple instruments by age ten. 

At his father's insistence, in 1702 he enrolled as a law student at the University of Halle, but his passion for music prevailed, and he did not remain enrolled for long.

CAREER RECORD 1702 Handel's career began when he accepted a position as organist at Halle Cathedral at age seventeen.

1703: Played violin and harpsichord at Hamburg’s Oper am Gänsemarkt, where his first operas Almira and Nero were staged.

1706–1710: Traveled in Italy, meeting leading composers and refining his melodic style.

1709: The opera Agrippina, described as Handel's first masterpiece, premiered in Venice on December 26, 1709.

1710: Became Musical Director to the Elector of Hanover, later King George I of England.

1711: London debut with Rinaldo, a sensation despite critical hostility.

1712: Settled in London permanently, earning royal favor and a pension from Queen Anne.

1713:  Appointed Composer of Musick to the Chapel Royal

1717: Composed Water Music for King George I’s Thames party—so enjoyed that it was played three times in one night.

1720s: Served as Master of the Orchestra at the Royal Academy of Music.

1742: Completed Messiah after three weeks of coffee-fueled work. Premiered in Dublin to great acclaim.

1746: Wrote Judas Maccabaeus to honor the Duke of Cumberland’s victory at Culloden.

1749: Music for the Royal Fireworks premiered to a massive crowd, though fireworks caused fires and panic.

In later years, despite blindness, he continued performing and composing.

APPEARANCE Portraits depict Handel as a stout, powerfully built man with a round face, often wearing a large powdered wig typical of the period. He had blue eyes, a birthmark on his left cheek and a formidable and commanding presence.

Sir John Hawkins wrote that he was "somewhat corpulent, and unwieldy in his motions" with "rocking motion" in his walk due to bowed legs. However, his countenance was described as "placid, bespeaking dignity tempered with benevolence" with "finely marked" features. 

Charles Burney noted his face was "full of fire and dignity" which "impressed ideas of superiority and genius". He had characteristic blue eyes and a birthmark on his left cheek.

George Frideric Handel by Balthasar Denner

FASHION Handel was known for wearing "an enormous white wig" which became his characteristic attribute. According to Charles Burney, when things went well at performances, his wig had "a certain nod, or vibration, which manifested his pleasure and satisfaction," but without it, observers could tell he was out of humor. (4)

Handel dressed in the elaborate fashion of his time, wearing silk satin coats with buttons, fine chiffon neckerchiefs, and gold brocade waistcoats. His style of dress reflected his status and wealth among London society.

CHARACTER Handel was crusty, blunt, and quick-tempered, yet deeply devoted to his art. He famously threatened to throw soprano Francesca Cuzzoni out of a window when she refused to sing an aria he had written for her. Despite his fiery temperament, he was quick to recover from anger and never held grudges. (3)

When things were calm he was gentle, kind and compassionate and was known for his charitable work. However, he also had a notorious temper and was quick-tempered and impatient. Handel had "great vitality and was an energetic worker" with "absolute integrity" and paid his singers and orchestra well. (5)

SPEAKING VOICE Handel spoke multiple languages fluently, including German, Italian, French, and English. He would have spoken Italian to his singers and French or German at court. 

Handel retained a strong German accent throughout his life when speaking English. Contemporary accounts suggest he was comfortable in English but "liable to lapse into one of a handful of other languages under stress". (6)

SENSE OF HUMOUR  He had a sharp wit and was good humored despite his sometimes quick temper. One famous example of his humor occurred when a tenor threatened to jump on his harpsichord and smash it. Handel simply replied, "Let me know when you will do that and I will advertise it: for I am sure more people will come to see you jump than hear you sing". (7)

Handel next to his harpsichord, painted by Philip Mercier (c. 1730)

RELATIONSHIPS Handel never married and remained celibate throughout his life. He once dismissed King George II's inquiries about his love life by insisting he had no time for anything but music. 

There were rumors of two romantic attachments in his youth - one woman whose mother objected to marrying "a fiddler," and another whose hand he could have obtained by renouncing his profession, which he refused to do. (8)

Handel's close friends included Goupy the painter, Hunter (a scarlet dyer), and his loyal servant. He maintained friendships with various nobility and patrons but kept his social circle relatively small.

On another occasion he walked a mere 25 miles to Halle in the hope of meeting Handel but arrived just after he had left the town by coach.

Handel was born in the same year as Johann Sebastian Bach and spent his early years in the same area of Germany but they never met. On one occasion Bach walked 25 miles to Halle in the hope of meeting Handel but arrived just after he had left the town by coach. (4)

MONEY AND FAME Handel was one of the first composers to break free from total dependence on aristocratic patronage, developing an innovative business model that allowed him to earn substantial wealth. By his death in 1759, his estate was valued at nearly £20,000—equivalent to millions today.

His fame began with the opera Agrippina in 1709 and truly blossomed during his years in Italy, where audiences devoured his operas and nicknamed him Il caro Sassone (“the dear Saxon”). By the 1730s, he was considered a national institution in England. 

When he first visited London in 1710 and settled permanently in 1712, Queen Anne awarded him an annual pension of £200, which was later doubled to £400.

But Handel’s career was not without risk. He lost a fortune in the opera business when the Royal Academy of Music collapsed in the late 1720s, largely due to the Prince of Wales founding a rival company and luring away Handel’s singers and royal support. By 1741, after several financial and artistic setbacks, Handel joked that the only way he could keep his bills down was with a paperweight.

His fortunes changed with the phenomenal success of Messiah. A shrewd businessman, he realized that oratorios were cheaper to stage than operas—no costly scenery or costumes—and could draw large audiences. Benefit performances of Messiah raised over £7,000 (over £1 million in today’s money) for the Foundling Hospital for orphans in Guilford, one of his favorite charities. He remained a generous benefactor throughout his life, leaving nearly £6,000 in charitable legacies.

Handel’s reputation soared so high that even the satirist Jonathan Swift, then dying and mentally broken, rallied when Handel was brought to his bedside. Recognizing the composer, Swift cried out: “Oh! A German and a genius. A prodigy! Admit him.”

FOOD AND DRINK Handel was widely known for his fondness for rich food, including sausages and other delicacies. He had an extraordinary appetite and was notorious for binge eating, sometimes hiding fine foods from guests and indulging in elaborate meals alone.

He would often work and eat simultaneously with great intensity. His papers were frequently "splattered with food and drink" as he composed while eating. 

One exception was Messiah: Whilst working virtually non-stop for 21 days on the oratorio, Handel had no time to eat and he survived almost totally on coffee.

One evening Handel ordered dinner for two at a local inn. When the landlord brought out the food and noticed only the composer at the table, he remarked that he had understood Handel was expecting company. “I am the company,” Handel replied, before settling in to enjoy both meals himself.

Contemporary satirical works, including Joseph Goupy's 1754 caricature "The Charming Brute," mocked his eating habits.

"The Charming Brute" - caricature by Joseph Goupy of Handel, 1754

COMPOSING CAREER  Handel enjoyed one of the busiest, most successful, and certainly most sausage-filled careers of the Baroque age. He was both prolific and practical, endlessly adaptable, and in his lifetime more famous than Bach, though unlike Bach he managed to avoid having 20 children and instead poured all his energy into music, charity, and good dinners.

Handel started out in Germany and Italy, where he quickly made a name for himself with operas like Almira, Rodrigo, and Agrippina. The Italians adored him and, with commendable efficiency, nicknamed him Il caro Sassone (“the dear Saxon”). By the time he moved to London in 1712, he was already an established star. London audiences lapped up his operas, from Rinaldo—the first Italian opera written specifically for the London stage—to Giulio Cesare, Rodelinda, and Alcina. By 1741, he had churned out more than 40 operas, which seems almost impossibly productive until you remember that this was a man who could write an oratorio in three weeks while surviving entirely on coffee.

Eventually the public grew weary of Italian opera, and Handel—ever the shrewd businessman—pivoted to English oratorios, which were easier to stage (no costumes or scenery required) and much cheaper to put on. Esther (1720) more or less invented the genre after the Bishop of London objected to it being staged as an opera and Handel simply repackaged it as a concert piece. From there he created a run of choral blockbusters: Saul, Israel in Egypt, Samson, and Judas Maccabaeus, which in Victorian times was as popular as Messiah.

And then, of course, there was Messiah (1742). Handel composed it in just 23 days, working day and night and hardly bothering to eat. “I saw the great God himself, on his throne,” he said of the experience, “and all his company of angels.” When it was first performed in Dublin on April 13, 1742, demand was so great that men were asked to attend without swords and women without hoop skirts to squeeze more bodies into the hall. 

In London, when King George II supposedly stood during the “Hallelujah” chorus, the audience followed—thus accidentally starting a tradition that continues to this day. Queen Victoria, for her part, thought it “heavy and tiresome,” but nobody asked her to the rehearsals.

When not cranking out operas or oratorios, Handel found time to write some of the most iconic ceremonial music in history. Water Music (1717) was composed for a boating party on the Thames; the King enjoyed it so much he demanded it be played three times in one evening, which must have made the exhausted musicians wish they’d stayed ashore. 

Handel (left) and King George I on the Thames River, July 17, 1717. Painting by Edouard Hamman 

Zadok the Priest, written for George II’s coronation in 1727, has been sung at every British coronation since. Music for the Royal Fireworks (1749) attracted a crowd of 12,000 in London’s Green Park, resulting in what may have been history’s first traffic jam when London Bridge became impassable for three hours. The set promptly caught fire during the show, and two people were killed in the ensuing chaos, but apart from that it was considered a great success.

By his sixties. Handel's health was failing—rheumatism, a stroke, and eventually blindness in 1753. None of it stopped him. He kept composing with the help of his assistant John Christopher Smith, and in his final years he continued to perform on the organ. 

Handel wrote over 40 operas, 29 oratorios, and more than 120 cantatas, plus a mountain of anthems, suites, and instrumental works—about 303 hours of music in total. At one point his Largo was the most-played piece in the world, though it began life as a serenade to a tree (yes, really). He may not have had Bach’s contrapuntal genius, but he had a gift for melody, a knack for spectacle, and a businessman’s sense of what would keep audiences coming back.

Basically, he was the Baroque era’s closest thing to a pop star: prolific, practical, adored, and still going strong 250 years later.

MUSIC AND ARTS Handel was passionate about both creating and collecting art. He owned an impressive art collection of at least 80 oil paintings and 60 prints, including landscapes, historical scenes, marine paintings, and portraits. His collection reflected both his operatic imagination and sophisticated taste. He displayed his artwork throughout his London home to elevate his status among the elite. 

Handel had a lifelong attachment to the theatre--even his oratorios were usually performed on the stage rather than in church.

 

LITERATURE Handel worked with various librettists throughout his career, most notably Charles Jennens, who provided the libretto for Messiah. He was described as an avid reader of the Bible and was well-learned, speaking several languages.

His oratorios relied heavily on biblical texts, and he often worked with English poets and librettists. His music also drew inspiration from classical mythology (Acis and Galatea) and English literature (Alexander's Feast, based on an ode by John Dryden).

Handel was the first composer to have a substantial biography written about him, authored by John Mainwaring in 1760. Mainwaring's book, published just a year after Handel's death, established the precedent for detailed composer biographies in classical music literature.

NATURE His art collection included numerous landscapes and marine scenes, suggesting an appreciation for natural beauty. 

PETS There is no surviving record of Handel keeping pets, though he lived alone most of his life. His devotion was reserved almost entirely for his music and art collection.

HOBBIES AND SPORTS  His main passion outside of composition and performing was likely his art collection. Beyond music and art, he enjoyed good food and maintained social relationships with fellow artists and patrons. 

SCIENCE AND MATHS  Handel's musical compositions required mathematical precision, particularly in his complex fugues and orchestrations. His innovative approach to composition and business showed analytical thinking skills.

PHILOSOPHY & THEOLOGY Handel was a devout Christian and "pious Lutheran" who attended church regularly and was very familiar with his Bible. His deep religious faith is evident in his numerous sacred works, including Messiah, various Te Deums, and coronation anthems. 

He hoped to die on Good Friday "in the hope of rejoining the good God, my Lord and Saviour, on the day of His resurrection". (5)

POLITICS Handel's political position was firmly pro-Hanoverian, supporting the Protestant succession. He served the Hanoverian kings George I and George II loyally. His music often served political purposes, such as his coronation anthems and ceremonial pieces that reinforced the legitimacy of the Hanoverian dynasty. During times of Jacobite threats, attending his English oratorio performances became "a patriotic act".

SCANDAL  Handel's career was marked by several scandals involving temperamental opera singers. One major scandal occurred in June 1727 when rival sopranos Cuzzoni and Faustina Bordoni engaged in a physical fight on stage, tearing each other's costumes and hurling insults before being dragged off.

In 1712, while employed by George, Elector of Hanover, he asked permission for another short trip to London. There, his operas won over British audiences, and Handel decided to stay for good—effectively abandoning his post back in Hanover. The problem? Two years later, his former employer crossed the Channel and was crowned King George I of England. It could have been a career-ending scandal, but the King, recognizing Handel’s genius and the public’s enthusiasm, forgave him. He even commissioned the now-famous Water Music and doubled Handel’s pension, ensuring that what could have been a disastrous betrayal instead cemented Handel’s place at the heart of British music.

MILITARY RECORD Handel had no military service record. As the son of a barber-surgeon who pursued law studies before becoming a professional musician, he followed a civilian career path throughout his life.

In 1704, during a performance of Antony and Cleopatra in Hamburg, composer Johann Mattheson briefly let his guest, Handel, take over conducting duties. When Mattheson later tried to reclaim the podium, Handel refused to budge. Tempers flared, and the two stormed outside to settle the matter with swords. Mattheson, an expert duelist, had the clear advantage, while Handel was hardly more than a novice. The fight might have ended badly for him, but Mattheson’s blade struck one of the oversized wooden buttons on Handel’s heavy coat and stuck fast. Before either could press their luck further, onlookers separated them, and the quarrel ended as abruptly as it began. (4)

HEALTH AND PHYSICAL FITNESS Handel's health declined significantly in his later years. He suffered his first stroke in 1737, which temporarily paralyzed his right arm and hand, severely impacting his ability to perform. He recovered fully after a trip to the spa town of Aix-la-Chapelle (Aachen).

Handel experienced subsequent strokes and developed progressive blindness, initially in his left eye around 1751, then his right eye. Multiple unsuccessful eye operations by the charlatan Dr. John Taylor worsened his condition. Despite his physical ailments, he continued composing and performing until shortly before his death. 

He also suffered from what contemporaries called "fits of madness" and had balance problems in his final years.

HOMES Handel was born and raised in Halle, located in what was then the Duchy of Magdeburg, part of Brandenburg-Prussia (now modern-day Germany). 

Handel House, birthplace of Handel by Andreas Praefcke -

Handel's primary residence from 1723 until his death in 1759 was 25 Brook Street in Mayfair, London. He was the building's first occupant. The house contained multiple floors with various rooms including a front parlour for receiving visitors, a dining room where he held rehearsals and concerts, a drawing room where he composed, and his private bedroom. Handel often threw old concert tickets out from a kiosk at his home. 

In the 1960s, the legendary guitarist Jimi Hendrix lived next door at 23 Brook Street, making the street one of London’s most unique musical addresses. Today, the house operates as the Handel Hendrix House museum.

TRAVEL Born in Germany,  Handdel moved to Hamburg in 1703. From 1706-1710, he traveled extensively in Italy, visiting Florence, Rome, Naples, and Venice. In 1710, he went to Hanover before making his first visit to London. He settled permanently in London in 1712. He made various trips throughout his career, including a journey to Aix-la-Chapelle for his health in 1737.

DEATH Handel died on April 14, 1759, at his home at 25 Brook Street, London, aged 74. He had supervised his last performance of Messiah during the 1759 Lenten season and suffered a fainting spell during the performance. In his final days, he said "I have now done with the world" and requested no visitors except his doctor and apothecary. He died as he lived, "a good Christian, with a true sense of his duty to God and man, and in perfect charity with all the world". (10)

His funeral in Westminster Abbey on April 20, 1759, was attended by about 3,000 people. He was buried in Poets’ Corner under a monument inscribed “George Frederic Handel.”

APPEARANCES IN MEDIA Handel is one of the most frequently portrayed artists before photography, with around 400 representations, though only about fourteen are considered authentic portraits. Notable authentic portraits include works by Christof Platzer (c.1710), Balthasar Denner (1726-28), and others. 

His death mask was used for his Westminster Abbey monument by sculptor Louis Francois Roubiliac, unveiled in 1762. 

Modern media continues to feature Handel extensively in documentaries, concerts, and educational materials about classical music. 

His music is omnipresent in film and television, with the The “Hallelujah Chorus” being perhaps the most widely recognized piece of classical music used in media.

ACHIEVEMENTS Composed over 303 hours of music—thought to be more notes than any other composer in history.

Famous for Messiah, Water Music, and Music for the Royal Fireworks.

His anthem Zadok the Priest has been performed at all British coronations since King George II.

Became a British citizen in 1726 through an Act of Parliament.

Among the first composers to have a collected edition of his works published (1787–1790, in 180 parts).

Left a legacy of oratorios, operas, and instrumental works that shaped Western classical music.

Sources: (1) Wiki Source (2) The Tabernacle Choir (3) Encyclopaedia of Trivia  (4) Repository.up.ac.za (5) Ebsco (6) Playbill (7) Portland Baroque Orchestra Blog (8) Christ Over All (9) Living London History (10) Interlude

W. S. Gilbert

NAME William Schwenck Gilbert

WHAT FAMOUS FOR Librettist, dramatist, and satirist best known for his comic operas with composer Arthur Sullivan, known collectively as the Gilbert and Sullivan operas.

BIRTH William Schwenck Gilbert was born on November 18, 1836 at 17 Southampton Street, Strand, London. The birth took place at the Morris family home, as his mother Anne Mary Bye Morris was the daughter of Thomas Morris, an apothecary.

FAMILY BACKGROUND Gilbert came from a middle-class family with literary and naval connections. His father, also named William Gilbert, was a former naval surgeon who became a novelist and writer.  His mother was Anne Mary Bye Morris  daughter of Thomas Morris, an apothecary. 

Gilbert's parents were distant and emotionally reserved, and he never formed a close bond with either of them. As their quarrels grew more frequent, their eventual separation in 1876 further strained his relationship with both—especially with his mother.

Gilbert had three younger sisters: Jane Morris Gilbert (1838-1906), Mary Florence (1843-1911), and Anne Maude (1845-1932).

The family claimed descent from the Elizabethan navigator Sir Humphrey Gilbert, half-brother to Sir Walter Raleigh. However, modern biographical research suggests Gilbert was actually "descended from a family of Hampshire yeomen" whose great-grandfather established a grocery shop in Westminster and prospered as a tradesman. (1)

CHILDHOOD As a child, Gilbert was given the nickname "Bab," which he would later use as a pseudonym for his satirical poems and illustrations. The family traveled frequently, living in Italy and France for a number of years before settling back in London in 1847. 

At age three, he was kidnapped by bandits in Naples during a family holiday. They tricked his nurse into handing him over, and he was released only after a £25 ransom was paid. This childhood kidnapping became part of family legend and may have influenced his later theatrical works featuring stolen babies and mistaken identities.

EDUCATION Gilbert received a broad international education shaped by his family's travels. He began schooling in Boulogne, France, at age seven—later keeping his diary in French so household staff couldn’t read it. 

Back in England, he attended Western Grammar School in Brompton and then Great Ealing School, where he became head boy. There, he showed an early flair for the stage, writing and producing student plays and painting his own sets. 

From 1853 to 1855, Gilbert studied at King’s College London for a general degree. His academic record described a varied performance: he “passed in a multitude of subjects,” including Divinity (marked as ‘indifferent’), French (frequently absent and inattentive), Classics (with ‘much improved’ work), and English composition (graded from ‘Good’ to ‘Very Good’). He earned his B.A. in 1857.

CAREER RECORD Gilbert had a varied early career. He worked as an assistant clerk in the Privy Council Office for four years, a job he disliked.  

In 1863, he received a £300 bequest that enabled him to leave the civil service and pursue law. He had a brief, unsuccessful career as a lawyer, averaging only five clients a year.

His true calling was writing. Starting in the 1860s, he contributed light verse, satirical poems, illustrations, and theatre reviews to various magazines, notably Punch and Fun. 

Gilbert's first professionally produced play was Uncle Baby, which débuted at the Royal Lyceum Theatre, London, on October 31, 1863, and ran for seven weeks.

His collaboration with Arthur Sullivan began in 1871 with Thespis, but their partnership truly flourished under impresario Richard D'Oyly Carte, producing their first hit, Trial by Jury, in 1875. This launched a 21-year partnership that created the Savoy Operas.

APPEARANCE Gilbert was known for his striking, if somewhat severe, appearance. He was a tall man, often described as having a stern and sometimes gruff demeanor. Portraits show him with a prominent mustache and a serious expression.

Cabinet card of W. S. Gilbert in about 1880 by Elliott & Fry

Contemporary accounts describe him as having "great beauty" as a child, with one biographer noting that "Sir David Wilkie was so attracted by his face that he asked leave to paint his picture". (2)

FASHION As a prominent figure in Victorian and Edwardian society, Gilbert dressed in the formal attire of the period, including tailored suits and top hats for public appearances.

CHARACTER Gilbert had a complex and often difficult personality. Contemporary observers described him as having inherited his parents’ emotional reserve and rigidity. He could be "difficult and quarrelsome" with many, yet others experienced him as kind and generous. Biographers have noted his detachment from life, observing that he approached both success and failure with a cool reserve—an aloofness likely shaped by his upbringing. (3)

As a theatrical director, Gilbert was known for his strict discipline and pioneering approach to realistic stage direction. He demanded high standards and was fiercely protective of artistic integrity. His meticulous attention to tone is clear in his instructions for Engaged: “It is absolutely essential to the success of this piece that it should be played with the most perfect earnestness and gravity throughout.”

SPEAKING VOICE Gilbert possessed a commanding vocal presence. His background in law and his role as a Justice of the Peace in Middlesex from 1891 required effective public speaking abilities.

SENSE OF HUMOUR Gilbert’s humour was defined by his signature "topsy-turvy" style—an approach that began with a ridiculous premise and then followed it to its logical, if absurd, conclusion. Theatre director Mike Leigh described the "Gilbertian" style as one that constantly subverts expectations, making bizarre events unfold within a seemingly rational world and turning everything upside down.

This distinctive comic method created whimsical worlds where absurdities played out with internal logic: fairies mingled with British lords, flirting became a capital crime, gondoliers unexpectedly became kings, and pirates turned out to be wayward aristocrats. Gilbert’s brilliance lay in his ability to fuse opposites seamlessly—blending the surreal with the everyday, and caricature with realism, all through an invisible sleight of hand.

RELATIONSHIPS W.S. Gilbert married Lucy Agnes Turner—whom he fondly called "Kitty"—on August 6, 1867. Eleven years his junior, Lucy became his lifelong partner in a marriage that was both happy and enduring. Gilbert wrote her many affectionate letters over the years, reflecting their close and loving bond. Though they had no children, the couple enjoyed an active social life, often hosting and attending lively dinner parties.

The Gilberts in 1867

They also served as guardians to Nancy McIntosh, who became Gilbert's protégée in later theatrical productions.

Before marrying Lucy, Gilbert had a relationship with the novelist Annie Thomas in the mid-1860s.

Gilbert's professional relationships were often more challenging. His collaboration with Arthur Sullivan, while highly successful, was marked by periodic tensions. The famous "carpet quarrel" in 1890 led to a temporary break in their partnership, though they eventually reconciled to produce two final works.

MONEY AND FAME Gilbert achieved considerable financial success through his theatrical career. The success of the Savoy Operas provided him with substantial income, allowing him to build the Garrick Theatre and purchase his country estate at Grim's Dyke. The establishment of the D'Oyly Carte Opera Company ensured continued royalties.

Gilbert was a shrewd businessman, and a financial dispute with D'Oyly Carte, known as the "carpet quarrel," almost ended his partnership with Sullivan. The dispute was about the cost of a new carpet for the theatre, and while it was a superficial reason, it spoke to deeper tensions about money and artistic control.

The Gilbert and Sullivan operas achieved broad international success and continues to be this day toi be performed frequently throughout the English-speaking world. 

FOOD AND DRINK  Gilbert and his wife enjoyed entertaining and frequently hosted dinner parties at his Grim's Dyke home. 

He was known to be a keen gardener and kept detailed notes on the first fruits of each season at Grim's Dyke.

GILBERT AND SULLIVAN COMIC OPERAS W.S. Gilbert started out as a dramatist, poet, and all-around satirical mischief-maker, poking fun at the pomp and pretensions of the age with a rapier wit and the occasional fairy. Though musically about as useful as a coal scuttle in an orchestra, Gilbert made early contributions to the stage by writing clever lyrics and whimsical verse—later collected in his beloved Bab Ballads, which were equal parts nonsense and genius. He wrote more than 75 plays and libretti, most featuring a “topsy-turvy” world in which the absurd made perfect sense, if only you followed the logic carefully enough (and didn't think too hard).

Before he hit the big time, Gilbert had already dipped his toes into musical theatre, collaborating with various composers in a variety of Victorian entertainments. Even then, his hallmarks were obvious: sharp wordplay, relentless parody, and an eye for lampooning the nonsense of respectable society, often by making it just slightly more nonsensical.

Then along came Arthur Sullivan—a man with the musical touch of Midas, but none of Gilbert’s spiky temperament. Together, under the matchmaking of impresario Richard D’Oyly Carte (who also built them their very own theatre), they created something quite magical: the Savoy Operas. Fourteen of them, in fact, between 1871 and 1896. And they did it while periodically falling out over matters such as—famously—the cost of a new carpet. (The expense came between them like a third collaborator with very expensive taste.)

Among their biggest successes were:

H.M.S. Pinafore – satire at sea

The Pirates of Penzance – satire with sabres

The Mikado – satire in kimonos

Iolanthe – satire with fairies

The Gondoliers – satire in gondolas

The Sorcerer, Patience, Yeomen of the Guard, Utopia, Limited – all variations on the theme of poking fun at Victorian order by flipping it upside-down and giving it a twirl

Their final opera, The Grand Duke, proved that not everything gold glitters forever, but by then the damage (or delight) had been done.

Gilbert and Sullivan didn’t just write operas—they rewrote the rules. They elevated the role of the librettist, ensuring that lyrics weren’t just decorative filler but central to the plot, punchlines, and purpose. Gilbert’s writing gave the world a whole new kind of satire—strangely logical nonsense—and Sullivan made it sing.

They also gave us:

Stock characters we still recognise today (the blustering official, the lovesick idiot, the noble buffoon)

Tunes so catchy even your dog knows them

Phrases that slipped into the English language with the subtlety of a thief in tweed (“a short, sharp shock,” “What, never? Well, hardly ever!”, “let the punishment fit the crime”)

Their influence on Broadway, Hollywood, Monty Python, and basically every musical comedy worth its chorus line cannot be overstated.

Despite their creative alchemy, the Gilbert and Sullivan partnership was often less harmonious than the music. Their arguments were legendary, especially the carpet incident (it deserves a plaque), and both men tried to work with others after they split. None of those ventures quite worked out—probably because neither could find a partner as maddeningly perfect as the other.

Today, their operas are still staged around the world, still sung by amateurs and professionals alike, still quoted by people who don’t even know they’re quoting them. That’s the legacy of two men who took a ridiculous world, made it even more ridiculous—and then set it to music you’ll be humming for the rest of your life.

MUSIC AND ARTS  As a librettist, Gilbert's primary artistic passion was theatre. While his fame is linked to his collaboration with the composer Arthur Sullivan, he was also a talented caricaturist and illustrator. He drew the comical illustrations for his Bab Ballads.

LITERATURE Gilbert was a voracious writer, with his output including over 75 plays and libretti, short stories, and a large body of light verse. His writing, particularly the Bab Ballads, laid the foundation for his satirical style. His work and directorial methods influenced later dramatists like George Bernard Shaw and Oscar Wilde.

Many plot elements from his early literary works were later reused by Gilbert later in the Gilbert and Sullivan operas. These included themes such as "paintings coming to life," "a deaf nursemaid binding a respectable man's son to a 'pirate' instead of to a 'pilot' by mistake," and "the forceful mature lady who is 'an acquired taste'". (4)

NATURE He had a great love for nature, especially his Grim's Dyke country estate which had extensive grounds including a lake. The estate provided him with space for outdoor activities and entertainment away from London's urban environment.  He was also an avid gardener, taking a particular interest in growing fruit.

PETS Gilbert was known for having many pets, including some exotic animals such as ring-tailed lemurs. He loved his dogs, though his wife reportedly limited the number he could have. Their childless household apparently found companionship through their animal companions at Grim's Dyke.

HOBBIES AND SPORTS Gilbert's hobbies included gardening, particularly cultivating fruit, and photography. He and Nancy McIntosh were both keen photographers. He also enjoyed swimming in his Grom's Dyke lake.

SCIENCE AND MATHS His operas occasionally included satirical takes on science (as in The Sorcerer or The Mikado’s mock-logic).

PHILOSOPHY & THEOLOGY Often skeptical of religious and social authority, Gilbert’s work leaned toward satire and pragmatism rather than theology. The "topsy-turvy" world of his operas was a playground for poking fun at hypocrisy and rigid social structures. 

POLITICS Gilbert was a satirist of politics rather than an active participant. In operas like Iolanthe, he famously lampooned the British House of Lords and the two-party system. He saw politicians as figures of fun and used his work to critique various aspects of Victorian society, including the military, the legal system, and social hierarchies, but these appear to have been primarily comedic rather than overtly political statements. 

Portrait of Gilbert by Frank Holl (1886) 

SCANDAL Gilbert was involved in a number of professional disputes, most famously the "carpet quarrel" with his collaborators Arthur Sullivan and Richard D'Oyly Carte. Gilbert won the ensuing lawsuit, but the argument caused hurt feelings among the partnership. This led to a temporary break in the Gilbert-Sullivan collaboration, and though the partnership eventually resumed it never fully recovered its former success.

Gilbert angered Queen Victoria with his biting caricatures of government. Sullivan was knighted in 1883, but Gilbert had to wait until 1907, under Edward VII. 

His death also intersected with scandal—he died saving 17-year-old Patricia Preece, who later became an artist notorious for her bohemian lifestyle and scandalous relationships.

MILITARY RECORD He was a member of the part-time volunteer force known as the Militia, serving from 1859 until 1878. He achieved the rank of Captain. This service provided him with military experience and knowledge that influenced some of his theatrical works, particularly those involving military themes and characters.

HEALTH AND PHYSICAL FITNESS Gilbert had good health throughout his life and maintained sufficient physical fitness to engage in swimming well into his seventies. 

HOMES Gilbert's most famous residence was Grim's Dyke, his country estate in Harrow, which he and Lucy moved to in 1890,. This estate included extensive grounds with a lake and provided the setting for Gilbert's final years.

TRAVEL  As a child, he traveled extensively with his family to Italy and France. As an adult, he continued to travel, taking frequent holidays with his wife. 

In 1870, he traveled to France as a war correspondent to report on the Franco-Prussian War for The Observer newspaper.

DEATH Gilbert died aged 74 on May 29, 1911 while rescuing a young woman named Patricia Preece from drowning in his lake at Grim’s Dyke. He'd been giving a swimming lesson and suffered a fatal heart attack while saving her life.

W.S. Gilbert's funeral took place shortly after his death. After his cremation at Golders Green, his ashes were interred in the churchyard of St. John's Church, Stanmore, located in Harrow, Greater London. His grave can be found to the southwest of the church, and the burial site is listed on the National Heritage List for England. 

APPEARANCES IN MEDIA Gilbert’s life and work have been brought to the screen several times, most notably in the 1953 Technicolor film The Story of Gilbert and Sullivan. Based on Leslie Baily’s The Gilbert and Sullivan Book, the British musical drama starred Robert Morley as Gilbert and Maurice Evans as Sullivan, and featured generous musical excerpts from their operas.

He was also memorably portrayed in Mike Leigh’s acclaimed 1999 film Topsy-Turvy, which explores the turbulent yet inspired collaboration between Gilbert and Sullivan during the creation of The Mikado. The film offers a richly detailed glimpse into their creative process, eccentricities, and the Victorian theatrical world they helped define.

ACHIEVEMENTS Created 14 operas with Sullivan

Developed the comic operetta as a genre

Influenced English musical theatre and comedy

Contributed phrases like “short, sharp shock” and “let the punishment fit the crime” to everyday English

Knighted in 1907

Sources (1) The Gilbert & Sullivan Archive (2) Wiki Tree (3) Encyclopedia Britannica (4) Wikipedia

John Dryden

NAME John Dryden

WHAT FAMOUS FOR Poet Laureate, playwright, and literary critic. Dryden is considered one of the most influential figures in English literature of the Restoration period.

BIRTH Dryden was born on August 9, 1631, in Aldwincle, Northamptonshire, England.

FAMILY BACKGROUND He was the oldest of fourteen children born to Erasmus Dryden and his wife, Mary Pickering. His family was well-connected, with Puritan and Parliamentary sympathies during the English Civil War. Erasmus Dryden was primarily known as a politician and landowner, actively involved in the governance and administration of Northamptonshire and later serving in the English Parliament.

CHILDHOOD Dryden grew up in the Northamptonshire countryside and received a strict Puritan upbringing. He was exposed to classical literature and poetry from an early age, which influenced his later works.

EDUCATION He attended Westminster School, where he excelled in Latin and classical studies. Later, he studied at Trinity College, Cambridge, where he deepened his knowledge of literature and rhetoric. After graduating, Dryden moved to London and secured a position with the Secretary of State, John Thurloe.

CAREER RECORD 1659 Dryden initially gained recognition with his poem Heroic Stanzas  written in praise of Oliver Cromwell. 

1660 After the Restoration of Charles II, he shifted political allegiance and became a royalist poet

1668 Appointed as England's first Poet Laureate in 1668, a position he held until 1688.

1670 Became royal historiographer. 

APPEARANCE Dryden was described as having a broad face, full cheeks, and expressive eyes. His nickname was "Poet Squab." The term "squab" typically refers to a young, plump bird, implying Dryden was somewhat rotund in appearance..

He had a large mole on his right cheek, which appears in all his portraits. 

John Dryden by Godfrey Kneller

FASHION As a man of letters and courtly circles, Dryden dressed in the elegant styles of the Restoration period, including long wigs, lace cravats, and richly embroidered coats.

CHARACTER Dryden was known for his sharp wit, intellectual rigor, and adaptability. Though he engaged in literary rivalries, he was also respected for his eloquence and keen analytical mind. He navigated the shifting political landscape with skill, aligning himself with the ruling powers of the time.

SPEAKING VOICE He was a compelling orator and writer, known for his polished and rhythmic prose. His voice was likely commanding and articulate, reflecting his mastery of language and rhetoric.

SENSE OF HUMOUR John Dryden was known for his sharp wit and biting satire, particularly in his poetry and plays. His 1682 work "Mac Flecknoe" is a famous example of his satirical style, mercilessly mocking his rival Thomas Shadwell. One of the most amusing passages from this work is demonstrated in this passage where he "praises" Shadwell for his unparalleled dullness and stupidity.

"Sh--------alone my perfect image bears,

Mature in dullness from his tender years.

Sh——alone, of all my Sons, is he

Who stands confirm'd in full stupidity.

The rest to some faint meaning make pretence,

But Sh——never deviates into sense."

Dryden’s humor often had a political edge, and his ability to craft clever insults made him both admired and feared.

RELATIONSHIPS Dryden married Lady Elizabeth Howard, the sister of Sir Robert Howard, on December 1, 1663 at St. Swithin's Church in London. At the time of their marriage, Lady Elizabeth was about 25 years old. 

Their marriage was not always a happy one, with rumors of infidelity on both sides, but they remained together until Dryden’s death in 1700. The couple had three sons: Charles, John, and Erasmus Henry. Despite their differences, Dryden often relied on his wife’s aristocratic connections, which helped his literary career.

Dryden and his family. Credit National Trust images

MONEY AND FAME John Dryden became the first official Poet Laureate in 1668, securing a salary of £200 per year along with a butt of canary wine (110 gallons of Spanish sherry). This prestigious title made him one of the most influential literary figures of his time. However, when James II was deposed in 1688, Dryden lost his position and its benefits, which caused financial strain in his later years.

FOOD AND DRINK As Poet Laureate, Dryden received an annual supply of canary wine, a prized drink of the period. 

Like many of his contemporaries, Dryden enjoyed good food and drink in the company of fellow writers and intellectuals.

WRITING CAREER John Dryden was, by all accounts, the dominant literary force of Restoration England. He was the sort of writer who could turn his hand to almost anything—plays, poetry, criticism, even a bit of political maneuvering when the moment demanded it. He also had the great fortune (or misfortune, depending on how you see it) of living through one of England’s more chaotic political periods, which meant that his career, much like the monarchy, had its fair share of highs and lows.

Dryden was, to put it mildly, not a man you wanted to annoy. He had a gift for satire that could reduce even the most powerful men in England to quivering piles of indignation. His "Absalom and Achitophel" (1681) was essentially an elaborate takedown of political figures disguised as biblical allegory. "Mac Flecknoe" (1682) was even more direct—a scathing attack on poet Thomas Shadwell so merciless that one can only assume Shadwell spent the rest of his days checking behind doors before entering a room.

When he wasn’t eviscerating his enemies in verse, Dryden was writing grand, sweeping poetry like "Annus Mirabilis" (1667), which celebrated England’s naval victories and managed to make the Great Fire of London sound like an unfortunate but ultimately character-building event.

As if dominating poetry weren’t enough, Dryden was also the leading playwright of his time. He wrote 27 plays, many of them wildly successful, including The Conquest of Granada (1670-1671), which was full of heroic couplets and larger-than-life characters, and Marriage à la Mode (1671), which was a tragicomedy—a genre that tried to be both tragic and comedic at once, like slipping on a banana peel and breaking your leg.

His All for Love (1677), a reworking of Antony and Cleopatra, is considered the best tragedy of the Restoration, while Don Sebastian (1689) and Amphitryon (1690) were among his greatest tragicomedies and comedies, respectively. For a time, Dryden was contractually obliged to produce three plays a year for the King’s Company, which must have been exhausting, but was at least preferable to most other Restoration-era jobs, which tended to involve either dying of the plague or getting set on fire.

Dryden wasn’t just a writer; he was also one of the first serious literary critics. His Of Dramatick Poesie: An Essay (1668) was a groundbreaking work that more or less invented modern dramatic criticism. He combined historical analysis, close reading, and evaluation in a way that no one had done before, making him the godfather of the book review—though one suspects he would have found Goodreads a bit beneath him.

Never one to leave a literary challenge unmet, Dryden also translated some of the greatest works of antiquity. His translation of Virgil’s Aeneid remains one of the most admired in English literature, and he also tackled Homer, Ovid, Lucretius, and Horace. His translations were not always word-for-word faithful, but they were lively, elegant, and very readable—proof that even the most high-minded literary pursuits can be improved with a bit of poetic license.

So, the next time you read a scathing political satire, a clear and reasoned book review, or a gripping heroic play, spare a thought for John Dryden—who did it all first, did it brilliantly, and got paid in sherry for his trouble.

MUSIC AND ARTS Dryden had a deep appreciation for the arts, particularly theatre and music. He was contracted to produce three plays a year for the King’s Company and worked closely with the composer Henry Purcell on the opera King Arthur (1691). His ability to blend poetic verse with dramatic storytelling helped shape English opera and theatre.

LITERATURE Dryden developed a passion for critical analysis of literature, as evidenced by his work Of Dramatick Poesie: An Essay (1668) and his numerous prefaces to plays and translations

NATURE Unlike some poets of his era, Dryden did not frequently write about nature in a Romantic sense. However, he did use natural imagery to enhance his political and philosophical themes, often referencing storms, animals, and landscapes metaphorically in his poetry.

HOBBIES AND SPORTS Dryden was primarily a man of letters, and his main "sport" was intellectual debate. He spent much of his time writing, attending the theatre, and engaging in discussions with other literary figures. Unlike some of his contemporaries, he was not known for engaging in physical sports or hunting.

SCIENCE AND MATHS While not a scientist himself, Dryden was interested in the ideas of the time, particularly those of the emerging Enlightenment. His works occasionally referenced scientific concepts, and he admired thinkers such as Sir Francis Bacon. His translations of classical works, including Virgil’s Aeneid, showcased his analytical abilities and respect for structured thought.

PHILOSOPHY & THEOLOGY John Dryden's religious beliefs shifted over time, often aligning with political changes. When James II, a Catholic, ascended the English throne in 1685, Dryden converted to Catholicism, likely as a move of political expediency. He defended his conversion in his allegorical poem The Hind and the Panther (1687), which portrayed Catholicism as a noble and persecuted white hind. However, after James II was deposed in 1688, Dryden refused to renounce his new faith, even at great personal cost.

POLITICS Dryden’s career was closely tied to the shifting political landscape of Restoration England. Initially a supporter of Charles II, he became Poet Laureate in 1668. However, his fortunes changed when William of Orange deposed James II in 1688. As a Catholic, Dryden lost his prestigious position and government patronage, leaving him financially vulnerable in his later years.

SCANDAL Dryden’s sharp wit and biting satire earned him both admiration and enemies. His satirical poem "Absalom and Achitophel" (1681) attacked political figures of the time, including the Earl of Shaftesbury. He was even physically attacked in 1679 by hired thugs, likely due to his satirical writings. 

His marriage to Lady Elizabeth Howard was also rumored to be troubled, with whispers of infidelity on both sides, though they remained together until his death.

MILITARY RECORD Dryden's battles were waged with words rather than weapons, particularly through his poetry and plays, which often carried strong political and ideological messages.

HEALTH AND PHYSICAL FITNESS Dryden suffered from gout in his later years, a common affliction among men of his time, particularly those who enjoyed rich food and drink. Despite this, he continued writing until his death.

HOMES Dryden spent much of his life in London, where he was deeply involved in the literary and theatrical scene. He lived in Gerrard Street, Soho, for several years. His birthplace was Aldwincle, Northamptonshire, and he maintained connections to the countryside throughout his life.

TRAVEL Unlike some of his contemporaries, Dryden did not travel extensively. His literary career and commitments in London kept him mostly within England. However, he was well-versed in foreign literature, particularly Latin classics, which he translated into English.

DEATH John Dryden died on May 1, 1700, at the age of 68. His death was likely due to complications from gout, which had caused him severe pain in his later years. 

A planned funeral procession to Westminster Abbey was disrupted by a group of drunk aristocratic young men led by Judge Jeffreys' son. They hijacked Dryden's body, claiming they would arrange a better funeral. The body was taken to an undertaker in Cheapside and left there for about three weeks as Jeffreys lost interest in his grand funeral plans. (1)

On May 13, 1700, Dryden's body was exhumed and reburied in Westminster Abbey. This second funeral was a grand affair, with over 100 coaches of nobility and gentry in attendance. Dryden was laid to rest in Chaucer's grave in Poets' Corner, Westminster Abbey.

Image by ChatGBT

A monument to Dryden, consisting of a white marble bust by sculptor Peter Scheemakers, was erected in Westminster Abbey in 1720 by the Duke of Buckingham. 

APPEARANCES IN MEDIA John Dryden has popped up in various forms across literature, television, and even theater over the years. Given his status as one of England’s greatest poets and playwrights, it's surprising he hasn’t been the subject of a major biopic—though, considering how Restoration wigs looked, perhaps it's for the best.

1. Literature Dryden’s influence is more often felt in literature than in direct depictions. His work was admired (and sometimes stolen) by later poets, including Alexander Pope, who built much of his satirical style on Dryden’s foundations. Samuel Johnson, in his Lives of the Most Eminent English Poets, praised Dryden’s mastery of verse and literary criticism, calling him “the father of English criticism.”

For a more playful literary reference, Dryden makes a cameo in Neal Stephenson’s The Baroque Cycle, a historical fiction trilogy set in the late 17th and early 18th centuries. The books blend real historical figures with fictional ones, and Dryden appears as the aging literary giant he was by the late 1600s.

2. Television & Film Despite his immense influence, Dryden has rarely been dramatized on screen. Given the Restoration period’s sheer drama—political intrigue, court scandals, duels, and high-stakes poetry battles—you’d think he’d be a prime candidate for an HBO drama. Alas, Dryden’s appearances have been mostly academic rather than cinematic.

However, if you dig deep, you’ll find some TV references:

BBC Period Dramas – Dryden’s plays occasionally pop up in BBC adaptations of Restoration-era dramas, though he himself tends to stay in the background while flashier figures like Charles II or Samuel Pepys take center stage.

Documentaries – He has been featured in various literary history documentaries, usually as part of discussions on Restoration literature, satire, or the evolution of English drama.

3. Theater Since Dryden was primarily a playwright, his legacy endures most strongly in the theater. His plays, especially All for Love (his reworking of Antony and Cleopatra), still get staged from time to time, often in academic settings or as part of historical retrospectives on Restoration drama.

4. Quotations Galore – Dryden’s witticisms are quoted all over the place, from literary essays to political speeches. His line “Beware the fury of a patient man” from Absalom and Achitophel has been used in everything from political commentary to crime thrillers.

5. A Crater on Mercury – Yes, believe it or not, Dryden has a crater named after him on Mercury. This is NASA’s way of saying, “You were a big deal, even if Hollywood ignores you.”

ACHIEVEMENTS Became England’s first official Poet Laureate in 1668.

Was one of the most influential literary figures of the Restoration era.

Wrote Absalom and Achitophel (1681), a defining political satire.

Despite political setbacks, continued writing until his death, leaving behind a legacy that shaped English poetry and drama.

Source (1) London Ghosts

Enrico Caruso

NAME Enrico Caruso

WHAT FAMOUS FOR Enrico Caruso is renowned as one of the greatest operatic tenors of all time, whose powerful and emotive voice captivated audiences around the world. He became a pioneer in the recording industry, bringing opera to the masses through his phonograph records.

BIRTH Caruso was born on February 25, 1873, in Naples, Italy.

FAMILY BACKGROUND Caruso's father, Marcellino, was a mechanic and foundry worker and his mother a homemaker.

Caruso was the 18th of 21 children, though only two of his siblings survived infancy. His family was poor, and Caruso's childhood was marked by hardship.

CHILDHOOD Growing up in poverty in Naples, Caruso worked in a machine shop and ironworks as a boy. Despite his difficult circumstances, he was determined to pursue his passion for singing, performing in churches and on street corners to earn money for voice lessons.

EDUCATION Caruso's formal education was limited due to his family's financial constraints. However, his singing talent was recognized early on, and he pursued vocal training with the help of various teachers in Naples.

CAREER RECORD Caruso made his formal debut in 1894 in Naples in the opera L'Amico Francesco, though the performance was not successful. His breakthrough came in 1898 when he created the role of Loris in Umberto Giordano's Fedora. Caruso went on to become a global sensation, particularly known for his performances at the Metropolitan Opera in New York. He also became one of the first great singers to make phonograph records, with his recordings selling millions of copies.

APPEARANCE Caruso was a handsome man known for his robust physique, dark hair, and expressive features, which complemented his powerful stage presence.

Caruso in front of his white Empire-style upright piano, in his apartment in New York City

FASHION Caruso was known for his elegant and stylish dress, both on and off stage. He was a trendsetter and his fashion choices often influenced the public. He often dressed in elegant suits that reflected his status as an international opera star.

CHARACTER Caruso was a charismatic and warm individual, beloved by his peers and fans alike. He was known for his generosity and kind-hearted nature.

SENSE OF HUMOUR Caruso had a playful and jovial sense of humor. He often entertained friends and colleagues with his jokes and anecdotes and sketched caricatures of his friends and colleagues for fun.

RELATIONSHIPS Prior to World War I, Caruso was involved in a romantic relationship with Italian soprano Ada Giachetti, who was his senior. Despite being married, Giachetti and Caruso shared a liaison from 1897 to 1908, resulting in four sons, only two of whom, Rodolfo (1898-1951) and Enrico Jr. (1904-1987), survived infancy. Giachetti left her husband and another son to live with Caruso. 

Towards the end of World War I, Caruso’s life took a different turn when he met and fell in love with New York socialite Dorothy Benjamin. They married on August 18, 1918, despite her father’s objections, and had a daughter, Gloria (1919-1999).

Dorothy and Enrico Caruso, 1918

MONEY AND FAME Caruso was one of the highest-paid singers of his time, earning substantial sums from his performances and recordings. He was also a shrewd businessman, making wise investments that contributed to his wealth.

FOOD AND DRINK Caruso enjoyed hearty Italian cuisine and was known to have a healthy appetite. Despite his fondness for rich foods, he was a heavy smoker, particularly of strong Egyptian cigarettes.

One of the more extraordinary moments in his life occurred on April 18, 1906. Caruso, having just performed as Don José in Carmen at San Francisco's Grand Opera House, was rudely awakened by the infamous San Francisco earthquake, which he later described as feeling like "an ocean liner was tossed around by heavy seas."  As the city crumbled around him, Caruso fled his hotel, clutching an autographed photo of President Theodore Roosevelt as if it might offer some protection from the collapsing buildings. Remarkably composed, he made his way to the St. Francis Hotel for breakfast, where he devoured bacon and eggs before hightailing it out of the city by boat and train. He never returned to San Francisco, a vow he kept to the letter. 

Image by Gemini

MUSIC AND ARTS Enrico Caruso, it seems, was a man who would not let the world ignore him. Determined to become a singer despite growing up in the shadow of Naples' less-than-glamorous ironworks, he took to the streets and churches to earn money for lessons. His voice, even in its early stages, was so arresting that when the army came calling, a high-ranking officer, who had the good fortune to hear him sing, promptly decided that the army’s loss would be the world’s gain and sent him off to pursue his musical studies instead.

In 1894, Caruso made his formal debut in Naples in an opera called L'Amico Francesco, which, rather unhelpfully, was a flop. But Caruso wasn’t deterred. Four years later, in 1898, he hit the jackpot with his creation of the role of Loris in Umberto Giordano's Fedora, and national acclaim came at him like an express train.

Now, here's where things get interesting. Caruso didn’t just have a magnificent voice; he had impeccable timing. On April 11, 1902, just as the phonograph was about to change the way people consumed music forever, Caruso was engaged by the Gramophone & Typewriter Company to record ten arias in a Milan hotel room. He was paid £100 for his trouble, a tidy sum at the time, and the resulting discs became instant best-sellers. His fame spread across Europe and America with a speed that today’s viral videos would envy.

Picture by Gemini

One of these recordings, "Vesti la giubba" from Leoncavallo's Pagliacci, made history as the first sound recording to sell a million copies. To put this in perspective, it was cheaper to buy a ticket to see Caruso live than to buy the record, yet people snapped up the discs as if they were gold dust.

Caruso’s career saw him perform in nearly every corner of Europe and the Americas. He sang predominantly in French and Italian but displayed an impressive linguistic flexibility, managing to pick up seven other languages along the way. His most celebrated roles included the tragic clown in Pagliacci and the lovesick Rodolfo in La Bohème, which became his signature pieces.

Caruso continued to break new ground, including participating in the first public radio broadcast in the United States in 1910, beaming his voice directly from the stage of the Metropolitan Opera House to astonished listeners.

In his private life, Caruso was equally unique. He had a fondness for singing in the bath, accompanied by a pianist stationed in the next room. In fact, he was so devoted to his baths that he took two a day, possibly believing that cleanliness was next to godliness—or at least next to vocal perfection.

Caruso's life revolved around music. Opera was his passion, but he also appreciated other forms of art, such as painting and sculpture. He had a talent for drawing and often sketched caricatures.

LITERATURE  Caruso enjoyed reading in his spare time. However, specific literary preferences are unknown.

NATURE Caruso enjoyed spending time in the countryside, particularly at his villa near Florence, where he could retreat from the demands of his career.

PETS Caruso was fond of animals and had several pets throughout his life, though specific details are scarce.

HOBBIES AND SPORTS Caruso enjoyed playing cards for relaxation and was also an avid collector, amassing valuable collections of rare postage stamps, coins, watches, and antique snuffboxes.

PHILOSOPHY & THEOLOGY Caruso was a man of deep faith, and his Catholic beliefs were an important part of his life.

He was superstitious and habitually carried several good-luck charms with him when he sang. 

POLITICS Caruso was not heavily involved in politics, though he did participate in charity work, particularly during World War I, raising funds for war-related causes.

SCANDAL In 1906, Caruso was charged with an indecent act in New York's Central Park Zoo, accused of pinching a woman's bottom. He claimed a monkey was responsible, but he was found guilty and fined $10. The incident was widely publicized, but it did not significantly harm his career.

MILITARY RECORD Caruso briefly served in the Italian army, but a high-ranking officer, impressed by his voice, allowed him to leave and continue his studies.

When America joined the Great War in 1917, Caruso didn’t just sit on the sidelines and sing about love. He rolled up his sleeves and became a bona fide patriot. The guy gave concerts, sold Liberty Bonds like hotcakes, and generally threw himself into helping out the war effort.

HEALTH AND PHYSICAL FITNESS Caruso's heavy smoking and grueling performance schedule took a toll on his health, contributing to the ill-health that plagued him in the final year of his life.

HOMES Caruso purchased the Villa Bellosguardo near Florence in 1904, which became his retreat. In New York, he resided in a suite at the Knickerbocker Hotel.

TRAVEL Caruso toured extensively, performing in nearly every country in Europe, as well as in North and South America.

DEATH Caruso breathed his last at the Hotel Vesuvio in Naples on the morning of August 2, 1921. He was just 48. Doctors blamed a burst internal abscess for the fatal peritonitis. 

The King of Italy honored the beloved tenor by opening the Royal Basilica of San Francesco di Paola for his funeral, a grand affair attended by thousands of mourners. His body was preserved in a glass case at Naples’ Del Pianto Cemetery for public viewing, a heart-wrenching spectacle. 

In 1929, his widow, Dorothy, had the coffin sealed forever in a magnificent stone tomb.

APPEARANCES IN MEDIA Caruso's voice lives on through his numerous recordings, and he has been the subject of several biographies, including those written by his wife, Dorothy. Here’s a look at some of the other notable appearances and portrayals of Caruso in media:

Film: The Great Caruso (1951): One of the most famous films about Caruso, The Great Caruso, stars Mario Lanza as the legendary tenor. The film is a highly fictionalized account of Caruso’s life, emphasizing his rise to fame and his romantic entanglements. Despite taking liberties with historical accuracy, the film was a box office success and further cemented Caruso’s legendary status in popular culture.

Television: The Simpsons: Caruso has been referenced in the long-running animated series The Simpsons. In one episode, Homer Simpson imagines himself singing with a voice "as smooth as Enrico Caruso," a nod to the tenor's legendary vocal quality.

The Sopranos: In an episode of The Sopranos, Caruso’s music is played in the background, reinforcing the show’s frequent use of Italian-American cultural references and its emphasis on the operatic themes of drama, power, and tragedy.

Video Game: Assassin’s Creed II: Although not directly appearing, Caruso's music is featured in the Assassin’s Creed series, set in historical Italy. The inclusion of his music helps to create an authentic atmosphere, capturing the period's cultural richness

ACHIEVEMENTS Caruso's greatest achievement was his unparalleled vocal talent and his contribution to the world of opera. He is considered one of the most influential and beloved singers of all time.

Source Compton's Interactive Encyclopedia © 1998 The Learning Company, Inc

Maria Callas

NAME Maria Callas (born Sophia Cecelia Kalos)

WHAT FAMOUS FOR Maria Callas is renowned for her extraordinary operatic soprano voice and her dramatic interpretations of operatic roles. She is considered one of the most influential opera singers of the 20th century.

BIRTH Maria Callas was born Sophia Cecelia Kalos on December 2, 1923, at Flower Hospital (now the Terence Cardinal Cooke Health Care Center) in Manhattan, New York.

FAMILY BACKGROUND Maria was born to Greek immigrant parents, George Kalogeropoulos, a pharmacist, and Evangelia Dimitriadou. The family later adopted the shortened surname, Callas. The family emigrated to the United States before Maria's birth, seeking better opportunities.

CHILDHOOD Maria had a challenging childhood marked by her parents' turbulent relationship and eventual separation. Her mother, recognizing Maria's vocal talent, pushed her into singing from a young age, which Maria later resented.

EDUCATION Maria studied at the National Conservatoire in Athens under the tutelage of Elvira de Hidalgo, who played a significant role in shaping her vocal technique and career.

CAREER RECORD Maria Callas's career began in Greece, but her rise to international fame started with her debut at the Verona Arena in 1947. She performed at major opera houses worldwide, including La Scala in Milan, the Metropolitan Opera in New York, and the Royal Opera House in London. She was known for roles in operas such as "Norma," "La Traviata," "Tosca," and "Lucia di Lammermoor." 

Callas faced vocal decline in the late 1950s and retired from singing in the mid-1960s

APPEARANCE Maria Callas was known for her striking stage presence. 

In the early years of her career, Callas was a heavy and full-figured woman, standing 5' 8½" and weighing up to 200 pounds. Between 1953 and 1954, she lost a considerable amount of weight, which enhanced her stage appeal and led to a glamorous, elegant appearance.

Below is Callas as Giulia in the Opera "La Vestale", by Gaspare Spontini, 1954

By Teatro alla Scala - https://i.pinimg.com/originals/ Wikipedia

FASHION Callas was a fashion icon, often dressed in high fashion and couture. She had a particular affinity for the designs of Dior, and her style was characterized by elegance and sophistication.

CHARACTER Maria Callas was known for her fiery temperament and passionate nature. She was dedicated to her art, often pushing herself to her limits to achieve perfection in her performances.

SENSE OF HUMOUR Despite her serious and intense persona on stage, Callas had a sharp wit and could be charming and humorous in private settings.

RELATIONSHIPS Maria Callas's personal life was tumultuous. She married Giovanni Battista Meneghini, an Italian industrialist, in 1949. He assumed control of her career until 1959, when the marriage dissolved.

Her most famous and controversial relationship was with Greek shipping magnate Aristotle Onassis, which ultimately ended in heartbreak when he left her for Jacqueline Kennedy.

MONEY AND FAME Callas achieved great wealth and fame throughout her career. She became a global celebrity in the 1950s commanded high fees for her performances and lived a luxurious lifestyle.

Callas was passionate, demanding, and could throw a tantrum that would make a toddler blush. The press ate it up, of course, turning everything into a scandal – her fiery personality, her supposed rivalry other opera singers and then there was the whole Aristotle Onassis mess.  Talk about drama!

FOOD AND DRINK Between 1953 and 1954, she lost nearly 80 pounds through a low-calorie diet of mainly salads and chicken, transforming her stage presence.

Callas had a love-hate relationship with food, especially given her dramatic weight loss. Her diet and weight were often topics of public discussion.

MUSIC AND ARTS Maria Callas exploded onto the opera scene in Italy. Her voice? Breathtaking. Her stage presence? Like a panther ready to pounce. She tackled the most demanding roles, these bel canto operas that could leave lesser singers gasping for air. But Maria? She devoured them.

Leonard Bernstein called her the "Bible of opera"!  Even after her career ended too soon, her recordings kept selling like wildfire.  Nearly thirty years after her death, Maria Callas is still the definition of a diva, a true legend who shook the world of opera to its core.

Callas was deeply passionate about music and the arts. Her contributions to opera were not just limited to her vocal performances; she also brought a deep understanding of the dramatic aspects of opera, transforming the way roles were portrayed.

LITERATURE Maria enjoyed literature and often read to relax. She was particularly fond of Greek classics and romantic novels.

PETS Callas had a poodle named Toy, which she adored. Her dog often accompanied her during her travels.

HOBBIES AND SPORTS Maria enjoyed watching movies and listening to a wide variety of music. Her primary hobby, however, was her relentless pursuit of perfection in opera.

PHILOSOPHY & THEOLOGY Maria Callas was a devout Greek Orthodox Christian, and her faith played a role in her personal life.

POLITICS Callas was not overtly political, although her relationship with Onassis brought her into contact with influential political figures.

SCANDAL Her affair with Aristotle Onassis was highly scandalous and widely publicized, especially because it ended her marriage to Meneghini and eventually led to public heartbreak when Onassis married Jacqueline Kennedy.

HEALTH AND PHYSICAL FITNESS Her health was a concern throughout her life, particularly in her later years. The pressure of her career and personal issues took a toll on her voice and overall health.

Callas had myopia, a condition that made it difficult for her to see things clearly at a distance. This necessitated the use of eyeglasses or contact lenses, though she often performed without them for aesthetic reasons. Her poor eyesight was a significant factor during rehearsals and performances, where she had to rely heavily on her memory and spatial awareness.

HOMES Callas lived in various places, including New York, Athens, Milan, her villa in Sirmione, Italy. She spent her last years living largely in isolation in Paris

TRAVEL She traveled extensively for her performances, spending much of her life on the road in the world's major cultural capitals.

DEATH Maria Callas passed away on September 16, 1977, in Paris, France, from a heart attack at the age of 53. She was cremated, and her ashes were scattered over the Aegean Sea, off the coast of Greece, as per her wishes.

APPEARANCES IN MEDIA Callas has been the subject of numerous documentaries, films, and books. Notable portrayals include the 2002 film Callas Forever and the documentary Maria by Callas (2017), which provides an intimate look at her life and career.

ACHIEVEMENTS Maria Callas is celebrated for  her revolutionary contributions to opera, combining her unique voice with dramatic intensity and compelling stage presence. She left an indelible mark on the world of classical music, and her recordings remain highly regarded to this day.