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M9AINSH&CO. 

LIMITED 
4.  COLLEGE   ST. TORONTO 


ENRICO    CARUSO 


ENRICO   CARUSO 


A  BIOGRAPHY 


BY 


PIERRE  V.   R.   KEY 


IN  COLLABORATION  WITH  BRUNO   ZIRATO 


With  illustrations 


BOSTON 

LITTLE,   BROWN,  AND   COMPANY 
1922 


Jfyrigkt,  1922, 
BY  LITTLE,  BROWN,  AND  COMPANY. 


All  rights  reserved 
Published  October,  1922 


PRINTED  IN  THE  UNITED  STATES  OF  AMERICA 


HIS    GREAT   PUBLIC 


PREFACE 

THE  purpose  of  this  book  is  to  present  a  portrai- 
ture of  Enrico  Caruso  and  to  set  down  essential  facts 
touching  his  career  and  private  life  which  belong 
properly  in  a  biography.  It  is  doubtful  if  any  other 
music  artist  attained  so  widespread  a  popularity ; 
on  the  side  of  interpretative  art  he  has  been  accorded, 
almost  unanimously,  a  supreme  place.  In  an  age 
wherein  personalities  are  not  few,  Enrico  Caruso 
appears  in  an  outstanding  light ;  he  was  one  whose 
name  and  photograph  were  instantly  identified  and 
recognized  wherever  civilization  prevailed. 

To  secure  and  detail  facts,  and  to  permit  the  in- 
dividuality of  the  man  to  reveal  itself  as  it  was,  have 
been  the  aim  of  author  and  collaborator.  Neither 
time  nor  effort  was  spared  to  obtain  from  every 
authoritative  source  possible  information  which  it 
was  felt  should  have  representation  in  this  volume. 
Members  of  the  Caruso  family,  intimate  friends,  per- 
sons associated  with  the  singer  in  his  professional 
activities  have  assisted  to  make  the  work  as  com- 
plete as  possible.  This  aid  came  from  the  United 
States,  Italy,  England,  France,  Germany,  Mexico, 
Cuba,  and  South  America. 

In  a  letter  written  to  the  author,  on  November 
15,  1921,  Mrs.  Enrico  Caruso  stated,  "It  is  most 


viii  PREFACE 

gratifying  to  me  that  you  have  consented  to 
write  the  biography  of  my  husband.  Mr.  Caruso 
told  you  so  much  of  his  life-story  when  you  and  he  pre- 
pared that  comprehensive  series  of  articles  two  years 
ago.  And,  as  you  know,  he  had  planned  to  collabo- 
rate with  you  in  writing  his  biography  for  publica- 
tion as  a  book,  a  volume  that  would  stand  as  a  per- 
manent record  of  his  career  as  an  artist  and  a  man. 

"I  will,  of  course,  give  you  full  access  to  all  the 
letters,  papers,  and  other  data  which  belonged  to 
Mr.  Caruso ;  and  I  will  assist  you  in  every  manner 
possible,  for  your  book  will  be  the  only  authentic 
biography.  I  am  happy  that  Bruno  Zirato  is  to 
assist  you  as  collaborator." 

Giovanni  Caruso,  only  living  brother  to  the  singer, 
wrote  to  the  author  in  a  letter  dated  November  20, 
1921,  "I  am  sending  the  data  you  wanted,  and  will 
arrange  to  confer  with  you  and  Zirato  as  often  as 
may  be  necessary,  during  my  stay  in  America.  Your 
book  of  Enrico  will  be  the  only  book,  the  one  he  had 
told  me  he  expected  you  and  he  would  write  to- 
gether." 

For  all  their  deep  interest,  both  Mrs.  Caruso  and 
Giovanni  Caruso  realized  that  the  value  of  the  biog- 
raphy would  rest  in  its  fidelity  to  fact.  Enrico 
Caruso  was  human ;  he  therefore  had  shortcomings 
as  well  as  virtues.  To  disclose  them  as  they  existed 
has  been  the  constant  purpose  of  the  author.  He 
has  sought,  as  far  as  possible,  to  let  experiences  tell 
the  story. 

To  the  reader  it  must  be  apparent  that  integrity 
and  industry  were  no  less  responsible  for  the  achieve- 


PREFACE  ix 

ments  of  Enrico  Caruso  than  his  vocal  and  artistic 
gifts.  The  development  of  the  man  was  such  as  to 
be  little  short  of  amazing ;  one  has  only  to  read  to 
appreciate  the  growth  and  unfolding  of  his  finer 
qualities,  which  carried  him  from  the  beginning  (a 
youth  of  humble  parentage,  having  the  slenderest 
of  early  opportunities)  to  an  ultimate  position  of 
justly  earned  admiration  and  respect. 

Despite  the  generous  physical  proportions  of  this 
volume,  it  has  not  been  possible  to  use  everything 
available  for  publication.  Much  that  was  at  hand 
could  not  be  incorporated  in  its  pages ;  excellent 
and  interesting  incidents  —  if  non-essential  from  a 
biographically  historic  standpoint  —  were  omitted 
with  regret. 

The  gathering  and  assembling  of  the  necessary 
material  represents  a  huge  and  exacting  task.  No 
one  else  was  so  well  fitted  for  it  as  Bruno  Zirato, 
secretary  to  Enrico  Caruso  throughout  the  closing 
years  of  his  life ;  and  Zirato's  constant  and  helpful 
suggestions  to  the  author  during  the  writing  of  the 
text  form  a  large  part  in  its  accomplishment. 

Grateful  acknowledgment  by  author  and  collab- 
orator is  made  to  the  following  persons,  who  coop- 
erated in  supplying  information  —  without  which 
the  book  as  it  stands  could  not  have  been  made : 

Gabriel  Astruc,  Vittorio  Arimondi,  Pasquale  Ama- 
to,  Frances  Alda,  Camillo  Antona-Traversi,  A.  F. 
Adams,  Henry  Bassano,  Richard  Barthelemy,  Gio- 
vanni Bellezza,  L.  Barcellona,  Elena  Bianchini-Cap- 
pelli,  Francesco  Cilea,  Francis  C.  Coppicus,  Ricardo 
Cabrera,  Richard  S.  Copley,  Federico  Candida, 


x  PREFACE 

Roberto  Ciappa,  Feodor  I.  Chaliapin,  Maria  Cas- 
taldi-Caruso,  Amedeo  Canessa,  Calvin  G.  Child, 
Martino  Ceccanti,  Gino  Castro,  Nicola  Daspuro, 
Giuseppe  de  Luca,  Menotti  Delfino,  Eugene  H.  Dan- 
ziger,  Carlo  d'Ormeville,  Andres  de  Segurola,  Carlo 
d'Amato,  tLuis  P.  Figueras,  Vittorio  Ferraguti, 
Mario  Fantini,  Giulio  Gatti-Casazza,  Filippo  Galante, 
William  J.  Guard,  Fabian  Garcia,  Giuseppe  Grassi, 
Giovanni  Gatto,  Cesare  Gravina,  Frank  Garlichs, 
Otto  Gutekunst,  Giuseppe  Jaricci,  Giuseppe  Lusardi, 
Michele  Lauria,  Enrico  Lorello,  Mario  P.  Mara- 
fioti,  Leopoldo  Mugnone,  Antonio  Mazzarella,  Al- 
berto A.  Macieira,  Lionel  Mapleson,  Herman  Mish- 
kin,  Vincenzo  Morichini,  Carl  E.  Peck,  Giacomo 
Puccini,  Percy  Pitt,  Graziella  Pareto,  Angelo  Rus- 
pini,  Titta  Ruffo,  Antonio  Scotti,  Antonio  Stella, 
Enrico  Santini,  Louise  Saer,  Sadie  M.  Strauss,  Alfred 
F.  Seligsberg,  Pasquale  Simonelli,  Marziale  Sisca, 
Arturo  Scaramella,  Joseph  Tonello,  Egisto  Tromben, 
Enrico  Usiglio,  Henry  Uterhart,  Beatrice  Vergine, 
Gianni  and  Gina  Viafora,  G.  B.  Vitelli,  Edward 
Ziegler.  The  Municipalities  of  Genoa,  Treviso, 
Trieste,  Naples,  Palermo,  Livorno.  The  Metro- 
politan Opera  Company  of  New  York,.  The  Colon 
Theater  of  Buenos  Aires.  The  San  Carlo  Theater 
of  Naples.  The  Covent  Garden  of  London.  The 
Vittorio  Emanuele  Theater  of  Palermo.  The  Alia 
Scala  Theater  of  Milano.  The  Cimarosa  Theater 
of  Caserta. 

P.  V.  R.  K. 


CONTENTS 

CHAPTER  PAGE 

I     INTRODUCTORY       .         .        ...        .        .  i 

II    YOUTH   . 10 

III  WORKING  DAYS .20 

IV  DEBUTS          .        .         .        .  -      .        .        .        .41 
V    REALIZATIONS 81 

VI     CLIMBING 154 

VII     ESTABLISHED 200 

VIII     TRYING  DAYS .  245 

IX    A  NEW  PERIOD .        .  275 

X    GOLDEN  DAYS      ' .  305 

XI     TWILIGHT 343 

XII     THE  END 388 

APPENDICES 

Compiled  by  Bruno  Zirato          .         .         .         .  393 

INDEX 443 


ILLUSTRATIONS 

ENRICO  CARUSO Frontispiece  in  Photogravure 

THE  HOUSE  WHERE  CARUSO  WAS  BORN  ....  10 

ANNA  BALDINI-CARUSO,  MOTHER  OF  ENRICO.     .     .  22 

ASSUNTA  CARUSO,  ONLY  SISTER  OF  ENRICO  ...  34 

MARCELLING  CARUSO,  FATHER  OF  ENRICO     ...  34 

CARUSO  AS  TURIDDU,  WITH  ELENA  BIANCHINI-CAPPELLI 

AS  SANTUZZA,  IN  "CAVALLERIA  RUSTICANA"    ...       50 
A  CARD  TO  DON  ANTONIO  MAZZARELLA,  OF  CASERTA, 
AT  A  PERIOD  WHEN  CARUSO  WAS  STRUGGLING  FOR  A 

LIVING 58 

REDUCED  FACSIMILE  OF  THE  PROGRAM  OF  THE  TEATRO 
MUNICIPALS  IN  SALERNO  FOR  THE  PERFORMANCE  OF 
"LA  GIOCONDA"  GIVEN  IN  HONOR  OF  CARUSO,  APRIL 

30,  1897 74 

ENRICO  CARUSO  IN  1896 78 

A  PAGE  OF  CARUSO'S  MANUSCRIPT 122 

How  he  studied  the  role  of  Samson 

CARUSO  AS  RODOLFO  IN  "LA  BOHEME" 134 

CARUSO  AS  THE  DUKE  IN  "RIGOLETTO" 158 

CARICATURES  OF  CARUSO  AND  UMBERTO  GIORDANO, 
AUTHOR  OF  "FEDORA,"  MADE  BY  CARUSO,  PARIS, 

MAY  5,  1905       .     .     . 194 

GARDEN  AND  REAR  ENTRANCE  TO  CARUSO'S  "VILLA 
BELLOSGUARDO,"  AT  LASTRA  A  SIGNA,  FLORENCE  .  198 


xiv  ILLUSTRATIONS 

CARICATURES  OF  CARUSO,  DRAWN  BY  HIMSELF  ON  A 
TYPEWRITER 202 

PUCCINI  COUNTS  ON  CARUSO'S  COLLABORATION  FOR  THE 
SUCCESS  OF  THE  LONDON  PREMIERE  OF  HIS  "MADAMA 
BUTTERFLY" 208 

THE  AUTHOR  OF  "FEDORA"  TO  CARUSO  AFTER  THE  PRE- 
MIERE AT  THE  METROPOLITAN  OPERA  HOUSE  .  .  .  236 

AN  APPRECIATION  BY  "Ciccio"  TOSTI,  AFTER  HEARING 
HIS  OWN  "IDEALE,"  RECORDED  BY  CARUSO  .  .  .  242 

MARBLE  BAS-RELIEF,  BY  THE  MASTER  OF  THE  MARBLE 
MADONNAS,  XV.  CENTURY,  IN  THE  CARUSO  COL- 
LECTION   246 

EIGHTEENTH  CENTURY  GOLD  WATCHES,  ENAMELED  AND 
JEWELED,  IN  THE  CARUSO  COLLECTION  ....  250 

How  MADAME  REJANE  APPRECIATED  A  CARUSO  PER- 
FORMANCE   272 

ONE  OF  CARUSO'S  LAST  PEN-AND-INK  CARICATURES      .     276 

CARUSO'S  PENCIL  SKETCH  OF  LITTLE  GLORIA  WHEN  SHE 
WAS  NINE  MONTHS  OLD 276 

CARUSO  AS  DICK  JOHNSON  IN  "THE  GIRL  OF  THE  GOLDEN 
WEST" 284 

CARUSO  AS  HE  APPEARED  IN  "THE  SPLENDID  ROMANCE," 
A  FILM  MADE  IN  AMERICA  BUT  NEVER  PRODUCED  .  292 

CARUSO  IN  1913,  THE  YEAR  WHICH  MARKED  THE  BEGIN- 
NING OF  HIS  ASCENDANCY 298 

CARUSO  AS  SAMSON  IN  "SAMSON  ET  DALILA"     .     .     .     312 

A  PAGE  OF  THE  SCORE  OF  "SAMSON  ET  DALILA"  COPIED 
BY  CARUSO  316 

MRS.  ENRICO  CARUSO      .  324 

CARUSO  AS  ELEAZAR  IN  "LA  JUIVE" 346 

GLORIA 350 

A  PAGE  FROM  SECCHI'S  "LovE  ME  OR  NOT,"  ILLUS- 
TRATING CARUSO'S  ORIGINAL  METHOD  OF  TEACHING 
HIMSELF  HOW  TO  SlNG  IN  ENGLISH 37O 


ILLUSTRATIONS  xv 

CARUSO  AS  CANIO  IN  "I  PAGLIACCI" 376 

VOUCHER  OF  CHECK  RECEIVED  FROM  THE  METROPOLITAN 
OPERA   HOUSE,   FOR   CARUSO'S   LAST    PERFORMANCE, 

"LA  JUIVE,"  DEC.  24,  1920 384 

THE  LAST  PICTURE.    TAKEN  AT  HOTEL  VICTORIA,  SOR- 
RENTO, ITALY,  JULY,  1921 388 


ENRICO    CARUSO 

CHAPTER  ONE 

INTRODUCTORY 

LOOKING  back  to  that  particular  Saturday,  I  can 
see  now  how  virile  a  thing  is  hope ;  how  easily  it 
may  thrust  reason  aside  as  too  assertive.  I  am  not 
likely  to  forget  either  the  date  —  May  28,  1921  — 
or  the  hour  —  one  o'clock  in  the  afternoon — com- 
memorative in  these  pages  of  my  last  meeting  with 
Enrico  Caruso. 

He  was  seated  in  a  room  high  above  the  rumble  of 
New  York  streets,  which  is  imaged  still  in  the 
mind.  His  chair  was  drawn  close  to  a  slender- 
legged  table  topped  with  an  oblong  of  thick  glass. 
Without  a  coat,  his  vest  partly  unbuttoned,  he  was 
guiding  stiffly  with  the  fingers  of  his  gloved  right 
hand  a  pen.  Through  the  south  window  shone  the 
sun ;  the  spring  air  suggested  approaching  summer. 
On  other  such  days  had  he  been  thus  engrossed ; 
though  with  body  and  spirit  less  wasted.  He  had 
come,  very  slowly,  back  to  the  period  of  convales- 
cence known  now  to  have  been  part  of  the  danger 
period  of  his  sickness. 

Traversing  mentally  the  events  which  have 
followed  since  that  day  leaves  a  bewildered  feeling 


2  ENRICO     CARUSO 

of  an  opportunity  neglected.  So  much  might  have 
been  said  —  in  place  of  the  inconsequential  talk 
seemingly  befitting  the  occasion.  Others  no  doubt 
are  conscious  on  their  part  of  a  similar  omission. 
Perhaps  it  was  just  as  well  that  no  such  special 
attitude  of  mind  was  allowed. 

As  Edward  Ziegler  and  I  were  admitted  to  the 
Caruso  apartment  in  the  Hotel  Vanderbilt  we 
caught  sight  of  the  tenor  —  down  the  long 
hallway  which  led  to  the  room  where  he  worked. 
Bruno  Zirato,  Caruso's  faithful  secretary,  was 
kneeling  on  the  floor  opposite  the  singer,  who  was 
dictating  some  instructions  as  he  laboriously  wielded 
his  pen :  the  disposition  of  some  final  matters 
prior  to  the  departure  for  the  steamship  Presidente 
Wilson.  Only  a  few  hours  hovered  before  the  voyage 
eastward  from  New  York  toward  the  land  of  his 
birth,  which  for  two  years  he  had  not  seen. 

There  was  no  sense  of  impending  tragedy  in 
that  walk  along  the  hallway.  It  was  more  a  moment 
of  rejoicing  that  death  had  been  beaten  off ;  that 
health,  if  by  no  means  yet  attained,  lay  at  no  great 
distance.  Trustworthy  physicians  had  approved 
the  proposed  journey.  Well !  Anxious  days  almost 
past  and  gone.  Danger  may  not  have  wholly 
withdrawn,  but  it  seemed  a  danger  shrunken  and 
dwindled  away  to  something  too  puny  for  a  success- 
fully renewed  attack. 

Some  boxes  and  stripped  walls  indicated  a 
change  of  abode  for  the  Caruso  household.  Ex- 
pecting our  arrival,  Caruso  had  raised  his  head  when 
Mario,  one  of  his  two  valets,  admitted  Ziegler  and 


INTRODUCTORY  3 

me.  He  smiled  as  we  crossed  the  threshold  of  his 
workroom,  and  extended  a  greeting  with  partly 
lifted  arm  and  a  word. 

"Halloo!  "he  said. 

The  speaking  voice  was  subdued  and  lacking  its 
accustomed  sonority.  For  an  instant,  until  he 
spoke  again  in  slightly  firmer  tones  and  smiled  with 
a  trace  of  the  old-time  humor,  a  sudden  oppres- 
sion held.  Zirato  rose  and  pulled  out  chairs,  while 
the  tenor  continued  with  what  developed  to  be  a 
caricature  of  his  secretary  —  the  last  drawing  he  ever 
made  in  this  country,  and  one  of  the  last  anywhere. 

All  the  while  Zirato  chattered  on  —  alternately 
in  English  and  Italian  —  and  Caruso  plied  his 
pen  and  occasionally  interjected  a  monosyllabic 
word.  A  fancied  repressed  nervousness  in  the  sec- 
retary's manner  was  contradicted  by  his  smiling 
countenance ;  he  too  (as  he  has  since  admitted) 
felt  buoyed  by  hopes  which  heartened  so  many 
others. 

I  remember,  though,  how  touched  by  illness  was 
the  singer's  face.  Beneath  the  loosened  waistcoat 
the  arched  chest  of  previous  days  was  no  more ; 
the  whole  frame  appeared  shrunken,  and  the  loss 
in  weight  very  many  pounds.  Considering  all  he  had 
undergone  one  marveled  that  he  had  survived  at  all. 

He  still  appeared,  on  that  May  afternoon,  a  very 
sick  man ;  but  who  would  have  sensed  the  outcome 
that  lay  only  a  few  weeks  off  ?  Such  external 
evidences  as  were  to  be  observed  of  the  long  fight 
with  disease  must  gradually  depart.  Two  months, 
three  possibly,  under  the  sun  at  Sorrento ;  further 


4  ENRICO    CARUSO 

rest  in  a  climate  which  helps  to  heal  such  cases, 
and  care.  Even  the  gloved  right  hand  conveyed 
none  of  the  significance  it  should.  I  was  aware, 
too,  that  the  arm  had  been  stricken  by  the  pressure 
of  lying  upon  it  for  days  when  Caruso  had  remained 
unconscious,  holding  to  life  by  a  shred  of  his  tena- 
cious vitality.  It  had  left  the  hand  incapable  of 
grasping  with  firmness  any  object ;  so  a  glove  was 
used  to  give  support  and  purchase  to  the  fingers. 

The  mental  process  of  comparing  the  physical 
Caruso  of  the  moment  with  the  Caruso  of  six  months 
before  had  passed  when  Zirato  finished  making  no- 
tations on  the  tags  attached  to  the  various  keys  he 
held.  They  fitted  trunks  containing  the  tenor's 
costumes,  stored  at  the  time  in  the  Metropolitan 
Opera  House ;  and  at  Caruso's  direction  Zirato 
passed  to  assistant  general  manager  Ziegler  these 
keys,  voicing  the  singer's  desire  for  their  safe  keeping. 

What  a  series  of  pictures  the  thought  of  Caruso's 
costumes  suggested !  Seventeen  consecutive  years 
of  triumphs  —  and  the  arrested  eighteenth  season. 
Would  he  don  again  any  one  of  those  costumes  ? 
It  was  impossible  to  repress  the  unspoken  question. 
I  looked  across  at  the  figure  at  the  desk,  with  drooped 
head  crowned  by  thinning  hair.  Caruso  was  still 
making  marks  with  his  pen  on  the  paper  before  him. 
Perhaps  he  also  was  thinking  of  some  of  his  great 
nights.  Underneath  the  table  the  tenor's  legs  — 
their  slenderness  ill  concealed  by  trousered  coverings 
-  could  be  seen  stretched  out  in  customary  fashion 
when  he  sat  thus,  with  ankles  crossed.  He  looked 
up  at  that  moment  and  put  aside  his  pen. 


INTRODUCTORY  5 

There  followed  then  some  further  commonplace 
conversation  in  which  we  all  joined.  Caruso  gath- 
ered cheerfulness,  possibly  from  some  mysterious 
sources  he  himself  did  not  know.  He  received  with 
little  exclamations  of  pleasure  some  messages  from 
friends  we  had  brought  him,  and  leaning  back  in 
his  chair  looked  at  us  out  of  wistful  eyes.  In  them 
I  caught  now  and  again  the  distant  expression 
which  comes  when  one  projects  the  mind  through 
great  spaces ;  and  I  have  no  doubt  that  at  these 
moments  he  had  anticipated  by  a  fortnight  the 
voyage  of  the  Presidente  Wilson,  and  was  already  in 
Sorrento  —  across  the  bay  from  his  beloved  Naples 
—  and  was  perhaps  getting  some  of  the  good  of  it. 

The  desire  to  linger  was  put  resolutely  away  and 
I  rose  to  leave ;  there  was  a  realization  of  what  a 
tax  upon  a  none  too  abundant  strength  would  be 
the  experiences  at  sailing  time. 

I  wish  I  might  know  what  thought  Caruso  held 
as  we  clasped  hands  in  what  I  did  not  suspect  was 
the  long  farewell.  Hope  —  virile  Hope  —  continued 
on  guard  even  at  that  precious  instant. 

At  the  end  of  the  passageway,  preparatory  to 
stepping  into  the  hotel  corridor,  I  turned ;  and 
Caruso  lifted  slightly  his  gloved  hand.  He  was 
still  seated  before  the  slender-legged  table,  gazing 
down  the  hallway,  as  I  drew  the  door  shut  after  me. 

Five  hours  later  found  the  singer  on  the  deck  of 
his  ship,  Mrs.  Caruso  standing  by  his  side,  with 
Baby  Gloria  seated  on  the  rail  between  them. 
A  throng  of  people  swarmed  the  dock ;  many  among 


6  ENRICO    CARUSO 

those  faithful  hundreds  had  remained  patiently  wait- 
ing for  more  than  half  the  day.  They  waved  hands 
and  hats  and  handkerchiefs  as  the  Presidente  Wilson 
moved  away  from  her  slip.  It  was  America's  uncon- 
scious farewell  to  its  best  loved  singer. 

II 

An  estimate  of  a  great  man  may  come  in  his  life- 
time, but  only  when  he  is  gone  forever  is  the  true 
evaluation  reached.  There  seemed  at  Enrico  Caruso's 
death  an  immediate  realization  of  a  world  loss,  —  due 
to  the  affection  felt  for  him.  Indeed,  it  was  from  the 
pleasure  his  singing  gave  that  Caruso  became  in 
a  way  the  property  of  the  people.  He  always  said 
that  he  belonged  to  the  public ;  and  what  a  vast 
public  it  was !  But  the  sadness  which  touched  so 
many  those  August  days  of  1921  must  have  dulled 
the  perceptions.  Not  until  months  later  did  there 
arise  a  full  consciousness  of  the  gap  he  has  left. 

Through  "the  machine"  (as  he  termed  the  pho- 
nograph) he  was  available  to  multitudes  who  could 
by  no  other  means  feel  the  spell  of  his  voice  and  art. 
It  seems  a  fitting  medium,  now,  to  help  keep  our 
memory  of  him  fresh :  we  have  only  to  close  our 
eyes  —  listening  to  his  reproduced  singing  —  to  have 
him  almost  with  us. 

Preparing  this  volume  was  not  easy ;  Caruso  had 
expected  to  share  the  work.  He  first  spoke  of  it 
toward  the  end  of  numerous  meetings  we  had,  during 
which  he  supplied  the  material  for  a  series  of  articles 
covering  experiences  in  his  life.  As  the  story  grew, 


INTRODUCTORY  7 

so  did  Caruso's  interest  warm  to  the  idea  of  expanding 
and  rewriting  the  whole  into  a  book.  He  believed 
this  should  be  leisurely  done,  with  respect  for  facts. 
The  undertaking,  he  knew,  would  be  laborious : 
securing  much  data  from  the  countries  where  he  had 
appeared,  then  arranging  this  chronologically  with 
other  data.  To  select  what  we  felt  should  go  to 
make  the  text  of  some  forty  thousand  words  had 
been  trying  enough.  The  singer's  appreciation  of 
this  deterred  him  from  the  more  elaborate  and 
painstaking  effort ;  yet  he  did  not  dismiss  com- 
pletely the  thought,  for,  now  and  again,  at  some 
unexpected  moment,  he  would  refer  to  it. 

No  effort  is  necessary  to  picture  him  as  he  ap- 
peared the  evening  we  finished  the  last  of  these  articles. 
It  was  Caruso's  1920  name  day,  July  15.  He  sat  in 
his  workroom  in  a  rented  villa  at  Easthampton, 
Long  Island,  cutting  strips  of  Manila  paper  to  be 
made  into  huge  envelopes.  Such  work  he  enjoyed, 
just  as  it  pleased  him  to  gather  the  accumulation  of 
newspaper  clippings  and  put  them  in  these  home- 
made receptacles.  Afterward  he  would  paste  the 
cuttings,  with  meticulous  care,  in  scrapbooks.  Idle- 
ness he  disliked ;  rarely  was  he  satisfied  to  confine 
himself  to  a  single  task  if  he  could  perform  simul- 
taneously another.  As  he  grew  older  he  guarded 
carefully  his  time ;  there  were  few  waking  hours 
he  did  not  turn  to  profitable  account.  During  his 
final  years  there  was  the  almost  constant  com- 
panionship with  Mrs.  Caruso,  and  the  eagerly  seized 
playtime  moments  with  Baby  Gloria. 

Much  that  follows  in  these  pages  was  jotted  down 


8  ENRICO  CARUSO 

when  Mrs.  Caruso  was  actually  present,  or  near  by. 
That  first  day,  in  the  singer's  Knickerbocker  Hotel 
suite  (February,  1920),  automatically  revisualizes 
itself:  a  wintry  afternoon  in  New  York,  as  dusk 
approached,  with  the  narrator  modeling  on  a  clay 
bust  of  himself  as  Eleazar  in  "  La  Juive  "  ;  Mrs.  Caruso 
clicking  a  small  typewriter  in  one  corner  of  the  room. 

These  were  moments  for  studying  the  man,  his 
face,  his  figure,  his  habiliments,  his  inherent  sim- 
plicity. He  spoke  always  with  a  resonant  enough 
tone,  though  it  was  seldom  loud  or  suggestive  of  a 
singer,  except  to  music  experts  aware  of  the  signif- 
icance of  a  speaking  voice  concentrated  where  nose 
and  forehead  join.  Caruso's  speech  was  rarely 
hurried.  Deliberation,  of  a  sort  which  reflected 
thoroughness,  attached  to  whatever  he  said  and  to 
nearly  every  movement  he  made.  While  seated  he 
had  a  way  of  occasionally  leaning  forward  ;  massive 
from  the  waist  up,  his  high-curved,  barrel-like  chest 
indicated  its  store  of  breathing  space  and  power. 

On  this  February  day  Caruso  was  all  but  ready 
for  the  street ;  he  need  only  have  exchanged  his 
dark  lounging  robe  for  the  customary  sack  coat. 
As  usual,  he  was  immaculate  from  head  to  shoes ; 
the  singer  particularized  in  such  matters.  Surveying 
one  side  of  Eleazar's  nose  which  had  eluded  his  mod- 
eling skill,  he  half-shut  his  eyes  as  though  preparing 
for  some  mental  journey.  Having  diverted  his  atten- 
tion from  the  rebellious  bit  of  clay,  he  sat  with  body 
relaxed,  the  stick  he  had  been  using  protruding  from 
the  heavy  fingers  of  his  right  hand.  Directly  he 
put  it  on  the  stand  before  him,  to  fit  a  cigarette  into 


INTRODUCTORY  9 

a  long  holder.  That  done,  he  began  puffing,  his 
head  tilted  to  one  side,  his  shoulders  showing  square 
and  wide  and  high  under  the  loose  folds  of  his  gown. 

At  that  instant  he  appeared  a  Somebody.  Author- 
ity which  he  had  been  acquiring  gradually  for  years 
was  in  those  days  of  his  life  so  natural  that  in  such 
a  situation  he  seemed  splendidly  aloof.  Even  the 
Caruso  voice  was  subservient  to  this  authority, 
which  made  him  the  singer  he  could  not  have  become 
with  voice  alone,  though  it  were  this  rather  special 
voice. 

When  Caruso  recalled  his  thoughts  to  his  surround- 
ings that  wintry  afternoon,  it  was  with  a  perceptible 
flexing  of  his  body.  Resuming  work  upon  the  im- 
perfect side  of  Eleazar's  nose  he  began  his  narrative. 


CHAPTER  TWO 

YOUTH 

ENRICO  CARUSO  was  born  in  Naples,  Italy,  February 
27,  1873,  on  the  first  floor  of  a  house  at  Number  7 
via  San  Giovannello  agli  Otto  Calli.  He  was  the 
eighteenth  son.  His  parents  were  both  born  in 
Piedimonte  d'Alife :  Marcellino  Caruso  on  March 
8,  1840,  Anna  Baldini  on  May  29,  1838. 

It  is  difficult  to  reconcile  the  foregoing  dates,  and 
no  birth  records  are  available  to  substantiate  them. 
Caruso  and  his  brother  Giovanni  —  speaking  on 
different  occasions  —  were  in  agreement  as  to  the 
ages  of  their  father  and  mother ;  each  stated  that 
there  were  twenty  Caruso  boys  and  one  girl. 

None  of  the  seventeen  children  had  survived 
infancy,  so,  as  Enrico  thrived  and  approached  his 
third  year,  a  new  happiness  crept  into  the  Caruso 
household.  January  8,  1876,  gave  it  a  fresh  impetus, 
when  Giovanni  was  brought  into  the  world ;  but 
between  him  and  Enrico  another  son  had  come 
"without  the  strength  to  live."  Assunta,  the  only 
girl,  followed  Giovanni  on  August  10,  1882,  the 
twenty-first  Caruso  child.  She  died  June  2,  1915, 
adoring  her  brother  Enrico  who,  apart  from  providing 
for  her  every  comfort,  had  shown  her  a  constant 
tenderness  throughout  her  somewhat  melancholy  life. 

Anna  Caruso  had  been  too  ill  to  nurse  her  Enrico. 
Signora  Rosa  Baretti,  a  woman  of  gentle  birth  living 


YOUTH  ii 

in  the  same  house,  was  the  one  who  volunteered  to 
save  a  life.  In  later  years  Caruso  insisted  that  it 
was  she  who  had  put  into  him  some  of  her  own  big- 
heartedness. 

When  he  was  six,  and  the  family  moved  to  Number 
54  via  San  Cosmo  e  Damiano,  Enrico  was  sent  to 
a  kindergarten,  where  he  remained  for  two  years.  At 
the  time  his  father  had  employment  as  a  mechanic 
in  the  factory  of  a  Signor  Francesco  Meuricoffre, 
being  advanced,  about  1881,  to  superintendent. 
In  this  year  his  employer  gave  him  the  use  of  a  house 
in  Sant'  Anna  alle  Paludi,  which  belonged  to  the 
factory.  So  once  again  the  Caruso  family  trans- 
ferred their  belongings,  —  to  a  more  permanent 
abode ;  they  remained  in  it  until  Enrico  Caruso 
reached  manhood  and  began  seriously  his  professional 
career. 

From  this  home,  at  the  age  of  eight,  the  boy 
Enrico  made  his  first  acquaintance  with  a  public 
school.  No  emphasis  was  put  upon  it  in  the  narra- 
tive, although  it  is  on  record  that  he  was  required  to 
wear  a  black  cap  circled  with  a  blue  band,  —  a  sort 
of  insignia  of  this  school.  It  is  known  too  that  he 
was  industrious :  he  had  an  eagerness  to  learn,  and 
even  then  he  was  a  most  considerate  son.  For  his 
mother  he  showed  his  love  in  those  practical  ways  not 
always  displayed  by  children  older :  he  was  always 
ready  to  help  her  about  the  house,  to  do  errands  ;  and 
often  he  hovered  beside  her  bed  when  she  fell  ill,  for, 
after  the  birth  of  Assunta,  Mrs.  Caruso  never  com- 
pletely regained  her  health. 

This   devotion   so   intensified   the   bond   between 


12  ENRICO    CARUSO 

mother  and  son  that  there  grew  between  them  a 
deep  and  sympathetic  understanding.  "  If  you  were 
to  go  into  the  neighborhood  where  we  then  lived," 
Caruso  once  said,  "  and  ask  of  the  old-time  residents 
for  Marcellino's  son,  none  would  know  who  was 
wanted ;  but  an  inquiry  for  '  the  treasure  of  Mar- 
cellino's  family*  would  bring  the  instant  answer: 
'Oh!  you  mean  Enrico  Caruso." 

The  treasure  of  the  family  developed  early  re- 
sponsibilities affecting  his  mother's  welfare.  If  not 
the  actual  head  of  the  house,  he  served  somewhat 
regularly  in  that  capacity.  Marcellino  Caruso  was 
fond  of  wine,  and  his  not  infrequent  absence  of 
evenings  put  upon  Enrico,  as  eldest  child,  certain 
duties. 

It  was  inevitable  that  this  companionship  should 
have  had  its  effect  upon  an  impressionable  nature. 
Giovanni  Caruso  spoke  of  it  when  he  arrived  in 
New  York,  from  Naples,  three  months  after  the 
death  of  his  brother.  Mrs.  Caruso  has  told  of  little 
things  her  husband  unconsciously  let  drop  which 
sketched  intimate  word  pictures. 

An  insistence  for  neatness  and  order  and  personal 
immaculateness,  which  possessed  the  tenor  during 
later  periods  of  his  life,  took  root  during  his  child- 
hood. There  was  no  grumbling  at  having  to  carry 
upstairs  pails  of  water  for  his  bath ;  every  such 
opportunity  was  more  than  casually  welcomed,  - 
one  appears  to  have  been  made  on  any  pretext  pos- 
sible. To  keep  himself  fresh,  his  hair  brushed,  his 
clothes  free  from  dust  and  spots  —  these  were 
matters  the  boy  refused  to  neglect.  And  pride  was 


YOUTH  13 

stirred  in  the  mother  when  she  gazed  on  her  slender 
son  and  beheld  his  efforts  which  did  her  credit. 
For  all  his  tenderness  and  devotion,  however,  the 
then  future  great  artist  was  nevertheless  a  boy ; 
pretty  much  all  boy,  and  at  times  a  capricious  one. 
Such  manifestations  became  noticeable  soon  after 
he  joined  a  school  where  boys  were  trained  to  sing 
in  church  choirs,  which  was  conducted  evenings 
at  Number  33  via  Postica  Maddalena  by  Father 
Giuseppe  Bronzetti.  Giovanni  Gatto,  a  sort  of 
tutor  and  brother-in-law  to  Bronzetti  (who  died 
in  1893  with  the  devoted  Caruso  at  his  bedside), 
spoke  in  1921  of  incidents  touching  the  little  En- 
rico not  long  after  he  entered  this  school,  at  the 
age  of  six.  Gatto  —  one  of  a  considerable  num- 
ber of  Italians  who  later  owed  many  of  their  life 
comforts  to  the  singer's  bounty  —  had  Enrico  in 
charge ;  he  called  him  Carusiello.  He  remembered 
well  occasions  when  the  youthful  singer  (a  moment 
approaching  for  him  to  contribute  a  contralto  solo 
in  some  music  performance  in  the  church  where  the 
sessions  were  held)  was  as  difficult  to  manage  as  a 
prima  donna  displeased  over  some  magnified  trivial- 
ity. "He  could  be  coaxed,  by  appealing  to  his 
gentler  nature,"  explained  Gatto,  "but  meeting  his 
opposition  with  force  seldom  succeeded."  One  ex- 
ception he  related  found  the  boy's  father  playing 
a  stern  role,  after  Enrico,  in  a  fit  of  temper,  had  torn 
from  his  coat  two  silver  medals  given  him  for  singing 
excellence,  and  thrown  them  at  the  feet  of  Bronzetti. 
Administering  a  slap  to  Enrico  his  parent  said,  "Kneel 
down,  and  kiss  Father  Bronzetti's  hands  and  feet!" 


I4  ENRICO    CARUSO 

—  and  the  boy  did  so.  Thereupon  he  went  almost 
immediately  before  the  people  who  sat  waiting, 
"to  sing  like  an  angel",  declared  Gatto. 

Caruso's  first  training  in  singing  and  music  was 
received  from  Maestro  Alessandro  Fasanaro,  who 
discovered  his  gifts  of  voice  and  expressiveness 
while  teaching  his  pupil  his  school  hymns.  It  was 
Fasanaro  who  encouraged  the  little  dark-skinned 
lad ;  Fasanaro  who  guided  and  stimulated  him,  and 
by  studying  his  nature  appealed  to  that  side  of  it 
which  could  be  so  easily  reached  by  one  willing  to 
exert  the  patience.  A  charge  of  five  lire  a  month 
was  paid,  at  the  beginning,  by  Mrs.  Marcellino 
Caruso  for  the  privilege  of  having  her  son  attend 
the  school ;  later,  as  he  progressed,  Bronzetti  refused 
to  take  this  money.  Punctuality,  neatness,  and 
industry  carried  Enrico  along.  By  hard  work  he 
finally  became  the  principal  soloist  of  the  chorus. 

In  Naples  every  church  is  called  upon  to  par- 
ticipate in  various  ceremonies.  One  of  them  is  a 
religious  procession  through  the  streets,  which  takes 
on  importance  through  the  joining  of  choirs  from 
different  churches.  Father  Bronzetti's  choir  was 
greatly  sought  during  the  period  Enrico  Caruso 
served  as  a  member.  Maestro  Fasanaro,  receiving 
fees  from  the  churches  which  he  visited  with  his 
charges,  rewarded  them  with  pennies.  To  his  con- 
tralto soloist,  who  always  attracted  the  most  notice 
and  favor  by  his  singing,  Fasanaro  was  more  liberal ; 
for  Carusiello  there  was  generally  several  lire.  With 
presents  of  candy,  and  sometimes  a  coin  or  two 
from  admiring  priests,  the  boy's  earnings  were 


YOUTH  15 

enough  to  make  him  happy.  Yet  he  seldom  kept 
them;  "the  hole  in  the  Caruso  pocket"  had  de- 
veloped even  thus  early. 

His  position  in  the  Bronzetti  school  appears  to 
have  been  easily  and  completely  taken.  He  craved 
companionship,  and  won  it.  He  could,  and  did, 
invite  the  affection  of  his  elders  because  of  a  char- 
acter they  were  unable  to  resist.  He  was  playful 
and  serious,  in  turn  —  often  unexpectedly  so.  Gatto 
tells  of  suddenly  developed  moods,  when  an  appear- 
ance to  sing  impended,  or  had  passed  ;  moods  which 
presented  the  tranquil  and  lovable  Carusiello  with 
an  unyielding  front,  —  a  strange  little  person,  stand- 
ing firmly  upon  a  dignity  that  might  have  been  the 
more  amusing  but  for  its  disturbing  consequences. 

On  one  occasion,  returning  to  Naples  from  Amalfi, 
a  neighboring  town  where  the  choir  had  gone  to  sing 
the  Mercadante  Mass  in  the  Church  of  St.  Andrea, 
Enrico  declined  obstinately  to  enter  a  coach  with 
his  mentor  and  his  companions  ;  he  would  ride  on  the 
box  with  the  coachman.  And  ride  he  did,  until 
Gatto,  observing  that  his  charge  had  dropped  fast 
asleep  and  fearing  he  might  fall  under  the  horses, 
transferred  him  bodily  to  the  interior  of  the  coach  — 
where  he  continued  for  the  remainder  of  the  journey 
to  slumber  placidly. 

These  evening  sessions  at  the  Bronzetti  school  were 
fruitful  to  Carusiello  in  other  respects  than  music.  If 
Fasanaro  and  others  of  the  small  faculty  did  their 
share,  there  was  one  of  a  different  calling  who  must 
not  be  overlooked,  Giuseppe  Spasiano,  the  penman- 
ship teacher.  Quite  early  during  the  little  pupil's 


16  ENRICO    CARUSO 

attendance,  Spasiano  made  his  particular  discovery : 
here  was  a  boy  with  a  natural  facility  to  use  either 
pen  or  pencil.  No  urging  was  needed  to  win  his 
interest ;  he  took  to  drawing  as  happily  as  does  the 
proverbial  duck  to  water.  And  Spasiano  suggested, 
and  corrected,  and  dropped  the  necessary  words  to 
induce  the  substitution  of  pains  for  speed.  Hunched 
over  his  desk  Carusiello  would  forget  —  temporarily, 
at  least  —  about  music.  As  he  acquired  skill  Spa- 
siano gave  him  manuscripts  to  copy,  which  skill  — 
highly  developed  in  his  mature  years  —  came  to  be 
of  practical  use.  For  it  is  a  curious  fact  that  Caruso 
learned  the  words  and  notes  of  his  opera  roles  by 
copying  them.  He  explained  that  the  process  as- 
sisted materially  in  impressing  them  on  his  memory. 

The  influence  of  his  instructors  in  this  unpreten- 
tious institution  appears  to  have  affected  the  youth- 
ful Caruso  very  positively,  in  ways  that  held  even 
after  he  passed  actively  out  of  it,  about  1887.  Before 
that  he  had  been  taught  by  Alfredo  Campanelli  and 
Domenico  Amitrano,  pianists  and  coaches  in  the 
Bronzetti  school ;  and  by  Giovanni  Gatto's  daughter, 
Amelia,  an  excellent  musician  and  pianiste.  There 
is  some  hint  that  she  formed  for  Caruso  a  violent 
attachment,  though  he  was  much  her  junior ;  but 
nothing  ever  came  of  it.  With  her  the  boy  studied 
solfeggi,  also  solo  compositions  he  was  preparing  for 
appearances  outside  the  school. 

Eager  in  his  pursuit  of  knowledge  of  music  and 
singing,  Caruso  did  not  hesitate  to  accept  whatever 
instruction  offered,  some  of  it  from  sources  other  than 
were  available  at  Bronzetti's.  He  was  only  ten 


YOUTH  17 

when  he  met  Ernesto  Schirardi,  a  pianist,  and  Mae- 
stro Raffaele  de  Lutio ;  little  more  than  a  baby,  yet 
even  then  regularly  employed  for  pay.  He  had 
bidden  farewell  to  the  public  school,  turning  from 
teachers  and  comrades  to  the  mechanical  laboratory 
of  Salvatore  de  Luca.  His  wages  were  two  soldi 
an  hour.  Schirardi  and  de  Lutio  gave  the  small 
Caruso  advice  as  to  how  he  should  use  his  voice,  and 
together  they  taught  him  some  arias  from  operas. 

During  these  days  he  revealed  those  industrious 
leanings  which,  years  later,  became  almost  an  ob- 
session. He  would  come  home,  dead  tired,  from 
work  ;  then  set  himself  to  some  musical  task.  First, 
however,  he  always  made  himself  clean  ;  and  he  has 
related  how,  wishing  to  surprise  his  mother,  he  once 
bought  with  some  treasured  pennies  a  large  sheet  of 
stiff  white  paper,  and  cut  it  into  a  shirt  bosom,  which 
he  tucked  inside  his  coat. 

Developing  ambition,  and  setting  a  higher  value 
upon  his  services  shortly  after  his  eleventh  birthday, 
Caruso  suggested  to  his  superior  in  the  de  Luca  lab- 
oratory that  he  be  given  more  money.  A  refusal 
was  his  answer.  Was  it  possible  ?  Could  it  be  that 
all  his  energy  and  faithfulness  were  to  go  unre- 
warded ?  He  stiffened  his  slender  body,  and  with 
much  seriousness  resigned.  He  took  himself  then 
to  the  establishment  of  Giuseppe  Palmieri,  where  iron 
drinking-fountains  designed  for  public  use  were 
manufactured.  One  of  these  drinking  fountains, 
which  he  had  built,  he  always  visited  when,  years 
afterward,  he  returned  during  his  vacations  to 
Naples.  For  two  years  he  continued  in  helping  to 


18  ENRICO    CARUSO 

quench  the  people's  thirst ;  he  admitted,  however, 
that  his  heart  and  mind  were  all  for  music.  More 
than  one  evening  found  him  earning  a  lira  or  two 
for  singing  a  serenade  under  the  window  of  some 
Italian  maid  —  while  her  suitor  stood  near,  looking 
upwards  for  some  recognition  of  the  vocal  tribute 
he  had  paid  to  have  bestowed.  It  was  an  avoca- 
tion that  generally  called  forth  remonstrances  from 
Carusiello's  Bronzetti  instructors  for  taxing  his 
precious  voice.  Occasionally  the  enterprising  con- 
tralto would  find  some  small  engagement  to  partic- 
ipate at  a  social  affair,  or  in  some  religious  service ; 
he  was  born  to  be  an  artist  and  no  day's  labor  at  the 
shop  left  him  lacking  in  either  will  or  desire  to  accept 
with  enthusiasm  whatever  fell  in  his  way. 

If  Marcellino  Caruso  manifested  no  great  interest 
in  his  son's  semi-professional  progress,  his  wife  sup- 
plied enough.  But  she  was  wise.  The  praise  a 
sensitive  boy  needs  to  encourage  him  was  never 
denied.  She  was  generally  present,  when  the  oc- 
casion was  one  making  it  proper  for  her  to  appear ; 
afterward  Enrico  would  go  to  her  for  his  most  cher- 
ished reward.  These  were  proud  moments  for  both 
mother  and  son.  She  no  doubt  saw  farther  into 
his  future  than  others  could  have  seen.  The  mater- 
nal instinct  is  a  wonderous  thing.  Yet  she  was  care- 
ful never  to  say  too  much  ;  hers  seems  to  have  been  a 
far-seeing  course,  tempered  with  judicious  restraint. 
So  the  boy,  for  all  his  small  successes,  acquired  no 
egotistical  poses.  If  they  perhaps  smoldered  within 
him,  they  were  lovingly  smothered.  The  best,  and 
that  alone,  was  nurtured  by  the  woman  who  had  so 


YOUTH  19 

little  yet  so  very  much  to  give  this  son  she  had  borne. 
The  years  were  few  allowed  her  for  her  task ;  still, 
in  some  ways,  they  were  enough.  The  memory  of 
them,  and  of  her,  never  slipped  from  the  mind  of  the 
one  who  was  thus  fortunate  in  the  molding  his  nature 
then  received.  Who  can  estimate  what  effect  it 
had  upon  his  future  work !  Caruso  undertook  once 
to  do  so.  But  words  would  not  come. 


CHAPTER   THREE 

WORKING  DAYS 

WHEN  Caruso  was  nearly  fifteen  he  was  given  his 
final  opportunity  for  scholastic  study.  It  came  at 
private  hands.  Signorina  Amelia  Tibaldi  Niola, 
sister  of  Doctor  Raffaele  Niola,  who  had  attended 
Mrs.  Marcellino  Caruso  during  her  illnesses,  was 
Enrico's  tutor.  She  was  a  cultivated  woman,  strict 
in  the  Italian  speech.  Her  set  purpose  in  one  direc- 
tion was  to  break  her  pupil  of  his  habit  of  a  too  free 
use  of  the  Neapolitan  dialect ;  and  it  was  this  insist- 
ence, and  the  boy's  carelessness  one  evening,  that 
brought  him  a  slap  so  hard  as  to  end  forever  his 
school  days. 

"The  next  night,"  said  the  tenor  in  relating  the  in- 
cident, "I  took  my  books  and  left  home  as  usual 
—  though  not  for  my  lesson.  The  railway  yards 
were  near.  I  played  there  each  evening  for  two 
weeks,  with  my  boy  friends,  until  time  to  go  home. 

"One  day  my  father  met  Doctor  Niola,  who 
wished  to  know  why  I  had  stopped  going  to  his 
sister. 

" '  He  does  go,'  said  my  father,  '  regularly/ 
'Then  he  must  lose  his  way,'  replied  the  doctor. 

"The  following  evening  my  father  appeared  while 
I  was  playing,  and  took  me  home  for  punishment  I 


WORKING    DAYS  21 

still  remember.  Soon  after  he  put  me  at  work  with 
him  at  the  Meuricoffre  plant." 

Although  official  records  disclose  Caruso  as  having 
made  his  opera  debut,  when  twenty-one,  in  "L'Amico 
Francesco",  his  first  appearance  actually  took  place 
nearly  seven  years  before.  It  was  at  the  Bronzetti 
school,  in  a  work  written  by  Maestri  Campanelli  and 
Fasanaro  to  secure  funds  for  that  institution.  Con- 
siderable opposition  was  offered  to  the  proposal  to 
give  an  operatic  piece  in  a  church,  but  it  was  finally 
overcome.  "I  briganti  nel  giardino  di  don  Raffaele" 
was  the  title  of  this  opera.  It  was  quasi-comic  and 
not  too  difficult  for  the  boys  to  sing.  Carusiello, 
being  the  comedian  of  the  school,  was  cast  for  the 
role  of  a  bidello  —  a  sort  of  janitor  —  don  Tommaso. 
Peppino  Villani,  the  solemnest  youth  of  all,  assumed 
the  part  of  Lulu,  a  girl.  The  performance  developed 
into  a  success  ;  but  it  did  not  foreshadow  with  accu- 
racy the  future  careers  of  the  two  young  singers  who 
carried  off  chief  honors,  though  many  who  were  pres- 
ent ventured  predictions.  Years  afterward,  Villani 
became  one  of  Italy's  most  celebrated  comedians, 
while  Caruso  was  engaged  oftenest  with  tragic  roles. 

His  time  apportioned  to  work,  singing,  and  play, 
Caruso  followed  each  with  an  intensity  character- 
istic. Indifference  touched  no  part  of  him  ;  he  seems 
almost  never  to  have  approached  anything,  whether 
out  of  necessity  or  choice,  in  half-hearted  fashion. 
No  regular  contributions  to  the  family  exchequer, 
slender  though  it  was,  were  exacted  of  him.  His 
earnings  were  regarded  as  his  own,  and  he  spent 
them  as  he  saw  fit :  for  apparel,  of  which  he  was 


22  ENRICO    CARUSO 

boyishly  fond ;  the  theater ;  and,  since  it  was  the 
custom  for  the  Neapolitan  boys  of  his  acquaintance 
to  play  occasional  games  of  chance,  some  of  his 
money  was  lost  to  luckier  playmates. 

Free-handed  and  sunny ;  respecting  with  almost 
stiff-necked  rigidity  a  promise  or  obligation,  he  was, 
for  all  his  temperamental  moments,  sensitive  to  the 
good  opinion  of  others.  Shrinking  from  disputes, 
Caruso  gave  evidence  all  through  his  youth  of  that  dis- 
position, so  marked  in  maturity,  to  avoid  the  unpleas- 
ant. To  make  and  retain  friendships,  to  lend  a  help- 
ing hand  when  he  could,  or  a  word  of  cheer  —  that 
was  his  nature ;  and,  if  it  was  not  a  consciously 
courted  popularity,  he  found  himself  generally  invit- 
ing a  welcome  wherever  he  went.  Enhancing  these 
qualities  were  his  strain  of  comedy-making  and  his 
voice,  —  a  combination  rare  enough  to  set  him 
apart  from  others. 

As  he  continued  more  and  more  to  sing  in  dif- 
ferent places  his  reputation  gradually  widened.  He 
grew,  after  a  time,  to  be  known  as  the  little  divo, 
Errico,  a  name  in  point  of  fact,  which  was  his  own ; 
Enrico  did  not  evolve  until  the  tenor  became  very 
well  known.  Although  he  walked  onward  in  those 
days,  it  was  for  this  Italian  boy  no  flowery  path ; 
there  were  hidden  thorns  to  prick  his  sensitiveness. 

No  formal  declaration  of  preparing  him  for  a  sing- 
ing career  was  ever  voiced ;  no  family  powpow,  no 
laying  of  plans,  nor  house-top  shouting.  Events 
shaped  the  Caruso  future,  and  with  them  he  moved, 
grateful  for  what  might  follow.  He  seized  with 
fervor,  however,  every  new  opportunity,  putting  into 


ANNA   BALDINI-CARUSO,    MOTHER   OF   ENRICO 
From  a  pastel  drawing  which  stood  at  Caruso's  bedside. 


WORKING    DAYS  23 

each  effort  —  as  he  did  to  the  very  last  —  every 
resource  he  had.  ^ 

About  the  time  he  entered  the  employ  of  the 
Meuricoffre  establishment,  Caruso  had  become 
sought  after  to  sing  in  the  May  church  celebrations 
which  abound  in  Naples.  Mary's  month,  it  is  called  ; 
and  always  is  it  set  apart  by  the  populace  to  pay 
homage  to  the  Blessed  Virgin.  The  music  festivals 
that  close  these  celebrations  were  pretentious  ;  there 
was  scarcely  a  good  singer  but  got  his  chance.  The 
one  which  knocked  at  the  Caruso  door  on  June  I, 
1888,  found  a  boy  wavering  in  a  distressed  mood, 
because  his  mother  lay  seriously  ill.  He  did  not 
wish  to  leave  her,  but  she  insisted ;  and  thus  urged, 
though  with  misgivings,  he  trudged  gloomily  to  the 
Church  of  St.  Severino,  there  to  perform  his  part  in 
the  festival  of  the  Corpus  Domini  holiday,  in  which 
Maestro  Amitrano  was  to  conduct  the  music.  He 
would  lift  his  contralto  voice,  he  argued  to  himself, 
pouring  forth  his  heart  in  thanks  for  such  a  mother. 

In  the  midst  of  the  service  came  an  interruption. 
People  who  had  seen  the  father  emerge  weeping  from 
his  house  came  looking  for  Enrico.  Anna  Caruso 
had  gone  on  her  final  exploration  while  the  son  she 
adored  was  engaged  in  the  work  which  she  loved 
best  to  have  him  do. 

II 

The  work  at  the  Meuricoffre  plant  served  well,  at 
this  juncture,  for  a  sorrowing  boy  incapable  of  find- 
ing any  heart  for  his  cherished  song.  Serenading 
could  not  woo  him  —  nor  even  the  church  choir. 


24  ENRICO    CARUSO 

Affairs  in  the  motherless  Caruso  home  suffered  con- 
fusion, with  soberly  eaten  meals ;  but  such  a  condi- 
tion could  not  be  expected  to  continue  indefinitely. 
Marcellino  Caruso  ministered  as  best  he  knew  how 
to  his  brood  of  three,  helped  by  the  manful  Enrico. 
After  a  time,  the  practical  side  of  life  persisting,  a 
bit  of  sunshine  appeared.  Then,  as  the  weeks  slipped 
by,  the  natural  buoyancy  of  youth  prevailed. 

Work  at  Meuricoffre's  continued,  and,  presently, 
Enrico  experienced  again  the  desire  to  sing.  True, 
his  mother  was  gone,  yet  she  at  least  no  longer 
suffered ;  and  had  she  not  taken  a  deep  joy  in  his 
music  ?  So  the  inevitable  happened,  bringing  the 
boy,  by  gradual  processes,  back  to  that  longing  which 
was  his  master.  Even  Marcellino  Caruso  acqui- 
esced ;  he  was  not  unwilling  that  his  son  should 
indulge  his  voice.  Perhaps  he  also,  by  this  time, 
had  some  premonition  of  what  was  to  come  ;  possibly 
the  occasional  nightly  earnings  helped  the  paternal 
decision. 

In  the  meantime,  however,  Enrico  Caruso's  voice 
had  undergone  a  change  from  a  boyish  contralto  into 
a  tenor  —  a  somewhat  thin  one,  yet,  for  all  that,  a 
tenor.  There  being  a  demand  for  even  thin- voiced 
tenors,  provided  they  could  sing,  Enrico  knew  little 
idleness.  Church  music  was  his  recognized  forte, 
and  it  brought  him  moderate  rewards.  The  religious 
festivals  came  oftener  to  be  attended  by  the  sound  of 
his  youthful  tenor ;  and  as  he  continued  to  sing  the 
Caruso  name  was  more  frequently  mentioned. 

There  were,  in  the  nature  of  things,  transitions 
in  the  Caruso  family.  Enrico,  sobered  by  cares, 


WORKING    DAYS  25 

strove  to  meet  the  situation,  but  Giovanni  was  still 
a  child,  and  Assunta  could  not,  because  of  infirmities, 
be  called  on  to  assume  even  slight  responsibilities 
or  domestic  duties.  The  need  of  a  mother  for  his 
children  must  have  dwelt  in  the  heart  of  Marcellino 
Caruso  when  he  journeyed  to  Aversa,  some  four 
months  after  the  death  of  his  wife,  to  install  in  a 
factory  owned  by  a  Baron  Ricciardi  machinery  he 
had  purchased  from  Signor  Meuricoffre.  H 

It  developed  that  the  lodging  secured  for  Mar- 
cellino Caruso  during  his  stay  in  Aversa  was  in  the 
home  of  Maria  Castaldi.  A  widow,  she  apparently 
found  matters  of  common  interest  to  herself  and  her 
temporary  widower  guest.  And  there  is  every  in- 
dication that  the  two  came  without  much  delay  to 
an  understanding,  for  they  were  married  on  Novem- 
ber 1 8,  1888,  within  a  few  weeks  after  their  first 
meeting. 

No  mother  could  have  been  tenderer  than  this  new 
one  which  the  Church  and  law  gave  to  the  Caruso 
children,  and  who  was  brought  into  their  home 
within  six  months  after  Anna  Baldini  Caruso  had 
been  laid  at  rest.  She  was  gentle  ;  she  had  patience  ; 
and  she  bestowed  upon  her  small  charges  an  affection 
which  gradually  brought  to  them  what  they  uncon- 
sciously sought.  To  Enrico  was  she  especially 
drawn ;  something  in  his  nature  seemed  to  cry  out 
that  he  needed  her  most.  For  her  he  was  almost  a 
model  child  ;  quite  the  opposite  of  Giovanni,  whose 
irresponsible  ways  were  a  source  of  annoyance. 
"Whatever  Enrico  did  was  always  right/'  recently 
declared  Giovanni,  "but  I  was  forever  getting  into 


26  ENRICO    CARUSO 

trouble  of  my  own  making."  The  singer,  to  his  very 
last  days,  loved  and  revered  his  stepmother.  It  al- 
ways disturbed  him  that  —  despite  his  repeated  urging 
to  the  contrary  —  she  preferred  to  continue  living 
modestly. 

Ill 

The  working  days  of  the  young  Enrico  Caruso 
continued  in  the  Meuricoffre  establishment  even 
after  it  had  been  partly  denuded  of  its  mechanical 
equipment,  for  it  was  a  business  having  several 
sides.  There  was  one  department  given  over  to  the 
manufacture  of  cotton  oil ;  another  for  purifying 
cream  of  tartar  ;  and  a  third,  which  was  a  warehouse. 
Raw  and  finished  material,  after  being  inventoried, 
would  be  stored  in  it,  and  against  this  merchandise 
warehouse  certificates  were  issued  and  deposited  with 
banks  as  collateral  for  loans. 

Business  having  receded  to  a  threatening  point 
when  Enrico  Caruso  had  passed  his  sixteenth  birth- 
day, and  a  reduction  of  the  working  force  becoming 
necessary,  Signor  Meuricoffre  proposed  to  the  elder 
Caruso  that  his  son  be  made  a  sort  of  accountant  in 
charge  of  the  records  of  such  materials  as  might  be 
received  for  refining  purposes,  and  also  of  records 
covering  whatever  was  stored  in  the  warehouse. 
Approached  in  the  matter,  the  boy  appeared  to 
doubt  his  ability  to  perform  duties  of  such  responsi- 
bility, but  his  employer  soon  discovered  in  his  new 
accountant  and  receiving  clerk  abilities  of  an  unusual 
sort.  Enrico  came  early  each  morning  to  his  desk ; 
he  kept  his  sets  of  figures  accurately ;  and  he  saw 


WORKING    DAYS  27 

to  it  that  the  Meuricoffre  property  was  safeguarded 
from  petty  thefts.  It  was  work  that  called  for 
accuracy,  alertness,  and  a  shrewd  mind  ;  and  re- 
quired many  hours  of  each  day  to  complete.  There 
were  periods,  however,  when  a  lessening  of  business 
activities  enabled  the  young  singer  to  accept  out-of- 
town  engagements ;  and  he  had  his  vacation  days, 
also. 

It  was  during  one  of  these  recreation  terms,  in  the 
summer  of  1890,  that  patrons  of  cafes  heard  between 
dances  the  Caruso  voice.  One  Saturday  night  the 
tenor  attracted  the  notice  of  a  man  who,  as  Caruso 
expressed  it,  "liked  my  voice  if  not  my  way  of  using 
it." 

"You  do  not  sing  correctly,"  observed  the  critic; 
"you  should  study."  "But,"  answered  the  tenor, 
"  I  have  no  money."  "  Never  mind  about  the  money, 
my  brother  is  a  teacher  of  singing ;  I  will  take  you 
to  him." 

Caruso  went  for  a  time  to  this  teacher,  climbing 
five  flights  of  stairs  to  the  studio,  which  he  always 
reached  out  of  breath.  Convinced  after  the  eleventh 
lesson  that  the  "covering"  of  his  high  tones  in  the 
manner  advocated  was  injuring  them,  Caruso  paused 
in  his  vocal  studies  as  suddenly  as  he  had  begun  them. 
For  one  year  he  continued  in  his  former  technical 
ways  ;  then  came  the  unexpected. 

He  had  joined  forces  with  a  young  pianist  to  enter- 
tain bathers  at  the  Risorgimento  Baths,  in  via  Ca- 
racciolo,  in  Naples.  During  the  previous  summer 
the  tenor  had  had  similar  opportunities  to  display 
his  vocal  gifts  for  such  pieces  of  money  as  generously 


28  ENRICO    CARUSO 

inclined  persons  had  seen  fit  to  bestow.  "Come 
here  and  sing,"  the  owner  of  the  baths  had  said. 
"What  my  patrons  give  to  you  you  may  keep;  I 
will  take  no  percentage."  A  like  arrangement 
existed  at  the  baths  during  the  few  weeks  in  the 
summer  of  1891,  which  found  Caruso  singing  often 
without  receiving  a  solitary  lira.  He  has  admitted 
that  those  days  were  pleasant  to  remember ;  that 
they  brought  him  no  real  unhappiness.  Toward  the 
end  of  the  summer  he  met  Eduardo  Missiano,  a 
baritone  singer  in  comfortable  circumstances,  whose 
interest  in  the  struggling  tenor  was  to  influence  so 
vitally  his  future  career.  Relating  his  first  meeting 
with  Missiano,  who  was  preparing  for  a  career,  Caruso 
said  his  new  acquaintance  asked  him  if  he  were  study- 
ing. "I  explained  that  I  had  no  money  for  study." 
"Never  mind,"  encouraged  Missiano,  "you  have  a 
fine  voice ;  I  will  take  you  to  my  maestro  Guglielmo 
Vergine,  and  somehow  arrange  for  him  to  teach  you." 
But  Vergine  displayed  less  enthusiasm  for  the 
Caruso  voice  and  its  possibilities  than  his  pupil  had 
shown.  He  thought  it  a  small  voice  which  sounded 
"like  the  wind  whistling  through  a  window."  De- 
jectedly silent,  Caruso  waited  while  his  newly  found 
friend  argued  with  the  seemingly  disinterested  Ver- 
gine (for  subsequent  developments  lead  to  the  belief 
that  the  maestro  may  have  chosen  to  conceal  his 
real  feelings).  At  length  Vergine  said,  "Very  well, 
come  back  in  eight  days,  and  I  will  hear  him  again." 
Reluctantly  consenting,  after  this  second  trial,  to 
accept  Caruso  as  a  pupil,  Vergine  declared  warningly, 
"but  don't  expect  too  much  of  yourself."  He 


WORKING    DAYS  29 

proceeded  then  to  drawing  a  contract  —  one  of  those 
remarkable  documents  which  continue  to  be  made 
between  impecunious  singers  and  avaricious  teachers 
—  which  provided  that  Caruso  should  pay  Vergine 
twenty-five  per  cent  of  his  total  earnings  for  five 
years  of  actual  singing.  This  was  the  "joker"  clause 
in  the  contract.  It  would  have  taken  the  tenor 
many  times  five  years  in  his  profession  to  have 
fulfilled  the  terms ;  and  an  Italian  court  tried  for 
two  years  to  reach  a  decision.  In  1899,  when  Ca- 
ruso was  singing  in  Rome,  Vergine  went  to  him. 
A  reconciliation  was  effected,  an  understanding 
brought  about,  and  on  the  payment  to  Vergine  of 
twenty  thousand  lire  the  contract  was  torn  up. 

The  lessons  began  shortly  after  arrangements  had 
been  reached,  though  they  were  rather  unusual 
lessons.  Vergine  taught  in  classes.  It  was  his 
practice  to  assemble  his  pupils  in  a  large  room, 
and  then  to  call  on  various  ones  to  sing  specific 
technical  exercises  and  arias.  He  would  admonish 
and  approve ;  he  would  call  for  criticisms  from 
members  of  the  class ;  and  passing  from  one  pupil 
to  another,  each  found  an  opportunity  to  be  heard 
and  enlightened.  Throughout  several  of  these  class- 
lessons  Caruso  was  not  surprised  at  being  ignored ; 
he  considered  himself  as  undergoing  a  preparatory 
period  valuable  for  what  it  offered  one  to  hear  and 
observe.  But  as  weeks  passed  without  his  being 
called  on  to  sing,  the  tenor  grew  anxious.  One  day  he 
volunteered  to  sing  some  phrases  to  illustrate  a  point 
Vergine  had  explained  generally  to  the  class,  where- 
upon Vergine  exclaimed,  "What,  are  you  still  here  ?" 


30  ENRICO    CARUSO 

Persistence,  however,  brought  its  reward.  Or 
it  may  have  been  —  as  it  doubtless  was  —  Vergine's 
way  of  protecting  his  pupil  from  developing  a  sus- 
pected overconfidence.  Permitted,  at  length,  to 
sing,  Caruso  found  the  hand  of  restraint  laid  heavily 
upon  any  aspirations  he  may  have  had  to  use  his 
full  voice.  He  listened  to  other  tenors  with  tones 
stronger  than  his.  He  heard  the  maestro's  favorable 
comments  of  their  efforts.  Often,  as  he  has  con- 
fessed, he  thought  slightingly  of  his  own  chances  as 
compared  with  those  colleagues  who  delivered  ringing 
high  tones,  which  sounded  many  times  more  effective 
than  his  own  voice  of  "the  whistling  wind."  Yet, 
for  all  the  discouragement,  the  subdued  pupil  pro- 
gressed. It  may  have  been  a  slow  growth,  but  it 
appears  to  have  been  sure.  And  the  tenor  always 
insisted  that  he  was  taught  with  infinite  care  and 
skill.  "It  was  Vergine,"  he  once  explained,  "who 
emphasized  the  necessity  of  singing  as  nature  in- 
tended, and  who  constantly  warned  —  '  Don't  let 
the  public  know  that  you  work.' ' 

Such  instruction  had  a  tendency  to  keep  the 
Caruso  voice  light.  It  was  not  until  some  six  years 
after  those  first  Vergine  lessons,  when  he  came  under 
the  influence  of  Vincenzo  Lombardi,  that  Caruso 
really  allowed  his  voice  to  come  free,  with  the  natural 
power  back  of  it  which  was  necessary  for  the  dis- 
closure of  its  fullest  beauty  and  resource.  To  force 
the  tone  is  unquestionably  a  grave  error  for  any 
singer  to  commit,  yet  an  equally  grave  error  is  to 
baby  the  voice  by  a  repression  of  energy. 

This  practice  of  vocal  restraint  was  responsible 


WORKING    DAYS  31 

for  much  of  the  criticism  visited  upon  the  public 
endeavors  of  the  then  young  artist.  It  was  un- 
doubtedly to  some  extent  the  cause  of  his  inability  — 
for  all  the  natural  facility  he  possessed  —  to  sing  high 
notes  with  fullness  and  ease.  Had  he  persisted  in 
those  earlier  technical  ways  he  might  have  continued 
longer  to  "break"  on  high  A-flats  and  B-flats,  as 
was  his  not  infrequent  custom  even  after  he  had 
achieved  considerable  recognition  on  the  operatic 
stage. 

Established  at  last  in  the  studio  of  a  maestro  he 
respected,  Caruso  directed  his  efforts  toward  im- 
proving his  opportunities.  His  perfect  trust  in 
Vergine  is  reflected  in  the  calmness  he  showed  under 
criticism  for  not  using  more  voice.  He  was  content 
to  follow  instructions  and  advice ;  and  if  he  failed 
to  please  completely  all  his  hearers,  there  were  enough 
who  approved  of  his  singing  to  confirm  his  belief 
that  Vergine's  way  was  perhaps  the  best. 

Occupied  all  day  long  at  Meuricoffre's,  Caruso 
had  little  time  after  working  hours  for  more  than 
vocal  practice  and  such  singing  as  fell  his  way.  He 
never  studied  any  instrument,  or  music  on  its  scien- 
tific .side.  Though  musical  in  an  unusual  degree, 
he  was  never  a  musician.  He  sang,  when  he  devel- 
oped into  an  artist,  in  a  more  musicianly  manner 
than  some  singers  who  were  musicians ;  but  such 
subjects  as  harmony  were  destined,  to  the  end  of  his 
days,  to  remain  to  him  a  mystery.  This  lack  of 
intimate  understanding  of  music  on  its  higher  side 
was  not,  however,  to  prove  a  handicap.  The  singer 
had  an  unerring  feeling  for  accuracy  of  pitch ;  his 


32  ENRICO    CARUSO 

sense  of  time  and  of  rhythm  must  from  the  beginning 
have  been  exceptional ;  and  he  once  said  that  he 
learned  thoroughly  with  reasonable  quickness.  Still, 
even  these  attributes,  and  a  studious  nature,  could 
not  overcome  the  handicaps  imposed  in  those  days 
when  the  greater  part  of  the  young  singer's  time  was 
passed  at  a  desk  or  in  some  part  of  the  Meuricoffre 
plant.  Not  until  he  was  twenty-one,  upon  his  re- 
turn from  his  brief  military  service  at  Rieti,  did 
Caruso  forsake  business  and  give  himself  wholly 
to  his  musical  career.  The  period  from  1891  to  the 
spring  of  1894  was  passed  in  going  to  and  from  his 
daily  labors  ;  in  frequent  lessons  at  Vergine's  studio ; 
in  singing  when  and  where  he  could  find  an  oppor- 
tunity ;  and  in  snatching  some  leisure  moments  for 
companionship  with  his  youthful  friends. 

Permitted  by  Signor  Meuricoffre  to  absent  him- 
self from  business  for  any  church  festival  engagements, 
Caruso  experienced,  about  1891,  a  certain  demand 
for  his  services  during  festival  times.  Some  of 
these  festivals  were  in  neighboring  towns ;  and 
attending  them  were  occasional  incidents  to  be 
remembered.  One  in  particular,  which  occurred 
in  the  village  of  Majori,  seemed  to  have  impressed 
the  tenor  in  an  unforgettable  way.  He  had  been 
engaged  at  a  fee  of  ten  lire  ($2)  a  service  by  a  con- 
tractor who  was  supplying  all  the  musicians  for  this 
particular  church.  On  the  final  evening  of  his 
Majori  engagement,  his  churchly  duties  over,  Caruso 
was  preparing  to  leave  for  the  fifteen-mile  journey 
to  Naples,  when  the  contractor  called  to  him.  "  Your 
work  is  not  finished,"  he  said,  "you  must  go  with 


WORKING    DAYS  33 

me  to  sing  at  a  reception  in  the  home  of  Baron  Zezza, 
the  mayor."  The  young  singer  could  but  comply. 
He  had  no  other  course,  after  he  had  once  sung  for 
the  mayor's  guests,  than  to  sing  whenever  he  was 
asked  —  which  proved  to  be  often  and  long  con- 
tinued, for  it  was  six  o'clock  the  next  morning  when 
he  learned  that  he  might  depart. 

Enthusiastic  over  the  young  tenor's  voice  and 
singing,  Baron  Zezza  insisted  on  escorting  Caruso 
to  the  door ;  but  instead  of  the  mild  temperature 
of  the  evening  before,  they  found  the  air  biting  and 
raw.  It  would  never  do  to  risk  catching  cold  on  the 
stage  ride  to  Naples,  so  the  mayor  procured  for 
the  singer  an  old  shooting  jacket,  which  he  insisted 
Caruso  should  keep  as  a  remembrance  of  that  par- 
ticular occasion. 

It  was  in  1913,  while  he  was  filling  an  engagement 
in  Covent  Garden,  Jbondon,  that  Caruso  was  re- 
minded of  the  incident  in  a  letter  from  Baron  Zezza 
which  read,  "  If  you  are  the  Enrico  Caruso  who  sang 
more  than  twenty  years  ago  in  one  of  the  Majori 
church  festivals,  I  wish  to  know  why  you  did  not 
return  to  me  the  overcoat  I  then  loaned  you.  If 
you  are  that  one,  please  return  to  me  the  over- 


coat." 


To  this  communication  the  tenor  replied,  "I  am 
the  Enrico  Caruso  who  sang  in  the  city  at  the  time 
you  mention ;  but  I  did  not  intend  to  preserve  for 
the  remainder  of  my  life  the  overcoat  which  you 
offered  as  a  souvenir.  I  cannot  return  it,  since  I 
do  not  know  what  has  become  of  it.  But  if  you 
desire  to  have  an  overcoat,  or  the  value  of  one,  you 


34  ENRICO    CARUSO 

must  first  send  me  the  amount  of  money  for  the 
work  I  did  in  your  house,  because  I  was  not  paid 
for  it.  Such  amount  must  be  what  I  receive  to-day, 
which  is  $2000.  This  is  a  special  favor,  for  twenty 
years  ago  my  voice  was  the  same  voice  of  to-day, 
with  the  difference  that  I  now  sing  only  three  hours. 
In  your  house  I  sang  for  eight  hours.  You  must  also 
add  the  interest  for  twenty  years/' 

Baron  Zezza's  answer  was,  "  I  had  not  the  slight- 
est intention  of  annoying  you  about  the  coat.  I 
merely  wished  to  learn  if  that  boy  who  sang  at  my 
house  is  the  Enrico  Caruso  who  is  having  such  a 
wonderful  career.  I  am  content  to  have  as  my 
souvenir  his  autograph/'  He  got  it,  an  inscribed 
photograph  of  the  singer,  in  a  frame,  and  also  a  silver 
hunting  flask. 

At  twenty,  Caruso  was  summoned  to  be  physically 
examined  for  military  service.  This  official  com- 
munication all  but  threw  him  into  a  panic.  Visions 
possible  only  to  such  an  imagination  as  was  his 
sent  him  in  search  of  friends,  and  they  in  turn  found 
a  man  of  influence  who  reassured  them.  This 
influential  person  doubted,  he  said,  whether  the 
young  Caruso  would  pass  the  physician's  test.  He 
was  slender ;  his  very  appearance  suggested  a  del- 
icate constitution.  The  matter,  in  any  event,  need 
cause  them  no  concern  ;  there  were  ways  of  bringing 
about  the  rejection  of  a  prospective  soldier.  But 
when  the  tenor  in  trepidation  presented  himself 
to  the  military  examining  board,  he  was  pronounced 
mentally  and  physically  fit  to  serve  his  country. 
Thereupon  he  was  given  written  notice  to  prepare 


t> 

3  8 

•<  3 

0  c3 

o  .„ 


—  ^ 
w 

H  M 

W5  P-i 


WORKING   DAYS  35 

for  a  regimental  call  which  might  come  at  any  hour 
after  his  twenty-first  birthday. 

The  story  which  Caruso  himself  told  the  writer 
of  his  military  experiences  is  perhaps  the  most  vivid 
one  possible  to  record.  It  was  in  late  February  of 
1894  when  he  bade  farewell  to  his  father  and  step- 
mother, and  to  Giovanni  and  Assunta,  and  "set 
out  for  Rieti,  by  way  of  Rome  —  where  I  was  to 
join  my  regiment,  the  Thirteenth  Artillery.  During 
the  eight  days  of  my  stay  in  Rome  I  met  with  harsh 
treatment  from  the  junior  lieutenant  of  my  battery, 
who,  for  reasons  I  have  never  learned,  took  a  violent 
dislike  to  me.  Discovering  that  I  was  a  poor  horse- 
back rider,  he  seized  every  occasion  when  I  was 
mounted  to  make  me  more  uncomfortable.  He 
would  come  to  my  side  and  roughly  turn  my  feet 
to  bring  them  into  the  proper  positions.  Often  he 
would  hit  me  across  the  legs  with  a  quirt.  When 
we  finally  reached  Rieti  his  persecution  ceased. 

"Wishing  to  take  advantage  of  the  free  time, 
from  four  in  the  afternoon  to  eight,  to  exercise  my 
voice,  I  searched  for  a  suitable  place  and  found  it 
in  the  large  drill  hall.  The  day  we  were  settled  in 
the  Rieti  camp  I  was  doing  my  exercises  when  a 
corporal  came  into  the  hall  and  called  to  me. 
'Quickly!'  called  the  corporal.  'The  major  wants 
to  see  you/  I  asked,  'What  does  he  want  ?'  The 
corporal  answered,  '  I  don't  know ;  maybe  he  has 
some  letters  for  you  from  your  family,  or  maybe 
he  wishes  to  speak  to  you  about  your  singing/ 

"  I  hoped  the  major  had  a  letter  from  my  father ; 
I  was  short  of  money.  Then  I  thought  that  perhaps 


36  ENRICO    CARUSO 

he  might  wish  to  compliment  me  about  my  voice. 
I  followed  the  corporal  to  the  door  of  the  major's 
office,  which  adjoined  the  drill  hall.  Standing 
there  for  a  few  moments  without  being  commanded 
to  enter  I  asked,  'May  I  come  in  ?' 

"A  hard  voice  answered,  'Yes,  come  in.' 

"  I  took  off  my  cap  as  I  entered  the  office  and  raised 
my  hand  in  a  salute.  The  major  sat  before  his 
desk,  writing ;  he  did  not  glance  up  at  me,  but  that 
did  not  prevent  him  from  seeing.  He  had  sharp 
eyes,  Major  Nagliati.  Finally,  after  what  seemed 
a  long  time,  he  raised  his  head. 

"I  stood  embarrassed  as  he  looked  me  all  over, 
and  was  more  embarrassed  when  he  said,  'You  must 
be  a  stupid  one.' 

"  I  didn't  answer ;  it  is  the  rule  in  the  Italian  army 
that  a  soldier  may  not  answer  his  superior  unless 
requested  to.  But  why  did  he  call  me  a  stupid  one  ? 
I  quickly  found  out. 

'  Why  do  you  salute  when  you  have  no  cap  on  ? ' 
demanded  the  major.  'Don't  you  know  it  isn't 
regulation?'  I  replied  that  I  was  but  for  eight 
days  a  soldier. 

"'What  name?'  snapped  the  major  in  his  curt, 
rough  voice. 

"I  told  him,  'My  name  is  Caruso,  Enrico  Caruso.' 

"'Oh!'  he  replied,  though  it  wasn't  exactly  a 
reply,  but  more  a  sort  of  involuntary  ejaculation, 
to  which  I  soon  discovered  he  was  given. 

"'Where  from?'  he  inquired.  I  said  I  was  from 
Naples. 

"'Why  do  you  bother  me,  making  so  much  noise  ?' 


WORKING   DAYS  37 

"I  answered,  'I  exercise/ 

"'  Exercise  what  ?' 
' '  Exercise  my  voice/  I  replied. 

"'Oh!' 

"'What  did  you  do  before  you  became  a  soldier  ?' 
he  wished  to  know. 

"  I  explained  that  I  had  studied  to  become  a  singer. 

"'A  singer!    What  for?' 

" '  For  the  theater/  I  answered. 

"'Oh!' 

"How  long/  he  inquired  next,  'must  you  be  a 
soldier  ?' 

"I  said,  'Three  years/  He  knew  this;  I  won- 
dered why  he  asked. 

'Three  years  a  soldier,  eh  ?     After  three  years  — 
good  night  voice/ 

"Following  a  long  pause  the  major  stared  at  me 
with  that  first  stern  look  and  said,  'I  don't  want 
to  be  annoyed  any  more  with  your  exercising  your 
voice  ;  I  have  to  work  in  the  afternoons.  Now  go 
away/ 

"I  put  on  my  cap  (remembering  what  he  had 
told  me  of  the  regulation)  and  saluted  and  went  out. 
The  corporal,  curious,  was  waiting  for  me. 

:'What  did  he  want?'  demanded  the  corporal. 

"I  said, 'He's  crazy/ 

"But  to  my  surprise,  two  days  later,  when  Major 
Nagliati  was  passing  me,  he  stopped  and  said, 
'What  are  you  doing  this  afternoon  during  the  free 
time  ?' 

"I  want  to  exercise  my  voice/    I  took,  somehow, 
a  sudden  courage. 


38  ENRICO    CARUSO 

'Well/  he  said,  *  after  you  exercise,  meet  me  at 
the  cafe,  at  five  o'clock/ 

"My  comrades  who  had  witnessed  the  incident 
rushed  up  to  me  as  soon  as  Major  Nagliati  was  out 
of  distance.  They  were  eager  to  learn  what  had 
prompted  a  commissioned  officer  to  stop  me  after 
such  fashion.  Upon  being  told  of  the  summons  to 
appear  that  afternoon  at  the  little  cafe  popular  at 
that  time  with  the  officers,  the  soldiers  began  to 
speculate  on  what  might  happen  to  me. 

"He  will  try  to  send  you  to  prison/  predicted 
one  of  them  ;   then  he  walked  off,  whistling. 

"  Promptly  at  five  o'clock  I  arrived  at  the  cafe,  but 
I  took  care  not  to  enter ;  a  private  soldier  in  the 
Italian  army  was  not  permitted  to  enter  such  a  place 
when  he  knew  his  superior  officer  was  there.  Looking 
through  the  doorway  I  could  see  Major  Nagliati 
seated  at  a  small  table  at  the  rear  of  the  cafe.  He 
was  reading  a  newspaper  and  smoking  a  cigarette. 
I  walked  up  and  down  before  the  entrance,  pausing 
occasionally  to  glance  within  and  hoping  thereby  to 
attract  the  major's  notice ;  but  he  only  continued 
to  read  and  smoke.  Finally  he  summoned  a  waiter 
(he  had  seen  me  the  moment  I  arrived),  and  I  heard 
him  say,  'Tell  that  soldier  outside  to  come  in.' 
I  entered  the  cafe  and  walked  to  the  table  where  the 
major  sat.  He  had  a  bad  face,  but  a  good  heart. 

"Have  you  had  lunch  ?'  asked  Major  Nagliati. 

'"Yes/  I  replied. 

'You  say  you  are  a  Neapolitan  ;  then  you  must 
like  coffee.  Smoke  ?'  He  offered  me  a  cigarette 
and  ordered  coffee,  after  which  he  returned  to  his 


WORKING    DAYS  39 

newspaper  and  ignored  me.  All  the  time  I  tried  to 
guess  why  he  had  summoned  me  there ;  the  major 
was  a  strange  man.  Finally  he  put  down  his  paper 
and  took  out  his  watch. 

"I  think  I  have  found  something  for  you/  he 
said.  'In  this  town  is  a  baron  who  loves  music.  I 
have  spoken  to  him  about  you,  and  asked  that  he 
let  you  go  to  his  house  to  exercise  your  voice.  The 
baron  is  coming  here  shortly/ 

"In  this  the  major  was  mistaken,  for  instead  of 
the  baron  came  his  brother  —  explaining  that  the 
baron,  unable  to  keep  the  appointment,  had  sent 
him  in  his  place. 

"'Oh!'  ejaculated  Major  Nagliati.  'Well,  this  is 
the  boy  I  have  spoken  of  to  your  brother.  Let  us 
go  to  his  house.' 

"  So  we  all  departed,  but  the  baron  was  not  at  home, 
being  still  detained  with  his  appointment.  The  fol- 
lowing day,  however,  I  was  commanded  to  go  back 
and  I  found  the  baron  a  kind  man.  He  proved  to 
be  a  musician  and  pianist ;  and  he  seemed  to  enjoy 
playing  for  me  to  sing,  and  correcting  my  mistakes. 
I  was  made  happy  at  this  opportunity  the  major 
had  given  me,  yet  I  dared  not  thank  him.  I  knew  he 
would  not  have  liked  that.  It  was  enough  for  him 
to  know  that  he  had  arranged  matters  as  he  had ; 
probably  he  got  from  the  baron  reports  of  me. 

"We  worked  on,  and  in  the  first  five  days  with  the 
baron  I  learned  the  entire  role  of  Turiddu  in  'Caval- 
leria  Rusticana/  By  this  time  the  whole  regiment 
had  learned  what  was  happening.  I  was  taken 
by  my  comrades  to  the  drill  hall  during  some  of  the 


40  ENRICO    CARUSO 

free  time,  to  sing  for  them  —  many  songs.  But 
after  a  few  such  experiences  Major  Nagliati  appeared, 
one  afternoon,  and  stopped  me.  'How  many  times 
must  I  tell  you  not  to  annoy  me  with  your  singing  ?' 
he  demanded.  It  was  his  consideration  for  my  voice 
that  caused  him  to  interfere ;  he  realized  it  might 
be  harmful  for  me  to  sing  continuously  for  those 
soldiers ;  so  he  made  it  impossible  for  them  to  con- 
tinue asking  me  to  do  so. 

"Twenty  days  later  the  major  sent  for  me  again. 

"'You  cannot  be  a  soldier  and  also  a  singer/ 
he  informed  me.  '  I  have  arranged  that  your  brother 
Giovanni  shall  come  here  at  once  to  take  your  place.' 

"Major  Nagliati  would  not  allow  me  to  express 
the  gratitude  which  overwhelmed  me.  And  on  the 
next  day  came  Giovanni,  to  be  my  substitute." 


CHAPTER   FOUR 

DEBUTS 

THIS  sudden  and  unexpected  release  from  military 
service  sent  the  singer's  thoughts  soaring.  He  had 
emerged  from  threatened  obscurity  into  the  sunlight, 
and  the  almost  fortuitous  touch  attached  to  it  moved 
him  deeply.  He  wished  immediately  to  return  home  ; 
he  wished  with  a  strange  intensity  to  embrace  his 
father  and  stepmother ;  but  he  was  not  without 
other  desires  to  which  his  nature  was  susceptible. 
Some  celebration  seemed  proper.  At  Rome,  where 
he  was  detained  during  the  formalities  of  his  dis- 
charge, and  after  receiving  his  pay  for  having  been 
thirty  days  a  soldier,  Caruso  found  this  opportunity. 
A  close  friend,  Sergeant  Angelo  Arachite,  participated 
in  the  farewell  dinner,  which  left  the  tenor  with  just 
two  pennies  in  his  pocket.  It  was  perhaps  fortu- 
nate that  the  Italian  Government  had  provided  the 
transportation  from  Rome  to  Naples,  otherwise  the 
journey  might  have  been  slower  than  that  made  by 
a  train  which  halted  for  periods  longer  than  was  con- 
sumed in  the  actual  time  of  running.  Some  bread 
purchased  with  the  two  pennies  was  all  the  food 
Caruso  had  from  midnight  on  a  Saturday  until  late 
evening  of  the  next  day,  Easter  Sunday.  Bursting 
joyously  in  upon  his  slumbering  parents,  who  knew 
nothing  of  his  coming,  he  went  happily  to  bed.  But 


42  ENRICO    CARUSO 

morning  brought  to  him  serious  thoughts.  Work 
of  any  sort  other  than  singing  had  been  resolutely 
put  out  of  his  mind.  His  career  was  waiting  to  be 
made,  and  the  tenor  set  himself  in  those  limited  ways 
then  at  his  command  to  attain  it. 

Church  singing,  soiree  engagements,  and  the  some- 
what frequent  serenade  brought  him  small  sums  of 
money.  It  was  not  enough  however  to  meet  Caruso's 
every  need.  There  came  also  one  opportunity  to  ap- 
pear in  an  amateur  representation  of  "Cavalleria 
Rusticana",  given  in  a  small  Naples  theater  for  the 
entertainment  of  people  "who  did  not  pay  to  go  in." 
This  appearance  was  not  considered  to  have  consti- 
tuted a  debut ;  Caruso  regarded  it  as  an  experience 
too  trivial  to  detail.  In  fact,  nothing  of  significance 
occurred  during  the  summer  that  followed.  It  was 
for  the  singer  an  existence  of  routine,  with  the  lessons 
in  Vergine's  classes  and  rather  more  study  than  had 
previously  been  possible  consuming  a  fair  portion 
of  the  time.  But  work  did  not  seize  completely 
this  Neapolitan  youth  who  had  just  entered  man's 
estate.  His  fondness  for  the  companionship  of  his 
friends  sent  him  regularly  into  their  midst ;  and 
the  card  games  in  the  little  cafes  continued  to  hold 
their  fascination  for  him.  Nor  was  he  insensible  to 
feminine  charms,  or  to  passing  some  of  his  leisure 
hours  in  the  society  of  young  women  toward  whom 
he  was  drawn.  Fortunately  he  had  no  serious  love 
affairs,  although  he  was  slender  of  figure,  and  —  as 
photographs  taken  of  him  at  the  time  show  —  ro- 
mantic enough  in  appearance  to  render  him  eligible. 

The  summer  of  1894  passed.     Autumn,  however, 


DEBUTS  43 

brought  a  light  in  the  sky  of  Enrico  Caruso's  hopes. 
This  light  was  reflected  by  Nicola  Daspuro,  one  of 
the  foremost  newspapermen  of  Italy,  a  respected 
writer,  and  —  by  no  means  least  of  all  —  the  general 
representative  for  the  south  of  the  Milan  music- 
publishing  house  of  Sonzogno.  Daspuro  had  ob- 
tained in  1893  from  the  municipality  of  Naples  the 
concession  to  operate  for  twenty-five  years  the 
Theater  Mercadante  (better  known  as  the  Fondo). 
And  he  had  at  once  arranged  with  Edoardo  Sonzogno, 
head  of  his  firm,  to  supply  the  Mercadante  for  three 
consecutive  years  a  season  of  opera  and  ballet. 
After  having  his  theater  remodeled  and  redecorated, 
Daspuro  reopened  the  Mercadante  doors  on  Decem- 
ber 6,  1893,  with  an  inaugural  representation  by  the 
Sonzogno  organization.  That  season  is  still  talked 
about  in  Naples.  It  compelled  by  the  brilliancy  of  its 
achievements  the  closing  of  the  San  Carlo  Theater, 
and  no  wonder !  Sonzogno  had  engaged  an  unique 
company  in  which  there  were  nine  celebrated  tenors 
(among  them  Roberto  Stagno,  Francesco  Tamagno, 
and  Angelo  Masini),  twenty-two  prime  donne  (in- 
cluding Gemma  Bellincioni,  wife  of  Stagno,  and 
Adelina  Stehle),  and  three  widely  known  ballerine, 
Mile.  Danesi,  Mile.  Cerri,  and  la  Cote  d'Or,  from  the 
Vienna  Opera  House.  In  such  circumstances  it 
was  natural  that  Daspuro,  occupying  so  conspicu- 
ous a  position  in  the  lyric  world  of  Italy,  should 
have  subsequently  been  sought  out  by  singing  maestri 
anxious  to  place  in  the  Sonzogno  Company  their 
most  proficient  pupils. 

"In  the  fall  of  1894,"  said  Daspuro,  "Maestro 


44  ENRICO   CARUSO 

Guglielmo  Vergine,  a  very  good  singing  teacher  whom 
I  knew,  called  on  me  and  recommended  warmly  a 
young  tenor  then  studying  with  him  —  a  certain 
Caruso  —  whose  voice  he  declared  to  be  of  excep- 
tional beauty  and  angelic  sweetness.  I  expressed 
my  regret  at  being  unable  to  satisfy  Vergine's  desire 
to  have  his  pupil  appear  during  the  approaching 
Mercadante  season,  since  my  company  was  au  complet; 
but  instead  of  discouraging  the  maestro,  my  refusal 
only  moved  him  to  renew  his  assurances  —  with 
a  color  of  expressiveness  to  be  found  only  in  a  Nea- 
politan soul  —  of  the  celestial  qualities  of  his  pupil, 
whose  voice  Vergine  insisted  was  absolutely  phenom- 
enal. He  continued  begging  me  as  a  god  —  invoking 
the  names  of  all  my  dead  —  to  at  least  give  this 
young  tenor  a  hearing.  To  be  rid  of  this  insistent 
person  I  at  length  said,  'All  right;  bring  this 
tenor  with  you,  and  let  me  hear  his  phenomenal 
voice/ 

"The  next  morning  Vergine  and  Caruso  appeared 
at  the  Mercadante  and  Caruso  sang  for  me.  I  liked 
him  immensely.  His  voice  was  really  beautiful. 
What  impressed  me  most  was  his  clear  enunciation, 
and  an  accent  full  of  warmth.  I  congratulated  him 
and  Vergine  as  well ;  and  thereupon  promised  to  try 
to  arrange  to  have  Caruso  sing  in  one  of  the  matinee 
performances  within  the  next  few  months,  although 
he  had  thus  far  never  appeared  publicly  on  any  stage. 
When  my  first  conductor,  Maestro  Giovanni  Zuccani, 
came  some  time  later  to  Naples  to  begin  his  pre- 
liminary duties  for  the  1894-1895  Mercadante  sea- 
son, I  summoned  Vergine.  He  brought  Caruso  for  a 


DEBUTS  45 

second  audition.  Zuccani  liked  his  voice  so  much 
that  we  agreed  to  have  the  tenor  appear  at  a  matinee 
representation  of  Ambrose  Thomas's  "Mignon"; 
and  we  asked  him  to  make  ready  for  a  piano  re- 
hearsal. The  day  finally  arrived ;  but  alas !  what 
a  different  Caruso.  The  extreme  sensitiveness  of 
his  temperament,  the  nervous  excitement  caused  by 
finding  himself  surrounded  by  singers  and  maestri 
of  repute  and  his  lack  of  complete  familiarity 
with  his  role  seemed  almost  to  have  paralyzed 
Caruso's  mental  faculties  and  to  have  tightened  his 
throat.  Maestro  Zuccani  and  I  sought  fruitlessly 
to  encourage  him.  He  only  confused  the  words  of 
his  text,  began  and  finished  phrases  out  of  tempi, 
and,  beyond  all  these  and  other  mistakes,  his  voice 
cracked  and  broke  to  pieces  on  all  his  high  notes. 
Maestro  Zuccani  was  patient  and  kind  until  he 
wearied  of  correcting  the  struggling  Caruso.  Then 
my  conductor  lost  his  temper,  and  turning  to  me 
declared  that  it  was  impossible  to  take  this  tenor 
to  the  footlights.  Vergine  and  Caruso,  furiously 
angry  with  Zuccani,  left  the  theater  in  tears.  After 
this  experience  I  did  not  hear  from  them  for  a  long 
time." 

For  all  the  discouragement  which  fell  so  heavily 
upon  Caruso  through  his  failure  to  grasp  an  alluring 
opportunity  to  appear  in  an  opera  house  of  the  first 
rank,  the  tenor  was  not  defeated.  Soon  after  his 
experience  with  Daspuro  and  Zuccani  he  was  ap- 
proached by  a  professor  of  the  contrabass  who  had 
played  often  with  Caruso  in  church.  He  spoke  to 
his  younger  friend  of  "a  very  good  chance  to  make  a 


46  ENRICO    CARUSO 

debut/'  A  young  maestro,  of  considerable  financial 
means,  Mario  Morelli  by  name,  had  written  his  first 
opera  and  was  planning  to  present  it  before  privately 
invited  audiences.  The  opera  was  in  four  acts, 
with  the  tenor  character  serving  as  the  protagonist. 
"You  would  have  nearly  two  months  in  which  to 
study  your  part,"  explained  the  contrabass  professor, 
"and  the  appointment  would  bring  you  eighty  lire 
for  not  less  than  four  performances.  I  advise  you  to 
accept/'  Himself  unwilling  to  decide,  Caruso  replied, 
"Go  to  Vergine ;  whatever  he  tells  me  to  do  I  will 
do."  Vergine  examined  the  music  of  the  tenor  role, 
and  instantly  recommended  his  pupil  to  accept  the 
proposal.  Caruso  studied  his  part  in  the  opera, 
"L'Amico  Francesco,"  which  presented  him  as  a 
man  of  about  fifty.  He  was  amused  that  Signor 
Ciabo,  the  baritone  engaged  to  appear  in  the  char- 
acter of  the  tenor's  adopted  son,  was  nearly  sixty 
years  old.  Nothing  interfered  with  the  progress  of 
preparations  until  the  night  of  the  general  rehearsal. 
Then,  while  Caruso  was  dressing,  he  discovered  that 
he  was  lacking  shoes  and  stockings,  and  also  a  scarf 
which  it  was  necessary  to  have  tied  about  his  neck. 
A  request  for  these  articles  brought  from  the  costumer 
no  more  than  a  laugh.  A  few  moments  later  the 
regisseur  entered  the  tenor's  dressing  room  and  in- 
quired, "Are  you  ready?"  "Yes,"  replied  Caruso, 
"  if  you  like."  Departing  in  anger  the  regisseur  re- 
turned presently  with  Morelli,  who  demanded, 
"Why  are  you  without  the  necessary  parts  of  your 
costume  ?  I  paid  you."  Caruso  answered  that  he 
considered  eighty  lire  to  be  no  more  than  money 


DEBUTS  47 

enough  to  buy  a  good  dinner  before  each  of  the  four 
performances,  an  opinion  in  which  the  composer  at 
length  concurred.  So  Morelli  sent  out  for  the 
needed  wearing  apparel,  and  the  general  rehearsal 
commenced. 

Some  music  experts,  who  were  not  friendly  to  the 
young  Caruso,  had  expressed  doubts  that  he  would 
be  able  to  finish  the  four  performances  of  "L'Amico 
Francesco."  Stories  of  the  tenor's  light  voice,  and 
Vergine's  method  of  cultivating  it,  had  gotten  abroad. 
The  music  was  looked  upon  as  being  too  strong  for 
Caruso.  So  these  experts  sat  back  in  their  seats, 
in  the  Nuovo  Theater,  on  a  November  evening,  1894, 
expecting  a  fiasco,  and  hoping,  after  the  manner  of 
their  kind,  that  it  would  occur.  Events,  however, 
brought  no  such  outcome.  That  first  representation 
went  rather  well  for  the  tenor,  vindicating  the  judg- 
ment of  his  maestro,  who  predicted  for  his  pupil  in 
the  second  performance  of  the  opera,  two  evenings 
later,  a  more  pronounced  success. 

Neither  "L'Amico  Francesco"  nor  its.  tenor  pro- 
tagonist moved  many  who  were  present  at  the  two 
performances  on  November  16  and  18  to  enthuse. 
In  fact,  so  slight  was  the  impression  caused  by  the 
opera  that  its  composer  and  patron  abandoned  the 
proposed  two  final  representations.  Whatever  dis- 
appointment he  may  have  felt,  Morelli's  gratitude 
for  what  Caruso  had  done  prompted  him  to  present 
the  tenor,  in  addition  to  his  guaranteed  cachet,  with 
a  bonus  of  fifty  lire.  Moreover,  the  composer  assured 
Caruso  that  he  might  expect  an  invitation  to  sing 
in  the  premiere  of  his  next  opera,  on  which  he  was 


48  ENRICO    CARUSO 

then  at  work.  It  was  never  given,  for,  not  long 
afterward,  Morelli  died. 

For  Caruso,  however,  those  appearances  in 
"L'Amico  Francesco"  held  potential  rewards.  He 
had  achieved  a  debut  with  moderate  success ;  and 
his  singing  during  the  second  representation  en- 
listed the  increased  favor  of  at  least  two  persons 
who  were  in  positions  to  aid  in  advancing  him  in  his 
career.  One  was  a  famous  theatrical  agent,  Fran- 
cesco Zucchi ;  the  other  Carlo  Ferrara,  impresario 
of  the  Cimarosa  Theater,  at  Caserta,  who  had 
journeyed  to  Naples  in  search  of  a  tenor  for  a  season 
of  opera  he  planned  to  hold  during  the  Quaresima, 
in  1895.  Zucchi,  who  had  followed  closely  the  en- 
deavors of  the  tenor  debutant,  became  convinced 
after  his  second  appearance  that  he  possessed  the 
qualities  of  a  future  great  artist.  To  Zucchi,  the 
singer  became  at  once  the  nicu  Caruso  (nicu,  in  the 
Sicilian  dialect,  means  "  little  ")  ;  and  going  to  him 
the  agent  proceeded,  with  the  sweeping  authority  for 
which  he  was  noted,  to  place  him  under  his  protect- 
ing wings. 

Zucchi  was  at  that  time  a  sort  of  character.  He 
had  retired  from  the  stage  because  of  advancing 
years  ;  but  he  still  had  left  his  old-time  aggressive- 
ness, and  a  loyalty  which  had  drawn  about  him  a 
host  of  second-rate  artists  who  looked  upon  him  as 
their  firm  protector.  The  agent  had  a  sort  of  head- 
quarters in  the  unpretentious  Cafe  dei  Fiori,  situated 
in  Naples's  via  del  Municipio  ;  and  here  he  ministered 
to  his  followers  ruling,  if  with  rough  ways,  out  of  a 
kindly  heart. 


DEBUTS  49 

Tall,  with  square  shoulders  a  la  Tamagno  (though 
thinner  than  the  celebrated  tenor),  Zucchi  had  dyed 
to  a  deep  henna  a  moustache  which  bristled  upwards 
towards  his  freckled  cheeks.  His  appearance  was 
accentuated  in  ferocity  by  fluffy  hair,  which  he  wore 
after  the  manner  of  Raffaello  Sanzio.  Zucchi  was 
ever  ready,  as  a  good  Sicilian,  to  defend  his  charges 
against  the  claws  of  the  Milanese  agents.  He  always 
sat  at  the  head  of  the  presiding  table ;  and  in  every 
controversy  he  was  the  first  and  the  last  one  to  speak. 
When  an  impresario  from  any  near-by  mountain 
community  came  to  Naples  to  form  an  opera  com- 
pany, Zucchi  was  prepared  to  supply  a  tenor  who 
could  spin  out  the  tone  like  Gayarre,  or  one  who  had 
three  such  C's  as  Tamagno  possessed.  If  a  prima 
donna  were  sought,  the  singer  Zucchi  offered  had 
high  notes  which  would  put  to  shame  those  of  Adelina 
Patti  herself;  while  his  bassos  —  if  bassos  happened 
at  the  moment  to  be  specifically  in  demand  —  had 
low  Ps  that  boomed  as  loud  as  the  big  gun  mounted 
on  adjacent  castle  walls.  To  an  impresario  who 
solely  needed  a  comprimario  singer,  Zucchi  would  say, 
"I  have  no  second-role  artists,  but  to  accommodate 
you,  my  good  friend,  I  will  have  one  of  my  first 
tenors  —  who  usually  receives  one  thousand  lire  a 
performance  —  save  the  situation  by  singing,  for  this 
time  only,  a  secondary  part."  The  first  tenor  in 
question  might  later  sign  with  the  impresario  for 
ten  lire  an  appearance  (happy  of  this  chance  to  be 
certain  of  eating  during  the  ensuing  few  months)  ; 
but  momentarily  his  honor  had  been  preserved  —  by 
the  protecting  Zucchi. 


50  ENRICO    CARUSO 

II 

The  contract  for  Caruso's  first  appearance  in 
Caserta  was  negotiated  between  acts  during  one  of 
the  performances  of  "  L'Amico  Francesco."  He  was 
visited,  while  dressing,  by  Impresario  Ferrara  of  the 
Cimarosa  Theater,  and  his  attorney ;  and  within  a 
few  minutes  all  the  arrangements  had  been  made. 
The  tenor  once  told  of  the  thrill  this  experience  had 
brought  him.  He  was  impressionable  ;  his  imagina- 
tion moved  him  to  peer  into  the  future ;  but  he  did 
not  visualize  overwell.  He  was  taking  his  first  pro- 
fessional steps ;  who  can  blame  him  if  he  did  not 
perceive  a  few  that  might  falter.  He  sang  promis- 
cuously between  November  and  April,  in  which  month 
was  the  opening  of  the  Cimarosa  Theater  season ; 
then,  with  a  light  heart,  he  boarded  a  train.  This 
engagement,  the  tenor  believed,  would  send  his 
artistic  value  either  up  or  down. 

"Cavalleria  Rusticana"  introduced  the  young 
singer  to  Caserta  —  with  Mme.  Elena  Bianchini- 
Cappelli,  as  Santuzza,  and  Enrico  Pignataro  in  the 
role  of  Alfio.  In  their  reviews  of  the  next  day  the 
newspaper  writers  commented  upon  a  conflict  be- 
tween the  voice  of  Caruso  and  his  music  ;  his  acting 
they  pronounced  "awful."  There  was  not  much 
praise  for  his  Faust  in  the  Gounod  opera  of  that  name, 
in  which  he  had  as  principal  associates  Mme.  Moscati- 
Ferrara  for  the  Marguerite,  Pignataro,  the  baritone, 
and  a  basso  named  Sternajuoli.  An  unknown  opera, 
"Camoens",  by  a  Maestro  Musoni,  was  also  per- 
formed, and  soon  after  forgotten.  The  slender 


CARUSO  AS  TURIDDU,  WITH  ELENA  BIANCHINI-CAPPELLI  AS  SANTUZZA, 
IN   "  CA VALLERIA   RUSTICANA  " 

His  first  appearance  in  standard  opera,  Cimarosa  Theater,  Caserta,  1893- 


DEBUTS  51 

audiences  did  not  make  for  enthusiasm,  nor  always 
for  enough  money  to  permit  every  artist  to  be  paid. 
On  more  than  one  occasion  the  young  tenor  was 
obliged,  before  he  could  eat  breakfast,  to  ask  Impre- 
sario Ferrara  for  his  ten  lire  cachet  he  had  earned  the 
night  before.  This  poor  business  brought  the  season 
to  a  somewhat  abrupt  end,  sending  Caruso  home- 
wards with  twelve  cents  to  show  for  his  four  weeks' 
work. 

The  singer,  however,  was  not  seriously  disturbed 
by  this  small  misfortune,  and  June  found  him, 
one  bright  afternoon,  waiting  like  Micawber  for 
something  to  turn  up.  In  the  midst  of  a  game  of 
cards,  at  which  he  was  engaged  in  Bella  Napoli  alia 
Ferrovia  —  a  little  restaurant  which  he  haunted  not 
far  from  his  Sant'  Anna  alle  Paludi  home  —  the  singer 
was  interrupted  by  hearing  his  name  called  aloud. 
He  looked  up ;  there  stood  the  impresario  of  the 
Bellini  Theater,  who  had  come  in  search  of  him. 
It  appeared  that  the  tenor  who  had  been  engaged  to 
sing  in  a  special  Sunday  evening  performance  of 
"Faust"  had  suddenly  fallen  ill.  Pignataro,  the 
baritone,  who  had  sung  with  Caruso  during  the 
Caserta  season,  had  suggested  his  name  ;  so  here  was 
another  opportunity,  a  better  one  than  any  that  had 
gone  before.  The  fee  was  twenty-five  lire  —  the 
highest  Caruso  had  yet  received  —  and  it  was  pressed 
upon  him  by  an  anxious  manager,  gratified  perhaps 
thus  to  show  his  relief  over  an  averted  disaster  to  his 
advertised  performance.  There  was  no  further  card 
game  that  day  for  Enrico  Caruso.  He  departed 
almost  on  the  heels  of  the  impresario ;  and  within 


52  ENRICO    CARUSO 

the  hour  had  purchased  a  pair  of  white  silk  trousers 
as  well  as  a  pair  of  white  kid  shoes.  The  next  day, 
Sunday,  he  strode  forth  —  "the  envy  of  my  less 
well-garbed  comrades." 

That  special  Faust  representation  brought  the 
tenor  a  success  greater  than  he  had  expected.  After 
the  Salve  Dimora  Casta  e  Pura  romanza  of  the  third 
act  his  name  was  on  many  a  tongue.  At  the  close 
of  the  opera  the  impresario  offered  him  a  four  weeks' 
engagement  for  the  approaching  autumn,  at  the  same 
theater.  The  tenor  was  happy,  for  at  the  age  of 
twenty-two  he  found  himself  assured  of  regular  ap- 
pearances and  cachets  in  a  season  which  was  virtually 
certain  to  go  through  to  the  end.  Nor  was  that  all, 
for,  after  a  Bellini  Theater  appearance  in  "  Rigo- 
letto  ",  in  July,  Caruso  received  an  invitation  to  sing 
for  one  month  in  Cairo,  Egypt,  at  the  then  to  him 
astounding  figure  of  six  hundred  lire.  (Enrico 
Santini,  impresario  of  the  Esbekieh  Theater,  of  Cairo, 
has  placed  the  amount  at  the  somewhat  lower  figure 
of  sixteen  pounds.) 

"  I  made  the  voyage  on  an  English  boat,"  declared 
Caruso.  "By  the  second  day  out  from  Naples 
everybody  on  board  knew  that  they  had  with  them 
a  tenor,  so  a  concert  was  arranged.  The  conse- 
quences were  not  unlike  those  which  happened  after 
I  had  first  sung  for  my  regimental  comrades  in  Rieti. 
I  was  asked  to  sing  oftener  than  I  thought  was  good 
for  my  voice.  Going  one  night  to  the  bar  for  a  glass 
of  wine,  I  found  the  room  noisy  with  the  laughter 
of  a  group  of  young  Englishmen.  They  greeted 
me  with  enthusiasm  and  loudly  demanded  a  song. 


DEBUTS  S3 

'No,  if  you  please/  I  answered.  'I  have  come  for 
my  wine,  then  I  must  retire/  I  started  toward  the 
bar,  only  to  be  surrounded  by  these  young  men  — 
some  laughing,  others  merely  smiling,  though  all  of 
the  one  mind  that  I  should  sing  them  a  song.  They 
continued  good-naturedly  to  urge,  and  I  as  good- 
naturedly  asked  to  be  excused.  Finally  one  of  their 
number  said  to  me,  'You  will  sing  for  us  just  one 
song,  and  then  we  will  make  you  a  nice  present ; 
if  you  don't  sing  we  will  let  you  take  a  bath  in  the 
Suez  Canal/  I  of  course  preferred  to  sing  —  not 
the  solitary  song  requested,  but  several  times. 
Immediately  after  my  last  song  the  young  man  who 
had  been  the  spokesman  took  his  hat  and  went  around 
to  his  companions ;  and  into  that  hat  these  English- 
men dropped  many  pounds  sterling,  until  one  hundred 
of  these  banknotes  had  been  gathered.  I  was  much 
pleased  and  made  to  feel  rich.  Never  before  had  I 
had  at  one  time  so  large  a  sum.  I  am  not  ashamed  to 
say  that  now  (1920),  for  at  that  time  one  hundred 
pounds  was  like  $100,000  to  me  to-day." 

Egypt  offered  to  the  tenor  new  opportunities, 
which  he  dutifully  seized.  One  of  them  was  a  first 
appearance  in  the  "Manon  Lescaut"  of  Puccini, 
a  role  he  had  learned  with  Maestro  Enrico  Santini, 
a  nephew  of  the  impresario.  Caruso  sang  also  in 
"Cavalleria  Rusticana",  "Rigoletto",  and  "La 
Gioconda",  under  the  baton  of  Conductor  Alfredo 
Sarmiento.  It  was  Sarmiento  who  afterward  be- 
came his  accompanist  and  prepared  him  for  his 
introductory  "L'Elisir  d'Amore"  in  which,  during 
1901  at  La  Scala,  he  overwhelmed  a  captious  audience. 


54  ENRICO    CARUSO 

Mme.  Bianchini-Cappelli  and  Vittorio  Ferraguti,  a 
baritone,  were  members  of  the  Cairo  company. 
Other  matters  than  singing,  however,  found  attraction 
for  the  tenor.  It  was  summer  ;  the  skies  were  clear  ; 
and  two  feminine  vaudeville  singers  consumed  some 
of  the  leisure  moments  he  and  Ferraguti  had  to  spare. 
The  situation,  though,  was  odd  ;  for  the  women  could 
not  speak  Italian,  nor  were  Caruso  and  the  baritone 
able  to  converse  in  any  language  than  their  own. 
So  the  couples  communicated  with  one  another  by 
making  signs.  Once,  attending  a  representation 
of  "Rigoletto",  the  Egyptian  entertainers  fell  into 
ecstasies  over  the  costumes  of  their  "adored"  ones  — 
their  voices  interested  them  least  of  all. 

Signora  Bianchini-Cappelli,  who  had  been  a  fellow 
student  of  Caruso  in  the  Vergine  studios,  relates  an 
experience  she  had  with  the  tenor  at  his  Cairo  pre- 
miere of  "Manon  Lescaut."  Only  five  days  had  been 
given  them  to  learn  the  Puccini  score,  and  Caruso 
had  found  difficulty  in  memorizing  the  final  act. 
At  the  performance  all  went  reasonably  well  until 
the  scene  where  Manon  lies  on  the  ground  dying, 
and  begs  Des  Grieux  to  go  in  search  of  water  for 
her. 

"Enrico  had  gone  off  the  stage,  according  to  the 
action  required,"  explained  Signora  Bianchini-Cap- 
pelli. "I  was  suddenly  startled  to  hear  him  call  to 
me  from  the  wings,  '  Don't  move  ;  I  am  going  to  put 
the  score  against  your  back  —  otherwise  I  cannot 
proceed.'  Then  he  returned  to  where  I  was  lying, 
the  score  of  the  opera  concealed  from  the  audience's 
view.  Never  have  I  felt  such  embarrassment  before 


DEBUTS  55 

the  public.  I  was  supposed  to  be  dying,  and  had 
gestures  to  make  and  movements  of  my  body.  But 
with  that  score  propped  against  my  shoulders,  and 
realizing  what  it  meant  to  Enrico,  I  was  helpless  to 
do  more  than  hold  as  still  as  possible,  serving  as  a 
human  music  rack  for  my  comrade.  And  what  did 
the  rascal  do  ?  He  was  bursting  to  laugh  !  I  could 
feel  that  he  was,  and  the  thought  made  me  furious ; 
for  I  had  to  die  lying  quite  still,  and  with  no  chance 
to  make  any  effect.  When  the  curtain  fell  I  rose 
and  chased  Enrico,  and  threw  the  score  at  him,  which 
he  had  dropped  in  his  flight.  Later  we  made  up. 
Of  course,  there  came  a  good  laugh  —  not  only  over 
that  situation  but  over  the  mistakes  we  had  made 
with  the  words,  and  the  new  music  we  had  sung  in- 
stead of  what  Puccini  had  written  —  which  had  quite 
gone  from  our  heads." 

There  were  also  other  experiences  of  a  differ- 
ent sort :  sight-seeing  excursions,  visits  to  unusual 
spots,  and  a  trip  on  the  Nile  to  the  famous  pyramids. 
This  last  was  made  with  Maestro  Santini,  in  a  small 
boat  that,  accidentally  capsizing,  deposited  the 
occupants  in  murky  waters  from  which  both  were 
rescued  with  mud  plastered  to  their  clothing.  In 
their  plight  the  singer  and  his  companions  sought 
a  carriage,  though  without  success.  Fearful  that 
the  muddy  garments  would  leave  marks  on  the 
seat  cushions,  each  driver  refused  stonily  the  plead- 
ings of  the  would-be  fares.  Two  donkeys  finally  had 
to  serve  Caruso  and  Santini.  Astride  these  small 
animals  they  rode  through  streets,  to  the  great 
amusement  of  beholders. 


56  ENRICO    CARUSO 

Caruso  did  not  return  to  Naples  on  board  an 
English  steamer.  He  engaged  passage  on  an  Italian 
boat,  and,  as  he  expressed  it,  "in  the  nice,  rich 
suite  which  was  steerage  —  because  my  poor  one 
hundred  pounds  had  been  so  maltreated  during  my 
first  days  in  Cairo  that  it  flew  completely  away." 
Good  fortune,  though,  had  not  departed  with 
it.  No  sooner  had  the  steamer  been  made  fast 
at  its  dock  than  a  representative  of  the  impre- 
sario of  the  Mercadante  Theater  greeted  Caruso, 
and  offered  him  seven  hundred  and  fifty  lire  a 
month  to  sing  during  the  coming  winter.  Here 
was  news  to  offset  the  illness  of  a  rough  passage 
from  Egypt. 

October  came  soon  enough,  bringing  the  Bellini 
Theater  season  into  the  foreground.  Stories  of 
Caruso  had  been  traveling  about ;  so  there  was  some 
special  interest  in  the  "Rigoletto"  opening  for  which 
the  tenor  was  cast  to  sing  the  role  of  the  Duke. 
Hazardous  indeed  was  the  task  any  tenor  undertook 
in  those  days.  Small  jealousies  were  ever  loose  ;  a 
singer  had  to  be  judged  by  others  than  certain  envi- 
ous companions.  It  proved  to  be  so  in  this  instance, 
—  as  Caruso  discovered  when  he  walked  out  upon 
the  stage,  and  toward  the  foot-lights.  For  there, 
occupying  the  entire  first  row  where  he  could  easily 
see  them,  were  all  the  best  tenors  Naples  possessed 
at  that  time.  The  position  was  both  trying  and 
exasperating.  When  the  representation  was  finished, 
the  victim  of  this  quasi-cabal  went  solemnly  home. 
What  did  it  mean  ?  In  the  morning  he  found  out. 
In  all  the  music  circles  of  the  city  there  hovered  a 


DEBUTS  57 

principal  theme :  Caruso  was  the  great  fake  of  the 
artistic  world,  a  mere  nothing  in  comparison  with 
each  tenor  who  posed  as  his  judge.  • 

"  Faust "  brought  the  singer  no  better  fortune.  He 
was  easily  dispirited ;  and  brooding  over  this  ill- 
fortune  did  him  no  good.  His  engagement  con- 
cluded, he  experienced  a  degree  of  solitude,  so  far 
as  attracting  the  attention  of  impresari  was  con- 
cerned. None  went  to  see  him ;  it  was  a  question 
in  the  tenor's  mind  whether  any  would  care  to 
seek  again  his  services  until  opportunity  came 
to  correct  in  some  measure  the  poor  impression 
he  had  caused.  So  the  months  slipped  by,  until 
the  Mercadante  season  arrived —  when  the  wheel 
of  circumstance  once  more  took  a  propitious 
turn. 

There  had  been  no  formal  announcement  of 
Caruso's  engagement ;  his  name  had  no  place  in  the 
prospectus.  Through  the  courtesy  of  Federico  Can- 
dida, of  Naples  (who  provided  the  information  from 
the  manuscript  of  his  book  on  the  history  of  opera 
in  the  theaters  of  Italy,  soon  to  be  published),  it 
seems  that  not  until  November  29,  1895,  did  the 
name  "Caruso"  appear  on  a  poster  outside  the 
Mercadante  Theater  —  announcing  him  for  an  ap- 
pearance in  "La  Traviata",  with  Mme.  Kate  Bens- 
berg  as  Violetta,  and  Ludovico  Magni  in  the  part 
of  Germont.  This  same  opera  had  opened  the  season 
only  six  nights  before,  with  Signer  Potenza  as  Alfredo 
and  Maestro  Sebastiani  conducting.  Reading  the 
name  of  a  new  tenor,  some  of  the  people  exclaimed, 
"Who  is  this  Caruso  ?"  The  question  was  answered 


$8  ENRICO    CARUSO 

a  few  hours  later  to  an  audience  which  pronounced 
him  passable. 

In  those  days  the  singer  had  no  opportunity  to 
coddle  his  voice.  During  later  years,  after  it  had 
become  precious  to  both  impresari  and  public,  two 
appearances  in  any  week  —  three  at  the  most  — 
came  to  be  regarded  as  a  maximum  to  impose  upon 
it.  That  season  at  the  Mercadante  was  for  Caruso 
one  of  strenuous  work ;  he  occasionally  sang  twice 
on  the  same  day. 

He  did  this  on  December  15,  1895,  appearing  in 
a  matinee  performance  of  Bellini's  "Romeo  e  Giu- 
lietta"  and,  that  evening,  in  "La  Traviata."  De- 
cember 26  presented  the  tenor  first  in  "  Rigoletto", 
then  in  "Romeo  e  Giulietta."  Within  twenty-four 
hours  he  was  called  upon  for  an  afternoon  repre- 
sentation of  "Traviata",  and  after  he  had  eaten 
dinner  he  proceeded  to  the  theater  to  be  heard  as  the 
Duke  in  "Rigoletto."  Two  days  intervened,  where- 
upon —  having  nothing  else  to  do  —  Caruso  sang 
a  New  Year's  Day  matinee  in  "Traviata"  and  a 
night  performance  of  "Rigoletto."  It  would  have 
been  a  task  with  sufficient  rest  in  between,  but  this 
was  not  possible  ;  every  week  day  was  a  singing  day 
for  the  struggling  Neapolitan.  He  wanted  the  expe- 
rience of  routine  ;  well,  he  was  getting  it. 

Caruso  made  enough  of  his  numerous  opportunities 
to  move  the  critics  to  commend  his  voice  as  fresh, 
clear,  and  of  penetrating  effect.  He  sang  in  "  La 
Traviata"  fifteen  times  before  his  engagement  was 
concluded;  the  opera  "Rigoletto"  required  his 
services  on  ten  occasions;  in  "Romeo  e  Giulietta" 


A    CARD    TO    DON    ANTONIO    MAZZARELLA,     OF    CASERTA,    AT    A 
PERIOD   WHEN  CARUSO  WAS   STRUGGLING   FOR  A  LIVING 

Naples,  31  January  1895 
My  dear  Don  Antonio, 

Answering  your  invitation  I  inform  you  that  I  accept,  but  with  the  condition  of  the 
feeofL.  15  and  the  railroad  fares.  I  make  this  price  only  for  you  and  because  you 
have  remembered  me,  otherwise  they  should  have  to  pay  me  28  Lire. 

Today  I  will  go  around  to  find  that  piece  of  music  by  Paisiello  and  as  soon  as  I  find 
it  I  will  study  it  and  then  I  will  send  it  to  you. 

If  you  wish  to  send  me  the  piece  you  have,  rush  it  to  me  and  let  me  know  the  train 
I  shall  take  to  come  there. 

Thanking  you  I  salute  you 

Respectfully, 

Enrico  Caruso 


DEBUTS  59 

he  appeared  in  the  role  of  Tebaldo  before  fifteen 
audiences;  while  in  "Faust",  essayed  for  the  first 
time  in  this  season  on  January  n,  1896  (with  Si- 
gnore  Franco  and  Riso,  Signori  Bonini  and  Rossato, 
and  with  Vincenzo  Galassi  conducting),  Caruso  had 
three  appearances.  He  finished  his  endeavors  there 
on  February  18,  as  the  Duke.  His  associates  in 
"Rigoletto"  had  been  Signora  Franco  as  Gilda  and 
Vittorio  Ferraguti  as  the  Jester,  and,  for  conductor, 
Maestro  Galassi.  Under  the  baton  of  Maestro 
Sebastiani,  "Romeo  e  Giulietta"  had  enlisted  as 
Romeo  the  services  of  Signora  Emma  Carelli,  who 
has  since  become  the  celebrated  impresaria  (at  the 
Costanzi,  of  Rome)  of  to-day,  while  Signora  Franco 
sang  the  Giulietta. 

That  Mercadante  season  went  on  until  the  final 
day  of  the  Carnevale,  in  February,  1896.  Several 
other  operas  had  been  performed,  "II  Trovatore", 
"Ugonotti",  "La  Forza  del  Destine",  "Fra  Dia- 
volo",  "II  Matrimonio  Segreto",  "Giannina  e  Ber- 
nardone",  and  "La  Favorita",  —  in  none  of  which 
had  Caruso  appeared.  His  progress  had  neverthe- 
less been  marked.  And  in  "Faust",  particularly, 
were  his  accomplishments  held  to  have  been  the 
most  serious  he  had  achieved. 

Also  in  February  the  Sicilian  agent,  Zucchi, 
undertook  to  give  some  special  performances  of 
"Faust"  in  Caserta.  He  had  invited  Caruso  to  be 
one  of  the  company  members,  with  results  disastrous 
to  him  and  all  the  others  too.  Most  of  these  Caserta 
audiences  were  peasants.  They  did  not  appreciate 
the  artistic  value  of  bel  canto  singing,  so  with  char- 


60  ENRICO    CARUSO 

acteristic  vehemence  they  objected  —  after  the  sec- 
ond act  of  the  opening  presentation  —  to  each  of 
the  artists  —  and  with  such  fury  that  the  season, 
then  and  there,  met  an  unexpected  demise. 

No  sooner  had  Caruso  returned  to  Naples  than 
Impresario  Giulio  Staffelli  put  the  tenor  into  a 
short  season  at  the  Bellini  Theater.  There  he  sang 
in  "La  Traviata",  "Rigoletto",  "Faust",  and  "  La 
Favorita"  under  Maestro  Siracusa,  striving  with 
seriousness  and  energy  to  make  every  phrase  tell. 
He  also  sang  in  a  new  opera  "  Mariedda",  by  Gianni 
Bucceri. 

He  was  rewarded,  after  one  of  these  Bellini  Theater 
performances,  by  receiving  an  offer  from  Signor 
Cavallaro,  one  of  the  best-known  tournee  impresari 
of  that  time,  who  wished  to  make  a  several  months' 
tour  through  Sicily,  of  a  place  in  his  company.  The 
fee  was  to  have  been  six  hundred  lire  a  month,  a  sum 
which  was  still  tempting  enough  to  the  tenor  to 
induce  him  to  accept.  He  was  troubled  at  the  time. 
The  departure  of  his  brother  Giovanni  with  his 
regiment,  for  Massaua  (Africa),  to  engage  in  the 
Italian-Abyssinian  War  so  depressed  Caruso  that 
his  impresario  feared  he  could  not  sing  the 
Mercadante  performance  on  that  —  February  8  — 
night.  But  he  did.  He  finished  the  remaining 
appearances  scheduled  for  him ;  and  boarding  ship 
sailed  for  the  island  to  the  south. 

The  opening  of  the  Sicilian  tour  was  scheduled 
for  Trapani,  in  the  Municipal  Theater  of  that  par- 
ticular town.  Caruso  found  the  home  of  Enrico 
Pignataro,  a  baritone  member  of  the  company,  an 


DEBUTS  61 

inexpensive  place  in  which  to  live ;  and  he  sang 
well  enough  the  preliminary  rehearsals  of  "Lucia  di 
Lammermoor"  to  satisfy  those  mainly  concerned. 
Then  came  the  day  for  the  general  rehearsal.  At 
two  o'clock  that  afternoon  Caruso  sat  d'own  with 
his  baritone  friend  for  the  dinner  which  must  serve 
until  after  the  evening  performance  should  be  over. 
He  drank  no  more,  he  declared,  than  the  amount  to 
which  he  had  been  accustomed  at  home ;  what  he 
apparently  failed  to  take  into  account  was  the 
heavier  character  of  Sicilian  wine,  for  when  he  at 
length  attempted  to  rise  from  the  table  the  tenor 
discovered  that  both  his  legs  and  his  head  were 
unsteady.  Insisting  that  a  walk  in  the  air  would 
help,  the  baritone  took  his  younger  companion  out 
of  doors.  Perhaps  had  he  been  content  to  cease  his 
ministrations  all  might  have  gone  well.  Instead, 
however,  a  bracer  was  mixed  for  the  still  dizzy 
Caruso  —  and  that  settled  matters  completely.  He 
was  forced  to  lie  down.  Hours  passed  ;  eight  o'clock 
arrived,  an  audience  assembled  in  the  municipal 
theater,  and  an  infuriated  impresario,  learning  of 
the  non-arrival  of  his  principal  tenor,  sought  an 
explanation  of  the  baritone.  Then  the  truth  came 
out.  Caruso  was  still  asleep  when  theater  attaches 
reached  him.  It  was  nearly  one  hour  afterward 
when  he  walked  upon  the  stage,  his  head  by  no 
means  so  clear  as  it  should  have  been  for  the  impor- 
tant task  of  a  debut. 

The  opening  scene  progressed  well  enough  before 
the  audience  whose  annoyance  over  the  long  wait 
had  almost  subsided.  Caruso's  voice  was  respond- 


62  ENRICO    CARUSO 

ing ;  only  the  text  was  less  clearly  fixed  in  his  mind 
than  the  music.  Presently  came  the  words,  Le 
Sorti  delta  Scozia  (the  fate  of  Scotland).  Why  he 
should  have  sung  Le  Volpi  della  Scozia  (the  Foxes 
of  Scotland)  the  tenor  was  never  able  to  explain. 
No  sooner  had  the  words  been  delivered  than  there 
ensued  mingled  murmurings,  which  gradually  swelled 
into  a  tumult.  In  vain  the  impresario  sought  to 
restore  order.  The  curtain  had  to  be  rung  down,  and 
thereupon  excuses  were  made  for  the  singer,  who, 
it  was  announced,  had  not  recovered  from  the  effects 
of  his  sea  voyage.  When  the  opera  performance 
proceeded,  it  was  without  a  tenor. 

Despite  this  incident,  and  to  his  surprise,  he  was 
allowed  to  appear  in  the  first  public  presentation  of 
"Lucia  di  Lammermoor",  on  the  following  night. 
It  is  perhaps  not  to  be  wondered  at  that  he  barely 
managed  to  get  through.  Nor  was  it  an  evening 
devoid  of  incident.  Beginning  to  sing,  Caruso  was 
heartened  by  the  encouragement  called  out  by 
some  of  the  friendly  disposed  members  of  the  au- 
dience. But  no  sooner  was  it  proffered  than  persons 
otherwise  disposed  voiced  their  protests.  "  Le  Folpi 
della  Scozia!"  they  shouted;  and  instantly  there 
were  created  two  factions,  each  striving  in  its  clamor 
to  outdo  the  other.  Throughout  each  act  it  con- 
tinued until,  his  courage  broken,  Caruso  finished 
his  part  with  his  voice  weak  and  almost  out  of 
control. 

He  was  startled  upon  emerging  from  the  theater 
to  discover  a  group  of  young  men  gathered  about  the 
stage-door  entrance.  Caruso  hesitated,  fearful  that 


DEBUTS  63 

physical  violence  was  to  be  done  him.  In  this, 
however,  he  was  mistaken,  for  immediately  the 
leader  spoke,  saying,  "What  is  the  matter?  We 
tried  to  encourage  you,  and  you  took  no  notice." 
Then  these  Trapani  supporters  escorted  their  tenor 
to  his  lodging,  urging  him  to  "be  prepared  for  to- 
morrow", although  realizing  that  by  their  injudicious 
applause  they  had  not  helped  his  cause. 

Morning  came ;  and  after  breakfasting  in  a  little 
cafe  Caruso  caught  sight  of  the  impresario.  To  the 
tenor's  salute  and  inquiry  Cavallaro  replied  briefly, 
then  walked  away.  Wondering  what  this  might 
mean,  the  singer  sought  his  baritone  friend,  who 
excused  himself  hurriedly  on  the  pretext  of  an  appoint- 
ment. By  this  time  genuinely  troubled  Caruso  walked 
toward  the  theater.  On  the  way  he  met  different 
members  of  the  company,  all  of  whom  appeared 
distant  and  reserved.  Finally  he  met  the  opera 
company  secretary.  "Hah!"  exclaimed  the  latter, 
"I  was  looking  for  you.  I  have  a  letter." 

Caruso  opened  the  communication.  It  was  from 
Trapani's  opera  commission,  formally  protesting 
him  as  a  singer.  He  walked  dazedly  to  the  home 
of  the  baritone  and  showed  him  the  letter. 

"There  is  nothing  to  do,"  he  said,  "but  to  go 
back." 

"Then,"  answered  Caruso,  "you  must  find  a  way; 
I  have  no  money.  You  are  responsible  for  my 
position.  If  you  had  not  allowed  me  to  oversleep, 
I  should  not  have  been  late  at  the  general  rehearsal, 
and  all  these  things  could  not  have  happened " 
The  baritone  departed  and  returned  later  to  ex- 


64  ENRICO    CAR  USD 

plain  that  he  had  made  arrangements  for  passage  to 
Naples  with  the  sailing  master  of  a  vessel.  The 
passage  would  be  only  eight  lire;  but  since  such 
ships  were  prohibited  from  carrying  passengers 
Caruso  was  cautioned  not  to  go  aboard  until  after 
nine  o'clock  that  evening. 

He  was  preparing  to  leave  when,  from  the  court- 
yard below,  his  name  was  loudly  called.  It  was 
Secretary  Seciutto,  dispatched  by  his  impresario 
after  the  failure  of  the  company's  dramatic  tenor 
in  "Lucia  di  Lammermoor",  to  order  Caruso  to 
remain  in  Trapani.  There  had  been  an  uproar,  it 
seemed,  as  soon  as  the  audience  discovered  that 
instead  of  Caruso  they  were  listening  to  the  dramatic 
tenor  whom  he  resembled.  Then  the  people  had 
shouted:  "No!  No!  the  Fox  of  Scotland  is  the 
better  one."  Though  permitted  to  remain,  Caruso 
had  to  consent  to  accept  a  reduction  in  his  fee  to 
two  hundred  lire.  "For,"  explained  the  impresario, 
"  I  must  engage  another  tenor  for  the  place  of  this 
one  who  goes." 

At  the  second  performance  of  "  Lucia  di  Lammer- 
moor", in  which  Signor  Oddo,  the  new  tenor  ap- 
peared, Caruso  decided  to  be  present  in  order  that  he 
might  see  for  himself  what  would  happen.  He  paid 
two  and  a  half  lire  for  a  seat  in  the  fourth  row. 
"  It  was  reassuring  to  hear  the  things  spoken  about  me 
by  the  people  near  by,"  said  Caruso.  "But  the 
surprise  was  to  come.  No  sooner  was  my  presence 
discovered  than  I  was  taken  from  my  chair  and 
pushed  up  and  upon  the  stage.  And  standing 
there,  I  was  unwillingly  compelled  to  see  this  young 


DEBUTS  65 

tenor  (who  had  a  very  beautiful  voice)  led  from  the 
stage.  I  finished  his  part  in  the  opera  —  apparently 
to  the  satisfaction  of  the  audience." 

The  remainder  of  the  Trapani  engagement  was 
attended  by  no  further  disturbing  episodes.  One 
result,  however,  was  this :  Caruso  received  his  six 
hundred  lire  a  month ;  and  fifteen  years  later,  when 
he  chanced  again  to  be  passing  through  Trapani,  the 
people  recognized  him  and  greeted  him  with  cries 
of  "  Le  Volpi  della  Scozia" 

III 

The  arrival  in  Naples  was  attended  with  some 
measure  of  triumph.  Favorable  as  well  as  un- 
favorable reports  had  preceded  Caruso.  The  im- 
presari, the  maestri,  the  opera  singers  themselves, 
and  the  students  preparing  hopefully  to  be  of  their 
number,  all  knew  more  or  less  of  the  tenor's  Sicily 
tour.  They  were  curious  to  discover,  through  the 
next  appearances  of  this  young  artist,  whether  he  had 
in  truth  advanced.  This  speculation  was  put  speed- 
ily to  an  end  in  two  public  achievements  —  made 
possible  by  the  ever  faithful  Zucchi.  The  msyor 
of  Salerno,  preparing  for  his  city's  celebration  in 
1896  of  Italy's  Independence  Day  (the  first  Sunday 
in  June),  had  ordered  two  presentations  of  "Rigo- 
letto."  Commissioned  to  supply  the  artists,  Zucchi 
had  insisted  that  his  u  beddu  nicu  (fine-looking  little 
boy)  should  be  intrusted  with  the  role  of  the  Duke. 

Salerno's  opera-going  public  had  never  heard  of 
Enrico  Caruso  until  the  Saturday  evening  which 


66  ENRICO    CARUSO 

marked  the  beginning  of  the  celebration  of  1896. 
With  the  mayor  and  his  staff  among  those  present, 
the  singer  went  before  them.  He  was  seen  and  heard 
and  —  although  his  voice  broke  on  the  high  IB-flat 
near  the  end  of  the  duet,  'E  il  sol  dell '  anima  - 
conquered.  He  was  quite  as  favorably  received 
the  following  evening  by  a  Salerno  throng  which 
discounted  a  troublesome  top  note  in  such  a  voice. 
Admirers  of  the  unknown  tenor  immediately  sprang 
up,  one  of  whom  was  Enrico  Lorello.  To  this  music 
enthusiast,  who  could  not  forcibly  enough  express 
his  regard  for  the  Neapolitan,  Enrico  Caruso  was 
"the  coming  world's  greatest  tenor."  Lorello  re- 
peated his  prediction  to  every  one  he  met,  including 
Caruso  himself,  to  whom  he  said,  "  You  will  one  day 
be  the  greatest  of  the  greatest."  To  this  the  tenor 
had  smilingly  answered,  "Well  Lorello,  if  that  be  so, 
then  you  shall  be  my  secretary." 

Among  those  best  fitted  to  estimate  Caruso's 
qualities  aright  was  Maestro  Vincenzo  Lombardi, 
—  the  same  Lombardi  who  afterward  became  a 
famous  teacher  of  singing,  and  whose  opinions  com- 
manded such  widespread  respect.  Lombardi  was 
then  distinguished  as  musician  and  conductor.  When 
he  spoke,  others  obeyed  ;  wherefore,  summoned  by  the 
maestro,  Caruso  presented  himself  without  delay. 

Dismissing  preliminaries  of  any  sort,  Lombardi 
asked  the  tenor  if  he  had  ever  sung  in  "  I  Puritani ", 
which  it  was  his  intention  to  give  during  the  Salerno 
season  t6  be  opened  during  the  next  two  months. 

"I  explained  to  Lombardi,"  to  use  Caruso's  own 
words,  "that  I  had  never  attempted  to  sing  the  tenor 


DEBUTS  67 

role  in  'Puritani*  because  my  voice  was  too  short" 
(lacking  in  the  extreme  high  notes).  "The  manner 
of  Lombardi  was  not  altered  by  what  I  had  said. 
*  If  you  accept  for  the  money  we  can  pay,  I  will 
make  "  longer"  the  voice  —  because  you  do  not  know 
how  to  sing.' 

"  I  was  surprised  at  these  words,  yet  I  knew  Lom- 
bardi to  be  a  great  maestro ;  so  I  was  glad  to  accept 
at  once  his  offer  of  seven  hundred  lire  for  a  two  and  a 
half  months'  season.  I  began  very  soon  to  study  with 
Lombardi.  He  got  me  to  put  more  power  behind 
my  tones ;  and  although  I  did  not,  until  much  later, 
get  the  top  notes  as  I  should,  I  was  finally  able, 
through  his  instruction,  to  give  all  those  in  the 
'Puritani'  music  which  the  tenor  must  sing." 

The  Salerno  opening  at  length  arrived.  Impresario 
Visciani  chose  the  Verdi  Theater,  and  prepared 
well;  "I  Puritani"  was  presented  and  under 
Lombardi's  conductorship  won  a  merited  success. 
Apart  from  all  the  principals  who  participated  in  it 
stood  one  clearly  revealed.  All  the  hardships  and 
heartaches,  all  the  yearnings  and  sacrifices  were 
compensated  for  in  this  first  "Puritani"  that  Enrico 
Caruso  sang.  The  news  was  flashed  quickly  to 
Milan ;  then  with  almost  similar  speed  came  a 
letter  from  Milan's  La  Scala  impresario  inviting 
the  singer  to  create  the  tenor  part  in  the  opera  "II 
Signor  di  Pourceaugnac ",  by  Baron  Franchetti. 
Well  aware  of  the  value  of  his  "find",  Visciani 
would  not  release  him  when  the  request  was  made. 
Perhaps  it  was  just  as  well.  Certainly  Caruso 
suffered  nothing  in  his  career  through  having  to  defer 


68  ENRICO    CARUSO 

his  La  Scala  debut.  And  he  had  the  satisfaction  - 
after  one  "Puritani"  representation  —  of  being  vis- 
ited in  his  dressing  room  by  the  then  tenor-idol  of 
Italy,  Fernando  de  Lucia  who,  learning  of  the  Caruso 
acclaim,  had  come  from  Cava  specially  to  hear  for 
himself  what  this  possible  successor  might  be  like. 
De  Lucia  was  not  disappointed  ;  and,  tenor  though 
he  was,  he  congratulated  his  confrere  and  begged 
him  to  consider  well,  for  his  future,  the  need  of 
study. 

"I  Puritani"  was  followed  by  "Cavalleria  Ru- 
sticana  ",  also  with  Caruso ;  an  opera  in  which  he 
failed  to  equal  the  vocal  and  artistic  accomplishments 
attained  in  the  former  work.  Still,  this  did  not 
appear  to  influence  his  popularity  with  the  public. 
He  began  to  attract  the  attention  of  people  outside 
the  theater,  and  they,  wishing  to  pay  him  special 
consideration,  disputed  among  themselves  which 
should  have  him  for  this  occasion  or  that.  One 
admirer,  destined  for  a  time  to  be  conspicuous  among 
all  who  stalked  after  Caruso  during  his  waking  hours, 
was  don  Peppo  Grassi.  An  elderly  impresario  - 
rotund,  smiling,  and  having  the  gift  of  delicately 
sarcastic  speech  which  prevails  even  now  in  the 
columns  of  La  Frusta,  of  which  he  is  proprietor- 
editor  —  Grassi  fell  completely  under  the  Caruso 
spell.  His  daughter  Josephine,  studying  singing 
at  the  same  time  with  Lombardi,  did  still  more  than 
that.  Her  malady  was  love,  which  affected  her  at 
first  sight  of  the  young  tenor.  She  was  not,  it 
appeared,  to  endure  that  malady  quite  alone ; 
Caruso  too  was  stricken  with  it,  with  the  result  - 


DEBUTS  69 

somewhat   later  —  that   the   two  became    engaged 
to  be  married. 

All  this,  together  with  the  singer's  increasing  favor, 
prompted  the  vigorous  don  Peppo  Grassi  to  bestir 
himself.  What  could  so  effectively  fan  this  Caru- 
siana  flame  as  a  company  organized  for  a  special 
Salerno  season  ?  With  Lombardi  and  Vergine  as 
partners,  Grassi  decided  to  present  at  the  Comu- 
nale  Theater  during  October  and  November  of 
1896  twenty  performances  of  opera.  Preliminaries 
passed ;  the  premiere  took  place ;  a  fresh  impetus 
was  imparted  to  the  Caruso  boom.  "  La  Traviata", 
"La  Favorita",  " Carmen ",  "I  Pagliacci",  and 
"A  San  Francisco"  —  the  last  mentioned  having 
been  popular  because  of  its  librettist  and  composer, 
Salvatore  di  Giacomo  and  Maestro  Sebastiani  — 
were  the  operas  performed.  Signer  Pagani  was  the 
alternate  tenor  ;  Signora  Annina  Franco  wore  prima 
donna  laurels ;  Signora  Masola  was  the  mezzo- 
soprano  ;  and  the  ever-present  Pignataro  sang  leading 
baritone  parts.  With  Lombardi  conducting,  the  or- 
ganization seemed  artistically  secure.  The  audiences 
were  large  and  enthusiastic  ;  everybody  who  was  any- 
body at  all  attended  the  performances  with  appro- 
priate regularity,  and  unpretentious  folk  went  as  well. 
Many  of  these  occasions,  by  reason  of  Salerno's 
opera  fashion  of  the  moment,  took  on  a  gala  touch. 
Multicolored  feminine  costumes  dotted  the  audiences 
which  assembled  in  the  Comunale ;  supper  parties 
followed  every  performance,  and  the  season  bore 
on  with  Caruso  growing  steadily  in  the  public's 
regard. 


70  ENRICO    CARUSO 

Considering  some  of  his  vocal  shortcomings  at  that 
time,  it  may  cause  curiosity.  A  favorite  he  un- 
questionably was  with  the  Salerno  populace ;  but 
a  reliable  singer  he  had  by  no  means  then  become. 
Despite  the  ingratiating  quality  of  his  voice,  and  a 
style  of  singing  undeniably  smooth,  the  tenor  was 
still  uncertain  of  his  highest  tones.  With  some  arias 
he  experienced  great  difficulty,  and  one  of  these 
was  the  Flower  song  in  "Carmen."  Invariably, 
when  attempting  to  sing  the  top  B-flat  which  marks 
the  climax  near  the  close  of  this  number,  Caruso's 
voice  broke.  It  would  occur,  clock-like,  during 
every  performance  of  the  Bizet  opera,  to  the  dis- 
comfiture of  the  singer  and  don  Peppo  Grassi's 
despair.  So  concerned  was  don  Peppo  over  his 
protege,  that  as  often  as  the  Flower  song  approached 
he  would  station  himself  in  the  wings,  gazing  upon 
Caruso  in  a  manner  that  seemed  to  say,  "You  must 
not  break  on  the  B-flat."  Then  would  come  the 
fateful  phrase  —  Te  riveder,  Carmen  —  and  the 
splintering  of  the  top  note.  Unfailingly,  on  every 
such  occasion,  don  Peppo  would  jump  backward, 
run  his  fingers  wildly  through  his  hair,  and  knock  his 
head  against  one  of  the  wings  —  which  fortunately 
was  of  paper. 

Such  behavior,  even  though  practiced  by  his 
impresario,  jarred  the  singer's  nerves.  His  first 
protests  being  of  no  avail  Caruso  finally  rushed 
into  the  wings  after  the  act  of  one  of  the  performances 
and  cried,  "Listen!  if  you  stand  here  again  while 
I  am  singing  the  aria,  I  will  leave  the  company. 
You  are  my  jettatore  (hoodoo) ." 


DEBUTS  71 

"I,  jettatore!"  exclaimed  don  Peppo.  "  How  is 
that  possible  ?" 

"  Because  there  is  no  worse  jettatore  than  one  who 
is  interested  in  or  who  has  affection  for  one  he  wishes 
well." 

"Very  good,'*  answered  the  impresario,  calming 
himself.  "When  next  you  sing  the  aria,  I  will  go 
outside  and  smoke  a  cigar." 

Although  Grassi  kept  his  word,  Caruso's  Flower 
song  B-flat  continued  to  break  whenever  he  at- 
tempted to  deliver  it  —  and,  according  to  don  Peppo 
(though  he  admitted  not  having  heard)  even  worse 
than  before.  Yet  the  people  appeared  not  to  care. 
They  became  more  devoted  to  their  tenor,  with 
the  result  that  the  box-office  receipts  were  large 
whenever  he  sang.  Invitations  to  the  best  Salerno 
homes  continued  to  be  too  numerous  for  him  to 
accept  them  all. 

Caruso's  vocal  trouble  on  the  high  notes,  if  un- 
important to  these  particular  listeners,  neverthe- 
less gave  him  grave  concern.  He  realized  that  if  he 
were  ever  to  become  great  he  must  conquer  this 
shortcoming.  Lombardi  did  also ;  and  together 
they  worked,  harder  than  ever  to  make  the  upper 
voice  secure.  The  maestro  appreciated,  as  his  pupil 
did  not,  that  a  constricted  throat  while  attempting 
to  sing  high  notes  was  chiefly  responsible  for  the 
breaking  of  his  tones.  In  order  to  cause  the  tone 
to  "pass"  properly  when  the  higher  pitches  were 
reached,  Lombardi  —  after  explaining  carefully  those 
essentials  with  respect  to  proper  breath  support, 
and  a  loose  lower  jaw  —  would  make  Caruso  drop 


72  ENRICO    CARUSO 

his  head,  then  place  it  firmly  against  a  wall.  In 
this  position  he  would  command,  "  Now  sing  — 
with  strength."  Persistence  brought  some  reward  ; 
before  the  conclusion  of  that  Salerno  season  the 
tenor's  top  notes  began  to  come  more  freely,  and  it 
was  not  many  months  afterward  that  the  "breaking" 
habit  almost  totally  disappeared.  Caruso's  pe- 
culiarity of  "setting"  a  top  note  with  lowered  head 
may  be  remembered  by  those  who  heard  him  during 
the  height  of  his  fame.  To  the  last  he  followed 
this  practice :  attacking  a  high  tone  in  the  manner 
explained,  one  foot  extended  well  in  advance  of  the 
other,  then  —  with  the  tone  focused  —  occasionally 
throwing  back  his  head,  to  let  the  tone  soar  as  only 
a  Caruso  tone  could. 

Toward  the  end  of  the  Salerno  season  at  the  Co- 
munale,  Caruso  gave  the  first-known  evidences  of  the 
vocal  endurance  and  dependableness  he  was,  later 
in  his  career,  so  convincingly  to  disclose.  "A  San 
Francisco"  was  scheduled  for  its  premiere,  with 
Caruso  in  the  leading  tenor  role ;  and  since  it  was  a 
short  opera  the  bill  included  for  its  closing  portion 
"I  Pagliacci."  The  former  opera  had  been  re- 
ceived enthusiastically,  largely  because  of  the  pop- 
ularity of  composer  and  librettist.  Indications  were 
pointing  to  another  notable  Comunale  night  when 
the  indisposition  of  the  tenor  (a  Signor  Pagani), 
cast  to  sing  Canio,  filled  the  management  with 
alarm.  What  if  Pagani  were  unable  to  finish  ? 
With  diplomatic  forethought  don  Peppo  Grassi, 
preparing  in  advance  for  the  emergency  his  ex- 
perience whispered  threatened,  repaired  with  Lorn- 


DEBUTS  73 

bardi  to  Caruso's  dressing  room  where  the  singer 
was  changing  into  street  attire. 

"Undress,"  said  don  Peppo,  "but  do  not  leave 
the  theater." 

"Why,"  demanded  the  astonished  tenor. 

"Because  if  Pagani  does  not  go  well  in  'Pagliacci* 
you  will  have  to  sing.  Not  a  word  more." 

Observing  that  Lombardi  approved  of  the  im- 
presario's intention,  Caruso  became  furious.  "You 
are  both  crazy!"  he  cried.  "I  am  starving,  and 
I  shall  go  out  to  get  some  food." 

"  Do  not  worry,"  admonished  Lombardi.  "  Signer 
Grassi  has  arranged  to  have  you  served  at  once  with 
a  fine  dinner  here  in  your  dressing  room." 

"And  Caruso,"  said  Salvatore  di  Giacomo  (li- 
brettist of  "A  San  Francisco")  who  was  present, 
"ate  a  large  dish  of  spaghetti,  two  pork  chops,  and 
drank  almost  a  liter  of  wine."  Soon  afterward,  as 
"Pagliacci"  was  progressing,  the  theater  auditorium 
rang  with  cries  of :  "  Enough  !  Enough  !"  for  Pagani, 
as  he  had  feared,  was  in  very  bad  voice.  By  this 
time  Caruso  had  donned  his  clown's  costume  and 
painted  his  face  white.  It  was  perhaps  a  hazardous 
thing  to  have  thus  used  his  voice  so  soon  after  a 
hearty  meal,  but  the  singing  of  the  tenor  for  the 
remainder  of  ''Pagliacci"  seems  not  to  have  suffered. 
The  performance  closed  with  the  audience  expressing 
in  almost  frantic  applause  its  whole-hearted  ap- 
proval. 

The  period  between  the  finish  of  the  Comunale 
special  season  in  late  November,  and  the  December 
opening  of  the  Bellini  Theater,  in  Naples,  was  short. 


74  ENRICO   CARUSO 

It  nevertheless  enabled  Caruso  to  improve  still 
further,  through  the  application  of  Lombardi's  prin- 
ciples, his  coveted  high  tones.  Appearing  during 
this  season  of  Santo  Stefano  in  "La  Gioconda" 
and  "Ugonotti",  the  tenor  was  recognized  as  never 
before  by  the  people  of  his  native  city.  The  critics 
wrote  of  his  progress ;  they  commented  upon  his 
admirable  diction;  his  voice,  all  declared,  had 
acquired  both  color  and  warmth.  One  reviewer 
went  so  far  as  to  assert  that  "Caruso  sings  a  la  De 
Lucia",  and  as  De  Lucia  was  for  the  Neapolitans 
almost  a  god,  he1  could  scarcely  have  said  more. 

January  of  1897  brought  the  young  tenor  another 
opportunity  to  appear  in  the  Mercadante  Theater 
of  Naples.  The  season  was  under  the  impresa  of 
Alberto  Landi  and  Baron  Mascia,  the  operas  assigned 
Caruso  being  "La  Gioconda",  "La  Traviata",  and 
"Dramma  in  Vendemmia",  a  new  work  by  Vincenzo 
Fornari.  Signora  Penchi,  soprano ;  Mme.  Dom- 
prowitch,  contralto ;  and  Signori  Guarini  and  Bran- 
caleone,  baritone  and  basso  respectively,  appeared 
with  the  tenor  in  "La  Gioconda",  which  was  con- 
ducted by  Maestro  Scalise.  Fornari  directed  his 
own  opera,  "Dramma  in  Vendemmia." 

Although  Antonio  Scotti  was  also  a  Neapolitan, 
his  engagements  during  the  earlier  period  of  Caruso's 
career  had  prevented  his  ever  having  heard  his 
younger  fellow  townsman.  During  this  Mercadante 
season  Scotti  was  singing  in  "Falstaff"  at  the 
Argentina  Theater,  in  Rome.  Camillo  Bonetti  — 
famous  now  as  impresario  of  the  Colon  Theater,  in 
Buenos  Aires  —  was  then  secretary  to  Signora  Fer- 


TEATRO  MUNICIPALS  DI  SALERNO 


A  BENEFICIO  DEL  TENORE 

sic.  ElICO  CARUSO 


U  GIOOOHOA 

\uii\-isaiinA  ;«-r  Salerno 

liran.!.-  ,.|»-ri.  !«.«»  11,    i  «lti  ,!.  |  M.,,,.:,..  PONCHIELLI 


i& 


REDUCED  FACSIMILE  OF  THE  PROGRAM  OF  THE  TEATRO 
MUNICIPALS  IN  SALERNO  FOR  THE  PERFORMANCE  OF 
"LA  GIOCONDA"  GIVEN  IN  HONOR  OF  CARUSO, 
APRIL  30,  1897 

The  copy  from  which  this  reduced  facsimile  was  made,  was  furnished 

through  the  courtesy  of  Nicola  Daspuro,  Naples.    Note  announcement 

of  the  singer's  Christian  name  as  Errico,  not  Enrico. 


DEBUTS  75 

rari,  in  those  days  a  South  American  impresaria. 
During  a  visit  with  Scotti  in  Rome,  the  baritone 
spoke  to  Bonetti  of  a  tenor,  by  name  Caruso,  who 
was  then  appearing  at  the  Fondo  (Mercadante) 
of  Naples.  "I  would  suggest,"  Scotti  said  to  Bo- 
netti, "that  you  go  to  hear  him."  This  the  latter 
did ;  but  his  report  did  not  bear  out  the  fine  reports 
circulated  on  all  sides.  "That  Caruso,"  declared 
Bonetti,  "is  no  more  than  a  mediocre  tenor;  so 
mediocre  as  to  be  of  the  third  class."  Not  until 
1899  did  these  two  men,  who  were  to  become  such 
fast  friends,  meet.  On  May  24,  1902,  at  London, 
in  a  Covent  Garden  performance  of  "La  Boheme" 
these  two  artists,  who  afterward  appeared  together 
in  so  many  representations,  sang  with  each  other 
for  the  first  time. 

IV 

Experience  had  been  having  its  effect  upon  the 
young  Neapolitan  tenor.  Though  still  vocally  and 
artistically  immature,  he  was  beginning  to  reflect 
in  his  operatic  appearances  the  value  of  a  moderate 
routine  gained  in  troublous  grooves.  The  hard 
knocks  had  not  been  endured  without  the  learning 
of  valuable  lessons ;  for  each  one  fitted  Caruso  the 
better  to  meet  whatever  next  might  come.  Health 
had  blessed  him.  Fortune  seemed  to  have  ap- 
proached somewhat  nearer.  The  career,  if  yet  in 
the  distance,  was  nevertheless  a  discernible  thing. 
Like  the  ship  which  trembles  under  the  impact  of 
deep  waters,  the  singer  was  beginning  instinctively 
to  brace  himself  to  meet  responsibilities  that  then 


76  ENRICO    CARUSO 

increased.  A  slip  or  false  move  would  have  invited 
more  serious  consequences  than  if  made  even  half 
a  year  before.  Having  accomplished  more,  more 
was  expected  of  him.  He  played  during  his  leisure 
moments  as  he  had  played  in  the  past :  the  world 
was  looming  larger,  brighter,  and  altogether  a  more 
desirable  place  in  which  to  live.  But  the  need  of 
work,  of  applying  himself  to  each  task  with  that 
thoroughness  which  helps  to  bring  mastery,  appears 
at  this  period  to  have  been  borne  in  upon  the  man. 
Indeed,  Caruso  could  not  have  added  to  his  repertory 
to  the  extent  that  he  did  short  of  much  labor.  His 
Bronzetti  school  training  began  to  break  through, 
and  with  pen  or  pencil  he  would  copy  the  notes  and 
text  of  some  opera  part,  fixing  both,  through  this 
method,  securely  in  his  mind.  His  increasing  favor 
with  those  of  the  public  who  heard  him  had  begun 
to  develop  in  him  some  self-confidence  ;  and  this  was 
perhaps  responsible  for  the  poise  he  commenced  to 
acquire. 

These  manifestations  of  growth  were  not  confined 
solely  to  the  singer's  artistic  side.  Having  become 
a  man,  he  turned  toward  man's  inclinations,  one  of 
which  was  his  discovery  that  he  could  not  much 
longer  live  conveniently  in  his  former  home.  So  a 
few  months  later  he  bade  a  farewell  to  that  dwelling 
in  Sant'  Anna  alle  Paludi  which  had  so  long  sheltered 
him.  He  returned  whenever  possible  for  visits  with 
his  father  and  stepmother;  but  after  the  year  1897 
he  was  master  in  whatever  place  he  was  privileged 
to  call  his  house. 

Having  been  engaged  for  the  new  Salerno  season 


DEBUTS  77 

at  the  Comunale  Theater,  Caruso  presented  himself 
well  in  advance  of  the  opening  date  of  March  i,  1897. 
He  was  to  receive  one  thousand  lire  for  an  engagement 
which  was  to  continue,  as  it  did,  until  the  following 
May  4.  In  the  company  were  Signora  Zucchi- 
Ferrigni,  soprano ;  Mme.  Masola,  mezzo-soprano ; 
Enrico  Pignataro,  baritone,  and  Signor  de  Falco, 
basso.  Maestro  Vincenzo  Lombardi  was  the  con- 
ductor. The  operas  in  which  Caruso  appeared 
were  "La  Gioconda",  "Manon  Lescaut", "La  Tra- 
viata  ",  and  "  Profeta  Velato  ",  a  new  work  by  Maestro 
Daniele  Napolitano.  The  tenor  started  his  appear- 
ances under  a  favorable  star.  With  each  fresh  effort 
he  found  such  an  added  ease  that  the  people  rose  to 
him.  When  it  became  evident  to  the  watchful 
Vergine  that  his  pupil  was  more  than  holding  his 
own,  the  singing  master  left  for  the  long-anticipated 
return  call  on  Nicola  Daspuro  —  once  again  to  tell 
of  the  accomplishments  of  his  favorite  tenor,  who 
alone  needed  the  "famous  push"  to  send  him  to 
the  "  pinnacle  of  glory." 

To  Vergine's  pleadings  that  Daspuro  consent  to 
make  the  journey  from  Naples  to  Salerno  the 
latter  roughly  replied,  "I  go  to  Salerno?  You  are 
crazy." 

"Yes,"  answered  the  teacher,  "but  please  come." 
"  I  had  never  beheld  such  faith  in  a  pupil  as  this 
maestro  showed  for  Caruso,"  declared  Daspuro.  "  He 
touched  me.  To  myself  I  said,  'Perhaps  this  man 
speaks  the  truth.  Anyhow,  I  could  have  a  friendly 
chat  with  my  friend  don  Peppo  Grassi,  the  im- 
presario ;  and  by  going  I  will  be  rid  for  always  of 


78  ENRICO    CARUSO 

this  maniac/  'Very  well,  Maestro/  I  consented. 
4 But  if  I  find,  instead  of  a  divo,  a  dog,  then  —  poor 
you!'" 

Daspuro  reached  the  Comunale,  where  Vergine 
awaited  him  with  still  another  request.  He  must 
not,  begged  the  teacher,  be  seen  by  the  sensitive 
Caruso  before  the  performance.  "He  would  in- 
stantly recall  his  experience  with  you  and  Zuccani, 
perhaps  lose  his  head,  and  then  —  good  night!" 

The  opera  was  "La  Gioconda"  and  in  it  Daspuro 
avers  that  Caruso  sang  with  a  voice  full  of  warmth 
and  power,  and  with  much  style.  So  impressed  was 
the  Sonzogno  manager  that,  following  the  audience's 
acclaim  of  the  tenor,  he  promised  Vergine,  between 
acts,  to  engage  Caruso  for  a  Lirico  Theater  season, 
in  Milan.  After  the  performance  there  was  a  supper 
at  which  Caruso,  the  then  overjoyed  Vergine,  and 
Daspuro  gathered. 

"How  much,"  inquired  Daspuro  of  Caruso,  "do 
you  receive  for  an  appearance  ? " 

"Twenty  lire" 

"Then  how  do  you  manage  to  eat  ? " 

"Oh!  that  is  easy,"  replied  the  tenor.  "The 
people  like  me.  I  sing  wherever  I  am  asked ;  and 
in  return  I  am  given  luncheons,  dinners,  and  some- 
times presents." 

"Eat  well,"  said  Daspuro,  "but  do  not  be  too 
generous  with  your  voice,"  to  which  Caruso  smilingly 
answered,  "Don't  worry  about  that.  I  can  give 
voice  to  all  the  world." 

This  response  nettled  Daspuro,  who  feared  the 
tenor  was  developing  conceit.  So,  Neapolitan  fash- 


ENRICO   CARUSO   IN    1896 

The  original  photograph,  ha.rr.sd  in  silver,  was  given  by  Caruso,  in  London, 

to  his  son  Enrico,  Jr.,  as  a  birthday  present.     The  photograph  has  suffered 

evident  injury,  but  the  portrait  is  of  interest  as  representative  of  the  tran- 

sitionary  period  between  the  singer's  youth  and  maturity. 


DEBUTS  79 

ion,  he  admonished  him:  "Guaglio  (young  man), 
be  careful  not  to  lose  your  head/* 

There  is  no  evidence  that  Caruso  was  propelled 
through  the  public's  attention  into  the  loss  of  his 
head.  What  he  did  lose  was  his  cherished  moustache, 
which  he  sacrificed  in  order  that  he  might  more 
fittingly  suggest  Chevalier  des  Grieux  in  Puccini's 
"Manon  Lescaut."  Although  a  long  and  vocally 
arduous  role,  the  tenor  appears  to  have  sustained  it 
without  fatigue.  His  powers  of  resistance  were 
steadily  developing ;  and  it  was  well  for  him  that 
such  was  the  case,  otherwise  —  since  he  was  appear- 
ing in  almost  every  opera  —  he  would  not  have 
performed  so  physically  exacting  a  task. 

The  final  portion  of  the  Salerno  season  brought 
renewed  recognition  for  Caruso.  Such  was  its  pro- 
portion that  word  of  it  drifted  to  Milan.  Con- 
firmation of  this  recognition  by  Maestro  Leopoldo 
Mugnone,  who  had  heard  the  tenor,  was  such  that 
very  shortly  a  Signer  Argenti,  theatrical  agent, 
telegraphed  the  tenor  inviting  him  to  accept  an 
invitation  to  participate  in  the  inauguration  of  the 
Massimo  Theater  of  Palermo.  He  offered  two  thou- 
sand seven  hundred  and  fifty  lire  for  forty-five  days, 
a  fee  larger  than  any  the  singer  had  then  received. 
Fate  appeared  finally  to  have  showered  its  bounty 
upon  the  young  artist.  Through  Lombardi  and 
Commendatore  De  Leo,  Mayor  of  Salerno,  Caruso 
had  asked  don  Peppo  Grassi  for  the  hand  of  his 
daughter  in  marriage.  He  had  received  Grassi's 
consent  joyously ;  there  had  been  some  sort  of  cele- 
bration in  honor  of  the  engagement ;  the  ceremony 


80  ENRICO    CARUSO 

had  been  set  for  the  following  year.  In  the  midst 
of  all  this  happiness  there  crossed  its  path  a  shadow 
in  the  person  of  one  of  the  twelve  ballerinas  who, 
by  their  dancing,  had  captivated  Salerno.  She 
fascinated  the  tenor  with  such  completeness  that 
his  feelings  toward  Josephine  Grassi  experienced  a 
sudden  change.  Whether  he  ever  really  loved  her 
may  be  open  to  question  ;  the  fact  remains  that  when 
the  final  curtain  fell  on  that  Salerno  season  Caruso 
departed  for  Palermo  taking  with  him  the  pretty 
ballet  girl.  In  this  contest  of  hearts  Terpsichore 
had  defeated  Euterpe. 


CHAPTER  FIVE 

REALIZATIONS 

CARUSO  missed  the  honor  of  participating  in  the 
formal  opening  of  Palermo's  Massimo  Theater  in 
May,  1897.  "Falstaff",  with  Leopoldo  Mugnone 
conducting,  was  the  opera  chosen  —  without  the 
tenor  whose  hopes  had  been  fixed  on  sharing  in  the 
event.  Puccini's  "La  Boheme"  followed,  then  came 
"La  Gioconda"  and  the  Caruso  debut  before  a 
Palermo  audience.  The  singer  has  related  how  he 
arrived  "on  the  piazza"  (as  Italian  singers  are  wont 
to  express  it)  only  to  find  Mugnone  less  friendly 
disposed  than  at  the  time  he  had  recommended  him 
for  the  Massimo  engagement.  Caruso  felt  Mu- 
gnone's  coldness  to  have  been  due  to  reasons  scarcely 
fair  (each,  it  seems,  had  formed  an  attachment  for 
the  one  who  had  seen  fit  to  bestow  her  favor  upon 
the  younger  man).  Still,  whether  fair  or  not  in  the 
stand  he  took,  Mugnone,  according  to  the  tenor, 
made  his  rehearsals  of  "Gioconda"  most  unpleasant 
affairs.  Summoned  on  occasions  to  appear  at  the 
theater  as  early  as  nine  o'clock  in  the  morning,  Caruso 
has  described  how  difficult  he  found  each  attempt  to 
reach  the  high  notes  of  his  part.  A  change  in  this 
maestro's  attitude  was  brought  about  during  the 
general  rehearsal  of  the  opera,  when  the  tenor  sang 
with  such  fervor  that  Mugnone  himself,  exclaiming 
"bravo",  rapped  approvingly  with  his  baton  on  the 


82  ENRICO   CARUSO 

conductor's  stand.  The  trouble  period,  though,  was 
not  safely  passed.  The  Sicilian  artists  of  the  com- 
pany were  angry  that  one  of  their  compatriot  tenors 
had  not  been  engaged  for  so  prominent  a  post ;  and 
there  also  was  the  threatened  danger  of  protestation 
from  the  theater  commission,  which  it  could  exercise 
up  to  and  including  Caruso's  third  appearance  in  the 
opera  of  his  debut.  No  such  protest  was  ever  ex- 
ercised. The  tenor's  third  Enzo  was  evidently  too 
satisfactory  an  achievement.  So  he  continued  to  the 
end  of  the  season,  in  June,  singing  in  twelve  repre- 
sentations of  "La  Gioconda",  with  Signora  Nedea 
Borelli,  soprano ;  Signore  Borlinetto  and  Paolicchi- 
Mugnone,  contralti ;  and  Signor  Terzi,  baritone. 
Under  the  management  of  Commendatore  Ignazio 
Florio  and  Cavalier  C.  di  Giorgio,  that  opening 
Massimo  season  was  a  distinguished  success.  It 
sent  Caruso  to  his  Sant'  Anna  alle  Paludi  home  with 
much  money  in  his  pockets,  a  part  of  which  he  spent 
freely  in  the  purchase  of  new  clothing.  Then  it 
was  that  the  tenor  acquired  his  first  frock  coat ;  and 
arrayed  in  his  newly  bought  garments,  and  wearing 
a  derby  hat,  he  strode  forth  to  astonish  the  neighbors 
with  his  fine  apparel. 

His  Palermo  experiences  had  further  strengthened 
the  Caruso  resources,  and  they  likewise  increased 
Nicola  Daspuro's  faith  that  the  tenor  was  to  achieve 
a  great  career.  Meeting  Edoardo  Sonzogno  in 
Rome,  to  attend  with  him  the  premiere  at  the  Co- 
stanzi  Theater  of  "Andrea  Chenier",  Daspuro  in- 
formed his  chief  of  Caruso's  Palermo  success. 

"'Signer  Edoardo,'"  Daspuro  began,  "'we  have 


REALIZATIONS  83 

in  Naples  a  young  man,  Enrico  Caruso,  a  youthful 
plant  of  a  tenor.  He  has  a  voice  a  trifle  short,  but 
with  a  center  that  is  round,  velvety,  and  reminding 
one  of  Masini  in  his  prime/ 

'"You  really  like  him?'  inquired  Sonzogno,  to 
which  I  answered,  *  Enormously/  'Then  engage 
him/  directed  Sonzogno,  'for  the  next  autumn  at 
the  Lirico'  (Milan). 

'"I  will  do  better/"  declared  Daspuro.  "'I  will 
make  with  him  a  contract  for  only  the  autumn 
but  orally  for  the  three  seasons  of  fall,  Lent,  and 
Carnevale.  You  will  see  that  when  Caruso  sings 
Milan  will  take  flight  to  the  sky/ 

' '  Go  easy/  cautioned  Sonzogno ;  but  I  was  con- 
fident, and  said  'you  will  see/  'Then  do  as  you 
like/  remarked  Sonzogno,  indulging  in  one  of  his 
incredulous  smiles. 

"Returning  to  Naples,"  continued  Daspuro,  "I 
summoned  Vergine  and  Caruso,  and  proposed  a  con- 
tract for  the  tenor  to  sing  at  the  Lirico  at  five  hundred 
lire  a  month,  from  October  I  to  December  10.  The 
right  was  reserved,  however,  for  Sonzogno  to  engage 
Caruso  for  the  following  Lenten  and  Carnevale 
seasons.  We  met  next  morning  at  the  Galleria, 
and  proceeded  to  the  little  telegraph  office  near  the 
San  Carlo  Theater.  I  signed  for  Sonzogno,  and 
Vergine  and  Caruso  for  themselves."  It  was  agreed 
that  the  tenor  should  study  three  operas  which  at 
the  time  were  new  to  him:  "Voto",  by  Giordano, 
the  "Arlesiana"  of  Cilea,  and  Leoncavallo's  "La 
Boheme."  Later,  after  an  examination  of  these 
scores,  Vergine  recommended  to  his  pupil  that  he 


84  ENRICO    CARUSO 

refuse  the  last  one.  A  reconciliation  having  been 
effected  with  Mugnone,  near  the  end  of  Caruso's 
Palermo  engagement,  the  conductor  had  suggested 
to  Impresario  Arturo  Lisciarelli,  of  Livorno,  that  he 
secure  the  tenor  for  one  month  of  the  season  he  was 
planning  to  give,  beginning  in  August,  1897. 

"I  can  state  very  definitely,"  Caruso  once  declared, 
"that  from  the  time  of  my  Livorno  engagement  began 
the  fortunate  period  of  my  career — from  which  I  have 
had  much  pleasure,  success  —  and  sorrow.  Perhaps 
I  might  separate  that  career  into  four  distinct  parts : 

"The  first  period  ended  in  June,  1897,  at  Palermo. 

"The  second  covered  the  ten  years  between  1898 
and  1908. 

"The  third  part  extended  from  1909  to  1918. 

"The  fourth  section,  which  began  in  1919,  will 
continue  for  —  I  cannot  say  how  long  !" 

At  his  first  Livorno  appearance,  as  Alfredo  in 
"La  Traviata",  Caruso  impressed  vividly  his  hearers 
and  manager.  Upon  the  singer  this  reacted  in  bene- 
ficial ways,  stimulating  him  with  such  confidence 
that  at  each  reappearance  he  sang  with  finer  vocalism 
and  art.  There  entered  in  his  mind  at  this  period  a 
firm  belief  in  himself.  He  perhaps  might  stumble, 
but  he  was  convinced  that  never  again  would  he  be 
destined  to  fall. 

It  was  at  this  juncture  that  the  publishing  house  of 
Ricordi,  anxious  to  present  in  Livorno  some  per- 
formances of  the  then  recently  produced  —  and 
successful  —  "La  Boheme"  of  Giacomo  Puccini, 
had  arranged  with  Lisciarelli  to  that  end.  The 
project  promised  difficulties,  for  Livorno  was  the 


REALIZATIONS  85 

birthplace  of  Pietro  Mascagni,  whose  operas  were 
being  fostered  by  Sonzogno,  chief  publishing  rival  of 
Ricordi.  Realizing  the  natural  skepticism  with 
which  the  Livornese  would  regard  any  work  by  a 
composer  other  than  their  beloved  Mascagni,  the 
Ricordi  firm  were  proceeding  with  extreme  care. 
They  had  consented  to  the  choice  of  Signora  Ada 
Giachetti  for  the  role  of  Mimi ;  Antonio  Pini-Corsi 
was  acceptable  for  the  Marcello ;  but  where  to  find 
an  adequate  Rodolfo  these  publishers  did  not  know. 
There  were  many  tenors,  yet  only  the  best  one  would 
do.  The  problem  was  :  Where  was  he  to  be  found  ? 

Lisciarelli  had  every  confidence  that  Caruso  was 
the  tenor  sought,  and  he  so  stated  in  a  letter  dis- 
patched to  the  Ricordis,  in  Milan,  from  which  he 
anticipated  a  favorable  reply.  The  answer,  how- 
ever, conveyed  more  than  a  feeling  of  doubt,  for  it 
read,  "Who  is  this  Caruso?"  To  the  tenor,  thus 
summarily  rejected,  this  communication  came  as  a 
slap  in  the  face.  Lisciarelli  had  promised  him  for 
the  "Boheme"  appearances  one  thousand  lire  for 
an  extra  month  of  singing ;  and,  besides,  he  wished 
keenly  to  appear  in  a  new  role.  The  music  Caruso 
already  knew  ;  this  chance  to  sing  it  he  determined  to 
seize.  So  when  the  impresario  suggested  that  he  go  to 
Puccini,  who  was  stopping  at  the  time  in  his  country 
place  on  the  shore  of  Torre  del  Lago,  he  was  ready  to 
acquiesce.  The  distance  from  Livorno  was  not  far. 

"If  Puccini  approves  of  you,"  declared  the  im- 
presario, "the  business  is  fixed."  Caruso  had  further 
ideas  in  the  matter,  of  a  monetary  sort. 

"All  right,"  he  replied,  "only  —  if  he  recommends 


86  ENRICO    CARUSO 

me,  you  must  pay  me  one  thousand  lire  for  each 
'Boheme*  appearance.  Should  you  wish  me  to  ap- 
pear anyway,  without  Puccini's  consent,  I  am  will- 
ing to  agree  to  sing  for  just  my  living  expenses 
alone  —  fifteen  lire  a  day."  This  proposal  Lisciarelli 
flatly  refused,  the  subject  was  dropped,  and  Caruso 
soon  forgot  about  it. 

One  Sunday  morning  some  ten  days  later  the 
tenor  was  awakened  from  his  sleep  by  a  friend  who 
knocked  loudly  on  his  door.  "Get  up!"  came  the 
command,  "and  come  with  me  out  to  the  country 
for  some  shooting."  Caruso  approved  of  the  sug- 
gestion. An  hour  afterwards  he  and  his  companion 
were  riding  in  a  train  that  ran  alongside  the  shores  of 
Torre  del  Lago.  They  had  not  gone  far  when, 
Caruso's  attention  having  been  attracted  to  a 
picturesque  looking  dwelling,  his  friend  suggested 
that  they  get  out  the  better  to  see  it.  Caruso  walked 
toward  the  house  with  his  companion,  who  led  the 
way  across  the  lawn,  up  to  the  doorway,  and  directly 
the  two  entered  the  hall.  Advancing  to  meet  them 
came  a  man  whom  the  tenor  instantly  recognized, 
from  photographs  he  had  seen,  as  Puccini  himself. 
The  composer,  who  seemed  to  know  perfectly  well 
Caruso's  guide,  made  the  tenor  welcome.  At  their 
host's  suggestion  all  three  thereupon  went  out  upon 
the  lake,  secured  a  bag  of  game,  then  returned  to  the 
picturesque  little  house.  Comfortably  settled  once 
more,  Puccini  turned  to  the  singer  and  said,  "  Signor 
Caruso,  people  have  told  me  much  about  you,  but 
never  have  I  heard  you  sing.  Do  you  know  my 
'Boheme'?" 


REALIZATIONS  87 

The  answer  came  quickly.  "Yes,  Maestro;  I 
can  sing  for  you  the  romanza,  but  please  do  not  ask 
me  to  put  in  the  high  C." 

"  Perhaps  you  have  not  looked  well  at  the  score," 
reproved  Puccini,  "else  you  would  have  seen  that 
the  marking  shows  the  singer  may,  or  may  not, 
take  the  C  at  his  pleasure." 

"Oh,  yes,"  agreed  Caruso.  "But  it  is  the  custom 
to  put  it  in." 

"Never  mind  ;  sing  me  well  the  aria  and  I  will  not 
care  for  the  high  C.  Generally  the  tenors  sing  all 
the  music  badly  in  order  to  save  themselves  for  that 
one  note." 

Directly  Caruso  had  finished  singing  the  Che 
gelida  manina  Puccini  turned  to  the  friend  who  had 
brought  him,  saying,  "Tell  Lisciarelli  that  I  approve 
the  appearance  of  Signor  Caruso  in  my  'Boheme/' 

"I  was  made  twice  glad,"  declared  the  tenor,  "for 
besides  being  able  to  add  another  opera  to  my 
repertoire,  there  were  the  large  cachets  which  I  could 
use  very  well.  My  friend  and  I  returned  to  Livorno  ; 
that  same  evening  I  saw  Lisciarelli,  who  had  already 
received  Puccini's  message.  'To-morrow/  he  in- 
formed me,  'we  will  begin  rehearsals/  'Yes/  I 
agreed,  'but  please  remember  to  make  the  new 
contract.'  'Naturally.  You  will  sing  Rodolfo  in 
"Boheme"  for  one  month,  at  the  price  of  your  living 
expenses  —  fifteen  lire  a  day/ 

"I  was  astonished.  What  of  our  agreement  ?  It 
developed  that  Lisciarelli  barricaded  himself  behind 
the  argument  that,  since  he  had  rejected  my  proposal, 
he  had  not  actually  sent  me  to  Puccini.  If  I  had 


88  ENRICO    CARUSO 

chosen  to  go  there  of  my  own  accord,  it  was  no 
concern  of  his,  even  though  the  maestro  himself  had 
approved  of  me  to  sing  in  his  'Boheme.'  It  was  of 
course  a  clever  trick,  in  which,  to  serve  this  impre- 
sario's selfish  end,  my  friend  had  been  innocently 
used.  I  had  nothing  to  do  but  accept  on  those  unfair 
terms  to  me,  yet  I  was  not  sorry  because  another 
success  came  to  me." 

Such  was  its  success  that  the  opera  was  performed 
in  Livorno  during  August  of  that  year  on  twenty-six 
occasions,  each  time  with  Caruso  as  Rodolfo.  All 
did  not  go  smoothly,  in  spite  of  outward  evidences  to 
the  contrary.  Intrigue  wormed  its  way  into  the 
ranks  of  Lisciarelli's  company,  as  it  so  often  does  into 
the  ranks  of  many  another.  A  new  tenor  had  been 
summoned  ;  and  he  attempted,  by  devious  machina- 
tions, to  undermine  Caruso  in  order  that  he  might 
sing  Rodolfo  in  his  place.  To  an  extent  he  suc- 
ceeded ;  though  he  got  no  farther  than  part  of  a 
single  appearance,  in  which  he  was  treated  to  much 
the  same  experience  of  that  young  tenor  atTrapani 
who  had  suffered  the  humiliation  of  having  been  led 
from  the  stage. 

This  unpleasantness,  nor  the  strange  insistence 
of  Lisciarelli  in  limiting  the  cachet  of  his  popular  tenor 
to  fifteen  lire  a  day,  disturbed  scarcely  at  all  the 
easy-going  Caruso.  He  foresaw,  even  before  it  actu- 
ally came,  the  outcome  likely  to  follow  the  overex- 
tension  of  the  Livorno  season  ;  the  town  was  scarcely 
large  or  prosperous  enough  to  support  so  much 
opera.  Also  his  heart  had  been  made  happy,  some 
time  before,  by  an  affection  that  had  arisen  between 


REALIZATIONS  89 

him  and  Ada  Giachetti,  the  prima  donna  whose  Mimi 
provided  such  substantial  support  to  his  first  Rodolfo. 
More  experienced  operatically  then  he,  Signora 
Giachetti  was  also  a  well-schooled  musician  and 
pianiste.  Nature  had  given  her  comeliness  and  a 
quick  mind ;  and  being  herself  of  a  sensitive  dispo- 
sition, her  understanding  of  the  unaffected  and 
direct  Caruso  helped  to  establish  between  them  a 
very  close  bond.  Out  of  her  broader  knowledge  of 
opera  routine,  and  her  superior  years,  she  was  able 
to  counsel  and  direct.  The  technic  of  singing,  too, 
she  had  grasped  and  ultimately  mastered.  What 
was  more  natural  then  —  in  a  land  and  in  a  profes- 
sion where  such  alliances  so  often  obtain  —  that 
Enrico  Caruso  and  Ada  Giachetti  should  have 
combined  their  fortunes.  For  eleven  years  that 
relationship  continued  ;  and  she  is  the  mother  of  his 
two  boys,  Rodolfo  and  Enrico  Jr. 

II 

That  Livorno  season  "died",  just  as  Caruso 
had  anticipated,  leaving  him  with  scarcely  funds 
enough  for  the  journey  to  Florence  where  friends 
made  him  welcome  in  their  home  for  eight  days. 
This  same  family  loaned  him  fifty  lire  to  go  on  to 
Milan  in  search  of  other  friends  who,  the  tenor  felt 
confident,  would  aid  him  in  his  pecuniary  dilemma. 
He  arrived  at  the  Galleria  —  the  famous  meeting 
place  of  opera  singers,  conductors,  and  impresari 
where  most  of  their  business  is  transacted  —  and 
sought  one  after  another  of  those  whose  assistance 
he  had  counted  upon.  But  each  person  Caruso 


90  ENRICO    CARUSO 

approached  to  ask  for  money  either  refused,  or  else 
demanded  an  interest  rate  of  fifty  per  cent.  Three 
days  passed  before  the  tenor  summoned  courage  to 
present  himself  to  Edoardo  Sonzogno,  to  ask,  dif- 
fidently, for  part  of  his  " advance'*  on  account  of 
his  forthcoming  engagement  at  the  Lirico  Theater. 
Sonzogno  did  more  than  to  receive  Caruso  with 
kindliness ;  he  considerately  paid  to  him  the  entire 
"advance",  which  at  that  time  he  need  not  have 
done.  Relieved  in  being  able  to  return  at  once 
the  fifty  lire  borrowed  money,  Caruso  accepted  an 
opportunity  to  sing  in  a  single  representation  of 
Puccini's  "La  Boheme"  at  the  Verdi  Theater,  in 
Fiume,  and  then  prepared  to  rest. 

In  mid-September,  when  the  tenor  returned  to 
Milan  to  make  ready  for  the  October  first  opening 
of  the  Lirico  season,  those  oscillating  clouds  which 
seemed  destined  never  to  leave  his  skies  again  re- 
appeared. Unfavorable  reports  of  Caruso  began  to 
reach  the  ears  of  Sonzogno,  and  curious  to  learn 
what  Daspuro  might  have  to  offer,  he  wrote  him  a 
letter. 

"Dear  Daspuro,"  it  began,  "I  thank  you  for  the 
present  you  have  made  me  by  engaging  a  baritone 
instead  of  a  tenor."  Instantly  came  the  following 
reply. 

"  Dear  Signor  Edoardo  : 

Before  judging  it  is  essential  to  hear  and  see. 
Anyhow,  if  Caruso  is  a  baritone  De  Lucia  is  a  basso 
profundo.  Wait ;  and  in  the  meantime  do  not  lend 
your  ears  to  jealous  and  wicked  tongues. 

Nicola  Daspuro." 


REALIZATIONS  91 

The  reaction  of  uncertainty  upon  such  a  nature  as 
Caruso's  was  damaging  to  his  artistic  powers.  Real- 
izing through  not  having  been  summoned  for  re- 
hearsal that  something  was  wrong,  the  tenor  had  no 
alternative  than  to  wait  and  hold  his  peace.  The 
season  was  going  on ;  other  artists  were  busy ;  yet 
he,  though  a  member  of  the  Sonzogno  company,  was 
having  no  active  part  in  it.  About  October  15,  1897, 
he  was  summoned  before  the  director  and  asked, 
"Are  you  ready  with  the  three  operas  I  sent  your 
master,  Vergine  ?" 

"  I  am  ready  with  two  of  them,"  answered  Caruso, 
"but  not  with  Leoncavallo's  'Boheme.' ' 

"Well,"  inquired  Sonzogno,  "why?" 

"  Because  my  teacher  said  it  was  too  strong  for  my 


voice." 


"In  spite  of  what  your  teacher  says,"  retorted  the 
director,  "I  suggest,  since  you  have  nothing  to  do, 
that  you  try  to  learn  this  part  with  an  accompanist  I 
will  send  to  you." 

That  very  afternoon  work  was  begun  on  the  Leon- 
cavallo score ;  and  the  singing  continued,  day  after 
day,  through  the  remainder  of  October  and  on 
through  a  part  of  November.  Sonzogno  had  not 
exercised  his  option  in  his  contract  with  Caruso  to 
engage  him  for  the  Carnevale  season,  and  the  singer 
"saw  black"  for  his  future  as  the  weeks  passed  with 
nothing  to  reassure  him.  This  apprehension  was 
ended  suddenly  the  middle  of  November  when, 
without  previous  intimation  of  any  sort,  Caruso 
received  from  Sonzogno  a  letter  confirming  him  for 
that  Lirico's  coming  Carnevale  season.  Then  the 


92  ENRICO    CARUSO 

discovery  was  made  that  the  accompanist  —  under 
orders  from  his  superior  —  had  been  reporting  regu- 
larly upon  the  tenor's  abilities  and  progress.  Al- 
though this  respite  had  come  at  a  moment  sorely 
needed,  it  was  by  no  means  assured  that  the  im- 
mediate future  was  secure.  Before  that  there  must 
come  an  actual  debut,  in  which  a  critical  and  ex- 
acting public,  and  a  still  more  critical  and  exacting 
impresario,  would  render  two  vital  decisions.  In 
the  midst  of  worrying  over  that  coveted  Lirico  first 
appearance,  the  tenor  was  ordered  to  report  to 
Sonzogno. 

In  his  almost  irritatingly  slow  speech  the  director 
asked  :  "Are  you  ready  with  'La  Navarraise'  ?"  to 
which  Caruso  answered,  "Who  is  she  ?" 

"What!"  ejaculated  Sonzogno,  "you  don't  know 
the  opera  'Navarraise'  ?"  The  tenor  answered  that 
he  did  not. 

"Well,"  observed  the  impresario,  "you  have  five 
days  in  which  to  learn  it."  Caruso  was  all  but 
stunned  at  the  thought  of  this  seemingly  impossible 
task.  It  appeared  to  him  to  be  so  unjust  an  ultima- 
tum that  he  made  no  attempt  to  reply.  Sonzogno 
went  on  to  explain  that  "La  Navarraise"  was  in  only 
one  act ;  and  giving  the  tenor  the  score  he  com- 
manded, "Now  go;  and  be  ready  day  after  to- 
morrow to  rehearse." 

Troubled,  Caruso  assuredly  was  over  this  make-or- 
break  situation.  He  "worked  and  worked"  for  two 
days  for  the  rehearsal.  When  it  came  his  singing 
so  discouraged  Conductor  Ferrari  that  the  latter 
addressed  Sonzogno,  who  was  seated  near  by,  and 


REALIZATIONS  93 

said,    "I    cannot    go    on.     He    (meaning    Caruso) 
doesn't  know  anything." 

Sonzogno  appeared  less  doubtful.  "Well,  Maestro, 
we  mustn't  expect  too  much  of  him,  and  anyway  the 
public  wishes  most  of  all  to  hear  'NavarraiseV 

Another  forty-eight  hours  brought  the  company  to 
the  general  rehearsal,  at  which  the  handicapped 
tenor  encountered  further  trouble  in  the  person  of 
Signora  De  Nuovina,  the  soprano  prima  donna. 
His  mind  concentrated  upon  the  music  and  action  of 
his  part,  Caruso  had  neglected  to  remove  his  hat, 
which  so  infuriated  the  arrogant  singer  that  snatching 
it  from  her  associate's  head  and  throwing  it  upon  the 
stage,  she  cried,  "When  you  sing  with  a  lady  take 
off  your  hat."  There  may  have  been  some  jus- 
tification, but  she  could  not  have  really  known  the 
feelings  of  her  sensitive  comrade,  for  he  admitted  — 
in  relating  the  incident  —  that  he  "swallowed  the 
wrong  way",  and  was  made  to  feel  quite  unhappy. 
Other  mishaps  occurred  during  that  rehearsal,  so 
serious,  it  appeared,  that  Sonzogno  was  prompted 
to  remark  that  "To-morrow  at  the  performance,  we 
will  assist  at  a  triumph  for  Signora  De  Nuovina  and 
a  fiasco  for  this  young  Boo  !" 

How  far  from  what  happened  was  the  director's 
prediction  !  A  triumph  there  was,  though  not  for  the 
soprano.  Instead,  it  veered  from  the  screaming  of 
Signora  De  Nuovina  which  the  public  disliked,  and 
was  placed  before  the  new  tenor  whose  voice  — 
though  light  —  and  smooth  singing  carried  him  into 
favor  that  was  destined  to  hold.  "Signora  De 
Nuovina  had  encouraged  Sonzogno  and  Ferrari  in 


94  ENRICO    CARUSO 

the  idea  that  I  would  not  do,"  declared  Caruso. 
"She  disliked  the  suggestion  of  a  change  of  tenors, 
for  with  Caruso  she  felt  her  success  would  be  relatively 
easy.  It  was  with  dread  that  I  went  out  upon  the 
stage  at  my  beginning  in  the  performance.  Hisses 
and  screams  greeted  me.  I  later  learned  that  when 
I  attacked  the  aria  many  people  thought  I  would 
have  a  fiasco.  When  I  triumphed  I  was  told  it  was 
due  to  the  'grace  and  charm'  of  my  singing."  From 
that  night,  Caruso  was  never  again  to  experience  any 
difficulties  in  singing  the  Sonzogno  repertoire.  In 
his  lodgings  at  the  Pension  Gasperini  he  studied  new 
roles,  and  the  many  dark  hours  he  had  passed  there 
were  supplanted  by  brighter  ones.  Cilea,  composer 
of  "Arlesiana",  was  immediately  desirous  that  the 
Araguil  of  "La  Navarraise"  should  be  the  Federico 
of  his  new  opera.  And  on  November  27,  1897,  it  so 
happened  ;  with  a  twofold  recognition  for  Cilea,  who 
conducted,  and  for  singer.  Some  experts  felt  at  the 
time  that  in  the  Lament  of  Federico  the  real  voice  of 
Caruso  was  first  disclosed. 

In  spite  of  the  very  evident  direction  the  wind  was 
blowing  for  Caruso,  he  was  not  accepted  on  every  side 
as  an  established  artist.  There  was  still  the  in- 
clination on  the  part  of  many  who  heard  him  to 
withhold  any  considerable  approval,  while  others  — 
who  received  and  weighed  such  reports  as  reached 
them  from  a  distance  —  were  no  less  conservatively 
inclined.  Ada  Giachetti,  aiding  in  ways  she  was  so 
well  able  to,  gave  him  her  encouragement  and  sup- 
port. The  weeks  passed,  January  came,  and  on  the 
twentieth  day  of  that  month,  1898,  the  tenor  made 


REALIZATIONS  95 

his  Genoa  debut  at  the  Carlo  Felice  Theater.  Son- 
zogno  had  sent  him  there,  to  Giovanni  Massa,  the 
impresario.  Oddly  enough,  it  was  as  Marcello,  in 
Leoncavallo  "La  Boheme"  (the  opera  Vergine  had 
pronounced  too  strong  for  his  pupil's  voice)  that 
the  first  appearance  took  place. 

Artists  whom  the  people  of  the  United  States  have 
often  heard  were  members  of  that  cast.  Besides 
Pini-Corsi,  who  sang  Schaunard,  Genoa  greeted 
Giuseppe  de  Luca  in  the  part  of  Colline.  Rosina 
Storchio  was  the  Mimi,  Emilia  Corsi  had  the  char- 
acter of  Musetta,  and  Signor  Angelini  appeared  as 
Rodolfo.  Alessandro  Pome  sat  in  the  conductor's 
chair,  as  he  did  also  when  "The  Pearl  Fishers"  intro- 
duced Caruso,  on  that  occasion,  in  his  first  appearance 
in  the  role  of  Nadir.  Regina  Pinkert,  a  member  of 
Oscar  Hammerstein's  New  York  Manhattan  Opera 
Company  during  its  opening  1906-1907  season,  was 
the  soprano  of  that  cast,  and  Signori  de  Luca  and 
Carozzi  had  principal  parts. 

There  was  work  enough  to  absorb  much  of  Caruso's 
time,  but  he  found  hours  for  recreation  —  away  from 
the  theater,  and  all  thought  of  it,  with  the  comrades  of 
whom  he  was  fond.  Signor  de  Luca,  later  to  be 
associated  with  the  tenor  in  many  New  York  Metro- 
politan presentations,  recalls  incidents  of  that  season 
when  both  singers  were  struggling  to  get  on. 

"I  met  Caruso  for  the  first  time  at  that  Carlo 
Felice  season,  in  Genoa.  He  received  five  thousand 
lire  for  the  entire  season  of  about  three  months ; 
and  we  lived  together  at  the  Pension  Mancinelli,  in 
via  Assarotti.  Caruso  had  a  parlor  as  well  as  a  bed- 


96  ENRICO    CARUSO 

room,  while  I  —  with  no  more  than  seven  hundred 
fifty  lire  for  those  three  months  —  had  to  be  con- 
tent with  a  small  room  in  which  to  sleep.  Our 
friendship  having  grown,  I  was  allowed  on  occasions 
to  use  Caruso's  parlor  .  .  .  when  I  was  visited  by 
persons  wishing  to  borrow  a  lira  or  two,  or  who 
desired  tickets  for  the  opera. 

"The  prices  we  paid  included  meals  as  well  as 
lodgings,  but  it  was  not  food  either  of  us  cared  to 
eat.  So  we  visited  the  restaurants.  On  fine  days 
we  preferred  riding  out  to  the  Righi,  situated  in  the 
Ligurian  hills,  from  which  one  might  gaze  at  the 
magnificent  panorama  view  all  about.  If  not  just 
like  Naples,  it  suggested  the  country  that  Caruso 
loved ;  and  often  out  of  the  joy  that  filled  his  heart 
he  would  sing,  standing  there,  the  popular  songs  of 
the  people. 

"  Following  an  evening  performance  at  the  Carlo 
Felice,  Caruso  liked  to  go  for  supper  to  Peppo,  a 
restaurant  in  the  Galleria.  Always  when  it  was 
finished,  the  six  or  seven  artists  who  usually  made  up 
the  party  would  stand  at  a  given  point  in  preparation 
for  a  foot-race  across  the  Galleria  to  the  Cafe  Zolesi 
at  the  further  end.  It  was  understood  that  the  one 
who  finished  last  must  pay  for  the  coffee  —  and  it 
was  very  often  Caruso.  He  had  begun  then  to 
lose  his  slender  figure  ;  he  was  putting  on  weight." 

The  Genoa  season  ended,  after  the  final  perform- 
ance, with  a  small  celebration  at  Righi's.  Caruso 
was  host  at  that  supper  which  attracted  the  attention 
of  other  diners  who  had  recognized  the  tenor.  Urged 
to  induce  Caruso  to  sing  for  them  the  proprietor  made 


REALIZATIONS  97 

known  to  his  guest  their  wishes ;  and  he  responded 
with  that  good-natured  willingness  which,  during 
his  early  career,  was  in  such  instances  a  noticeable 
trait.  He  gave,  first,  the  Flower  song  from 
"Carmen",  and  then,  with  de  Luca,  the  duet  for 
tenor  and  baritone  from  "The  Pearl  Fishers."  When 
Proprietor  Righi  presented  the  check  Caruso  nodded 
his  head. 

"You  have  served  us  with  an  excellent  dinner," 
he  informed  the  restaurateur,  "  and  to  prove  my  entire 
satisfaction  with  it  I  will  be  reasonable  in  the  charge 
for  the  songs  Signor  de  Luca  and  I  provided  for  your 
guests.  Your  bill  is  one  hundred  eighty  lire;  ours 
to  you  I  will  put  at  the  reasonable  amount  of  three 
hundred  lire.  All  you  owe  me,  therefore,  is  one 
hundred  twenty  lire." 

The  astounded  Righi  stood  speechless  —  until 
Caruso  relieved  the  situation  with  his  laughter.  It 
was  typical  of  the  jokes  Caruso  enjoyed  indulging  in 
until  some  time  after  he  had  established  his  American 
reputation,  when,  having  become  preeminent  in  his 
art,  he  shaped  his  public  conduct  accordingly. 

Caruso  departed  from  Genoa  with  pleasurable 
recollections.  And  he  carried  with  him  a  bust  of 
himself,  modeled  by  Achiile  Canessa,  a  Genoese 
sculptor.  Canessa  had  invited  the  tenor  to  look  upon 
a  bust  he  had  made  from  a  death  mask  of  Roberto 
Stagno,  who  had  passed  away  in  April  of  that  year. 
Impressed  by  the  character  of  the  artistry,  Caruso 
had  assented  to  Canessa's  suggestion  that  the  singer 
sit  for  him.  Although  it  was  the  intention  of 
Impresario  Massa  to  present  to  Caruso  his  own 


98  ENRICO    CARUSO 

bust,  in  recognition  of  his  Carlo  Felice  services, 
Canessa  never  was  paid.  Massa  forgot  about  the 
matter,  and  Caruso,  unaware  of  the  incident,  re- 
mained ignorant  of  it  ever  afterwards.  The  sculptor 
—  perhaps  through  artistic  sensitiveness  —  never 
made  the  facts  known.  They  came  to  light  only  a 
short  time  ago. 

Anxious  now  to  preserve  without  subsequent 
faltering  the  artistic  advances  he  had  made,  the 
singer  plunged  still  more  seriously  into  his  work. 
Had  he  been  conscientious  before  ?  He  would  guard 
with  a  deeper  sense  of  appreciation  the  hours  of 
study.  Friends  had  proved  their  loyalty ;  other 
persons  whom  he  had  never  known  had  become 
friends  also,  and  proffered  their  support.  Then 
there  was  the  public  which  had  encouraged  him ; 
the  public  he  toiled  to  please  and  must  continue 
to  please  if  he  were  to  hold  its  confidence. 
Springtime  passed  into  summer,  and  June  26,  1898, 
carried  Caruso  to  Trento  where,  at  the  Sociale 
Theater,  he  appeared  in  several  performances  of 
"I  Pagliacci",  and  the  "Saffo"  of  Massenet,  which 
brought  cachets  of  five  hundred  lire  each.  July 
found  the  tenor  once  more  in  Livorno,  this  time  to 
remain  for  two  months  at  the  Politeama  Livornese 
(still  under  the  control  of  Sonzogno)  where  he  was  to 
reap  a  joy  from  his  operatic  singing  of  "I  Pagliacci" 
in  a  degree  theretofore  untasted. 

Sonzogno  himself  had,  by  his  fairness,  been  re- 
sponsible for  the  first  part  of  this  joy ;  for  when 
Caruso  had  tendered  to  the  impresario  his  Genoa 
earnings  (which  under  the  terms  of  his  agreement  he 


REALIZATIONS  99 

was  in  duty  bound  to  do)  Sonzogno  had  said,  "No, 
I  don't  do  business  in  that  way.  You  worked  hard 
for  the  money ;  keep  it." 

Ill 

The  preparations  for  the  premiere  of  Umberto 
Giordano's  "La  Fedora"  had  engaged  the  consuming 
interest  of  the  operatic  world.  Roberto  Stagno,  in 
whose  house  in  Florence  the  composer  had  penned 
many  pages  of  his  score,  had  been  the  choice  for  the 
Loris  Ipanoff ;  and  Gemma  Bellincioni,  Stagno's 
wife,  had  been  nominated  to  sing  Fedora.  The 
death  of  the  great  tenor  compelled  the  selection  of 
another  to  take  his  place,  one  so  difficult  to  fill  that 
few  persons,  if  any,  believed  such  a  thing  to  be  pos- 
sible. In  the  midst  of  deliberations  by  Giordano 
and  Sonzogno,  Signora  Bellincioni  was  asked  to  aid 
with  her  professional  advice.  From  her  Livorno 
villa,  at  the  composer's  request,  she  had  gone  to  a 
Politeama  performance  of  "Pagliacci"  especially  to 
hear  Enrico  Caruso  sing.  The  entire  score  of  "La 
Fedora"  was  almost  as  familiar  to  her  as  her  own 
part.  She  was  acquainted  with  the  requirements  of 
Loris  ;  her  ability  to  pass  upon  the  resources  of  any 
tenor  candidate  was  regarded  by  the  composer  as 
almost  equal  to  his  own.  After  hearing  Caruso  she 
wrote  to  Giordano : 

"You  know  that  'Pagliacci'  is  an  opera  entirely 
different  from  your  'Fedora',  and  that  Canio  is  not  a 
bit  like  Loris.  In  spite  of  this  difference  it  is  my 
opinion  that  Caruso  has  the  voice  and  the  intelligence 
to  make  him  an  assured  success  in  the  role." 


ioo  ENRICO    CARUSO 

The  judgment  of  this  distinguished  artiste  was 
apparently  all  that  Giordano  required  to  move  him  to 
a  decision.  He  himself  had  heard  Caruso  during 
the  "Arlesiana"  premiere  in  which  he  had  sung  the 
preceding  November  in  Milan ;  so  he  hesitated  no 
longer.  The  singer  who  only  four  years  before  had 
yearned  eagerly  for  a  chance  to  be  heard  was  there- 
upon invited  to  create  a  new  role.  And  hard  upon 
this  stimulating  information  came  other  news  —  on 
July  2,  1898  —  to  bring  to  the  tenor  further  con- 
sciousness of  his  growing  responsibilities.  A  son  had 
been  born  to  him  in  Milan ;  and  soon  afterward, 
his  Livorno  duties  disposed  of,  he  hastened  to  his 
home  at  Number  i  via  Velasca  to  be  with  the  boy 
and  its  mother.  Caruso  and  Ada  Giachetti  named 
this  boy  Rodolfo,  in  remembrance  of  the  role  the 
father  had  sung  in  Puccini's  "La  Boheme"  ;  but  he 
grew  up  as  Fofo,  and,  among  his  intimates,  Fofo  he 
still  is. 

The  1898  Lirico  season  at  Milan  opened,  under 
Edoardo  Sonzogno's  sponsorship,  on  October  22  with 
a  revival  of  "Arlesiana."  Caruso  appeared,  meeting 
with  much  the  same  moderate  reception  he  had 
experienced  before.  Federico  Candida,  a  Neapo- 
litan journalist  who  still  resides  in  Milan,  has  written 
that  the  singer's  "fair  success  of  1897"  was  sub- 
stantially repeated,  pointing  out  the  tendency  of 
Milan's  practice  of  conservatism  in  bestowing  its 
approval  on  any  newcomer  artist.  In  Leoncavallo's 
Boheme,  given  at  the  Lirico  November  8,  1898, 
Caruso's  performance  prompted  no  reviewer  to  write 
in  glowing  terms.  He  was,  it  appeared,  only  one  of 


101 

the  cast  —  which  included  Signore  Bel  Sorel  and 
Santarelli.  But  what  a  change  was  wrought  in 
both  public  and  critical  opinion  on  the  evening  of 
November  17,  1898,  when  he  appeared  under  the 
baton  of  Composer  Umberto  Giordano,  and  with 
Gemma  Bellincioni  as  Fedora.  Delfino  Menotti  in 
the  part  of  De  Sirieux,  and  Signora  Anita  Baroni 
singing  Countess  Olga. 

In  a  role  (Loris  Ipanoff)  which  some  have  declared 
could  not  have  suited  him  better  had  it  been  spe- 
cially written  for  him,  Caruso  appeared  at  his  best  in 
that  world  premiere  of  "La  Fedora."  The  envious 
might  continue  to  speak  slightingly  of  this  Neapolitan 
tenor ;  associates  who  chafed  because  he  had  out- 
stripped them  were  certain  to  follow  their  previous 
course  of  circulating  untruthful  reports  of  his  alleged 
shortcomings ;  but  unprejudiced  people  considered 
in  Caruso's  accomplishments  of  that  night  only  what 
their  ears  told  them.  It  was  as  though  his  voice  and 
art  had  burst  suddenly  through  an  obscuring  haze. 
After  the  Amor  ti  vieta  aria  the  spark  of  a  new  glory 
was  kindled,  and  news  of  it  flashed  over  the  telegraph 
wires  to  many  European  cities.  The  following  day 
there  was  enough  in  the  newspaper  reviews  to  con- 
vince even  the  conservative  that  a  great  singer  was 
being  made.  One  celebrated  critic,  in  the  course  of 
his  comments  wrote :  "  Caruso  canto  in  Fedora  e  la 
fe  d'oro"  (Caruso  sang  in  Fedora,  making  it  of 
gold). 

"After  that  night,"  Caruso  once  said,  "the  con- 
tracts descended  on  me  like  a  heavy  rainstorm.  Of 
course,  many  friends  crowded  about  me.  I  liked 


102  ENRICO    CARUSO 

best  of  all,  though,  the  present  from  Sonzogno  —  a 
copy  of  each  opera  score  he  had  thus  far  edited." 

One  of  these  contracts  offered  was  from  Russia, 
and  since  both  the  prestige  and  emolument  (six 
thousand  lire  a  month)  were  regarded  as  offering 
the  greatest  rewards,  Caruso  prepared  for  his  de- 
parture northwards.  He  sang  "Saffo"  with  Signora 
Bellincioni,  before  leaving  Milan  near  the  end  of  that 
December ;  and  there  was  a  twofold  sadness  in  the 
departing,  for  Ada  Giachetti  sailed  at  almost  the 
same  time  to  fulfill  a  South  American  engagement. 
Little  Fofo  alone  remained  amidst  the  scenes  of 
his  father's  triumphs,  in  the  care  of  his  aunt  —  Rina 
Giachetti. 

The  Petrograd  of  to-day  was  St.  Petersburg  at  the 
time  Enrico  Caruso  first  arrived  there,  in  late  De- 
cember of  1898.  A  city  different  from  any  he  had 
previously  visited,  the  tenor  relaxed  without  delay  in 
a  round  of  sightseeing  which  yielded  an  added  inter- 
est through  the  conditions  in  which  he  then  found 
himself.  Relatively  he  was  in  comfortable  cir- 
cumstances. He  could  poke  about  with  the  con- 
sciousness of  a  financial  security  never  before  felt, 
and  this  rather  heightened  the  pleasure  of  such 
excursions.  The  people  were  new  to  him ;  the  cli- 
mate, if  not  altogether  to  the  liking  of  his  Italian 
nature,  at  least  supplied  an  element  of  novelty ; 
it  was  all  quite  wonderful  in  its  way  and  lent  its 
effects  to  this  observant  man.  Travel  brings  its 
advantages  in  ways  of  enlightenment,  as  Caruso  was 
eventually  to  learn.  Here  was  an  environment  of 
a  character  worth  absorbing  —  one  fairly  teeming 


REALIZATIONS  103 

with  art  —  and  the  tenor,  as  events  later  proved,  was 
to  be  the  gainer. 

That  1898-1899  season  of  the  Grand  Theatre  du 
Conservatoire  in  Petrograd  included  among  its  lists 
of  principals  a  number  of  illustrious  artists.  One 
was  Signora  Luisa  Tetrazzini,  another  Mme.  Sigrid 
Arnoldson,  and  a  third  the  great  baritone,  Mattia 
Battistini.  The  basso  Vittorio  Arimondi,  whom 
United  States  opera-goers  know  so  well,  was  also  of 
that  company  —  huge  of  body  and  ever  generous  with 
his  helpful  advice  to  his  newly  made  and  younger 
tenor  friend.  Here  was  an  array  of  artists  who  were 
above  petty  jealousies  or  intrigue.  Each  one  per- 
formed his  or  her  duties ;  there  was  present  always 
a  spirit  of  camaraderie;  life  for  them  during  that 
Petrograd  season  was  one  devoted  with  evident 
profit  to  both  their  art  and  leisure. 

In  this  beneficial  atmosphere  Caruso's  singing 
thrived.  His  debut  role  was  Rodolfo  in  Puccini's 
"La  Boheme."  Mme.  Arnoldson  appeared  as  Mimi ; 
Signora  Tetrazzini  was  Musetta ;  Signor  Brombera 
had  the  part  of  Marcello,  and  Arimondi  was  the 
Colline.  The  lyric  beauty  of  the  Caruso  voice  and 
his  ease  of  singing  commanded  instantaneous  and 
approving  notice  from  the  Russians.  Correspond- 
ingly favorable  attention  was  attracted  by  the  tenor 
when  he  appeared  next  in  "I  Pagliacci,"  with  Mme. 
Arnoldson  and  Battistini.  Donizetti's  "Maria  di 
Rohan"  was  the  third  opera  in  which  Caruso  ap- 
peared, and  thereafter  came  "Cavalleria  Rusticana", 
and  "La  Traviata." 

Changes  were  gradually  marking  this  singer  who 


104  ENRICO    CARUSO 

was  moving  forward,  step  by  step,  in  his  career.  He 
was  some  distance  from  being  a  man  of  the  world 
(he  was  just  approaching  his  twenty-sixth  year, 
and  the  advantages  which  help  to  make  such  men 
had  not  as  then  arrived),  but  those  who  knew  him  at 
the  time  noted  signs  that  he  was  maturing.  At 
this  juncture,  with  his  name  published  frequently  in 
Russian  newspapers,  Caruso  awoke  one  morning  to 
find  a  summons  to  appear  at  a  special  concert  which 
was  to  be  given  before  the  then  Czar  Nicholas  II 
of  Russia,  in  his  Petrograd  palace. 

He  describes  the  czar  —  to  whom  he  was  pre- 
sented at  the  conclusion  of  the  concert  —  as  a  "  small, 
almost  insignificant-looking  man  with  an  anxious 
face.  Royalty  was  to  me  something  to  be  regarded 
from  a  distance.  The  scene  was  brilliant.  Such 
color,  together  with  the  beauty  of  the  women  and 
the  bearing  of  the  men  —  assembled  in  so  large  a 
space  —  was  wholly  new  to  me.  I  recall  having  felt 
a  sense  of  gratitude  for  that  opportunity,  and  won- 
dered if  there  was  to  be  another  —  and  when  and 
where.  I  could  feel  people  staring  as  I  was  re- 
ceived by  the  czar,  who  said,  *  Thank  you  very 
much/  and  then  presented  me  with  a  pair  of  gold 
cuff  buttons  set  with  diamonds." 

In  February  Caruso  returned  from  Russia  to 
Milan.  He  arrived  with  the  consciousness  of  having 
progressed ;  of  being  equipped  more  completely  to 
resume  his  place  at  the  Lirico  during  the  Carnevale 
season  then  about  to  begin.  Prior  to  his  departure 
from  Milan  in  1898  a  contract  for  his  first  South 
American  engagement  had  been  negotiated.  Per- 


REALIZATIONS  105 

haps  the  thought  of  this  added  to  the  spirit  of  con- 
fidence which  was  commencing  to  glow  within  him. 
Carlo  d'Ormeville,  dean  of  the  Italian  managers, 
who  was  responsible  for  this  particular  contract, 
recently  related  some  incidents  connected  with 
it. 

"  I  had  been  one  of  the  intimate  friends  of  Caruso 
from  the  start  of  his  glorious  career  at  Milan  to  those 
last  days  of  his  premature  death.  No  one  can  ever 
fill  the  emptiness  he  has  left  in  the  lyric  world.  Apart 
from  his  great  voice  and  talent,  he  was  acclaimed  as 
an  artist  scrupulous  to  the  last  detail  in  fulfilling 
his  engagements.  As  a  man  he  was  of  golden 
character  and  so  generous  that  many  times  his  left 
hand  did  not  know  what  his  right  hand  was 
giving. 

"I  had  the  honor  of  engaging  him  for  the  1899 
season  in  South  America  to  appear  under  Impresaria 
Ferrari.  Caruso  was  then  no  celebrated  tenor.  The 
contract  (for  twelve  thousand  lire  a  month)  was 
signed  November  16,  1898,  on  the  eve  of  his  notable 
first  performance  in  'Fedora/  The  day  after  the 
premiere  Caruso  was  declared  by  not  a  few  to  be  the 
greatest  of  tenors.  Meeting  him  twenty-four  hours 
later,  he  expressed  disappointment  over  the  terms  of 
the  contract.  Some  of  his  friends,  made  acquainted 
with  the  conditions,  had  become  furious. 

"'Tell  me/  I  asked,  'what  did  any  of  your  friends 
offer  you  before  the  '  Fedora '  performance  ?  Noth- 
ing !  Is  n't  that  true  ?  Well,  you  signed  with  Signora 
Ferrari  before  that  performance,  and  I  am  sure  you 
will  keep  your  written  agreement/ 


106  ENRICO    CARUSO 

"'Ah  !  my  dear  Carlo,'  answered  Caruso,  'I  would 
rather  die  than  to  break  a  contract/ 

"Caruso  went  to  Buenos  Aires.  He  won.  And 
he  was  engaged  for  future  seasons  on  more  advanta- 
geous financial  terms." 

Before  he  sailed,  however,  there  were  some  rumors 
to  be  silenced ;  rumors  to  the  effect  that  the  tenor, 
while  in  Russia,  had  lost  his  voice.  These  reports 
were  not  without  their  damaging  influence,  for  soon 
after  he  reached  Milan  Caruso  was  invited  by  Signora 
Ferrari  to  call  upon  her.  Despite  his  assurances 
that  he  was  in  vocally  excellent  condition  the  im- 
presaria  continued  skeptical ;  she  wished  some 
tangible  evidence  that  he  was  still  the  reputedly 
excellent  tenor  she  had  engaged.  Returning  to  his 
home  after  this  disconcerting  interview,  Caruso 
found  there  a  letter  from  Sonzogno.  It  read :  "  I 
hear  that  you  have  lost  your  voice  —  somewhere 
in  Russia.  Well,  my  theater  is  wide  open  to  you 
to  sing  any  opera  at  any  time." 

The  Carnevale  season  of  1899,  which  began  at  the 
Lirico  in  late  February,  brought  Caruso  once  more 
before  the  people  of  Milan.  No  part  of  the  opera 
circles  of  the  city  was  without  a  feeling  of  excitement. 
A  large  attendance  was  assured  ;  the  public  would 
be  there  —  in  the  spirit  of  any  public  —  ready  to 
applaud  or  condemn.  A  canvass  would  probably 
have  returned  for  the  one  whose  ability  was  being 
questioned  a  majority  vote  of  confidence.  Such, 
at  any  rate,  must  be  the  conclusion  drawn  from  the 
occurrences  of  that  opening  Carnevale  performance 
of  "Fedora"  at  the  Lirico  when  Caruso,  singing  with 


REALIZATIONS  107 

Signora  Bellincioni,  triumphed  as  he  never  had  be- 
fore. Thus  was  another  canard  disposed  of.  Before 
the  close  of  that  Carnevale  season  the  malicious 
workings  of  the  tenor's  enemies  had,  by  his  achieve- 
ments, been  smothered. 

Caruso  sailed  in  April,  aboard  the  SS  Regina 
Margherita,  for  Buenos  Aires,  where  he  arrived 
May  7,  1899.  Another  task  lay  ahead.  Seven  days 
after  he  went  ashore,  in  the  Theatre  La  Opera,  the 
tenor  performed  it.  " Fedora"  was  to  introduce  him 
to  a  South  American  audience  ;  and  he  felt  a  sense  of 
security  in  having  as  a  comrade  Signora  Bellincioni. 
But  one  of  those  storm-clouds  appeared  again  in  the 
Caruso  skies.  A  baritone  —  one  Caruson  by  name  — 
who  had  sung  in  Buenos  Aires  had  not  left  any  too 
excellent  an  impression.  Some  misunderstanding 
on  the  part  of  certain  newspaper  writers  having 
caused  a  confusion  of  the  two  singers,  through  the 
similarity  of  their  names,  the  public  was  led  by 
published  articles  to  anticipate  a  possible  baritone 
singer  in  the  place  of  an  expected  tenor. 

The  opening  night  of  May  14,  1899,  arrived,  and 
before  the  first  South  American  assemblage  he  had 
ever  faced  Caruso  sang  Loris  Ipanoff.  Delfino 
Menotti  was  also  of  the  cast ;  Maestro  Mascheroni 
conducted,  and  a  scene  similar  to  scenes  Milan  had 
caused  when  "Fedora"  had  been  given  there  was 
enacted.  After  the  performance,  which  fired  the 
temperamental  listeners  to  make  a  demonstration, 
Impresaria  Ferrari  embraced  her  tenor;  then  she 
urged  him  to  put  his  signature  to  a  contract  for  the 
three  seasons  following  at  twenty-five  thousand, 


io8  ENRICO    CARUSO 

thirty-five  thousand,  and  forty-five  thousand  lire  a 
month  respectively,  only  two  of  which  —  the  first 
and  third  —  he  fulfilled. 

"La  Traviata",  in  which  Caruso  and  Signora 
Bellincioni  appeared  as  Alfredo  and  Violetta,  was 
performed  on  May  24.  A  second  "Fedora",  during 
which  the  fervor  of  the  audience  duplicated  that 
which  had  attended  the  first  one,  was  given  on  May 
27.  With  Signora  Bellincioni,  the  tenor  sang  on 
June  4,  in  "Saffo";  but  the  opera  displeased  the 
South  American  public,  and  it  has  been  asserted  that 
this  perfomance  was  a  fiasco.  Other  operas  then 
were  presented,  in  a  steady  succession:  "La  Gio- 
conda",  on  June  8,  with  Signore  Elisa  Petri  and 
Elvira  Lorini  in  the  cast;  Mascagni's  "Iris",  on 
June  22,  with  Signora  Maria  de  Lerma ;  "Regina  di 
Saba",  on  July  4,  with  Signore  de  Lerma  and  Lorini, 
and  Signori  Taboyo  and  Leonardi  (in  which  one 
critic  declared  that  it  was  Caruso's  opera,  not  Gold- 
mark's)  ;  "Jupanki",  by  Arturo  Berutti,  a  South 
American  maestro,  which  had  only  two  subsequent 
presentations  after  its  July  25  premiere ;  and 
"Cavalleria  Rusticana",  which  marked  Caruso's  1899 
farewell,  on  August  8,  with  Signora  Petri  singing  the 
Santuzza.  The  Buenos  Aires  public  had  already 
bestowed  upon  Caruso  the  title  divo;  and  at  this 
performance  he  was  made  to  repeat  the  Brindisi 
(Drinking  song)  three  times.  One  other,  and 
unlooked-for  "Cavalleria  Rusticana"  came  before 
the  tenor  sailed  for  Italy.  It  was  a  benefit  per- 
formance, given  for  the  refugees  of  the  Rio  Negro 
flood. 


REALIZATIONS  109 

IV 

Accounts  of  the  Caruso  accomplishments  in  South 
America  began  at  this  period  to  intensify  managerial 
desires  to  have  the  tenor's  name  appear  in  the  pages  of 
their  prospectuses.  Invitations  were  awaiting  him  on 
his  arrival  in  his  own  country  to  accept  various  alluring 
contracts.  Each  letter  was  ingratiatingly  phrased ; 
for  within  a  comparatively  brief  period  he  had 
emerged  from  the  realm  of  uncertainty  into  one  of 
promise.  It  was  often  "Caro  Enrico"  —  to  be 
followed  by  a  jogging  of  the  singer's  memory  to  re- 
call some  service  rendered  him,  or  an  assertion  that 
always  had  the  writer  held  firm  in  his  faith  in  Caro 
Enrico's  future.  The  handwriting  appeared  plainly 
upon  the  wall,  and  impresari  were  not  slow  in  heeding 
its  indications.  More  than  one  progressive  im- 
presario waited  on  the  tenor  in  person ;  those 
managers  who  could  not,  or  were  not  yet  ready  to 
bring  themselves  to  so  doing,  dispatched  emissaries  in 
efforts  to  win  the  singer's  consent  to  signing  a 
contract. 

Caruso  himself  has  described  his  own  feelings  at 
that  time.  "I  liked,  just  then,  to  reflect  on  those 
bad  days  already  gone  which  had  brought  me  hard- 
ships and  heartaches.  It  was  nice  to  be  back  in 
Naples,  with  my  father  and  stepmother,  and  among 
old  friends.  They  had  much  to  tell  me  of  what  the 
Neapolitans  had  had  to  say  of  my  career. 

"He  goes  on,'  they  had  said,  in  effect,  'and  the 
public  accepts  him ;  perhaps  some  day  he  will  become 
a  great  tenor.'  It  was  clear  to  me  that  my  fellow 


no  ENRICO   CARUSO 

citizens  wanted  me  to  gain  success,  but  feared  the 
time  had  not  yet  come  to  insure  it. 

"This  special  home-coming  was  different  from  any 
other  of  mine.  Besides  plenty  of  money  in  my 
pocket  I  had  also  my  South  American  contract  — 
which  meant  more  money  for  the  future.  I  had  to 
smile  at  the  thought  of  how  different  everything  had 
been  only  two  years  before.  Then  my  professed 
Neapolitan  friends  had  found  excuses  to  deny  me 
small  loans  when  I  had  asked  them,  in  the  Milan 
Galleria.  These  friends  would  have  been  glad  to 
let  me  have  any  reasonable  sum  I  might  then  have 
requested  —  which  was  not  necessary  since  I  had 
enough  money  of  my  own." 

Caruso  did  not  stop  for  long  in  Naples.  Milan  was 
a  desired  objective,  to  consider  what  engagement 
from  among  those  offered  it  would  be  most  desirable 
to  accept.  "I  was  almost  as  eager  to  meet  my 
former  fellow  artists,"  explained  the  tenor,  "as  to 
sign  a  piece  of  paper  which  would  mean  that  I  should 
be  certain  of  opportunities  to  sing  in  a  given  number 
of  performances  at  respectable  cachets.  All  the  way 
from  Naples  to  Milan  I  continued  to  wonder,  'What 
will  they  say?  How  will  they  act?*  I  looked  a 
good  deal  through  the  car  window  without  seeing  as 
much  of  the  country  as  on  other  similar  journeys. 

"I  went  quickly  to  the  Galleria  from  the  railway 
station,  not  stopping  to  find  a  place  to  live  while  I 
should  stay  in  Milan.  Everybody  was  so  glad  to 
see  me  when  I  went  in  that  I  at  once  knew  my  South 
American  engagement  had  been  enough  of  a  success. 
Soon  afterward  I  decided  upon  the  contract  offered 


REALIZATIONS  in 

me  to  appear  during  the  coming  autumn  season  at 
the  Costanzi  Theater,  in  Rome,  at  fifteen  hundred 
lire  for  each  of  the  first  ten  appearances,  and  twelve 
hundred  fifty  lire  for  every  appearance  that  might 
follow." 

There  were  a  number  of  reasons  for  Caruso's 
choice,  one  being  that  the  Costanzi's  impresario  — 
Vincenzo  Morichini  —  was  idolized  by  the  Romans. 

The  Neapolitan  singer,  who  was  sensing  more  and 
more  the  opportunities  opening  before  him,  was 
nevertheless  willing,  during  those  September  days 
spent  in  Milan,  to  relax  in  play.  In  the  home  he  had 
established  for  his  baby  Fofo  and  its  mother  he  spent 
happy  hours.  It  was  no  longer,  as  it  had  been  at  the 
outset,  a  tax  upon  his  finances  to  maintain  it.  There 
during  afternoons  and  evenings  his  friends  gathered 
and  also  those  acquaintances  who  showed  an  anxious 
desire  to  be  counted  as  friends.  Any  tenor  standing 
upon  the  threshold  of  success  is  a  magnet.  Marked 
long  before  for  his  generosity,  Caruso  could  not 
escape  those  who  flocked  toward  him  out  of  motives 
calculated  to  serve  their  own  ends.  He  was  courted 
and  waited  upon  by  scores  of  persons  he  barely  knew. 
If  his  course  took  him  to  the  Galleria,  he  was  sure  to 
find  there  innumerable  persons  —  whose  faces  he 
scarcely  remembered  having  seen  —  calling  out  com- 
pliments to  him  as  he  passed.  It  was  the  old  story ; 
and  if  new  to  the  singer  at  that  time  it  was  destined 
to  run  on.  The  gossip  of  the  theaters  intrigued 
him ;  the  lowliest  Neapolitan,  stopping  him  in  the 
street,  could  engage  his  ear.  He  took  delight  in 
selecting  his  dress  for  various  occasions  with  minutest 


H2  ENRICO   CARUSO 

care ;  indeed,  Caruso  was  becoming  conspicuous 
for  his  dress  —  a  dress  not  then  so  conservative  as  it 
became  in  later  years. 

Autumn  came  and  with  it  the  important  busi/iess 
of  preparing  for  the  approaching  season  at  Rome. 
He  repaired  there,  attending  personally  to  the  choice 
of  a  place  in  which  to  live.  The  quarters  selected 
were  located  in  the  dwelling  at  Number  79  via 
Napoli,  but  satisfactory  as  they  proved  in  all  physical 
requirements,  one  element  appeared  to  be  missing. 
With  the  accumulation  of  work  due  to  his  advancing 
artistic  position  it  became  evident  to  the  singer  that 
assistance  was  required.  He  needed,  in  short,  a 
secretary ;  so,  faithful  to  the  promise  he  had  given 
four  years  before,  he  offered  the  post  to  Enrico 
Lorello,  of  Salerno.  Lorello  accepted,  joined  his 
employer  in  Rome,  and  thus  was  the  first  of  the 
several  who  were  ultimately  to  serve  Caruso  in  that 
capacity. 

The  Costanzi  season  held  potentialities  for  the 
rising  singer,  one  being  the  stipulation  in  his  contract 
with  Impresario  Morichini  that  he  should  create  the 
tenor  role  in  a  new  opera  by  a  well-known  composer. 

"I  understood  what  the  opera  was  to  be  ('Tosca') 
and  who  was  its  composer  (Puccini),  and  I  felt  a  pride 
in  the  nomination,"  declared  Caruso.  "  I  speak  of  this 
as  a  prelude  to  what  I  shall  say  to  show  that  one's 
career  is  neither  so  brilliant  nor  so  easy  as  may  seem 
to  the  casual  eyes  of  the  public.  For  it  developed 
that  in  spite  of  a  crescendo  of  successes  attending  my 
appearances  in  Buenos  Aires,  and  the  later  ones  in 
Treviso,  I  was  to  experience  a  setback  in  Rome. 


REALIZATIONS  113 

"My  happy  anticipations  were  checked,  upon 
reaching  the  Costanzi,  to  be  informed  by  Morichini 
that  for  me  there  was  to  be  no  new  opera.  To  my 
inquiries  I  was  given  no  satisfactory  enlightenment 
(it  is  astonishing  to  observe  how  little  opera  exec- 
utives sometimes  appear  to  know).  Searching 
my  own  mind  I  discovered,  what  I  believed,  to  have 
been  the  reason  for  the  refusal  to  allow  me  to  create 
Cavaradossi  in  'Tosca.'  During  the  first  season  of 
Sonzogno  —  exactly  five  months  before  I  sailed  for 
South  America  —  many  artists,  conductors,  and  com- 
posers had  been  present  at  each  of  my  Lirico  appear- 
ances. Some  of  them  had  not  agreed  with  most  of 
the  critics  and  the  public  as  to  my  abilities ;  these 
objectors  holding  the  same  unfavorable  opinion  of 
those  tenors  who  had  heard  me  in  'Rigoletto'  at  the 
Mercadante  in  1895.  I  could  have  argued  the 
matter  with  Morichini.  Perhaps,  had  I  been  in- 
sistent, something  might  have  happened,  for  at 
Livorno  Puccini  had  declared  me  capable  of  singing 
Rodolfo  in  his  'Boheme/  A  better  and  more  ex- 
perienced artist  at  the  time  of  my  Costanzi  debut, 
there  seemed  enough  justification  to  intrust  to  me  the 
role  of  Cavaradossi." 

Caruso's  reasoning  appears  to  have  been  sound 
enough.  Only  recently  Puccini  said,  in  speaking  of 
the  tenor's  accomplishment  during  that  Livorno 
season  of  1897,  "  I  do  not  remember  so  well  to-day  the 
incident  of  'La  Boheme*  with  my  dear  friend  Caruso. 
But  I  do  remember  that  those  performances  revealed 
the  treasure  of  a  magnificent  voice,  and  that  the  suc- 
cess was  memorable.  Caruso  then  found  the  Rac- 


114  ENRICO    CARUSO 

conto  of  the  first  act  a  little  heavy  for  him,  although 
he  did  not  confide  it  to  me  at  the  time.  He  men- 
tioned it  to  me  in  after  years,  when  we  had  become 
more  friendly ;  and  he  added  that  he  would  like  to 
have  had  the  aria  lowered  a  half-tone.  He  inter- 
preted also  my  'Manon  Lescaut/  As  Des  Grieux 
he  is  unforgettable.  Always  will  I  remember  the 
finale  of  the  third  act,  as  he  used  to  sing  it." 

Still  it  was  Puccini  himself  who  took  from  Caruso 
the  coveted  opportunity  of  being  the  first  Cavara- 
dossi  and  gave  it  to  Emilio  de  Marchi.  Whatever 
Puccini's  objections  to  Caruso  as  the  creator  of 
Cavaradossi  at  the  time  of  its  world  premiere  at 
the  Costanzi,  he  admitted  to  the  tenor  —  when  he 
appeared  in  the  role  one  year  later  in  Bologna 
—  that  never  had  he  heard  the  music  better  sung. 

Although  wounded  in  his  feelings,  the  tenor  "did 
not  fuss  or  complain."  He  endeavored,  as  later, 
"to  avoid  trouble  ...  a  course  that  always  seemed, 
in  time,  to  bring  compensation."  "Iris"  being  the 
opera  chosen  for  the  Caruso  debut  at  the  Costanzi, 
a  host  of  Mascagni  admirers  was  present  to  observe 
what  the  artist  would  do.  Among  those  associated 
with  him  that  1899  season  in  Rome  were  Signore 
Emma  Carelli,  Mary  Dalniero,  and  Monti-Baldini, 
and  Signori  Silla  Carobbi  and  Borucchia ;  the  re- 
doubtable and  then  friendly  Leopoldo  Mugnone 
occupied  the  conductor's  chair.  The  chagrin  Caruso 
felt  over  the  "Tosca"  episode  may  have  exerted 
some  effect  upon  his  Costanzi  premiere  appearance, 
but  he  began  well  and  continued  thus  to  the  end  of 
the  performance.  The  result  appears  to  have  been 


REALIZATIONS  115 

doubly  fortunate,  for  between  the  tenor  and  his  former 
maestro  Vergine  there  was  effected  a  reconciliation, 
following  their  differences,  several  years  previous, 
over  the  interpretation  of  the  terms  of  the  contract 
made  in  1893.  A  court  decision  having  dragged 
on  with  no  apparent  end  in  sight,  Caruso  proposed 
to  Vergine  that  he  pay  him  a  lump  sum  of  twenty 
thousand  lire,  which  the  latter  accepted  under  an 
agreement  that  the  contract  should  be  annulled. 
This  adjustment  no  doubt  relieved  the  singer's  mind. 
He  continued  even  to  the  end  of  his  days  to  hold  in 
esteem  the  man  who  had  been  his  first  singing  guide. 
Some  persons  have  contended  that  Vergine  deserved 
less  credit  for  developing  the  Caruso  voice  than 
others  who  during  later  periods  proffered  expert 
advice.  They  may  be  right ;  indeed  there  is  evidence 
gathered  here  and  there  to  support  the  belief  that 
from  Lombardi  and  various  additional  sources  the 
tenor  received  suggestions  most  profitably  applied. 
At  the  time  of  that  Costanzi  season  it  is  questionable 
if  Caruso  would  have  admitted  this  to  have  been 
true,  or  ever  likely  to  be  true. 

Nevertheless  the  singer's  voice  in  those  days  was 
not  the  freely  produced  voice  into  which  it  was  later 
to  develop.  Although  it  had  gained  in  roundness 
and  substance,  and  soared  less  reluctantly  to  the  top 
notes,  there  could  scarcely  have  existed  the  strength 
and  the  brilliancy  which  were  to  be  its  ultimate  char- 
acteristics. Careful  at  all  times  to  restrain  any 
tendency  towards  forcing,  Caruso  charmed  more 
at  that  time  by  the  smoothness  and  purity  of  his 
singing  than  by  any  tour  de  force. 


n6  ENRICO    CARUSO 

Boito's  "Mefistofele"  followed  "Iris."  The  pres- 
ence of  Arrigo  Boito,  the  composer  and  librettist, 
was  enough  to  bestir  the  artists.  On  the  day  of  the 
presentation  the  singer,  as  was  his  custom,  went  to 
the  Hotel  Laurati  for  luncheon,  in  a  happy  frame 
of  mind ;  but  how  quickly  it  was  to  be  dispelled. 
Informed  by  the  waiter  who  served  him  of  the  pres- 
ence of  Boito  himself,  the  singer  lapsed  into  diffi- 
dence over  the  consciousness  that  soon  he  might 
be  moving  along  the  path  of  disgrace.  He  was  "dis- 
couraged because  of  the  proximity  of  the  maestro", 
although  he  need  not  have  been.  For  that  evening 
his  Faust  sent  Boito  to  his  hotel  in  a  satisfied  frame 
of  mind. 

Meeting  Caruso  next  morning  the  composer  said 
to  him,  "I  came  to  Rome  especially  to  hear  you 
sing  in  my  opera  and  I  am  happy  to  shake  your  hand. 
I  did  not  visit  you  in  your  dressing  room  last  evening 
because  I  wished  to  save  you  further  emotion  and 
keep  myself  free  to  form  a  deliberate  judgment  upon 
your  performance.  Your  voice  has  in  it  a  quality 
that  touches  my  heart ;  your  singing  possesses  an 
instinctive  virtue  I  will  not  attempt  to  describe. 
I  congratulate  you  ;  and  from  my  heart  and  my  mind 
I  thank  you  for  the  enjoyment  you  gave  to  both." 

To  the  unexpected  tribute  Caruso  was  able  to 
make  only  some  conventional  response.  He  stood, 
as  Boito  walked  deliberately  off,  looking  after  him 
out  of  eyes  that  bespoke  the  gratitude  his  tongue 
could  not  express.  Thus  encouraged,  it  was  only 
natural  that  the  singer's  subsequent  opera  appear- 
ances should  have  gained  through  the  stimulus  of  a 


REALIZATIONS  117 

respected  judgment.  "La  Gioconda"  carried  him 
a  rung  higher  up  the  ladder  on  which  he  climbed ; 
each  new  effort  awakened  a  keener  consciousness 
of  the  possibilities  which  lay  ahead ;  he  plodded 
onward,  hoping,  dreaming,  for  the  cherished  ultimate 
reward. 

The  season  wore  on,  with  the  end  (December  15)  ap- 
proaching. Well  enough  established,  the  tenor  found 
his  favor  extending.  It  was  heightened,  shortly 
before  his  farewell  appearance,  when,  invited  to 
sing  at  a  special  gathering,  he  attracted  to  his  cause 
many  members  of  Rome's  press  of  that  day.  This 
affair  was  a  reception  arranged  by  the  Associazione 
della  Stampa,  planned  by  Attilio  Luzzatto,  its  then 
president  and  editor  of  the  influential  daily  news- 
paper La  Tribuna.  The  audience  which  listened 
to  Caruso's  interpretation  of  the  Lament  of  Federico 
from  Cilea's  "Arlesiana"  was  comprised  largely  of 
aristocrats  who  resided  in  the  Italian  capital.  As- 
sisted by  Mugnone,  who  played  the  pianoforte,  the 
result  was  even  more  pronounced  than  either  Caruso 
or  Mugnone  had  expected.  Three  times  was  the 
aria  repeated,  the  applause  on  each  occasion  reach- 
ing a  point  quite  uncommon  to  auditors  of  that  sort. 

V 

Rome  had  provided  compensations  enough  to- 
assuage  the  hurt  Caruso  had  felt  over  his  missed 
honor  to  create  the  role  of  Cavaradossi.  He  was 
willing  that  it  should  be  dropped  into  the  bag  of 
past  experiences,  there,  so  far  as  was  possible,  to  be 
forgotten.  Christmas  time  was  approaching;  and 


ii8  ENRICO    CARUSO 

immediately  thereafter  his  engagements  demanded 
his  presence,  for  a  second  time,  in  Petrograd. 

What  an  array  of  artists  with  whom  to  sing !  For 
soprani  there  were  Signora  Luisa  Tetrazzini,  Mme. 
Sigrid  Arnoldson,  and  Mme.  Salomea  Krusheniska ; 
the  great  tenor  Angelo  Masini,  and  the  equally  dis- 
tinguished baritone  Mattia  Battistini,  were  to  be  reg- 
ularly in  the  casts  ;  another  celebrated  tenor  of  that 
day,  Francesco  Marconi  (better  known  as  Checco), 
also  was  of  the  company  which  had  as  its  leading 
basso  Vittorio  Arimondi,  and  as  mezzo-soprani 
Signore  Cucini  and  Carotini.  The  first  conductor 
was  Vittorio  Podesti,  afterward  one  of  the  maestri 
at  New  York's  Metropolitan  Opera  House. 

Settled  in  Apartment  88  in  the  Hotel  on  the  Grand 
Moskaja,  Caruso  prepared  for  the  Petrograd  premiere 
performance  "Ai'da."  He  had  never  sung  in  this 
opera  because,  apart  from  its  intricate  tessitura, 
it  had  been  considered  too  heavy  for  his  voice. 
Again  the  resourcefulness  of  the  maturing  artist  was 
disclosed  as  the  representation  progressed,  and  the 
result  left  the  audience  of  one  mind.  From  all  ac- 
counts it  must  have  been  a  triumph ;  the  arias  were 
delivered  smoothly  and  not  without  the  needed  dra- 
matic emphasis,  and  for  the  first  time  in  any  public 
endeavor  Caruso  sang  a  satisfactory  high  B-flat.  In 
his  own  estimation  "  Much  of  the  growth  I  gained  at 
that  time  I  attribute  to  the  singing  of  Radames.  The 
role  was  of  much  help  because  it  developed  and  con- 
solidated my  voice  and  aided  toward  making  secure 
my  top  C,  which  I  had  previously  been  afraid  to 
attempt." 


REALIZATIONS  119 

Having  resumed  the  friendship  of  the  previous 
year,  Arimondi  was  almost  constantly  with  his 
younger  associate.  "To  win  as  Caruso  won  then 
was  exceedingly  difficult,"  declared  Arimondi,  "and 
an  achievement  to  be  remembered.  In  those  times 
every  opera  was  put  up  by  the  impresario  with  a 
cast  of  such  excellence  that,  even  had  there  been 
among  them  none  of  the  celebrities  present,  per- 
sonal success  could  be  gained  only  through  the  dis- 
closure of  real  gifts.  In  the  'Ai'da'  performance 
which  Podesti  conducted  was  Mme.  Krusheniska  in 
the  title  role  ;  Signora  Cucini  sang  the  Amneris,  Bat- 
tistini  was  Amonasro,  and  I  appeared  as  Ramphis. 
It  was  Caruso's  night ;  a  night  to  have  stirred  an 
artist  older  and  more  experienced  than  he,  and  the 
forerunner  as  well  of  more  than  one  other  of  the 
same  sort. 

"Presently  came  the  tenor's  first  opportunity  to 
appear  in  'II  Ballo  in  Maschera',  with  Mme.  Kru- 
sheniska, Signora  Cucini,  Battistini,  and  myself;  and 
he  took  another  forward  step.  The  Petrograd  pub- 
lic had  by  this  time  accepted  Caruso  completely. 
When  he  sang  they  were  happy.  Appearance  was 
succeeded  by  appearance,  and  before  long  he  sang 
Faust  in  '  Mefistofele'  for  the  first  time  in  Russia. 
Mme.  Krusheniska  and  Signore  Carotini  and  Cucini, 
and  I  were  of  the  cast,  which  labored  under  trying 
circumstances. 

"Mme.  Arimondi  and  Mme.  Giachetti,  having 
decided  to  join  us,  had  left  Milan  together  on  a  train 
due  to  arrive  in  Petrograd  at  eight  o'clock  on  the 
morning  of  the  date  set  for  the '  Mefistofele'  premiere. 


120  ENRICO    CARUSO 

Lorello  had  been  dispatched  to  receive  them  and 
we  were  both  waiting  when  the  secretary  returned 
with  the  disturbing  information  that  the  train  had 
not  arrived.  His  inability  to  obtain  any  explanation 
for  the  delay  was  causing  us  further  anxiety  when  a 
telegram  from  my  wife,  written  in  Russian,  was  de- 
livered to  me.  I  knew  she  did  not  know  one  word  of 
that  language  ;  so  Caruso  and  I  hurried  forth  to 
have  it  translated.  But  nobody  could  interpret 
clearly  its  meaning,  which  made  us  desperate. 

"  By  this  time  it  was  midday,  yet  neither  Caruso 
nor  I  thought  of  stopping  for  lunch.  We  could  only 
pace  excitedly  the  floor  of  my  room,  talking  loudly 
to  each  other  until  our  voices  began  to  get  hoarse. 
Caruso  at  length  left  me  ;  in  half  an  hour  or  so  Lorello 
came  in  to  say  that  his  master  had  gone  out  —  with- 
out putting  on  the  overshoes  which  are  necessary 
in  Russia  if  one  is  to  go  about  safely  in  a  temperature 
thirty  degrees  below  zero.  I  tempered  my  desire  to 
scold  when  Caruso  returned  with  the  news  that  the 
train  had  been  derailed  in  the  open  country,  though 
without  injury  to  any  passenger.  At  three  that  after- 
noon Mme.  Arimondi  and  Mme.  Giachetti  reached 
Petrograd  on  board  the  relief-train,  both  suffering 
from  exposure  —  Mme.  Arimondi  seriously  so.  The 
performance  of  'Mefistofele'  took  place  that  evening 
but  at  what  a  cost !  Caruso  developed  broncho- 
pneumonia  the  following  day  and  was  ill  in  bed  for 
one  month." 

Those  days  of  suffering  and  restless  tossing  gave 
way  finally  to  days  more  tranquil.  There  was  enough 
for  the  patient  to  think  seriously  on :  of  what  had 


REALIZATIONS  121 

gone  by  during  those  doubtful  earlier  years  of  the 
career;  the  gradual  ascent  to  more  propitious  mo- 
ments ;  and  the  recent  efforts  so  productive  of  re- 
wards. Mme.  Giachetti  was  always  near  at  hand ; 
there  were  remembrances  and  messages  from  solici- 
tous persons,  and  even  personages ;  time  began  to 
hang  less  heavily.  Toward  the  end  of  the  illness, 
when  Caruso  found  strength  returning  to  him,  he 
discovered  a  more  pronounced  leaning  in  the  direction 
of  really  serious  study  to  which  he  had  begun  to 
turn  in  the  autumn  of  1899.  Success  had  impressed 
him  with  the  importance  of  treating  it  with  that  con- 
sideration which  compels  —  from  any  opera  artist  — 
a  deal  of  work.  He  had  become  aware  of  the  ad- 
vantages accruing  from  methodical  habits ;  during 
the  season  at  Rome  the  tenor  had  decided  that  a 
daily  schedule  would  perhaps  help.  So,  on  the  back 
of  an  envelope  taken  from  one  of  his  pockets,  he  had 
jotted  down  the  hours  of  each  day  and  the  purposes 
to  which  he  intended  to  put  them. 

"There  was  one,"  he  had  explained,  "for  rising; 
another  for  the  breakfast ;  still  another  for  the  exer- 
cising of  my  voice  —  and  so  on.  Afterward,  when 
I  happened  to  oversleep  one  morning  after  a  hard 
night  at  the  opera,  I  altered  the  schedule.  But  it 
somehow  grew  until,  after  a  considerable  time,  it 
became  a  sort  of  fixture.  Occasionally  some  of  these 
resolutions  were  overcome  when  a  friend  would  come 
to  take  me  out  for  a  game  of  cards  ;  or  when  several 
of  my  companions  would  drop  into  my  rooms.  I 
was  generally  ready  to  reconstruct  the  schedule, 
especially  on  waking  late  from  my  rest  following 


122  ENRICO    CARUSO 

some  overindulgence  at  cards  that  had  cost  me 
money.  In  such  moments  I  was  forced  to  admit  that 
I  might  be  wasting  time. 

"Not  being  a  musician,  I  wished,  in  order  that 
any  conductor  should  find  me  well  prepared,  to  learn 
perfectly  the  words  and  the  notes  of  my  parts.  It 
helped,  I  discovered,  to  write  both  on  the  pages  of 
a  book  small  enough  to  be  conveniently  carried  in 
the  pocket.  One  day  a  fellow  artist  came  in  upon 
me  when  I  was  engaged  in  copying  a  part.  He 
chaffed  me,  and  I  answered ;  finally  he  warned : 
'Look  out  you  do  not  make  a  mistake  in  copying 
and  become  a  composer." 

That  practice  Caruso  adhered  to  right  to  the  end 
of  his  career ;  and  while  riding  on  a  train,  aboard  a 
boat,  or  in  any  other  conveyance,  he  would  take 
from  some  coat  pocket  one  of  his  handy  little  books 
out  of  which  he  either  refreshed  his  memory  or  fixed 
his  mind  upon  matters  to  be  learned. 

During  the  Lenten  period  of  1900  the  company 
which  had  been  appearing  in  the  Petrograd  Conserv- 
atory Theater  journeyed  to  Moscow,  and,  installed 
in  the  Grand  Theater,  began  another  season.  It 
was  in  Gounod's  "Faust",  which  Caruso  regarded 
as  the  "opera  grammar"  of  young  tenors,  that  he 
came  before  the  public  of  that  city.  Not  having 
sung  the  role  for  several  seasons,  he  made  a  grati- 
fying discovery ;  it  was  much  easier  for  him  to  sing 
than  at  any  previous  time.  Mme.  De  Lerma  was 
the  Marguerite  of  that  Moscow  cast,  and  the  others 
included  Signora  Carotini,  and  Battistini  and  Ari- 
mondi. 


A  PAGE   OF  CARUSO'S  MANUSCRIPT 


How  he  studied  the  r&le  of  Sam&on.     Note  the  spelling  of  the  French  diction  just  beneath 
the  words  of  the  score,  in  which  the  French  pronunciation  is  Italianized. 


REALIZATIONS  123 

In  this  city  the  tenor  renewed  his  studies  in  prac- 
tical ways  eminently  valuable.  For  there  is  so  much 
more,  he  has  contended,  beyond  the  sort  of  study  a 
singer  may  do  in  the  studio  with  a  maestro,  or 
at  home.  Many  times  he  learned  that  one  way  of 
singing  a  phrase  was  either  a  right  way  or  a  wrong. 
Observing  his  audience,  Caruso  would  note  upon 
them  the  effect  of  some  particular  manner  of  de- 
livering his  voice ;  if  they  were  pleased,  he  would 
remember  that  he  might  repeat  the  effort  at  some 
future  time,  and  he  likewise  took  pains  to  fix  in  his 
mind  what  did  not  please.  He  had  not  yet  arrived 
at  the  point  of  unfailingly  seizing  each  opportunity 
to  add  to  his  store  of  vocal  and  operatic  knowledge, 
but  he  was  trying.  Youth  still  held  ;  experience  and 
years  were  to  add  to  his  apprehension  of  what  it  was 
necessary  for  him  to  know  before  he  could  apply 
such  knowledge  to  enlarging  his  resources.  Never- 
theless, the  singer  had  grasped  the  fundamentals 
which  are  essential  in  any  drive  toward  a  worthy 
goal.  At  least  he  appreciated  that  other  things 
matter  for  an  opera  singer  besides  a  fine  voice,  well 
used.  Such  must  be  the  estimate,  else  he  would 
have  been  content  to  rely  more  than  he  ever  was 
willing  to  rely  upon  the  appealing  qualities  of  such 
tones  as  he  was  then  beginning  to  command. 

The  Moscow  season  went  over,  spring  hovered, 
and  with  renewed  confidence  Caruso  returned  to 
Milan  for  a  visit  with  his  son  Fofo  and  a  brief  stay 
with  his  father  and  stepmother  before  he  should 
sail  on  the  SS  Regina  Margherita  for  his  second  South 
American  season.  He  was  not  met  this  time  with 


124  ENRICO    CARUSO 

any  false  rumors  about  a  voice  "lost  in  Russia." 
The  Caruso  star  was  ascending  where  it  could  be 
more  clearly  seen  ;  Italians  were  gradually  admitting 
among  themselves  that  it  was  growing  brighter. 

Mme.  Ferrari,  impresaria  of  La  Opera,  welcomed 
her  tenor  with  widespread  arms.  He  would  make 
his  season's  debut  in  "Mefistofele",  with  the  always 
dependable  Mme.  Carelli,  the  basso  Signer  Ercolani, 
and  Maestro  V.  Mingardi  conducting.  All  would 
be  fine,  the  success  enormous,  was  the  picture 
sketched  by  this  energetic  manager.  How  differ- 
ent it  actually  proved.  Instead  Buenos  Aires  re- 
ceived Caruso  so  coldly  that  the  nervousness  he 
felt  at  the  beginning  of  that  May  10  performance 
increased  until  he  found  difficulty  in  finishing  the 
evening.  In  the  morning,  at  the  studio  of  his  artist 
friend,  Filippo  Galante,  the  singer  declared  that  if 
at  the  next  "Mefistofele"  performance  the  public 
failed  to  accord  to  him  the  recognition  he  sought, 
he  would  return  straightway  to  Italy. 

What  a  difference  that  second  "Mefistofele" 
wrought,  just  two  nights  after  the  first  one.  Caruso 
may  have  excelled  his  previous  endeavor ;  it  may 
possibly  have  been  the  temper  of  a  South  American 
audience,  which  is  known  to  be  sometimes  moved 
by  seemingly  trivial  details.  Regardless  of  the  cause, 
it  is  a  fact  that  after  the  first  aria  the  public  stormed 
in  applause  and  would  not  let  the  performance  go  on. 
It  wished,  it  demanded  with  emotional  violence,  a 
repetition  of  the  aria  from  the  singer  who  had  been 
well  nigh  ignored  forty-eight  hours  earlier.  It  is  to 
such  a  slender  thread  that  the  fate  of  an  opera  ar- 


REALIZATIONS  125 

tist  may  occasionally  hang.  No  encore  was  forth- 
coming, but  the  tenor  came  many  times  before  the 
footlights,  satisfied  then  at  being  restored  to  the 
position  which  had  been  his  during  his  introductory 
Buenos  Aires  season,  one  year  before. 

Caruso  thereupon  relaxed,  as  was  his  habit  when 
matters  affecting  his  career  took  a  favorable  turn. 
With  his  expanding  powers  he  was  developing  his 
sensitive  side ;  and  while  he  reacted  with  a  smile 
to  any  approval  by  his  public,  he  was  even  more 
susceptible  to  expressions  of  ill  will.  Coldness  hurt 
him  more  than  any  outburst  of  disfavor,  and  a 
chilly-disposed  assemblage  could  plunge  him  into  mo- 
roseness  from  which  nothing  could  rescue  him  save 
the  subsequent  warming  of  his  critics,  —  and  on  oc- 
casions not  even  that. 

Caruso  repaired  after  the  second  "  Mefistofele " 
appearance  to  the  studio  of  Galante.  Each  day's 
leisure  during  that  1900  South  American  stay  found 
him  with  his  artist  friend ;  and  the  two  chatted 
and  worked  together,  the  tenor  alternately  painting 
and  modeling,  under  the  guidance  of  his  master.  He 
went  abroad,  too,  in  the  streets  of  Buenos  Aires,  either 
walking  or  driving,  as  suited  his  pleasure.  For  it 
cannot  be  gainsaid  that  Caruso  liked  admiration. 
He  may  have  chosen  to  maintain  outward  uncon- 
cern, yet  he  was  not  unaware  of  the  act  of  some 
passer-by  who,  recognizing  him,  chose  effusively  to 
make  known  his  presence. 

"Iris",  on  May  17,  was  the  second  work  in  which 
the  tenor  appeared  at  La  Opera  during  that  second 
Buenos  Aires  season.  Success  had  touched  him 


126  ENRICO    CARUSO 

during  the  previous  year  ;  it  returned  again,  although 
the  press  expatiated  upon  the  immoral  spots  in  the 
opera  and  urged  the  public  not  to  patronize  future 
performances  of  it.  No  attention  was  paid  this 
advice ;  indeed,  at  the  next  presentation  the  at- 
tendance was  even  larger  than  before  and,  with  Si- 
gnora  Carelli  and  Signori  Angelini  and  Ercolani  in 
the  cast,  Caruso  discovered  his  popularity  increasing 
and  his  singing  of  the  serenade  of  Yor  redemanded. 

All  was  then  momentarily  well.  Restored  to  his 
best  humor  the  tenor  continued  to  fill  regularly  his 
announced  appearances.  Besides  repetitions  of  the 
operas  mentioned  he  sang  in  "La  Regina  di  Saba  " 
with  Signora  Carrera  and  Signori  Mendiorez  and 
Giraldoni ;  his  introductory  "  La  Boheme  "  in  South 
America  was  sung  on  June  23 ,  and  on  July  1 2  he  ap- 
peared for  the  first  time  that  year  in  "Cavalleria 
Rusticana."  Even  before  he  went  upon  the 
stage,  to  sing  with  Signore  Carelli  and  Ida 
Rappini  and  Signer  Pacini,  Caruso  captivated  his 
listeners ;  the  Siciliana,  sung  behind  the  scenes 
before  the  curtain  rises,  had  to  be  repeated. 
Just  two  weeks  later,  through  the  illness  of  Emilio 
De  Marchi,  another  first  tenor,  Caruso  was  called 
upon  for  a  Des  Grieux  in  the  "Manon"  of  Massenet. 
Singing  as  he  was  then  singing,  he  could  but  satisfy 
his  auditors.  They  let  themselves  go  with  no  effort 
at  restraint ;  it  was  for  the  tenor  an  evening  to  look 
back  upon. 

The  way  thereafter  was  a  steady  triumphant  march 
and  it  was  capped  at  the  farewell  when  Caruso  bade 
his  adieu  as  Rodolfo  in  "La  Boheme."  He  sang 


REALIZATIONS  127 

twice  on  special  occasions  before  sailing  for  Monte- 
video aboard  the  SS  Sirio,  the  first  time  at  a  memo- 
rial service  held  on  August  9  in  the  Buenos  Aires 
Catholic  cathedral  in  honor  of  the  assassinated  King 
Humbert  of  Italy,  and  again  on  August  12  in  a  con- 
cert held  at  the  Progress  Club  for  the  Dames  of  Char- 
ities. Finishing  the  shorter  season  in  Montevideo, 
where  a  part  of  the  Buenos  Aires  repertoire  was 
given,  Caruso  departed  for  Genoa. 

September  found  him  back  once  more  in  his  Milan 
apartment  in  via  Velasca,  where  he  turned  for  one 
month  from  everything  connected  with  singing. 
How  quickly  those  few  weeks  flew  past.  It  seemed 
to  the  tenor  that  he  had  barely  set  foot  upon  his 
native  soil  before  he  must  report  at  Treviso,  that 
lovely  city  near  the  Austrian  border,  where  he  had 
been  engaged  to  appear  at  the  Sociale  Theater. 
There  was  something  to  look  forward  to  in  the  asso- 
ciation he  was  to  have  in  "Tosca"  with  Ada  Gia- 
chetti.  At  least  they  would  not  be  separated  so 
soon  again  after  their  long  absence  of  the  previous 
spring  and  summer.  Together  they  journeyed  to 
Treviso  ;  they  sang  in  the  rehearsals  to  the  delight  of 
Impresario  Enrico  Corti ;  they  worked  at  home 
over  details  that  might  make  their  performances 
the  smoother  ;  and  at  the  premiere  of  October  23  each 
found  the  reward.  Egisto  Tango  —  who  afterward 
spent  one  season  as  a  conductor  at  the  New  York 
Metropolitan  —  led  the  presentation  ;  Antonio  Ma- 
gini-Coletti  was  the  Baron  Scarpia.  If  that  Treviso 
season  was  not  long,  it  led  to  some  desirable  friend- 
ships, one  of  them  being  that  with  Antonio  Guarnieri, 


128  ENRICO    CARUSO 

then  the  first  'cellist  of  the  Sociale  Theater  orchestra, 
who  later  became  a  celebrated  opera  conductor. 
And  on  each  of  the  twelve  occasions  when  he  sang 
in  "Tosca"  between  October  23  and  the  following 
November  1 1  the  tenor  met  with  no  serious5  mishap. 

Appearances  at  the  Comunale  of  Bologna  were 
to  come  next,  —  appearances  likely  to  give  Caruso 
some  concern  because  of  the  interest  that  had  already 
been  created  through  the  announced  engagements 
of  Giuseppe  Borgatti  and  Alessandro  Bonci,  two 
other  tenors  more  firmly  intrenched  than  he.  Bonci 
was  perhaps  the  more  formidable  one ;  the  same 
Bonci  who  had  created  the  tenor  character  in  "II 
Signer  di  Pourceaugnac"  at  its  April  10,  1897,  La 
Scala  premiere,  which  Caruso  had  been  unable  to 
accept.  Older  than  Caruso  and  more  experienced, 
Bonci  held  the  advantage.  He  was  established  at 
the  Politeama  when  Caruso  and  Borgatti  joined 
the  Comunale,  and  the  Bonci  adherents  were  to  be 
counted  on  to  do  their  part.  For  the  public  it  was  a 
situation  to  be  desired  ;  competition  generally  brings 
the  best  from  those  competing.  But  for  Caruso  it 
was  a  situation  of  quite  another  sort.  If  not  actually 
afraid,  he  was  at  least  fearful  of  an  outcome  he  could 
not  afford  to  lose.  A  lessening  of  such  prestige  as 
was  then  his  might  harm  him  in  any  number  of 
ways ;  recovering  from  a  setback  is  often  harder 
than  the  original  gaining  of  the  position  itself. 

Nerved  for  what  was  in  truth  an  ordeal,  Caruso 
stepped  before  the  Bologna  public  in  his  opening 
appearance.  Ada  Giachetti  and  the  baritone  Giral- 
doni  were  two  of  the  stalwarts  on  either  side  of 


REALIZATIONS  129 

the  tenor.  Mugnone  was  at  the  conductor's  desk. 
The  public  would  be  sure  to  get  the  utmost  possible 
from  Caruso  if  his  support  was  an  element  to  be 
counted  upon.  "Tosca"  and  "Iris"  were  the  two 
operas  which  lifted  the  newcomer  into  a  place  near 
the  spotlight,  contriving  to  keep  him  sufficiently 
near  the  rays  to  be  seen  with  that  distinctness  neces- 
sary to  attract  attention.  It  was,  though,  a  pivoting 
spotlight  which,  sweeping  in  a  circle,  touched  first 
one  then  another  of  the  three  tenors  who  were  con- 
testing for  popular  favor.  One  night  it  would  be 
Caruso ;  the  next  Bonci  had  his  innings ;  where- 
upon Borgatti's  turn  came.  For  several  weeks  this 
triangular  race  continued,  the  adherents  of  each  pro- 
claiming at  every  opportunity  the  supremacy  of  their 
favorite.  Finally  the  tide  rolled  the  majority  opinion 
in  one  direction,  —  toward  Caruso,  youngest  tenor 
of  the  three,  who  was  declared  to  have  gained  the 

palm. 

VI 

After  Bologna  there  was  to  come  for  Caruso  his 
debut  at  Teatro  alia  Scala  —  "the  terrible  La  Scala 
of  Milan  which  scares  all  artists."  Its  general  di- 
rector at  that  time  was  Giulio  Gatti-Casazza,  who 
since  1908  has  been  the  executive  head  of  New  York's 
Metropolitan.  The  first  conductor  was  Arturo  To- 
scanini,  even  then  known  throughout  Italy  as  a  dis- 
ciplinarian of  the  severest  type.  The  goal  of  every 
lyric  artist,  La  Scala  nevertheless  loomed  before 
each  new  arrival  —  formidable,  pitiless,  severe.  To 
win  there  was  to  be  carried  to  the  heights ;  to  lose 
was  to  be  swept  away  into  the  limbo  of  oblivion. 


130  ENRICO    CARUSO 

"I  did  not  know  what  caused  it,  but  almost 
immediately  I  realized  that  the  feeling  was  against 
me,"  declared  Caruso.  "  First  came  the  untraceable 
rumor  that  I  was  'not  well/  Then  somebody  else 
was  'not  sure'  of  my  ability.  Somebody  else  re- 
marked that  the  fifty  thousand  lire  I  was  to  receive 
for  the  three  months'  season  was  'an  enormous  sum* 
for  such  a  singer  as  Caruso.  It  was  in  such  an  atmos- 
phere that  I  began  a  most  critical  period  in  my  career. 

"I  had  been  notified  that  I  would  make  my  debut 
in  'Boheme',  on  the  second  night  of  the  season; 
Wagner's  'Siegfried'  was  to  be  the  opening  opera. 
Since  the  public  was  eager  about  'Boheme'  it  was 
sure  to  be  well  prepared ;  the  discipline  at  La  Scala 
was  strict.  Emma  Carelli  was  to  be  the  Mimi,  Ales- 
sandro  Arcangeli  and  Oreste  Luppi  were  to  have 
the  roles  of  Marcello  and  Colline.  Toscanini  was 
of  course  to  conduct. 

"The  first  rehearsal  finally  began,  with  the  other 
principals  of  the  company  and  specially  permitted 
visitors  listening  to  my  every  tone  and  watching 
every  move  I  made.  How  little  the  public  realizes 
what  the  artist  must  endure  to  present  well  the  music 
and  action  of  a  character.  It  may  have  taken  blood 
from  one's  heart  to  attain  the  excellence  which  sends 
an  audience  from  the  theater,  satisfied.  When  in 
this  rehearsal  we  reached  the  tenor's  romanza  of 
the  opening  act,  I  sang  in  full  voice  every  note  of 
the  aria  excepting  the  high  C ;  this  I  gave  falsetto. 

"I  noticed  some  of  the  artists  looking  at  one  an- 
other, for  in  Italy  the  use  of  the  falsetto  is  not  a  mark 
of  good  singing.  At  the  end  of  the  romanza  To- 


REALIZATIONS  131 

scanini  asked  me  if  I  could  give  the  high  C  a  little 
stronger;  and  I  answered,  'yes/  He  then  asked 
to  hear,  to  which  I  replied  that  I  did  not  wish  to  give 
the  tone  strong  so  early  in  the  day.  I  feared  this 
might  displease  Toscanini,  but  an  artist  must  do 
what  he  thinks  is  best  and  right ;  and  feeling  certain 
of  my  high  C  when  it  was  necessary  to  sing  it  in  the 
performance,  it  seemed  unwise  to  risk  singing  a  poor 
tone  at  a  time  when  a  good  tone  was  what  was 
wanted. 

"At  the  third  rehearsal,  when  I  continued  because 
of  the  same  reasons  to  sing  the  high  C  falsetto,  To- 
scanini said  he  was  afraid  to  let  me  go  on  without 
hearing  how  I  would  give  the  note  from  the  chest ; 
and  he  suggested  that  the  aria  be  transposed  a  half- 
tone lower.  To  this  I  did  not  object ;  it  did  not 
however  remove  the  obstacle,  for  at  the  next  rehearsal 
when  we  arrived  at  the  high  B  natural  I  sang  that 
note  falsetto. 

"At  last  came  the  date  for  the  general  rehearsal 
which  at  La  Scala  begins  at  nine  in  the  evening  with 
a  large  audience  ;  it  is  almost  a  regular  performance. 
The  day  had  not  gone  far  —  it  was,  I  remember, 
only  nine  in  the  morning  —  when  the  man  who  sum- 
mons the  principals  to  the  theater  (the  awisatore) 
arrived  at  my  house  to  inform  me  of  a  'small'  re- 
hearsal. Both  the  composer  and  the  librettist  had 
attended  all  the  rehearsals  ;  many  changes  had  been 
made ;  now  some  one  had  thought  of  new  changes. 

"  Shortly  after  I  reached  the  theater  we  began  with 
the  third  act  of  'Boheme/  There  were  many  stops  ; 
many  suggestions ;  finally  we  finished  and  took  up 


132  ENRICO    CARUSO 

the  fourth  act.  After  a  time  I  began  to  wonder 
when  this  *  small'  rehearsal  would  end.  At  half-past 
one  we  were  still  at  work  and  no  mention  had  been 
made  of  lunch,  nor  was  there  any  when  this  act  had 
been  disposed  of,  for  immediately  we  began  on  act 
one.  By  this  time  I  was  becoming  angry  over  the 
thought  that  my  soup  at  home  was  getting  cold.  I 
began  to  sing  this  first  act  with  all  my  voice  and 
continued  in  this  through  the  romanza,  including 
the  much  disputed  high  note  near  the  close.  When 
I  gave  it  without  any  vocal  restraint  Toscanini  (and 
everybody  else  also)  appeared  relieved.  For  a  re- 
ward we  were  put  to  work  upon  the  second  act,  in 
which  I  also  used  all  the  tone  I  had.  Having  sung 
with  complete  strength  the  entire  opera,  I  was  as- 
tounded when  the  avvisatore  called  out,  'Signore, 
Signori  —  to-night  at  nine  o'clock  the  general  re- 
hearsal.' 

"It  was  my  intention  to  object,  and  I. should  have 
done  so  had  not  the  soprano  stopped  me.  *  Don't 
worry,'  she  said,  'to-night  we  will  sing  in  only  half- 
voice/ 

"Having  reached  home  at  five  o'clock  I  had  little 
rest  when,  at  seven-thirty,  the  avvisatore  called  with 
a  carriage  to  take  me  to  the  theater.  There  was 
present  an  invited  audience  of  distinguished  persons  : 
the  critics,  privileged  subscribers,  La  Scala  artists 
who  were  not  taking  part  in  the  performance,  and 
some  of  their  friends.  I  began  the  opening  act  in 
demi-voice.  Presently  I  noticed  that  the  soprano 
who  had  told  me  in  the  afternoon  that  we  would  all 
sing  that  way  was  using  her  entire  voice.  At  the 


REALIZATIONS  133 

first  opportunity  I  inquired  why  she  did  so.  She 
answered,  'I  want  to  put  the  part  in  my  throat/ 
I  was  surprised  at  the  finish  of  the  act  to  notice  that 
there  was  no  applause.  While  I  was  resting  in  my 
dressing  room  don  Giulio  (Gatti-Casazza)  entered 
and  requested  me  to  give  in  the  next  act  a  little  more 
voice.  I  begged  him  to  excuse  me,  explaining  that 
I  was  singing  too  soon  after  having  eaten  to  give 
all  my  voice  with  comfort  to  my  digestion. 

"Don  Giulio's  request  upset  me  and  made  me  so 
nervous  that  in  the  second  act  I  could  scarcely  find 
even  this  demi-voice  I  had  used  in  the  opening  scenes. 
In  a  few  moments  I  heard  a  rapping  noise  ;  immedi- 
ately the  orchestra  ceased  playing.  Then  Toscanini 
pointed  at  me  with  his  baton  and  said,  '  If  you  don't 
sing,  I  can't  go  on/  I  urged,  for  the  same  reason  I 
had  given  don  Giulio,  that  he  excuse  me,  but  instead 
of  answering  he  laid  down  his  baton  and  left  the 
orchestra  pit ;  then  the  curtain  came  down. 

"  I  went  to  my  dressing  room  feeling  that  I  should 
give  back  my  advance  money  and  leave  La  Scala. 
In  all  probability  I  should  have  done  so,  if  the  Duke  of 
Modrone,  president  of  the  La  Scala  board  of  directors, 
had  not  come  to  me.  When  he  heard  what  I  had 
to  say,  he  urged  that  I  resume  my  singing  in  what- 
ever way  I  felt  physically  able.  We  finally  took  up 
the  opera,  with  Toscanini  conducting,  and  at  one 
o'clock  in  the  morning  the  general  rehearsal  finished." 

Caruso  was  so  dispirited  when  he  reached  home 
that  he  considered  again  the  advisability  of  asking  to 
be  released  from  his  contract.  When  he  awoke  later 
in  the  day  he  was  more  firmly  of  that  mind,  for  he 


134  ENRICO    CARUSO 

had  contracted  fever.  Matters  now  had  become  se- 
rious. Attended  by  a  physician,  his  grievances  magni- 
fied by  illness,  the  world  had  become  suddenly  for- 
bidding. What  was  the  use  of  it  all  ?  Enmity  was 
everywhere  about  him ;  he  wished  to  be  rid  of  the 
whole  sickening  business. 

But  suddenly  the  sun  broke  through  the  clouds 
when,  on  the  day  set  for  the  La  Scala  opening,  Gatti- 
Casazza  visited  his  tenor  to  inform  him  that  "  Sieg- 
fried" was  not  well  enough  prepared  to  be  presented. 
"La  Boheme"  had  been  decided  as  a  substitute; 
here  was  Caruso's  opportunity.  In  vain  did  the  still 
stricken  singer  protest ;  for  two  hours  Gatti-Casazza 
argued,  to  ultimate  success.  Caruso  capitulated.  He 
consented  to  sing.  And  sing  he  did,  on  the  eve- 
ning of  December  26,  190x5;  and  despite  the  handi- 
caps imposed  by  the  illness  from  which  he  had  not 
fully  recovered,  victory  came  to  him.  He  was  not 
entirely  clear  of  the  woods  ;  he  had  still  a  little  way 
farther  to  go.  But  that  "Boheme"  appearance 
restored  his  wavering  courage  and  enabled  him  to 
collect  his  resources.  He  was  not  far  from  a  goal 
just  around  the  corner ;  a  glorious  goal. 

Gatti  and  Toscanini  were  too  well  seasoned  not  to 
have  immediately  discovered  the  quality  of  this  new 
tenor.  Shortcomings  he  undeniably  had  ;  maturity 
of  voice  and  powers  were  yet  to  come.  It  seemed 
the  part  of  wisdom  to  both  to  nurse  this  singing  plant, 
and  the  first  step  to  that  end  was  to  allow  him  to  rest. 
Headaches  which  years  later  were  to  torment  him 
had  already  begun  to  appear ;  nor  was  he  by  any 
means  wholly  recovered  from  his  touch  of  fever.  A 


Copyright  Mishkin.  N.  Y. 
CARUSO  AS  RODOLFO  IN   "LA  BOHEME  " 


REALIZATIONS  135 

rest  of  eight  days,  during  which  an  eased  mind  proved 
no  insignificant  factor,  sent  Caruso  up  for  his  second 
Rodolfo  in  condition  to  do  himself  justice.  At  the 
conclusion  of  the  tenth  appearance  public  confidence 
had  been  won ;  and  on  January  17,  1901,  the  tenor 
created  the  role  of  Florindo  in  Mascagni's  then  new 
opera  "Le  Maschere",  his  principal  associates  in 
the  cast  being  Signore  Emma  Carelli  and  Linda 
Brambilla,  and  Signori  Arcangeli  and  Luppi. 

What  might  have  happened  if  "Le  Maschere"  — 
produced  simultaneously  in  seven  different  opera 
houses  of  Italy  —  had  succeeded  at  La  Scala  must 
be  conjectured.  Indifferently  received  after  its  third 
Milan  presentation,  Gatti-Casazza  was  put  to  it  to 
find  a  substitute.  During  this  period  Director  Gatti- 
Casazza  and  Conductor  Toscanini  fell  to  meeting  of 
evenings  to  consider  what  opera  could  be  found  to 
replace  "Le  Maschere/' 

"On  one  of  these  evenings,"  related  Gatti-Casazza, 
"I  went  with  Arturo  Toscanini  to  the  Caffe  Cova 
in  the  neighborhood  of  the  theater.  I  had  remem- 
bered having  heard  while  a  child  'L'Elisir  d'Amore', 
that  charming  opera  buffa  which  Donizetti  had 
written  in  fourteen  days.  Some  of  the  traditions 
were  yet  fresh  in  my  mind :  the  dispute  Donizetti 
had  with  Romani  the  librettist  over  the  introduction 
as  a  tenor  romanza  of  a  special  piece  of  concert  music 
he  had  composed  —  Una  furtiva  lagrima  —  during 
which  dispute  Romani  had  exclaimed,  'What!  a 
pathetic  wail  by  a  stupid  fellow  when  all  should  be 
festive  and  gay  ? '  And  then  the  dedication  of  the 
opera  to  the  ladies,  when  Donizetti  had  written, 


136  ENRICO    CARUSO 

'  Who  more  than  they  know  how  to  distill  love  ? 
Who  better  than  they  know  how  to  dispense  it  ?'  At 
various  times  since  its  premiere  on  May  12,  1832, 
at  the  Teatro  della  Canobbiana  (now  the  Lirico) 
'L'Elisir  d'Amore'  had  been  revived  with  recurring 
success. 

"During  one  of  the  many  pauses  in  our  conver- 
sation on  this  particular  evening,"  continued  Gatti, 
"when  Toscanini  and  I  had  each  vainly  suggested 
one  work  after  another,  I  at  length  said/ Suppose 
we  try  to  put  together  "L'Elisir  d'Amore",  an  opera 
always  fresh  even  if  almost  forgotten.'  'I  would  be 
delighted  to  try,'  answered  Toscanini,  'but  the  com- 
pany ?  We  have  Caruso,  who  would  do  admirably 
as  Nemorino  ;  we  have  no  Adina,  although  one  could 
be  found ;  but  my  dear  Gatti,  what  we  have  not, 
and  what  I  doubt  we  can  find,  is  a  Dulcamara  suitable 
for  La  Scala.  It  is  a  difficult  role,  and  buffos  of 
good  style  are  no  longer  to  be  had.'  We  separated 
to  go  to  our  respective  homes. 

"The  next  day,  after  a  rehearsal,  the  conversation 
was  resumed.  Toscanini  (I  can  visualize  him  now) 
was  seated  before  a  piano  and  playing  from  'L'Elisir 
d'Amore'  the  duet  of  Adina  and  Dulcamara.  He 
was  playing  half-unconsciously,  looking  upwards, 
and  repeating  in  a  far-away  manner:  '  Where  - 
can  we  find  —  a  Dulcamara  ?  —  There  is  —  none/ 

"Maestro  Sormani,  one  of  the  assistant  conductors 
who  chanced  to  hear  this  curious  chant,  immediately 
inquired,  'Why  not  the  buffo  Carbonetti?' 

"Toscanini  paused,  swung  round  in  his  chair,  and 
exclaimed,  'Carbonetti?  But  the  voice?' 


REALIZATIONS  137 

'The  voice  of  Carbonetti,  which  I  heard  last 
year/  replied  Sormani  with  quiet  assurance,  'is  a 
voice  no  worse  than  other  voices  we  have  since  heard 
right  here  in  La  Scala.' 

"'Very  well,'  declared  Toscanini,  with  his  char- 
acteristic quickness,  'then  let  us  get  Carbonetti  and 
try  "L'Elisir."  We  decided  at  once  to  do  so ;  that 
very  night,  between  acts  during  a  performance  of 
'Boheme',  I  spoke  to  Caruso  about  Nemorino. 

' '  I  know  only  Una  furtiva  lagrimaj  he  informed 
me,  'but  if  you  wish  I  will  begin  to-morrow  to  learn 
the  entire  role/  Soon  I  engaged  for  the  Adina  Si- 
gnora  Regina  Pinkert ;  Magini-Coletti  was  cast  for 
Sergeant  Belcore,  and  Federico  Carbonetti  journeyed 
to  Milan  from  the  provinces,  where  he  had  been 
passing  such  a  wretched  existence  that  he  presented 
himself  at  La  Scala  without  an  overcoat,  and  carrying 
a  valise  tied  up  with  a  bit  of  string.  But  he  had  a 
spirit  not  in  the  least  curbed  by  his  fortunes.  'They 
say  I  am  getting  old  !'  he  declared.  'That  is  a  cal- 
umny !  I  still  defy  all  the  youngsters  to  travel  around 
Italy  in  the  winter  as  I  do,  without  an  overcoat/ 
Then  he  hurried  off  to  report  to  Toscanini,  who  had 
to  be  severe  with  the  enthusiastic  buffo  to  prevent 
his  introducing  in  parts  of  his  music  top  notes 
not  written  in  the  score. 

"Reports  that  La  Scala  was  to  revive  'L'Elisir 
d'Amore'  were  not  so  favorably  received  by  the  pub- 
lic ;  and  I  began  to  receive  letters  intimating  that 
I  was  about  to  turn  La  Scala  into  a  provincial  theater 
and  would  soon  be  punished  with  a  fiasco  more  de- 
cisive than  any  I  had  known.  These  warnings  did 


138  ENRICO   CARUSO 

not  interfere  with  our  preparations  for  the  premiere 
of  the  revival.  The  painters  started  work  on  the 
three  scenes,  and  my  much  loved  president  of  the 
board,  Duke  Visconti  di  Modrone,  made  a  personal 
search  among  the  Milan  carriage  makers  until  he 
had  found  a  'berlin'  which  he  had  adapted  for  use 
by  Doctor  Dulcamara. 

"The  rehearsals  were  not  strictly  joyous  affairs. 
The  voice  of  Carbonetti  irritated  Toscanini  intensely ; 
and  never  have  I  seen  him  in  such  ill  humor  as  he 
was  on  the  morning  of  February  17,  1901,  which 
had  been  fixed  for  'L'Elisir*  premiere.  Perhaps  he 
sensed  the  quality  of  the  audience  which  gathered 
that  evening ;  for  it  was  moderate  in  size  and  made  no 
pretense  of  its  mind  to  teach  a  lesson  to  Toscanini,  to 
me,  and  —  if  necessary  —  to  the  memory  of  Donizetti. 

"Toscanini's  face  was  still  forbidding  when  he 
walked  to  his  conductor's  desk  in  the  orchestra  pit. 
The  opera  began ;  the  chorus  sang  its  strophes ; 
Adina  related  with  grace  the  story  of  the  love  of 
Queen  Isolde ;  Nemorino  sighed  delightfully  in  his 
song  —  but  the  audience  took  not  the  slightest  in- 
terest. Not  even  Belcore  —  which  Magini-Coletti 
was  interpreting  masterfully  —  could  soften  the  stern 
faces  of  the  terrible  subscribers.  The  concertato  of 
Adina,  Nemorino,  and  Belcore,  with  the  chorus,  was 
followed  by  a  chilling  silence  which  traveled  to  where 
I  was  standing  back  stage,  causing  my  blood  to 
freeze  with  the  fear  that  after  all  the  evening  would 
end  disastrously. 

"  Presently  the  duet  of  the  soprano  and  tenor  com- 
menced. Signora  Pinkert  delivered  her  opening 


REALIZATIONS  139 

phrases  delightfully;  and  when  she  had  finished, 
I  caught  some  subdued  murmurs  of  approval.  Then 
Caruso  began.  Who  that  heard  him  will  not  re- 
member ?  Calm  and  conscious  that  at  this  point 
lay  the  fate  of  the  performance  he  uttered  his  re- 
sponse (Chiedi  al  rio)  to  the  soprano  in  a  voice  of 
such  warmth,  and  with  such  art  of  sentiment,  that 
I  cannot  describe  its  effect.  Gradually  he  melted 
the  icy  reserve  with  which  the  auditors  had  invested 
themselves ;  little  by  little  he  compelled  their  atten- 
tion ;  and  when  he  arrived  at  the  cadenza  he  swept 
on  to  a  climax  with  such  fervor  that  none  in  the 
theater  could  resist.  Such  a  tempest  of  applause 
can  be  appreciated  only  by  one  who  knows  an  Italian 
audience  —  and  more  particularly  a  discriminating 
La  Scala  audience.  So  uproariously  did  that  assem- 
blage demand  a  repetition  that  Toscanini,  notwith- 
standing his  aversion  to  granting  encores,  had  to  sub- 
mit. The  curtain  fell  with  an  ovation  for  Adina  and 
Nemorino  when  they  came  thrice  before  the  curtain. 

"My  nervousness  was  such  at  this  point  that  I 
could  not  remain  upon  the  stage ;  I  went  beneath  it. 
I  feared  to  observe  how  Carbonetti  would  fare  with 
this  critical  audience.  When  I  fancied  his  cava- 
tina  should  have  been  finished,  I  approached  the 
prompter's  box  to  inquire.  Marchesi  (the  same 
prompter  now  at  the  Metropolitan)  whispered  to 
me  that  Carbonetti  'went  well/  having  caused  many 
to  laugh  who  wished  not  to.  That  settled  matters  ; 
if  the  old  voice  of  Carbonetti  had  met  with  favor, 
then  the  ship  was  indeed  safely  in  port. 

"From   that   point   on,   approval   greeted    every 


140  ENRICO    CARUSO 

number.  And  when  Caruso  sang  Unafurtiva  lagrima 
he  was  made  to  repeat  it,  with  a  third  delivery  of 
the  aria  almost  compelled.  That  settled  everything. 
I  was  limp,  but  content.  When  Toscanini  came 
back  stage  to  go  before  the  curtain  with  the  artists, 
he  embraced  Caruso,  then  turned  to  me  and  said, 
'Per  dio!  Se  questo  Napoletano  continua  a  cantare 
cost,  fard  parlare  di  se  il  mondo  intero.1  (By  Heaven  ! 
If  this  Neapolitan  continues  to  sing  like  this,  he 
will  make  the  world  talk  about  him.) 

"It  was  after  a  representation  of  'Marta'  at  the 
New  York  Metropolitan  one  evening  during  the  season 
of  1916  that  Otto  H.  Kahn  remarked  to  me,  'With 
Caruso  in  such  admirable  form  why  should  n't  we 
revive  "L'Elisir  d'Amore"?'  This  was,  as  we  say 
in  Italy,  'inviting  a  goose  to  drink/  I  accepted 
with  enthusiasm  Mr.  Kahn's  suggestion.  *  L'Elisir 
d'Amore*  is  one  of  the  very  few  amori  di  teatro 
(stage's  love)  of  which  I  am  the  faithful  slave  — 
'L'Elisir'  with  Caruso,  be  it  understood. 

"Perhaps  this  may  explain  my  feelings  toward  him 
whenever  he  sang  Nemorino,  and  which  moved  me 
to  say  to  him  after  one  of  those  1916  'L'Elisir'  per- 
formances :  '  Caro  don  Enrico  —  I  and  many  others 
have  become  less  young ;  but  you  must  truly  have 
drunk  of  the  elixir  of  love  because  your  voice  and 
your  art,  constantly  advancing  toward  perfection, 
have  preserved  the  charm  and  the  wonderful  re- 
sources of  that  memorable  night  at  La  Scala.  To 
you  and  your  art  may  the  gods  grant  as  much  youth 
and  glory  as  still  smile  upon  the  "  Elisir"  of  the  great 
Italian  master/  " 


REALIZATIONS  141 

After  that  "L'Elisir  d'Amore"  revival  premiere 
at  La  Scala  there  was  a  sudden  lifting  of  the  un- 
pleasant atmosphere  which  had  surrounded  the 
Neapolitan  tenor.  Difficulties  were  of  course  to 
be  expected  so  long  as  the  career  continued ;  and  at 
twenty-eight  one  can  scarcely  be  more  than  well 
started  along  the  highway.  Such  was  Caruso's 
viewpoint  expressed  at  the  time  to  Ada  Giachetti ; 
he  likewise  communicated  his  feelings  in  the  matter 
to  other  of  his  intimates.  Still,  the  hostility  mani- 
fested in  the  underhanded  fashion  that  was  no  new 
experience  instilled  within  the  singer  a  feeling  of  sad- 
ness rather  than  resentment.  By  nature  friendly, 
he  disliked  any  unfriendly  thoughts  others  might  have 
for  him.  His  success  was  resting  far  too  easily  upon 
his  widening  shoulders  to  cause  on  his  part  any  dis- 
play of  irritating  egotism :  he  forbore  to  speak  over- 
much of  himself,  of  his  voice,  or  his  singing,  and  there 
is  no  evidence  to  indicate  that  he  developed  at  that 
time  any  offensive  mannerisms.  Perhaps  no  par- 
ticular credit  belongs  to  Caruso  for  such  restraint ; 
it  apparently  was  no  part  of  his  make-up  to  lord  it 
over  a  fellow  artist.  But  for  all  his  open-heartedness 
he  unquestionably  was  learning  to  look  more  closely 
at  the  companion  across  the  table ;  and  under  it  also, 
lest  his  toes  be  surreptitiously  trodden  upon. 

Although  "Le  Maschere"  had  caused  the  public 
to  upturn  its  music  nose  the  tenor  music  gave  Caruso 
a  real  opportunity.  In  the  role  of  Florindo  he  had 
found  such  congenial  moments  that  the  complete 
turning  of  the  La  Scala  tide  in  his  direction  dates  from 
the  time  of  that  opera's  premiere.  A  miscellaneous 


142  ENRICO    CARUSO 

performance,  given  in  La  Scala  February  I  in  com- 
memoration of  Giuseppe  Verdi  (one  week  following 
his  death)  presented  Caruso  in  the  quartet  from 
"Rigoletto"  with  Signore  Brambilla  and  Ghibaudo 
and  Signor  Arcangeli.  With  "L'Elisir  d'Amore" 
firmly  established  in  the  favor  of  the  Milan  public, 
preparations  were  begun  on  "  Mefistofele,"  in  which 
the  distinguished  Chaliapin  was  to  appear. 

The  Russian  basso  had  an  experience  with  To- 
scanini  at  his  first  rehearsal  similar  to  that  of  Caruso 
during  his  "Boheme."  Chaliapin  could  not  under- 
stand why  he  should  be  asked  to  sing  full  voice  when 
the  other  artists  were  permitted  to  suppress  their 
tones.  A  stranger  to  him  until  that  meeting,  Caruso 
explained  to  Chaliapin  that  Toscanini  had  reasons 
for  wishing  to  hear  a  voice  then  new  to  him.  "He 
knows/*  said  the  tenor,  "just  what  the  rest  of  us 
can  do.  You  have  not  to  worry.  Toscanini  is  like 
one  of  these  dogs  who  bark  and  do  not  bite."  The 
basso  felt  that  Caruso  had  "the  face  of  goodness", 
and  a  voice  which  was  "the  ideal"  Chaliapin  had 
been  "waiting  years  to  hear."  Those  nine  La 
Scala  "Mefistofele"  presentations,  the  first  of  which 
took  place  March  16,  1901,  included  in  the  cast 
Signore  Carelli  and  Pinto.  But  the  artists  talked 
about  by  the  public  were  Caruso  and  Chaliapin. 

The  tenor  bade  au  revoir  to  La  Scala  with  the 
consciousness  of  a  securer  place  in  the  world  which 
was  then  beginning  to  open  its  arms.  April,  1901, 
brought  the  sailing  time  for  South  America,  and  when 
the  SS  Orione  docked  in  the  Buenos  Aires  harbor  on 
May  10  Caruso  disembarked  with  Toscanini,  Mme. 


REALIZATIONS  143 

Ericlea  Darclee,  Signore  Amelia  Pinto  and  Alice 
Cucini ;  the  tenors  Borgatti  and  Mariacher ;  Giral- 
doni  and  Sammarco,  baritones,  and  the  bassos  de 
Segurola,  Ercolani,  and  La  Puma.  There  was  no 
enthusiastic  Mme.  Ferrari  to  greet  the  little  group  of 
artists ;  the  impresaria  had  died  several  months  before. 
In  her  place  was  Camillo  Bonetti,  her  former  sec- 
retary, who  had  engaged  the  Theater  of  La  Opera 
and  was  bent  on  making  that  season  an  extraordinary 
affair.  He  felt  elated  in  having  such  a  maestro  as 
Toscanini,  a  personage  by  reputation  even  though 
he  had  never  conducted  in  Buenos  Aires.  And  he 
needed  a  Toscanini,  for  there  would  be  no  Emma 
Carelli  and  no  Emilio  de  Marchi  in  the  "Tosca" 
premiere.  Mme.  Darclee  and  Caruso  might  actually 
surpass  these  missing  favorites  yet  fail  to  stir  so 
favorable  a  public  response.  It  was  therefore  a  some- 
what delicate  situation  which  waited  for  its  turning 
upon  a  capricious  South  American  public. 

The  test  was  not  long  coming.  On  May  16  a  dress 
rehearsal  was  given  before  an  invited  audience  which 
included  the  critics.  Two  nights  later  brought  the 
public  performance  and  a  gathering  by  no  means 
happy  in  the  absence  of  their  adored  Carelli  and  de 
Marchi.  That  first  act  of  "Tosca"  was  performed 
before  auditors  concerned  chiefly  in  making  compari- 
sons between  the  tenor  and  soprano  before  them  on 
the  opera  stage,  and  those  two  artists  the  listeners 
felt  should  be  there.  In  the  same  atmosphere  the 
second  scene  was  begun,  but  before  such  singing 
coldness  could  not  prevail,  and  when  Caruso  de- 
livered his  Vittoriai  Vittoria!  cry  of  defiance  to  the 


144  ENRICO    CARUSO 

Scarpia  of  Giraldoni,  all  oppressiveness  disappeared. 
No  South  American  assemblage  was  able  to  sit  un- 
moved by  such  tones,  and  the  capitulation  was 
immediate.  Later  came  the  E  lucevan  le  stelle,  and 
an  uproar  akin  to  a  riot.  In  vain  did  Toscanini 
protest  the  demand  for  a  repetition ;  it  had  to  be 
granted,  just  as  de  Marchi  thereafter  was  forced 
into  a  place  secondary  to  the  one  he  had  hitherto 
held.  The  same  opera  was  presented  on  the  next 
evening  (Sunday)  and  the  Thursday  following ;  so 
far  as  public  desire  was  concerned,  "Tosca"  might 
have  gone  indefinitely,  with  that  especial  cast. 

Time  and  experience  must  have  carried  Caruso 
materially  forward  in  both  voice  and  art  during  the 
year  of  his  absence  from  Buenos  Aires,  for  in  each 
fresh  role  he  was  vehemently  acclaimed.  These 
demonstrations  had  their  beneficial  effects.  Stimu- 
lated by  them  the  tenor  spared  nothing  he  could  give 
as  an  adequate  return.  On  June  i,  1901,  he  appeared 
with  Signora  Pinto  in  "Regina  di  Saba"  ;  and  eight 
days  later,  in  "  Rigoletto",  he  sang  the  Duke  to  her 
Gilda.  All  the  forces  within  him  must  have  leaped 
out  on  this  occasion,  else  followers  of  the  great  Mas'ni 
could  not  have  allowed  themselves  to  concede  Caruso 
to  have  been  "a  wonderful  Duke." 

Those  were  sunny  days  indeed  for  the  tenor.  He 
had  won  the  people ;  he  was  earning  thirty-five 
thousand  lire  a  month ;  he  could  look  ahead,  then, 
and  actually  smile  over  the  spotty  past.  One  could 
of  course  never  be  quite  sure  of  what  might  lurk  in 
the  distance,  but  the  present  was  a  glorious  enough 
present  to  be  enjoyed  to  the  full,  —  with  his  comrades 


REALIZATIONS  145 

of  the  opera,  with  those  notables  of  the  city  who  in- 
sisted he  accept  their  hospitality,  and  with  the  always 
sympathetic  Galante  whose  friendship  and  studio 
continued  to  be  sources  of  attraction  to  the  singer's 
artistic  heart.  And  visible  signs  of  this  material 
and  mental  prosperity  were  beginning  to  appear. 
The  former  slenderness  of  figure  had  given  way  to 
one  manifestly  stocky ;  no  longer  was  the  anxious, 
eager-to-please  look  to  be  found  upon  the  tenor's 
round  face.  Never  given  to  bodily  exercise,  and  able 
at  that  time  to  eat  whatever  and  as  much  as  he 
pleased,  Caruso  was  entering  willingly  the  period  of 
self-indulgence.  He  smoked  cigarettes,  he  laughed 
when  asked  if  he  were  not  afraid  they  might  affect  his 
voice,  and  kept  such  hours  as  it  pleased  him  to  keep. 
In  short,  he  was  acquiring  the  ways  of  one  gripping 
hard  to  success  arid  developing  out  of  it  the  sort  of 
confidence  necessary  to  retain  that  hold.  There  was 
time  enough  also  for  good  reading  had  Caruso  been 
so  inclined  ;  but  he  never  was.  For  him  a  book  was 
something  to  be  looked  at  rather  than  into.  His 
knowledge  was  a  knowledge  gathered  principally  from 
observation  and  word-of-mouth  communication,  —  if 
exception  be  made  of  such  study  as  was  brought  to 
the  learning  and  refreshing  of  his  opera  roles.  His 
later  years  did  not  bring  a  development  in  that  direc- 
tion, for  when  his  wife,  who  devours  books  vora- 
ciously, asked  him  why  he  did  not  read,  he  dismissed 
the  subject  with  the  terse  rejoinder,  "I  learn  from 
life,  not  from  books." 

"L'Elisir  d'Amore",  "Iris",  "La  Traviata",  and 
"Lohengrin"  —  sung  in  Italian  —  were  other  works 


146  ENRICO    CARUSO 

in  which  Caruso  appeared  during  this  South  American 
sojourn.  The  tenor  role  in  the  latter  opera  must 
never  have  appealed  to  him  ;  it  is  a  question  if  at  that 
time  its  qualities  of  knightly  dignity  were  suited  to 
his  inclinations  and  style.  In  the  final  period  of  his 
career  —  when  he  added  to  his  repertory  such  parts 
as  John  of  Leyden  in  "Le  Prophete";  Samson  in 
"Samson  et  Dalila"  ;  and  Eleazar  in  "La  Juive" 
"Lohengrin"  might  have  disclosed  him  upon  no  less 
eminent  an  artistic  plane.  Reports  of  the  two  Buenos 
Aires  "Lohengrin"  appearances  go  no  further  than 
that  he  sang  with  "considerable  success."  Since 
Caruso  never  afterward  essayed  the  character  of  the 
Knight  of  the  Grail  it  may  be  assumed  that  it  brought 
him  no  laurels.  For  Caruso  possessed  a  sense  of 
values,  and  whatever  could  assist  materially  his 
career  was  seldom  overlooked. 

On  July  29  the  tenor  sang  in  a  performance  of 
Rossini's  "Stabat  Mater"  given  as  a  memorial  to 
King  Humbert  of  Italy;  and  August  17  marked  his 
Buenos  Aires  farewell  in  the  same  work  which  had 
opened  the  season.  The  next  day,  on  board  the 
SS  Manilla,  he  sailed  for  Italy.  Two  years  elapsed 
before  he  returned  to  those  audiences  which  had 
reserved  for  him  an  especial  place. 

Independent  enough  upon  his  return  home  to 
indulge  in  a  rest,  Caruso  declined  every  contract 
offered  for  an  autumn  engagement.  He  had  money ; 
what  more  natural  after  his  periods  of  struggling 
that  he  should  avail  himself  of  some  leisure  with 
which  to  enjoy  it !  The  Galleria  of  Milan  saw  him 
regularly  each  day,  as  did  those  other  places  fre- 


REALIZATIONS  147 

quented  by  the  workers  of  the  opera.  Conspicuously 
clothed,  the  tenor  was  a  familiar  figure  and  one  not 
to  be  missed.  Amid  friends  and  scenes  that  warmed 
his  Italian  heart,  the  weeks  drove  all  too  swiftly  to- 
ward that  late  December  day  which  was  to  carry  him 
back  to  the  public  of  his  native  city  for  his  debut  at 
the  celebrated  San  Carlo  Theater.  There  were  only 
two  interruptions.  The  first  one  took  the  tenor  to 
Bologna,  where  he  sang  in  "  Rigoletto."  The  second 
interruption  came  in  the  form  of  a  request  from  the 
Associazione  Italiana  di  Beneficenza,  of  Trieste,  urg- 
ing Caruso  to  sing  in  two  charity  performances  of 
"L'Elisir  d'Amore"  to  be  given  at  the  Politeama 
Rossetti. 

Those  evenings  of  December  14  and  15,  1901,  re- 
main memorable.  Signora  Adelina  Padovani  was 
the  Adina  ;  Signorina  Emma  Trentini  sang  Gianetta ; 
G.  Caruson  and  Signer  Borelli  appeared  respectively 
as  Belcore  and  Dulcamara,  and  Maestro  Gialdino 
Gialdini  conducted.  A  souvenir  of  those  days 
during  which  Trieste  bowed  under  Austria's  rule  now 
reposes  in  the  Trieste  City  Hall.  It  is  a  phonograph 
"proof"  record  (then  unpublished)  of  the  song 
La  Campana  di  San  Giusto,  presented  by  the  tenor 
to  those  first  members  of  the  Parliament  which,  after 
so  many  years  of  waiting,  swerved  from  Vienna  to 
Rome.  This  presentation  took  place  in  New  York, 
during  a  visit  made  by  the  Parliament  members  to 
deliver  a  series  of  lectures. 

Trieste  had  served  as  a  sort  of  operatic  warming-up 
for  the  vastly  more  serious  business  of  the  San  Carlo 
debut.  How  often  in  his  youth  had  Caruso  paused 


148  ENRICO    CARUSO 

before  that  stately  building,  hoping  he  might  —  and 
wondering  if  he  would  —  one  day  sing  there.  Among 
opera  houses  of  the  world  the  San  Carlo  ranked  high  ; 
certainly  no  other  in  Southern  Italy  held  for  the 
artists  so  strong  an  allure.  Having  conquered  in 
outside  fields,  the  singer  returned  joyously  for  the 
effort  he  then  believed  would  prove  the  supremely 
happy  one  of  his  life.  All  the  honors  reaped  in 
those  other  centers  of  operatic  art  could  scarcely 
compare  with  the  single  honor  he  hoped  Naples 
would  bestow  upon  a  native  son.  For  he  did  hope, 
with  a  confidence  born  of  those  recent  successes 
gained  before  people  quite  as  critical  as  the  Neapoli- 
tans. 

Perhaps,  had  there  been  no  intrigue  to  combat,  a 
different  story  might  be  told.  Naples  assuredly  was 
eager  to  welcome  within  the  halls  of  its  beloved  San 
Carlo  its  rising  singer.  And  had  the  power  remained 
solely  with  the  populace  the  record  would  doubtless 
have  run  according  to  the  adage.  But  operatic 
Naples  was  swayed  at  that  time  by  violent  prejudices  ; 
and  out  of  these  prejudices  there  had  grown  the 
famous  patiti,  —  as  the  enthusiasts  of  the  opera  were 
then  termed.  Each  of  these  enthusiasts,  affirms  no 
less  an  authority  than  Nicola  Daspuro,  assumed  the 
right  to  constitute  a  legitimate  guardian  of  the 
artistic  traditions  of  San  Carlo.  In  reality,  however, 
this  assumption  of  authority  had  been  seized  by  the 
followers  of  two  impresari  during  an  earlier  feud, 
their  numbers  being  later  swelled  by  the  adherents  of 
various  teachers  of  singing  whose  approval  or  disap- 
proval of  an  artist  was  sufficient  to  make  him 


REALIZATIONS  149 

happy  or  forlorn.  Then  there  were  the  pessimists 
who  still  hugged  to  their  breasts  disappointed 
ambition.  A  motley  assortment,  those  Naples  patiti, 
yet  an  all  powerful  one  where  any  singer  was  con- 
cerned. 

That  turbulent  group  has  been  called  by  Signer 
Mormone,  the  eminent  music  reviewer  for  the  news- 
paper Roma,  the  sicofanti.  Sycophants  they  un- 
questionably were.  They  might  have  had  their  own 
opinions ;  doubtless  they  did  hold  them.  But  they 
were  ready  to  be  subdued  under  such  orders  as  might 
be  issued  by  the  leaders,  in  the  manner  customary 
for  these  leaders  to  display  in  the  presence  of  any 
San  Carlo  audience. 

The  stamping  ground  of  the  sicofanti  (or  patiti) 
was  the  orchestra  pit  of  the  San  Carlo.  On  the 
right  they  sat,  assuming  all  the  airs  of  maestri  and 
professori,  and  with  such  a  seriousness  as  prevailed 
in  the  Grecian  Areopagus.  "Monaciello"  —  as  they 
called  Cavalier  Alfredo  Monaco  —  was  one  of  the 
leaders,  and  many  artists  had  experienced  evenings 
of  woe  for  failure  to  have  previously  paid  homage 
either  to  Monaco  or  his  co-leader,  Prince  Adolfo  di 
Castagneto,  who  from  his  historical  seat  in  the  first 
row,  right,  of  the  orchestra  pit  would  assume  the  airs 
of  a  modern  Diocletian. 

At  every  premiere,  just  before  the  curtain  rose, 
the  prince  would  enter  the  theater.  If  the  soprano 
or  tenor  or  other  artist  about  to  debut  had  not  pre- 
viously called  to  pay  him  personal  homage,  it  proved 
an  oversight  serious  in  its  effects.  For  the  prince 
liked  to  feel  that  his  protection  was  a  valued  thing. 


150  ENRICO    CARUSO 

When  it  had  not  been  sought  he  would  stalk  to  his 
seat,  observing  audibly,  "Who  is  this  new  and  un- 
known celebrity  ?  We  will  hear.  We  will  be  rigid 
critics,  yet  we  will  be  just.'*  These  were  the  stereo- 
typed words,  so  well  known  to  a  San  Carlo  audience. 
Equally  stereotyped  would  be  the  action,  manner, 
and  words  of  the  Prince  di  Castagneto  if  the  new- 
comer singer  had  won  the  audience's  applause.  He 
would  rise  ceremoniously  from  his  seat,  adjust  his 
monocle,  and  with  the  pose  of  a  censor  from  whose 
edict  there  could  be  no  appeal  he  would  declare, 
"Bad  —  very  bad!" 

This  ultimatum  was  the  invariable  signal  for  a  riot 
in  which  the  "Rights"  stood  arrayed  against  the 
public,  seated  in  the  other  parts  of  the  house.  Such 
dissension,  started  thus  in  the  theater,  would  extend 
into  the  foyer  and  corridors  of  the  San  Carlo,  thence 
to  the  streets,  and  later  it  would  drift  into  and  be 
continued  within  the  fashionable  club  called  the 
Casino  dell*  Unione,  and  amongst  those  who  gathered 
in  coffee  houses,  restaurants,  and  newspaper  offices. 

Did  Gayarre  sing,  the  Stagno  devotees  maintained 
that  Gayarre  forced  his  voice.  For  those  who  bowed 
to  Gayarre's  art  Stagno  was  no  more  than  a  bleating 
goat.  Masini  —  to  those  opposing  him  —  spoke 
rather  than  sang ;  de  Lucia  had  to  stamp  his  feet 
against  the  stage  in  order  to  produce  his  high  tones 
and  Tamagno  was  a  strillazzaro  (fruit  vendor). 
These  and  other  comments,  uttered  by  the  excitable 
Neapolitan  opera  sicofanti  in  judgment  of  artists  of 
renown,  bespoke  no  symptom  of  merciful  considera- 
tion for  any  young  singer  ready  to  come  before  them. 


REALIZATIONS  151 

Caruso  was  well  aware  of  this  existing  situation 
when  he  signed  the  San  Carlo  contract  Impresario 
Roberto  de  Sanna  had  prepared.  He  knew  on  his 
arrival  in  Naples,  several  days  prior  to  the  night  of 
his  debut  in  "L'Elisir  d'Amore"  on  December  30, 
1901,  that  a  visit  to  Prince  di  Castagneto  or  to  Chev. 
Monaco  would  help  to  gain  for  him  a  likely  success. 
A  visiting  card  sent  to  each  of  the  newspaper  music 
critics  also  might  have  enlisted  tempered  pens. 

But  such  practises  had  not  been  Caruso  practises ; 
he  never  turned  to  them  at  any  time  in  his  career. 
Quite  possibly  he  wished  to  win  —  if  it  were  to  be  so 
decreed — by  virtue  of  accomplishment  unaided  by 
favor  of  any  kind.  He  was  young ;  he  had  become 
reasonably  sure  of  himself;  he  believed  his  towns- 
folk would  at  least  deal  out  justice  to  him.  Daspuro 
was  of  that  San  Carlo  assemblage  which  attended 
Caruso's  fateful  debut.  "I  have  him  before  my 
eyes,"  he  declared,  "when  he  advanced  toward  the 
footlights  to  sing  the  Quanta  e  bella,  quanta  e  cara. 
His  friends  sought  to  salute  and  to  reassure  him  with 
some  slight  applause,  whereupon  the  sound  of  hisses 
intermingled.  It  was  the  registered  objection  of 
the  ever-observant  San  Carlo  patiti  at  the  right  of 
the  orchestra  pit  and  that  of  the  public  elsewhere. 
Immediately  came  cries  of '  Wait !  let  us  judge  him." 

Stricken  momentarily  dumb  by  this  reception, 
Caruso  stood  hesitant.  Near  him  was  Signora 
Regina  Pinkert,  the  Adina  of  the  night.  Just  below, 
with  poised  baton,  sat  Maestro  Edoardo  Mascheroni. 
Beyond,  clearly  visible,  were  the  faces  of  the  mal- 
contents who  sat  shoulder  to  shoulder,  ready  en  masse 


152  ENRICO    CARUSO 

to  squelch  any  further  efforts  to  encourage  an  artist 
who  should  pass  them  lightly  by. 

For  a  few  moments  this  tenseness  held.  It  needed 
some  immediate  and  exceptional  effort  to  rescue  the 
tenor  from  his  position  of  defense.  He  put  out  of  his 
mind  whatever  previous  plan  he  may  have  had  to  win 
by  slow  methods  and  sure.  It  was  then  or(possibly) 
never ;  and  into  the  accomplishment  of  this  task  he 
threw  every  resource  he  could  summon.  To  shift, 
if  only  slightly,  the  attitude  of  the  opposition  was  a 
thing  he  must  do.  In  part  he  succeeded.  As  the 
performance  wore  on  the  majority  listeners  responded 
to  efforts  put  forth  from  a  heart  of  lead.  Caruso 
sung  himself  to  a  triumph,  though  not  an  overwhelm- 
ing one.  For  in  the  newspapers  of  the  next  day  it 
was  said  of  him  that  while  his  voice  was  "beautiful  - 
very  beautiful",  it  was  scarcely  adapted  to  the 
idyllic  character  of  "L'Elisir."  Baron  Saverio  Pro- 
cida,  critic  for  //  Pungolo,  wrote  that  for  the  Una 
furtiva  lagrima  aria  it  was  necessary  to  have  a  tenor- 
like  timbre  of  voice,  not  a  baritone.  Other  reviewers 
were  of  the  opinion  that  Caruso's  acting  "left  much 
to  be  desired." 

The  three  days  intervening  between  the  "L'Elisir" 
premiere  and  its  second  representation  were  sufficient 
to  restore  Caruso's  equilibrium.  He  no  longer 
cared  to  win  his  compatriots  for  the  joy  it  should 
give  him.  What  he  sought  was  revenge ;  and  he 
meant  to  have  it  —  in  his  own  peculiar  fashion.  It 
was  a  dead-cold  Caruso  who  appeared  as  Nemorino 
in  the  San  Carlo  on  January  2,  1902.  Signora  Pinkert 
noticed  it ;  Signori  Bucalo  and  Borelli,  also  of  that 


REALIZATIONS  153 

cast,  noted  the  fact.  So  too,  it  appears,  did  the  patiti, 
and  the  very  public  which  had  joined  with  it  in 
resisting  the  endeavors  of  a  young  artist  to  win  on 
merit  alone. 

Between  that  night  and  the  following  January  21, 
1902,  Caruso  sang  four  additional  times  in  "L'Elisir 
d'Amore"  ;  and  made  four  appearances  in  Massenet's 
"Manon",  with  Signorina  Rina  Giachetti,  Emanuele 
Bucalo  and  Constantino  Thos.  Those  were  the 
last  ten  appearances  the  tenor  ever  made  in  the  city 
of  his  birth.  His  Des  Grieux  in  "Manon"  —  partic- 
ularly the  intrepretation  of  the  Dream  Aria  of  the 
third  act  —  won  over  the  last  of  the  dissenters.  It 
was  sweet  revenge,  but  for  Caruso  there  was  to  be  one 
still  sweeter  to  comfort  his  wounded  soul.  During 
the  final  days  of  that  San  Carlo  engagement  he  said 
to  his  friend  Daspuro,  "Daspuro,  I  will  never  again 
come  to  Naples  to  sing  ;  it  will  be  only  to  eat  a  plate 
of  spaghetti." 

Impresari  and  friends  of  the  tenor  sought  at 
various  times  during  the  years  that  followed  to  induce 
him  to  break  his  vow.  Vain  endeavors !  He  never 
would.  Much  as  he  loved  Naples,  he  was  oper- 
atically  finished  with  it  forever  on  the  night  of 
January  21,  1902. 


CHAPTER    SIX 
CLIMBING 

WHATEVER  reception  his  fellow  Neapolitans  may 
have  chosen  to  extend  him  as  an  artist  before  his 
voice  and  singing  at  length  disposed  of  their  ill-timed 
opposition,  Caruso  must  have  found  comfort  in  the 
consciousness  of  his  growing  importance  in  the  opera 
world.  From  time  to  time  negotiations  had  been 
tentatively  begun  for  his  appearances  in  London  and 
the  United  States.  As  early  as  December,  1899, 
Henry  V.  Higgins,  chairman  of  the  board  at  Covent 
Garden,  had  requested  Antonio  Scotti  to  make  over- 
tures to  Caruso  to  appear  in  London ;  and  it  was 
about  that  time  also  that  an  Italian  agent,  repre- 
senting the  New  York  Metropolitan  Opera  Company, 
had  made  an  offer  to  the  tenor.  A  Monte  Carlo 
engagement  had  likewise  been  tendered,  and  from 
other  European  opera  houses  solicitations  for  his 
services,  both  direct  and  indirect,  had  reached  him. 

Following  his  Naples  "farewell"  Caruso  was 
pledged  to  sing  some  special  appearances  at  Monte 
Carlo  ;  then  to  resume  his  place  at  La  Scala.  There- 
after Covent  Garden  audiences  were  to  hear  for  the 
first  time  this  much  talked-about  voice.  The  tenor 
had  signed  the  Covent  Garden  contract  upon  recom- 
mendation of  Scotti,  with  whom  he  had  become 
acquainted  at  Milan,  in  March,  1899.  Caruso 


CLIMBING  155 

had  drawn  back  from  the  two  thousand  lire  an  ap- 
pearance offer  of  Chairman  Higgins,  made  through 
Scotti.  "Per  Dio,  I  receive  twenty-five  hundred  at 
La  Scala  ;  why  should  I  accept  less  to  go  to  London  ?" 
The  baritone  emphasized  the  advantages  which  a 
Covent  Garden  engagement  would  bring,  and  his 
arguments  at  length  prevailed.  Caruso  accepted  the 
terms,  which  provided  for  twenty-five  hundred  lire 
an  appearance  throughout  the  second  season,  three 
thousand  lire  for  the  third,  and  thirty-five  hundred 
lire  and  four  thousand  lire  respectively  an  appearance 
for  the  fourth  and  fifth  seasons. 

Not  until  1913  did  Caruso  receive  what  he  felt 
to  have  been  his  "price",  and  a  figure  "higher  than 
had  ever  been  paid  an  artist  in  Europe/*  The  stum- 
bling block  that  placed  four  thousand  nine  hundred 
and  ninety-nine  lire  the  limit  for  a  Caruso  appearance 
during  his  sixth  and  seventh  Covent  Garden  seasons 
was  a  contract  then  in  force  with  Mme.  Nellie  Melba, 
which  stipulated  that  she  alone  should  receive  as 
much  as  a  thousand  dollars  (five  thousand  lire)  an 
appearance. 

Caruso  departed  for  Monte  Carlo  looking  ahead 
and  upwards  —  even  though  the  hurt  Naples  had 
dealt  him  was  still  felt  in  his  heart.  Those  days  spent 
with  friends  following  the  San  Carlo  engagement  had 
not  been  altogether  happy  ones,  although  those  cleav- 
ing to  the  tenor  had  sought  to  make  them  so.  For, 
creeping  in  during  the  card  games  and  the  promenades 
and  the  gatherings  of  evening,  which  consumed  much 
of  Caruso's  time  during  the  approach  of  his  leave- 
taking,  would  come  the  thought  of  what  he  held  to 


156  ENRICO    CARUSO 

have  been  the  injustice  dealt  him  as  an  artist  by  his 
fellow  citizens.  En  route  northwards  Caruso  stopped 
off  in  Milan,  where  he  participated  in  several  re- 
hearsals of  Baron  Alberto  Franchetti's  "Germania", 
in  which  he  was  to  create  the  tenor  role. 

Monte  Carlo  was  different  from  Naples.  Plunged 
into  an  atmosphere  of  gayety,and  among  people  whose 
sole  existence  appeared  to  center  in  the  indulging 
of  luxurious  taste,  Caruso  caught  his  first  glimpse 
of  another  corner  of  the  world.  He  rather  liked  it. 
The  cosmopolitanism  of  the  gatherings  held  his 
attention  ;  and  he  began  to  note,  among  other  things, 
that  taste  in  dress  was  governed  by  other  elements 
than  conspicuousness  of  cut  and  design.  The  Casino 
attracted  his  interest ;  nor  did  he  attempt  to  resist 
the  desire  to  chance  a  few  francs  on  some  of  the  tables 
which  silently  beckoned  him.  The  soft  air,  the 
romanticism  of  the  place,  and  the  clear  skies  appealed 
to  his  warm  Italian  nature.  He  was  glad  to  have 
come  to  this  spot ;  and  before  he  left  he  signed  a 
contract  with  Impresario  Raoul  Gunsbourg  to  return 
for  several  successive  seasons. 

It  was  at  this  Monte  Carlo  debut  that  Caruso  first 
sang  with  Mme.  Melba.  The  opera  was  Puccini's 
"La  Boheme,"  Maestro  Arturo  Vigna  conducted, 
and  Miss  Mary  Royer  was  the  Musetta.  Seasoned 
by  the  constant  routine  he  had  undergone  for  more 
than  five  years,  and  enlightened  at  last  as  to  the  appeal 
and  responsiveness  of  his  voice,  Caruso  seems  to 
have  expanded  in  the  capacity  to  sing  with  that 
degree  of  authority  which  is  one  of  the  distinguishing 
marks  of  the  artist.  He  was  accepted  instantly  by 


CLIMBING  157 

an  audience  which  had  heard  opera  in  all  parts  of  the 
world ;  by  an  audience  well  enough  versed  to  dis- 
criminate intelligently. 

"Rigoletto"  presented  the  tenor  who  was  destined 
to  become  a  fixed  star  in  subsequent  Monte  Carlo 
seasons  in  a  no  less  favorable  light,  —  even  though  he 
had  as  associates  in  the  cast  Mme.  Melba  and  the 
great  baritone,  Maurice  Renaud,  then  at  the  zenith 
of  his  powers.  These  two  operas  were  alternated 
throughout  the  1902  Monte  Carlo  season,  and  at  its 
conclusion  Caruso  went  forth  to  Milan,  surer  than 
ever  of  himself  and  the  better  equipped  for  the  larger 
efforts  to  come.  He  had  been  chosen  to  create  the 
tenor  character  of  Loewe  in  Franchetti's  "Germania", 
which  was  to  be  produced  that  March  1 1  at  La  Scala, 
and  he  took  up  eagerly  the  preliminary  rehearsals. 

How  friendly  Milan  seemed  to  the  tenor  as  he 
passed  through  its  streets  to  the  little  family  of  two 
which  awaited  him  at  via  Velasca ;  how  different 
from  the  Milan  of  the  year  before,  during  those 
trying  moments  when  La  Scala  appeared  about  to  be 
snatched  from  him.  From  Fofo  and  Ada  Giachetti 
he  went  to  the  Galleria  posthaste  —  as  every  artist 
is  moved  to  go  immediately  upon  reaching  this 
city  —  and  there  he  received  the  congratulations  of  his 
comrades  over  the  Monte  Carlo  success,  the  news  of 
which  had  preceded  him.  So  far  as  could  be  seen  all 
serious  opposition  had  been  routed  ;  the  way  into  the 
future  lay  clearly  enough  defined  ;  and  the  realization 
of  these  matters,  subtle  though  they  doubtless  were, 
nevertheless  gave  back  a  fortifying  reaction.  Indeed 
from  that  time  forth  there  was  little  questioning  that 


158  ENRICO    CARUSO 

Caruso  was  certain  to  shortly  become  —  if  not 
actually  at  that  time  —  the  world's  foremost  tenor. 
The  few  who  disputed  his  place  never  interfered 
seriously  with  his  progress.  Some  circumstances 
arose  which  slightly  retarded  it,  but  such  an  artist 
could  not  long  be  kept  from  arriving  at  his  predestined 
goal. 

"Germania"  went  up  (as  opera  people  express  the 
presentation  of  an  opera)  with  Toscanini  conducting, 
and  a  cast  consisting  of  Caruso,  Signore  Amelia 
Pinto,  Jane  Bathori,  Teresa  Ferraris,  and  the 
baritone  Mario  Sammarco,  who  afterward  became 
a  favorite  with  the  patrons  of  Oscar  Hammerstein's 
Manhattan  Opera  Company.  After  fourteen  per- 
formances of  this  work  Caruso  left  for  London. 
Here  was  a  new  center  for  his  widening  activities ; 
a  people  to  sing  to  quite  different  in  tastes  and  tem- 
perament from  any  he  had  yet  known.  A  victory 
in  such  circumstances  meant  an  almost  assured 
future.  The  tenor  was  almost  boyishly  eager  for 
the  test. 

Caruso  has  referred  to  the  attitude  of  the  Covent 
Garden  management  as  that  of  a  housewife  endeavor- 
ing, by  the  "feel"  of  a  watermelon,  to  determine 
whether  it  is  ripe  enough  to  buy.  "I  was  in  a  some- 
what uncertain  position,  for  the  impresa  wished  to  be 
convinced  that  I  was  thoroughly  ripe.  I  accepted 
the  conditions  of  the  contract  because  I  was  almost 
sure  that  my  voice  had  something  of  the  *  red  ripeness ' 
in  it." 

Such  was  the  tenor's  frame  of  mind  when  he  first 
set  foot  in  London,  where  forever  afterwards  he  was 


Copyright  Mishkln,  N.  Y. 
CARUSO  AS  THE  DUKE  IN   "RIGOLETTO" 


CLIMBING  159 

to  become  one  of  its  popular  singers.  Indeed,  he 
became  in  time  unique ;  his  appearance  in  public 
was  instantly  attended  by  the  gathering  of  a  throng 
of  people,  —  on  the  streets  or  indoors.  He  was  just 
beginning  to  acquire  an  ease  of  manner  which  some 
choose  to  interpret  as  self-conceit ;  and  his  prome- 
nading may  have  had  in  it  something  of  that  air,  for 
he  walked  with  a  short  and  scarcely  graceful  stride, 
his  head  held  high,  his  upturned  moustache  bearing 
evidences  of  careful  tending.  All  this  was  of  course 
enough  to  be  seized  upon  by  those  born  with  gossipy 
tongues.  But  it  mattered  little  after  Caruso  had 
impressed  Londoners  with  the  quality  of  his  voice 
and  his  singing. 

"Rigoletto"  was  the  opera  which  presented  him 
to  a  Covent  Garden  audience,  on  May  14,  1902,  in 
a  cast  which  included  Mme.  Melba  and  Maurice 
Renaud  and  Marcel  Journet.  The  auditorium  was 
quite  filled.  With  as  much  interest  as  a  Covent 
Garden  assemblage  of  that  period  would  permit  it- 
self to  show,  the  listeners  gave  their  attention  to  the 
new  tenor.  His  stocky  frame,  his  chubby  face  and 
the  traditional  operatic  bearing  affected  by  most 
tenors  of  his  time  and  physical  characteristics,  com- 
bined to  give  him  an  individual  air.  Whatever 
Caruso  may  have  lacked  as  an  actor,  he  supplied 
vocally.  His  acceptance  was  instantaneous  and 
complete ;  and  the  newspapers  commented  on  the 
following  day  in  a  single  vein.  The  voice,  declared 
one  of  the  critics,  had  in  it  "the  richness  of  rare 
velvet."  The  Pall  Mall  Gazette  reviewer  declared 
that  "Signer  Caruso  sang  to  perfection.  He  is  the 


160  ENRICO    CARUSO 

embodiment  of  the  finest  epoch  of  Italian  bel  canto, 
and  his  ringing  tones  were  marked  both  by  an  es- 
sential gift  of  music  and  by  a  fineness  of  timbre  which 
you  will  not  find  easily  surpassed."  Conspicuous  in 
the  critique  appearing  in  the  Daily  Telegraph  was  the 
sentence,  "  By  his  magnificent  singing  Signor  Caruso 
evoked  a  demonstration  that  is  rare  here,  after  the 
clock  has  struck  eleven." 

The  clock  unquestionably  was  preparing  to  strike 
twelve  for  the  tenor.  For  here  was  an  Anglo-Saxon 
people  as  completely  enthralled  by  his  vocal  resources 
as  had  been  any  Latin  public.  He  could  turn  his 
eyes,  after  such  a  reception,  toward  the  United  States 
with  expectation  of  enlisting  favorable  consideration 
from  a  nation  that  does  not  invariably  approve 
every  foreign  music  artist. 

After  "Rigoletto"  Caruso  appeared  in  La  Bohemey 
again  with  Mme.  Melba  singing  the  leading  soprano 
role  and  with  Scotti  and  Journet  among  the  Bo- 
hemians of  the  cast.  Then  came  "Lucia  di  Lammer- 
moor",  with  Signora  Pacini,  and  the  ever-present 
Scotti  and  Journet.  "Ai'da"  followed,  and  on  this 
occasion  Mme.  Lillian  Nordica  was  the  soprano, 
and  Scotti,  Plancon,  and  Journet  also  appeared. 
The  Caruso  vogue  had  begun.  He  was  a  magnet  of 
attraction,  and  when  he  sang  Turiddu  in  "Cavalleria 
Rusticana  "  to  the  Santuzza  of  Mme.  Emma  Calve, 
his  London  future  appeared  to  have  become  assured. 
He  was  warmly  received  in  "La  Traviata",  with 
Mme.  Melba,  and  his  next  new  role  was  in  "Don 
Giovanni",  when  he  had  as  associate  artists  Mme. 
Fritzi  Scheff  and  Renaud  and  Journet.  His  Nemo- 


CLIMBING  161 

rino,  in  "L'Elisir  d'Amore",  also  won  the  London 
public. 

Before  the  final  appearance  in  "Rigoletto",  on 
July  28,  during  which  time  he  had  sung  twenty-four 
times,  Caruso  had  made  the  acquaintance  of  Maurice 
Grau.  There  had  been  some  prior  negotiations  look- 
ing towards  the  singer's  possible  engagement  at  the 
New  York  Metropolitan  Opera  House,  of  which 
Grau  was  at  that  time  impresario.  In  the  year  1900, 
Scotti  had  inquired  if  Caruso  would  consider  signing 
a  contract,  but  when  the  tenor  had  mentioned  seven 
thousand  lire  an  appearance  as  his  cachet  nothing 
came  of  the  matter.  The  first  Metropolitan  nibble 
however,  had  come  in  the  late  winter  of  1899,  just 
after  Caruso  had  returned  to  Milan  from  his  first 
Petrograd  engagement,  and  while  he  was  singing  at 
the  Lirico  Theater  in  "  Fedora." 

During  one  of  his  daily  visits  to  the  Galleria, 
Caruso  was  introduced  to  MaestroVincenzo  Bevignani 
who  had  been  for  several  seasons  one  of  the  first 
conductors  at  the  Metropolitan ;  and  the  conversa- 
tion turning  naturally  into  the  channel  of  the  theater 
Bevignani  suddenly  said,  "You  young  boys  who  are 
starting  hard  careers  should  not  let  your  heads  be 
swelled  by  a  few  successes." 

Caruso  has  expressed  himself  as  having  been  sur- 
prised, and  to  have  felt  that  he  was  unfairly  criticized. 
Asking  Bevignani  what  he  meant  by  such  remarks  the 
tenor  was  informed.  "There  was  a  chance  for  you 
to  go  to  the  first  theater  of  the  world,"  declared  the 
maestro, "  a  chance  you  lost  through  your  swelled  head 
—  which  caused  you  to  ask  for  too  much  money." 


162  ENRICO    CARUSO 

"Do  you  think,"  answered  Caruso,  "that  forty 
pounds  a  week  was  too  much  to  have  asked  at  a  time 
when  I  was  receiving  nearly  half  that  amount  for  a 
single  appearance  ?" 

"What!'*  exclaimed  Bevignani,  "I  was  told  that 
you  asked  to  go  to  America  twenty-five  thousand  lire 
a  week." 

"Then  you  were  not  told  the  truth,  because  I  said 
I  would  accept  the  forty  pounds  a  week  offer ;  but 
the  contract  never  came."  Later  Caruso  explained 
that  Bevignani's  silence  indicated  that  he  had  been, 
in  that  particular  case,  "a  good  pear  for  two  people." 

These  matters  were  still  firmly  impressed  in  the 
tenor's  mind  when  Maurice  Grau  said  to  him  one 
day  during  Caruso's  London  engagement,  "So  you 
don't  want  to  come  to  America  ?" 

"  I  replied  in  effect,"  said  the  tenor, "  Well,  it  is  up 
to  you." 

"In  that  case,"  observed  the  impresario,  "I  will 
say  that  I  should  like  to  have  you  at  the  Metropolitan, 
and  I  hope  you  will  come  to  see  me  at  my  home  that 
we  may  arrange  something." 

A  few  days  later  Caruso  called  upon  Grau.  He 
explained  his  disinclination  to  deal  through  an 
agent,  to  which  the  impresario  said,  "Very  well, 
we  will  do  this  business  ourselves." 

"Mr.  Grau,"  said  the  tenor,  "I  don't  like  to  sign 
contracts  in  the  way  some  persons  do.  It  is  enough 
to  have  one  letter  in  which  is  specified  the  length  of 
the  engagement,  the  money,  and  the  operas  —  be- 
cause I  respect  my  signature,  and  I  expect  the  other 
to  respect  his  too." 


CLIMBING  163 

To  this  Grau  answered  that  he  held  similar  views. 
He  thereupon  wrote  down  the  necessary  matter  which 
he  felt  should  be  incorporated  in  the  contract,  and 
handing  the  paper  to  Caruso  said,  "  Please  put  what 
we  have  agreed  upon  into  a  letter  and  get  two  copies 
and  bring  them  to  me  in  two  or  three  days.  We  will 
then  sign  together,  and  you  will  be  with  me  next 
year." 

"I  went  away  gratified/'  explained  Caruso,  "be- 
cause I  wished  to  have  no  interference  from  any 
agent's  source.  Three  days  later  I  called  at  the  Grau 
London  residence,  only  to  be  informed  by  the  porter 
who  opened  the  door  that  Mr.  Grau  was  inWiesbaden. 
I  explained  the  nature  of  my  visit,  whereupon  the 
porter  said,  'Just  give  me  whatever  you  have,  I  am 
charged  by  Mr.  Grau  to  forward  his  mail.' 

"Leaving  with  the  porter  the  original  letter  and 
the  copies  I  had  made,  I  returned  to  my  hotel,  expect- 
ing shortly  to  hear  from  Mr.  Grau.  Days  passed, 
yet  no  word  came.  When  the  London  season  finished 
I  went  to  my  Florence  home  to  rest ;  still  no  letter 
came  from  Mr.  Grau.  It  seemed  strange. 

"It  was  some  time  during  that  August,  while  I 
was  in  Salsomaggiore,  that  I  received  a  visit  from  the 
son  of  an  agent  who  had  said  that  unless  I  dealt  with 
him  I  would  never  see  the  land  of  America.  The 
moment  he  appeared  I  understood  instantly  what  had 
prompted  his  call.  No  sooner  had  he  greeted  me  than 
he  pompously  announced  that  he  had  been  authorized 
by  Mr.  Grau  to  negotiate  for  my  services.  My  reply 
to  this  surprising  statement  was, '  But  Mr.  Grau  must 
have  forgotten  that  he  has  a  contract  we  agreed  on, 


164  ENRICO    CARUSO 

and  which  I  signed ;  he  must  send  me  back  that 
contract  and  the  two  duplicates  which  I  left  for  him 
at  his  London  home/ 

"My  visitor  informed  me  that  he  was  empowered 
to  arrange  all  such,  and  other  details ;  my  mind, 
though,  was  made  up,  and  I  told  the  agent  that  I  did 
not  wish  his  participation  in  the  completion  of  any 
contract  Mr.  Grau  and  I  might  make.  To  this  my 
visitor  replied,  'If  you  don't  pass  through  our  agency, 
you  will  never  sing  in  America/ 

"My  reply  was  —  'You  can  go  to  Hell!  I  shall 
never  sing  in  America  if  it  has  to  be  through  any 
contract  you  arrange/ 

"This  man  left  —  not  for  the  place  I  had  suggested 
—  but  to  the  nearest  telegraph  office,  to  cable  to 
Mr.  Grau  the  result  of  our  interview.  He  must  have 
included  something  else,  for  the  following  day  I  re- 
ceived from  Mr.  Grau  a  cablegram  urging  me  to 
accept  a  contract  through  this  agent. 

"I  considered  the  matter  for  some  hours  before 
reaching  a  decision.  To  agree  meant  conceding 
what  I  disliked  to  concede.  In  the  end  it  seemed  the 
most  sensible  thing  to  do ;  so  for  the  first  time  — 
and  also  the  last  during  my  career  —  I  passed  under 
the  forche  caudine.  The  forche,  as  events  were  to 
prove,  were  never  made  complete. 

"The  contract,  for  a  period  of  five  years,  finally  was 
concluded ;  and  within  a  few  days  everybody  in 
the  music  business  had  learned  of  it.  Letters  of 
congratulation  (as  well  as  some  worded  quite  the 
opposite)  poured  in  upon  me." 

The  difficulties  surrounding  a  United  States  con- 


CLIMBING  165 

tract  were  not,  as  later  developed,  quite  disposed  of. 
Caruso  thought  they  were,  and  continued  with  his 
vacation  in  high  spirits  until  late  October,  when  he 
prepared  for  his  next  operatic  task,  —  the  creation 
of  the  role  of  Maurizio  in  Francesco  Cilea's  new 
work,  "  Adriana  de  Lecouvreur."  He  arrived  at  the 
Lirico,  in  Milan,  eager  to  do  fullest  justice  to  help- 
ing make  successful  another  creation  by  the  composer 
whose  "Arlesiana"  had  given  him  one  of  his  first  im- 
portant opportunities  in  this  very  theater,  in  1897. 
On  November  6,  1902,  the  premiere  took  place ; 
and  with  Signora  Angelica  Pandolfini  and  Giuseppe 
de  Luca,  the  performance  moved  to  success  under  the 
baton  of  Cleofonte  Campanini,  who  was  later  to 
become  so  important  an  opera  figure  in  the  United 
States. 

The  public  and  critics  insisted  that  much  of  the 
credit  for  the  achievement  during  that  first  "Adriana 
de  Lecouvreur"  was  due  to  the  fervent  singing  of 
Caruso.  It  must  have  been  for  the  tenor  a  labor 
of  gratitude,  for  he  could  never  forget  what  Sonzogno 
had  done  for  him ;  nor,  for  that  matter,  his  Milan 
reception  in  "Arlesiana."  Sonzogno,  when  inviting 
Caruso  to  create  Maurizio,  had  begged  that  he  treat 
him  as  a  friend,  and  the  singer  had  replied,  "Yes,  and 
I  will  sing  in  as  many  performances  as  you  wish  — 
with  the  proviso  that  I  am  not  to  be  paid  one  lira." 
Sonzogno  was  grateful,  but  he  could  not  bring  him- 
self to  consent  to  this  generous  proposal.  In  the  end 
an  agreement  was  reached  that  the  tenor  should  re- 
ceive three  thousand  lire  for  six  appearances,  and  the 
impresario  reluctantly  permitted  Caruso  to  provide 


166  ENRICO    CARUSO 

his  own  costumes  —  for  which  he  expended  exactly 
twice  the  amount  he  received  for  this  engagement. 

Nicola  Daspuro,  who  was  among  those  present  at 
the  "  Adriana  de  Lecouvreur  "  premiere,  has  related 
the  reception  extended  Caruso  and  his  associates  in 
the  cast.  "  I  went  to  see  Caruso  in  his  dressing  room 
during  the  first  entracte"  said  Daspuro.  "After  we 
had  talked  for  a  few  minutes  I  reminded  him  of  those 
early  days  of  his. 

"Do  you  remember  the  time  when  you  could  not 
reach  a  high  A-natural  without  breaking  the  note 
in  pieces  ?" 

"  How  well  do  I  remember,"  replied  the  tenor. 

"What  did  you  do,"  inquired  Daspuro,  "to  find 
an  impostation  which  has  made  so  secure  and  formi- 
dable your  high  notes  ?" 

"Do  you  want  the  truth?"  demanded  Caruso. 
"Well,  I  will  give  it  to  you.  Instead  of  following 
all  the  suggestions  of  my  teachers,  I  did  just  the 
opposite.  I  found  the  impostation  of  the  whole 
voice  all  by  myself." 

"Poor  Vergine !  Poor  Lombardi!"  murmured 
Daspuro.  Yet  he  insists  that  Caruso  was  largely 
in  the  right,  and  that  his  accomplishment  was  due 
to  his  own  "natural,  unique,  and  unquestionably 
tremendous  vocal  and  artistic  instinct." 

It  is  doubtful  that  Caruso  or  Daspuro  wholly 
believed  all  they  said.  The  tenor  was  given  to 
taking  to  himself  whatever  credit  was  due  for  his 
advancement.  He  probably  did  not  wish  to  deprive 
any  one  of  just  recognition  for  service  rendered  him, 
yet  it  is  a  fact  that  he  was  generally  loath  to  concede 


CLIMBING  167 

that  others  had  been  of  substantial  aid  to  him.  With 
him  it  was  "  I  did  this  "  or  that ;  and  it  was  manifested 
in  other  ways.  Hearing  a  good  story  related  by  some 
one  else,  he  would  later  revamp  it  and  tell  it  as  his 
very  own. 

From  Milan  the  tenor  journeyed  to  Trieste,  there 
to  sing  in  a  second  charity  undertaking  (as  he  had 
done  once  before)  for  the  Trieste  Benevolent  Associa- 
tion. He  appeared  in  two  performances  of  "Rigo- 
letto"  on  December  10  and  n,  1902,  with  Signore 
Fanny  Torresella  and  Benvenuti,  and  Signori  Arcan- 
geli  and  Lucente,  Maestro  Gialdino  Gialdini  again 
serving  as  conductor. 

The  next  task  was  to  be  a  more  arduous  one :  the 
big  season  at  the  Costanzi  in  Rome  was  then  to  be 
faced.  Thence  Caruso  repaired,  with  sensations  alto- 
gether different  from  those  he  had  felt  during  his 
previous  engagement  in  this  theater,  when  he  had 
been  deprived  of  his  "  right "  to  create  Cavaradossi 
in  "Tosca."  .  Judging  from  the  newspaper  comment 
following  his  first  reappearance  in  "Rigoletto",  the 
tenor's  growth  must  have  been  extraordinary.  The 
past  —  during  that  season  of  no  more  than  two  years 
since  —  seemed  for  the  public  a  thing  to  have  been 
quite  forgotten.  The  Gilda  of  Signora  Torresella, 
the  Rigoletto  of  Signor  Pacini,  even  the  conducting 
of  Edoardo  Vitale,  were  overshadowed  by  the  Duke 
of  Caruso.  He  had  returned  to  the  Romans  an 
artist ;  their  artist,  now,  and  how  the  public  flocked 
to  the  Costanzi  to  hear  him  sing. 

It  was  shortly  after  this  debut  on  December  26, 
1902,  that  the  tenor  received  from  the  agent  who  had 


168  ENRICO    CARUSO 

negotiated  his  New  York  Metropolitan  Opera  House 
contract  a  laconic  telegram.  It  merely  stated  that 
because  of  Grau's  retirement  from  the  management  of 
that  institution  Caruso  might  consider  his  contract 
as  automatically  canceled. 

To  the  tenor  this  information  made  him  feel  that 
"the  star  of  the  north  would  not  shine"  for  him. 
"I  nevertheless  tried  to  get  at  the  truth  of  the 
matter,"  he  said,  "by  communicating  with  two  friends 
then  in  New  York :  one,  whom  I  knew  very  well 
(Antonio  Scotti,  then  a  Metropolitan  principal)  ; 
the  other  (Signer  Giovanni  Simonelli)  whose  ac- 
quaintance and  subsequent  friendship  had  been  de- 
veloped through  correspondence. 

"In  response  to  my  inquiry  this  first  friend  advised 
me  that  Mr.  Grau  had  been  ill,  and  would  soon  leave 
the  Metropolitan.  Directly,  too,  the  news  got  out 
and  was  spread  by  some '  friends '  (the  sort  of '  friends  * 
who  seem  to  enjoy  such  small  practices)  that  after 
all  Caruso  would  not  go  to  America.  No  harm  was 
done  me.  On  the  contrary,  many  proposals  came  to 
me  to  sing  in  different  European  cities." 

However  dim  Caruso's  "star  of  the  north"  might 
be,  his  star  in  Rome  suffered  no  eclipse.  It  con- 
tinued to  shine  when  he  appeared  in  repetitions  of 
"Rigoletto";  and  when  on  January  10,  1903,  he 
sang  with  Signora  Fausta  Labia  and  Signer  Borucchia 
in  "Mefistofele."  Nor  was  there  any  diminution 
of  the  tenor's  popularity  at  his  first  appearance  in 
"Manon  Lescaut",  with  Signora  Lina  Pasini-Vitale, 
and  again,  on  January  31,  during  his  endeavors  in 
"Ai'da"  —  conducted,  as  had  been  the  other  operas, 


CLIMBING  169 

by  Maestro  Vitale,  and  with  a  cast  including  Signore 
Labia  and  Elisa  Bruno  and  Signori  Spoto  and  Pacini. 
Caruso  could  return  to  Rome  whenever  he  chose ; 
but  he  had  none  too  much  time  after  the  close  of 
his  Costanzi  season  on  February  8,  to  reach  Lisbon  for 
his  introductory  appearance  on  February  14  at  the 
San  Carlos  Theater,  at  that  time  under  the  manage- 
ment of  Jose  Pacini.  The  opera  selected  for  the 
Caruso  presentation  to  a  Portugal  public  was  "Fe- 
dora"; Campanini  was  prepared  to  conduct,  the 
Fedora  was  to  be  Signora  Pandolfini.  The  Lisbon 
press  appears  to  have  been  of  the  same  mind  regard- 
ing Caruso  as  was  the  public.  The  emphasis  placed 
upon  the  timbre  of  the  newcomer's  voice,  its  emission, 
flexibility,  and  volume  amounted  almost  to  glorifica- 
tion. In  one  night  the  tenor  had  conquered  a  new 
people  ;  he  continued,  in  "Ai'da",  "Tosca","  Adriana 
de  Lecouvreur", " Lucrezia  Borgia",  and" Rigoletto" 
a  triumphant  march  which  lasted  until  March  19. 
He  had  sung  with  Signore  Pandolfini,  Darclee,  Regina 
Pacini,  and  Virginia  Guerrini,  and  Signori  Maurizio 
Bensaude,  Riccardo  Stracciari,  and  Giulio  Rossi ; 
and  the  roster  of  artists  also  included  Signora  Eva 
Tetrazzini  (sister  of  Luisa  Tetrazzini)  —  one  of  the 
foremost  dramatic  soprani  of  that  time  —  and  Signori 
Fiorello  Giraud,  Antonio  Pini-Corsi,  Gaudio  Man- 
sueto,  and  Eugenio  Giraldoni.  Portugal  made  of 
the  Caruso  farewell  an  event :  His  La  donna  e  mobile 
had  to  be  sung  three  times,  and  the  tenor  even  was 
persuaded  by  the  management  to  restore  the  third 
act  aria,  which  usually  is  omitted.  Perhaps  there 
was  good  reason  for  Caruso's  enthusiastic  farewell  — 


170  ENRICO    CARUSO 

just  as  it  may  have  aided  in  enabling  him  to  appear 
on  six  successive  evenings  in  as  many  different  roles. 
For  something  had  happened  to  bring  into  a  more 
favorable  light  his  "star  of  the  north/' 

Barely  one  week  after  Caruso  reached  Lisbon  he 
received  from  Simonelli  a  cablegram  containing  a 
formal  offer  from  Conned  ;  and  there  was  then  begun 
a  series  of  exchanged  communications  which,  predi- 
cating the  outcome,  finally  resulted  in  an  agreement 
that  would  take  the  tenor  to  the  Metropolitan  the 
following  season. 

Pasquale  Simonelli,  an  Italian  banker  residing  in 
New  York,  relates  the  details  concerning  the  negotia- 
tion in  which  he  participated  that  led  up  to  the  sign- 
ing of  Caruso's  first  Metropolitan  contract.  "On 
January  30,  1903,"  stated  Mr.  Simonelli,  "my 
brother  John  received  a  letter  from  Caruso  dated  from 
Rome.  In  it  he  wrote  that  Maurice  Grau  had  in- 
formed him  that  he  was  sorry  to  have  to  dissolve 
the  contract  made,  as  he  would  not  continue  to  be 
the  general  manager  of  the  Metropolitan  Opera  House. 
In  his  letter  to  my  brother,  Caruso  expressed  his 
deep  disappointment  over  the  loss  of  his  chance  to 
come  to  America  ;  and  although  invited  to  appear  in 
many  other  opera  houses  throughout  the  world,  he 
expressed  his  preference  for  the  Metropolitan. 

"Caruso  asked  my  brother  if  he  would  com- 
municate with  the  Metropolitan's  new  manager  in 
an  endeavor  to  see  what  might  be  done.  My  brother 
John  was  so  occupied  with  his  own  affairs  that  he 
charged  me  to  undertake  the  commission.  When, 
on  February  19,  1903,  newspaper  announcements 


CLIMBING  171 

informed  the  public  that  Heinrich  Conried  had  been 
appointed  to  the  management  of  the  Metropolitan, 
I  went  that  very  afternoon  to  see  him  in  his  office  at 
the  Irving  Place  Theater  of  which  he  was  then 
director. 

"We  spoke  at  length  of  artists,  and  Conried  in- 
formed me  that  he  was  in  communication  with 
Alessandro  Bonci  and  doubted  whether  he  wished 
to  avail  himself  of  the  contract  Grau  had  signed  with 
Caruso.  As  the  tenor  was  young  and  unknown  in 
America,  Conried  was  fearful  to  engage  him  —  as 
Grau  had  engaged  him  —  for  forty  appearances. 
At  length,  after  an  extended  discussion,  Conried 
directed  me  to  wire  Caruso,  guaranteeing  him  twenty 
appearances,  with  the  assurance  of  additional  ones 
should  the  public  like  him. 

"I  thereupon  cabled  Caruso,  who  was  then  sing- 
ing in  Lisbon,  'New  impresario  would  accept  Grau 
contract  reducing  first  year  half  the  number  of  ap- 
pearances ;  prolongation  depending  on  your  success 
with  the  public/  Caruso  cabled  me  a  message  I  re- 
ceived on  February  23  which  read,  'I  will  accept  pro- 
posal if  new  management  deposits  in  my  bank  in 
Milan,  not  later  than  April  5,  an  advance  covering 
five  appearances  and  will  guarantee  me  twenty-five 
appearances  from  November  20,  1903,  to  February 
10, 1904.'  That  same  day,  after  I  had  spoken  of  these 
matters  to  Conried,  I  wired  to  Caruso,  'Conried  will 
respect  the  Grau  contract  except  for  the  first  year's 
appearances,  giving  you  twenty-five,  twice  weekly, 
beginning  November  23.  Cable  me  at  once  as  Con- 
ried wishes  an  answer  by  next  Tuesday/  And  on 


172  ENRICO    CARUSO 

February  25  Caruso  wired  me  that  he  would  accept ; 
Conried  verified  his  acceptance,  and  I  again  wired, 
'Conried  accepts.  Wire  me  acceptance  reduction 
to  twenty-five  appearances  first  season/ 

"On  March  26  Conried  himself  dictated  a  cablegram 
to  Caruso,  who  was  then  singing  in  a  few  perform- 
ances of  * Tosca '  at  Monte  Carlo,  the  following:  'I 
accept  your  contract  with  Grau.  Only  change  forty 
to  twenty-five  appearances  first  year  your  engage- 
ment. Will  make  deposit  April  5  as  agreed  through 
Simonelli.  Acknowledge  receipt.'  To  this  Caruso 
made  immediate  acknowledgment." 

The  contract  made  between  the  Metropolitan 
Opera  Company  and  Caruso  was  readjusted  during 
the  middle  of  his  first  New  York  season,  and  a  new 
one  prepared  for  the  four  years  to  come.  It  pro- 
vided, in  each  new  year,  for  an  increased  cachet  for 
each  appearance,  and  Simonelli,  apart  from  the  three 
per  cent  commission  due  him  under  his  arrangement 
with  the  tenor,  was  also  to  profit  at  subsequent  re- 
newals of  the  contract.  A  misunderstanding  on 
Caruso's  part  of  a  personal  matter  between  them 
caused  the  singer,  when  the  time  came  to  renew  his 
contract,  to  insist  that  Simonelli  should  receive  no 
further  commissions.  Nor  could  he  be  moved,  at 
the  time,  to  alter  his  decision.  His  mind  was  made 
up  ;  he  would  not  budge  from  his  position.  Several 
years  later,  however,  when  he  learned  of  certain 
facts  hitherto  unknown  to  him,  he  went  courageously 
to  Simonelli  and  admitted  that  he  had  been  in  the 
wrong. 

Before  proceeding  to  Genoa,  after  his  Monte  Carlo 


CLIMBING  173 

appearances,  Caruso  paused  at  Florence.  The  tenor 
had  become  obsessed,  ever  since  he  had  begun  to  ac- 
cumulate money,  with  the  desire  to  acquire  a  villa ; 
and  since  he  had  received  from  Impresario  Conried 
an  advance  of  twenty-five  thousand  lire  for  his  first 
Metropolitan  season,  he  felt  he  could  afford  this  new 
luxury.  He  wished  some  place  which  would  be  com- 
pletely his  own.  The  Tuscan  country  was  one  he 
had  always  loved ;  something  about  the  Florence 
atmosphere  called  to  him  that  spring  of  1903  more 
irresistibly  than  ever.  It  is  true  that  Caruso  was  still 
unformed  in  many  ways  at  that  time,  and  that  the 
step  he  then  took  must  have  enlisted  on  the  part  of 
some  people  a  covert  smile.  A  villa  for  a  tenor  not  yet 
thirty,  and  barely  coming  into  recognition  ?  What 
presumptuousness !  Who  was  this  Caruso  ?  An 
overdressed  Neapolitan ;  uneducated  as  the  world 
knows  education,  and  already  given  to  a  stoutness 
which  hinted  at  too  much  time  spent  at  table.  But 
for  all  the  uncouthness  he  may  have  suggested  to 
the  critically  inclined,  Caruso  possessed  the  feeling 
for  better  things.  Deprived  in  his  youth  and  by 
birth  of  advantages  others  had  had,  he  wished  to 
improve.  And  pray  how  was  one  to  get  on  without 
breaking  the  ice  which  barred  the  way  to  the  voyage 
upstream  ?  He  negotiated  for  and  purchased  the 
place  he  had  set  his  heart  on  owning :  the  Villa 
alle  Panche,  in  Castello  near  Florence. 

A  swift  journey  to  Genoa  was  necessary,  after 
Caruso  acquired  his  Villa,  to  enable  him  to  catch 
the  SS  Venezuela  which  was  to  carry  him  to  South 
America,  where  his  next  engagement  awaited  him. 


174  ENRICO    CARUSO 

Many  noteworthy  singers  were  his  companions 
of  that  voyage:  Signore  Ericlea  Darclee,  Rosina 
Storchio,  Salomea  Krusheniska,  and  Maria  Farneti, 
and  Signori  Giovanni  Zenatello,  Florencio  Con- 
stantino, Giuseppe  de  Luca,  Eugenio  Giraldoni, 
and  Vittorio  Arimondi.  Toscanini  was  also  a  ship's 
passenger. 

Caruso  has  said  that  this  trip  was  one  of  the  most 
enjoyable  he  had  ever  known.  Amid  companionable 
confreres,  his  heart  then  soaring  at  the  constant 
thought  of  that  secure  Metropolitan  contract,  the 
tenor  behaved  like  a  schoolboy,  as  he  was  wont  to  do 
whenever  the  wind  blew  fair  for  him.  During  this 
voyage  Caruso  taught  to  Giuseppe  de  Luca  the 
American  game  of  poker  ;  and  for  a  time  he  delighted 
in  the  steady  losses  sustained  by  the  baritone,  who 
was  slower  in  gaining  some  familiarity  with  certain 
essentials  governing  the  value  of  hands.  Before 
Buenos  Aires  had  been  reached  de  Luca  progressed 
at  such  a  rate  that  Caruso  at  length  found  excuses  to 
occupy  himself  in  other  ways. 

Chosen  for  the  premiere  performance  from  those 
first  tenors  Camillo  Bonetti  had  engaged  for  that 
1903  La  Opera  Theater  season,  Caruso  came  before 
a  South  American  audience  for  his  third  year  in 
'Tosca."  Toscanini  presided  in  the  orchestra  pit; 
on  the  stage  with  the  tenor  were  Signora  Maria 
Figner  Mey,  and  Giraldoni  and  Ercolani.  Those 
two  years  that  had  slipped  by  since  Caruso  had  last 
been  heard  in  Buenos  Aires  served  in  other  ways  than 
to  move  that  first-night  gathering  to  welcome  back 
an  artist  to  whom  they  had  said  au  revoir  with  ex- 


CLIMBING  175 

pressions  of  regret.  He  had  been  their  favorite  tenor 
then ;  returned  with  such  improved  voice  and  art, 
his  Mario  sent  those  listeners  into  their  own  peculiar 
seventh  heaven,  —  where  they  continued  to  remain 
for  so  long  as  that  season  lasted. 

The  position,  nevertheless,  was  by  no  means  so 
secure  that  Caruso  could  view  the  situation  with  a 
complacent  mien.  It  was  true  that  he  had  popu- 
larity ;  in  most  respects  he  held  the  advantage  over 
his  first-tenor  comrades  who,  friendly  though  they 
might  seem,  were  still  anxious  to  shine  under  the 
spotlight  which  flooded  this  young  artist  to  whom 
the  gods  had  been  so  kind.  There  was  necessary 
every  moment  the  keenest  maneuvering  to  retain 
the  upper  hand ;  and  Caruso  applied  himself  dili- 
gently to  every  performance  in  which  he  was  to 
appear,  preparing  his  words  and  music  of  each  role 
with  the  utmost  care. 

Even  the  cablegram  from  Simonelli,  urging  him  to 
grant  an  extension  of  his  first  year's  Metropolitan 
contract,  did  not  prompt  the  singer  to  relax  his 
vigilance.  He  was  discounting  no  success ;  the 
future  was  something  to  be  considered  gravely.  It 
was  this  attitude  which  caused  Caruso  to  decline  to 
appear  in  "Zauberfiote",  "Fra  Diavolo",  "Don 
Giovanni",  and  "Marta", —  his  explanation  being 
that  he  considered  the  music  of  the  tenor  parts  in 
these  operas  to  be  too  light  for  his  voice.  "  Further- 
more, I  do  not  know  a  note  of  any  one  of  them,"  he 
wrote  Simonelli,  "  and  I  have  no  time  to  study  roles." 
He  did,  however,  learn  Lionel  in  "Marta",  which  not 
only  brought  him  instant  favor  at  the  Metropolitan 


176  ENRICO    CARUSO 

at  his  first  appearance  in  the  opera,  but  became  one 
of  his  most  successful  characters. 

"Adriana  de  Lecouvreur"  and  "Iris"  followed 
"Tosca",  at  La  Opera  of  Buenos  Aires  ;  and  in  the 
former  work  Caruso  appeared  with  Signore  Maria 
Figner  and  Virginia  Guerrini,  and  Giuseppe  de 
Luca,  —  the  latter  work  presenting  him  with  Maria 
Farneti.  The  public  was  standing  firmly  by  its  tenor, 
and  at  each  new  appearance  he  enhanced  his  prestige. 
The  cost  was  not  small.  It  meant  hours  and  hours 
of  patient  studying ;  of  extreme  care  of  a  precious 
voice,  and  of  closing  his  ears  to  small  gossip  which, 
to  an  artist,  is  always  unnerving. 

In  "Germania"  Caruso  sang  with  Signora  Farneti, 
and  de  Luca  ;  in  "  L'Elisir"  he  appeared  with  Signora 
Clasenti  and  de  Luca;  his  associates  in  " Mefistofele" 
were  Signore  Farneti  and  Guerrini,  and  Arimondi. 

The  steadying  hand  of  Toscanini  was  continually 
present ;  the  season  waned,  and  at  the  close  the 
tenor  had  the  satisfaction  of  being  able  to  look  back 
upon  a  further  gain  in  his  art. 

Providence  continued  to  touch  the  singer  lavishly 
upon  his  shoulder.  Buenos  Aires  had  been  more  than 
kind.  Montevideo  —  where  Caruso  went  with  the 
same  company  and  management  to  appear  for  a  less 
extensive  season  at  the  Teatro  Solis  —  took  the  tenor 
almost  as  completely  to  its  heart.  There,  in  addition 
to  having  appeared  in  the  same  repertoire  presented 
in  Buenos  Aires,  Caruso  sang  a  sterling  performance 
of  Des  Grieux  in  "Manon  Lescaut."  If  less  com- 
fortable for  his  tenor  comrades,  the  achievement  en- 
hanced still  further  his  renown.  And  the  second 


CLIMBING  177 

move,  to  the  Pedro  II  Theater  at  Rio  de  Janeiro, 
presented  him  before  the  public  of  that  city  on  eight 
different  occasions  in  "Rigoletto",  "Tosca",  "Manon 
Lescaut",  and  "Iris." 

Late  August  found  the  tenor  once  more  aboard  a 
steamer,  homeward  bound,  with  visions  of  North 
America  dancing  in  his  mind.  He  went  thereafter 
to  Milan,  there  to  rest  for  a  few  weeks  before  embark- 
ing upon  the  most  important  phase  of  his  career. 

II 

The  Caruso  who  first  set  foot  on  United  States 
soil  on  November  eleventh  1903  was  very  different 
from  the  Caruso  its  public  was  later  to  know  so  well. 
He  made  the  voyage  from  Italy  on  board  the  SS 
Sardegna.  His  instincts  and  affections  were  ineradi- 
cably  Italian ;  he  was  still,  for  all  his  travel  and 
varied  experiences,  essentially  of  the  people  and  shar- 
ing their  inherent  tastes.  Much  newspaper  reclame 
having  been  made  for  him  as  the  singer  upon  whom  the 
mantle  of  the  revered  Jean  de  Reszke  was  likely  to  fall, 
much  naturally  was  expected  of  him.  It  could  scarcely 
have  been  a  more  intricate  situation  —  with  the  inevi- 
table comparisons  certain  to  be  made  between  the  two 
tenors  by  the  fastidious  parterre-tier  Metropolitan 
boxholders  —  for  where  de  Reszke  was  aristocratic, 
Caruso  decidedly  was  not ;  there  was  the  widest 
possible  physical  difference  in  the  two  men,  and, 
finally,  the  one  was  undertaking  in  the  middle  period 
of  his  career  to  succeed  a  consummately  finished 
artist,  —  perhaps  the  greatest  exponent  of  the  highly 


178  ENRICO    CARUSO 

polished  intellectual  school  of  tenors  the  world  has 
known. 

But  for  all  these  disadvantages,  certain  counter- 
balancing elements  lay  in  the  scales.  In  Caruso  the 
United  States  was  truly  to  have  a  tenor  of  the  type 
it  loved  best.  How  completely  he  was  to  be  accepted 
remained  to  be  learned.  His  appearance  was  decid- 
edly plebeian  :  he  was  undeniably  fat ;  his  manners 
had  not  in  them  everything  to  commend ;  he  was 
handicapped,  because  of  his  unfamiliarity  with  the 
English  language,  by  an  inability  to  appear  wholly 
at  ease  among  strangers  who  spoke  another  tongue. 

In  London,  with  a  less  weighty  outcome  hanging 
in  the  balance,  it  had  been  altogether  different. 
Whereas  England  was  a  part  of  Europe,  New  York 
belonged  to  the  new  world  ;  and  there  other  customs 
ruled  which  the  tenor,  perhaps  better  than  any  one 
else,  understood  he  must  assimilate  before  he  might 
hope  to  be  estimated  at  his  true  worth.  He  himself 
said,  "  I  realized  that  the  Metropolitan  Opera  House 
was  the  first  in  all  the  world.  Many  of  the  most 
celebrated  and  finest  artists  had  appeared  there ; 
besides,  the  organization  was  the  largest,  its  season 
the  longest,  and  its  repertoire  the  most  extensive  of 
any  similar  institution  anywhere." 

Caruso  was  thus  well  aware  of  the  importance  of 
the  task  confronting  him.  An  indifferent  reception, 
regardless  of  other  fields  which  still  called  to  him, 
could  not  be  set  imperialistically  aside.  Whether 
just  or  unjust,  anything  short  of  an  unqualified  success 
in  this  new  sphere  of  his  activities  would  tarnish  a 
hard-won  prestige.  To  win  was  therefore  necessary  ; 


CLIMBING  179 

not  moderately  as  many  another  fine  artist  had  won 
before  him,  but  so  emphatically  that  the  Caruso 
name  would  be  cabled  around  the  globe  as  having 
been  finally  hoisted  to  the  peak  of  the  staff. 

The  attentions  even  of  the  press  held  a  significance  ; 
for  regarded  as  a  singing  personage,  and  besieged  for 
interviews  immediately  upon  his  arrival  in  New 
York,  Caruso  was  well  aware  that  there  was  being 
created  for  him  in  the  public  print  a  position  he  must 
achieve  and  maintain. 

He  had  gone  at  once  to  the  Hotel  Majestic,  where 
a  suite  had  been  arranged  for  him  in  advance  of  his 
coming.  Ada  Giachetti  was  with  him  —  as  Mrs. 
Caruso.  There,  hard  by  Central  Park,  the  tenor 
received  the  newspaper  reporters.  Pasquale  Simo- 
nelli  was  present  to  introduce  the  writers  and  photog- 
raphers to  his  friend,  and  to  act  also  as  interpreter. 
News  and  feature  stories  concerning  the  Metropoli- 
tan's new  tenor  had  been  freely  published  months 
before ;  since  he  was  actually  in  the  United  States, 
he  was  legitimate  material  to  be  "played  up",  and 
this  is  what  occurred,  swiftly  and  with  all  the  graphic 
touches  characteristic  of  the  New  York  dailies. 
Something  about  this  Neapolitan  appealed  to  the 
newspapermen  who  at  first  met  him ;  and  when  he 
fell  to  sketching  cartoons  they  fought  for  them,  and 
every  editor  saw  that  the  sketches  were  reproduced 
—  to  further  enlighten  their  readers  as  to  the  per- 
sonality of  this  newcomer  to  the  Metropolitan  who 
was  soon  to  sing  before  them. 

The  newspaper  fraternity  were  by  no  means  the 
only  callers  who  descended  upon  the  Caruso  apart- 


i8o  ENRICO    CARUSO 

ment  in  the  Majestic  Hotel.  Many  of  his  country- 
men, residents  of  New  York,  swarmed  about  his 
doors.  They  were  of  various  classes,  not  a  few  being 
of  the  poorer  sort,  who  went  with  begging  intent. 
Destined  to  the  end  of  his  days  to  be  pursued  by 
compatriots  seeking  to  make  use  of  his  purse,  the 
tenor  found  no  comfort  in  turning  them  away.  He 
was  of  that  peculiar  Italian  nature  which  understood 
the  impulses  of  these  gratuity  seekers.  If  opposed 
to  acquiescing  to  every  demand,  he  at  least  seems 
to  have  sympathized  with  the  needy.  He  gave  — 
by  no  means  freely  or  pleasantly  in  every  instance  — 
but  he  gave.  Oftentimes  he  appears  to  have  been 
actuated  by  some  intangible  fear  that  he  must  give ; 
that  a  "  no",  regardless  of  the  justice  of  such  decision, 
would  be  interpreted  only  to  his  own  disadvantage. 
So  the  Caruso  hand  went  often  into  his  pocket ;  and 
just  as  often  did  he  consent  to  some  proposal  which 
he  would  have  preferred  not  to  have  entertained, 
yet  was  to  cost  him  either  money  or  the  lending  of 
his  time  or  name  to  what  would  bring  money  to  others. 
Therefore,  that  1903  New  York  settling  period 
was  for  Caruso  a  wearying  affair.  Still,  he  appears 
to  have  made  the  best  of  it  with  as  much  good  humor 
as  possible.  And  there  were  of  course  some  genuinely 
pleasurable  moments,  gathered  from  visits  of  worth- 
while persons,  the  majority  of  whom  were  his  own 
countrymen.  Members  of  the  clergy,  as  well  as 
representative  members  of  the  laity,  were  made 
welcome  in  the  Caruso  apartment.  He  took  time 
to  see  them  all ;  he  extended  his  hospitality  with 
characteristic  thoughtfulness ;  through  those  days 


CLIMBING  181 

prior  to  his  New  York  debut  on  November  23,  1903, 
there  was  little  time  outside  his  professional  duties 
which  was  not  almost  completely  taken  up  by  others. 

Caruso's  first  meeting  with  Heinrich  Conried  took 
place  in  the  impresario's  office,  in  the  southwest  part 
of  the  Metropolitan  Opera  House  on  the  ground  floor. 
He  was  introduced  to  the  impresario  by  Pasquale 
Simonelli,  who  acted  as  interpreter,  since  Caruso 
could  speak  neither  English  nor  German  and  Conried 
no  Italian  or  French.  The  tenor  had  long  been 
"curious"  as  to  "the  sort  of  man"  Conried  would 
prove  to  be.  He  had  learned  of  Conried's  un- 
familiarity  with  opera  and  opera  artists.  Thus, 
when  Simonelli  had  taken  a  small  machine  and  a 
disc  of  Vesti  la  giubba,  as  recorded  by  Caruso,  and 
presented  himself  to  Conried  in  the  Irving  Place 
Theater,  he  made  it  possible  for  the  Metropolitan's 
new  manager  to  gather  some  idea  of  the  voice  and 
singing  style  of  his  tenor.  The  record  had  been  made 
only  with  pianoforte  accompaniment,  yet  the  im- 
pression made  upon  the  impresario  was  unforgetable. 

"'If  that  Caruso  can  sing  as  well  in  the  Metro- 
politan as  he  sang  to  make  that  record/"  Simonelli 
quotes  Conried  as  having  said,  "'his  success  is  as- 
sured.' Conried  made  no  attempt  to  conceal  his 
disappointment  in  not  having  engaged  the  tenor  for 
forty  instead  of  the  twenty-five  appearances  the 
contract  (already  concluded)  called  for.  At  his 
request  I  cabled  Caruso,  who  was  singing  in  Buenos 
Aires,  but  it  was  too  late  ;  he  had  already  accepted  an 
offer  to  appear  in  Monte  Carlo  during  the  1904 
season,"  said  Simonelli. 


i8z  ENRICO    CARUSO 

Caruso  was  taken  by  Conried  into  the  auditorium 
of  the  opera  house,  which  he  admired,  just  as  he 
admired  the  stage,  which,  in  those  days,  was  more 
modern  and  serviceable  for  large  productions  than 
it  now  is.  The  singer  sensed  the  atmosphere  as 
one  stimulating  to  an  artist ;  he  was  likewise  favor- 
ably impressed  with  what  he  observed  in  other 
quarters  of  the  opera  house.  Everything  appeared 
to  be  systematically  conducted ;  and  everywhere 
was  neatness.  There  would  be  few  discords  here, 
he  hoped,  a  feeling  which  ultimately  was  to  be  borne 
out  by  developments.  For  the  tenor  had  reached 
the  Metropolitan  at  an  opportune  time :  Conried, 
utterly  inexperienced  in  matters  operatic  and  musi- 
cally untutored,  was  just  preparing  to  take  up  the 
reins  of  management ;  the  singer  himself  was  steadily 
advancing  in  voice  and  singing  prowess,  and  there 
was  none  other  in  the  organization  who  was  his  equal. 
Whether  it  was  destiny,  such  were  the  facts.  The 
pendulum  was  swinging  across  a  propitious  arc ; 
Caruso,  sensitive  in  the  extreme,  may  have  sub- 
consciously gathered  some  faint  foreshadowing  of 
what  was  to  come.  Whatever  their  source,  there 
was  nothing  save  encouragement  in  the  sensations 
the  tenor  experienced  during  that  first  visit  to  the 
opera  house  where  he  was  to  rise  steadily  to  un- 
touched heights,  and  in  it  was  to  pass  the  greatest 
number  and  happiest  hours  of  his  future  appearances 
before  the  public.  He  returned  to  the  hotel  home ; 
and  soon  he  began  in  earnest  his  preparations  for 
his  debut. 

That  night  of  the  23  rd  of  November,  1903,  was  not 


CLIMBING  183 

peculiarly  different  from  previous  nights  which  the 
Metropolitan  Opera  House  organization  and  audi- 
ence had  both  known.  Other  first  appearances  had 
been  quite  as  successfully  accomplished  as  was 
Caruso's.  There  is  no  record  of  any  specially  marked 
or  prolonged  enthusiasm,  —  if  one  may  except  the 
natural  demonstrations  some  few  Italians  permitted 
themselves.  What  the  assemblage  saw  was  a  stocky 
and  scarcely  graceful  figure  appearing  as  the  Duke 
in  Verdi's  "Rigoletto" ;  a  tenor  proceeding  in  his 
acting  along  the  conventional  lines  of  Italian  artists 
who  had  been  seen  before  him  in  the  same  and  similar 
roles.  What  they  heard  was  a  fresh,  clear  tenor 
voice ;  a  voice  neither  exceptionally  powerful  nor 
sensational  in  its  qualities,  yet  one  with  an  ingra- 
tiating quality.  That  it  was  well  used  was  readily 
apparent,  particularly  to  those  who  had  given  atten- 
tion to  singing.  Virtually  all  who  were  present  were 
willing  enough  to  concede  that  here  was  an  artist 
who  seemed  sure  of  himself ;  and  if  anticipation  had 
led  them  to  expect  something  more,  there  was  enough 
to  be  grateful  for  in  one  who  sang  so  easily,  with  such 
charm,  and  with  what  unmistakably  was  an  authori- 
tative manner.  But  neither  with  his  voice  nor  his 
singing  did  Caruso  sweep  to  its  feet  any  considerable 
part  of  that  gathering.  Even  the  critics  tempered 
their  comments,  and,  published  in  the  New  York 
newspapers  of  the  following  day,  they  found  space 
enough  also  to  consider  those  other  artists  of  the  night 
—  Mme.  Marcella  Sembrich  and  Antonio  Scotti  — 
who  had  participated  in  the  production  conducted  by 
Arturo  Vigna. 


184  ENRICO    CARUSO 

Save  for  a  line  mentioning  Caruso  as  a  newcomer 
there  was  no  comment  in  the  New  York  Tribune 
which  touched  upon  his  qualifications  as  a  singer  or 
his  achievement.  The  New  York  Times  commenta- 
tor wrote  of  Caruso,  "  He  made  a  highly  favorable 
impression  and  he  went  far  to  substantiate  the 
reputation  that  had  preceded  him  to  this  country. 
His  voice  is  purely  a  tenor  in  its  quality,  and  is  cf 
large  power,  but  inclined  to  take  on  the  *  white' 
quality  in  its  upper  ranges  when  he  lets  it  forth. 
In  mezza  voce  it  has  expressiveness  and  flexibility, 
and  when  so  used  its  beauty  is  most  apparent. 
Mr.  Caruso  last  evening  appeared  capable  of  intel- 
ligence and  passion  in  both  singing  and  acting." 

The  New  York  Sun  reviewer  was  of  the  opinion 
that,  "Mr.  Caruso,  the  new  tenor,  made  a  thoroughly 
favorable  impression  and  will  probably  grow  into 
firm  favor  with  his  public.  He  has  a  pure  tenor 
voice  of  fine  quality  and  sufficient  range  and  power. 
It  is  a  smooth  and  mellow  voice  and  is  without  the 
typical  Italian  bleat.  Mr.  Caruso  has  a  natural  and 
free  delivery  and  his  voice  carries  well  without 
forcing.  He  phrased  his  music  tastefully  and  showed 
considerable  refinement  of  style.  His  clear  and 
pealing  high  tones  set  the  bravos  wild  with  delight, 
but  the  connoisseurs  of  singing  saw  more  promise  for 
the  season  in  his  mezza  voce  and  manliness.  He  is  a 
good-looking  man  and  acts  with  dignity  if  with  no 
great  distinction.  But  the  Duke  gives  little  oppor- 
tunity for  the  exhibition  of  histrionic  powers." 

Nothing  in  these  reviews  to  indicate  that  the 
critics  had  been  swept  from  their  feet ;  surely  little 


CLIMBING  185 

hint  that  this  new  tenor  was  soon  to  become  the 
tenor  of  his  time. 

In  the  New  York  Sun  of  December  i,  1903,  in  the 
critique  dealing  with  the  Metropolitan's  "A'fda"  of 
the  previous  evening  in  which  Mme.  Johanna 
Gadski  and  Scotti  and  Plancon  participated,  reference 
was  made  to  Caruso's  recovery  from  an  attack  of 
tonsillitis.  The  writer  felt  that  the  singer  "confirmed 
the  good  impression  he  made  at  his  debut.  He  saved 
himself  a  good  deal  in  the  early  part  of  the  opera, 
which  was  wise  in  view  of  his  recent  indisposition. 
He  sang  the  aria  (Celeste  A'ida)  quietly  but  tastefully, 
and  with  good  effect.  In  the  Nile  scene  he  let  him- 
self out." 

The  Times  chronicler  stated  that,  "He  proved  the 
remarkable  mastery  he  possessed  over  his  organ ; 
he  materially  deepened  the  favorable  impression  he 
made  at  his  first  appearance.  The  quality,  the 
flexibility,  and  the  expressive  capacity  of  his  voice 
beautified  everything  he  did.  There  were  passion 
and  conviction  in  his  interpretation  of  the  fated 
lover,  and  everywhere  the  marks  of  the  adept  in 
stagecraft. " 

The  Tribune  recorder  wrote  that  "Caruso  was 
plainly  still  suffering  from  the  indisposition.  But 
his  skill  in  overcoming  the  drawbacks  helped  to  a 
keen  appreciation  of  his  knowledge  of  the  art  of 
singing,  and  invited  still  further  admiration  for  the 
superb  beauty  of  his  voice.  The  pleasure  which  his 
singing  gives  is  exquisite,  scarcely  leaving  room  for 
curious  questionings  touching  his  limitations.  He 
is  to  be  accepted  for  what  he  is,  with  gratitude,  and 


i86  ENRICO    CARUSO 

no  one  who  loves  the  art  of  song  ought  to  miss  the 
opportunities  which  his  presence  at  the  Metropolitan 
offers." 

Two  days  later,  after  the  tenor's  first  Metro- 
politan appearance  in  "Tosca",  the  Tribune  stated, 
"Signor  Caruso  filled  the  music  of  Cavaradossi  with 
sensuous  splendor,  but  acted  the  part  with  far  less 
fire  and  distinction  than  his  predecessor,  De  Marchi. 
Signor  Caruso  is  primarily  a  singer,  that  is  now 
evident.  His  musical  instincts  are  as  perfect  as  his 
voice  is  luscious,  but  neither  his  instincts  nor  his  voice 
is  at  the  service  of  that  dramatic  characterization." 

The  Sun  critic  also  found  some  elements  lacking 
in  the  tenor's  acting,  and  stated  that  "  his  Cavaradossi 
was  bourgeois.  It  was  difficult  to  believe  in  the 
ardent  passion  of  the  aristocratic  Tosca  for  this 
painter  of  hack  portraits  at  job  prices.  His  clothes 
were  without  distinction.  The  tenor  seemed  to  be 
in  a  better  state  of  voice  than  he  was  on  Monday  night 
and  sang  well,  as  he  certainly  can." 

These  opinions  of  Caruso's  bearing,  action  and 
dress  were  shared  by  the  Times  reviewer,  upon  whom 
he  made  "indeed  the  deepest  impression  so  far  as  his 
singing  was  concerned.  Caruso  displays  Cavara- 
dossi in  a  more  bourgeois  air  than  his  predecessor 
(De  Marchi),  with  little  distinction  of  bearing  and 
with  small  intensity  of  feeling ;  it  is  not  until  the 
scene  of  his  impending  doom  that  he  sounds  a  note 
of  elemental  power  in  his  outpouring  of  despair  and 
longing  for  his  love.  .  .  .  This  he  did  with 
magnificent  eloquence  and  a  nobility  of  song  that 
deeply  stirred  the  audience." 


CLIMBING  187 

Evidences  were  beginning  then  to  appear  which 
foreshadowed  a  growing  favor  of  the  tenor  newcomer. 
He  had  already  made  a  first  appearance  with  the 
Metropolitan  Company  at  Philadelphia  (in  "Rigo- 
letto"  on  December  29,  following  his  indisposition 
which  had  kept  him  from  two  New  York  representa- 
tions of  "Boheme"  and  "Rigoletto"),  and  his  re- 
covery from  the  attack  of  tonsillitis  and  the  warming 
attitude  of  the  newspaper  music  critics  were  en- 
couraging. After  his  introductory  "Boheme",  on 
December  5,  there  no  longer  appeared  any  doubt  as 
to  Caruso's  full  acceptance  by  New  York  as  a  singer. 
If  he  unconsciously  suggested  the  plebeian,  and  in 
his  acting  fell  short  of  those  standards  set  up  through 
the  traditions  of  de  Reszke  and  others  who  excelled 
on  the  dramatic  side,  in  voice  and  song  Caruso  had 
no  need  to  apologize.  In  their  reviews  the  critics 
really  enthused. 

The  strain  of  the  premiere  appearances  over,  the 
singer  gave  more  thought  to  the  matters  of  personal 
inclinations.  Unable  to  accustom  himself  wholly  to 
American  cooking,  Caruso  wished  for  his  own  estab- 
lishment where  he  at  least  might  have  his  own 
kitchen.  His  desire  made  known,  friends  began  a 
search  for  a  suitable  apartment,  and  Mrs.  Gina 
Viafora  at  length  found  one  in  the  Murray  Hill 
district,  near  Lexington  Avenue.  Here  Caruso  and 
Ada  Giachetti  moved  within  a  few  weeks  after  their 
arrival  in  the  United  States,  and  it  became  the 
point  of  attraction  for  the  tenor's  friends  and  followers 
during  his  first  season  in  this  country.  Often  Caruso 
prepared  spaghetti  for  numerous  guests ;  he  was 


i88  ENRICO    CARUSO 

fond  of  this  particular  dish  and  had  a  special  way  of 
cooking  it.  But  he  developed  a  liking  for  the  old 
Cafe  Martin  —  situated  then  at  Broadway  and 
Twenty-sixth  Street  —  which  he  not  infrequently 
patronized  for  luncheon,  to  the  delight  of  the  pro- 
prietor and  patrons. 

The  New  World  having  shown  a  pleasing  re- 
sponsiveness to  his  operatic  efforts,  Caruso  began  to 
regard  it  as  a  sort  of  future  home.  He  was  impressed 
by  the  city  and  its  people ;  the  bustle  appealed  to 
him,  and  also  those  evidences  of  resources  which  were 
reflected  everywhere.  And  there  was  also  the  rest 
of  this  huge  country  which  eventually  he  felt  he 
should  come  to  know.  It  was  all  very  comforting, 
and  back  of  this  thought  lay  another  ;  a  fortune  was 
by  no  means  beyond  the  reach  of  this  Neapolitan 
singer,  who  was  discovering  the  advantages  which 
wealth  can  provide. 

There  were  a  host  of  experiences  which  interested 
or  amused  the  tenor,  some  of  them  supplied  by  Herr 
Director  Conried  who  had  considerable  to  learn  in 
an  unfamiliar  field.  Summoned  to  the  impresario's 
office  after  the  general  rehearsal  of  "La  Traviata", 
Caruso  was  informed  that  there  was  too  little  singing 
for  him  to  do  in  the  role  of  Alfredo.  In  order  to 
give  the  public  a  sort  of  "good  measure",  Conried 
suggested  to  the  tenor  that  between  the  third  and 
fourth  acts  of  the  opera  he  might  introduce  several 
romanzas.  To  this  amazing  proposal  Caruso  an- 
swered, "  '  If  I  do  not  sing  enough  music  in  "Traviata" 
to  suit  you  that  is  not  my  fault,  but  the  fault  of  Mr. 
Verdi,  who  wrote  the  work/  Imagine  what  would 


CLIMBING  189 

have  happened  to  me  had  I  consented  to  this  request ! 
For  I  had  to  fight  to  win  and  keep  the  respect  of  the 
critics  and  public.  Almost  every  time  I  sang  some 
one  of  these  critics  would  write,  'Yes  —  a  beautiful 
voice,  wonderful  quality,  velvet,  everything  which 
is  to  be  expected  from  an  Italian  voice,  but  —  Jean/  ' 

This  velvet  voice  was  by  no  means  restricted  to 
being  heard  only  at  the  opera.  As  soon  as  the 
Caruso  success  became  unquestioned  he  was  sought 
to  appear  in  private  musicales  given  in  fashionable 
homes.  Mrs.  W.  Payne  Whitney  was  the  one  to 
have  the  distinction  of  first  presenting  the  tenor  to  a 
gathering  of  friends,  on  the  evening  of  January 
14,  1904  ;  and  just  one  week  later  Caruso  sang  for  a 
similar  assemblage  who  were  the  guests  of  Mrs. 
Orme  Wilson.  The  fee  in  each  instance  was  much 
larger  than  the  $960  (five  thousand  lire)  the  singer 
actually  received,  but  by  the  terms  of  the  contract 
Conried  had  the  right  to  Caruso's  services  in  con- 
cert as  well  as  opera  —  at  the  stipulated  cachet,  the 
difference  going  to  swell  the  Metropolitan  treasury. 

Between  November  23,  1903,  and  February  10, 
1904,  the  tenor  appeared  twenty-nine  times,  — 
twenty-five  times  in  New  York,  and  on  four  oc- 
casions in  Philadelphia.  Besides  those  operas  pre- 
viously mentioned  he  was  heard  also  in  "Pagliacci", 
"Lucia  di  Lammermoor",  and  "L'Elisir  d'Amore." 
The  farewell  was  made  in  "Lucia",  with  Mme. 
Sembrich  and  Giuseppe  Campanari,  the  baritone. 

From  the  deck  of  the  steamer  which  carried  him 
in  the  direction  of  Monte  Carlo  Caruso  looked  back 
on  the  city  it  had  been  so  difficult  for  him  to  reach. 


190  ENRICO    CARUSO 

What  an  unsuspected  future  it  possessed  for  him ; 
what  a  vast  store  of  triumphs,  of  happiness  —  and 
of  sadness  and  tragedy  as  well. 

Ill 

Monte  Carlo  was  more  attractive  than  ever  to  the 
Caruso  who  presented  himself  to  Impresario  Raoul 
Gunsbourg  for  the  1904  season  of  the  Casino.  It 
was  not  so  much  that  Monte  Carlo  had  improved  as 
that  Caruso  was  getting  on.  His  "north  star"  was 
shining ;  his  fame  was  spreading ;  he  was  beginning 
to  experience  some  of  the  sensations  which  come  to 
one  who  is  becoming  a  success. 

"Ai'da"  opened  the  Monte  Carlo  operatic  festivi- 
ties. Maestro  Vigna,  who  had  also  come  from  the 
New  York  Metropolitan,  conducted  the  performance 
which  included  Signora  Giannina  Russ  as  Ai'da, 
Signora  Virginia  Guerrini  in  the  character  of  Amneris, 
Maurice  Renaud  appearing  as  Amonasro,  and  Vit- 
torio  Arimondi  singing  Ramphis.  New  York  had 
exerted  upon  Caruso  the  precise  benefits  he  had 
anticipated.  Apart  from  the  broadened  experience 
of  appearing  before  audiences  different  in  tempera- 
ment and  tastes  from  the  majority  to  which  he  had 
been  accustomed,  the  engagement  had  enhanced  the 
singer's  prestige.  The  name  Caruso  was  beginning 
to  have  a  very  definite  professional  value  ;  and  it  was 
also  reacting  upon  its  owner.  He  appreciated  what 
it  meant  and  how  well  he  must  guard  the  name  which 
was  coming  more  readily  to  peoples'  tongues  when- 
ever opera  was  discussed,  and  almost  wherever. 
Under  this  artistic  popularity  the  tenor  appraised 


CLIMBING  191 

with  a  new  keenness  those  essentials  he  was  wise 
enough  to  discern  might  be  steadily  turned  to  profit- 
able ends.  He  was  only  thirty-one ;  the  career 
less  than  ten  years  of  age ;  but  what  a  future  was 
opening  before  him !  Work  he  was  accepting  with 
no  unwilling  spirit,  but  he  had,  in  the  nature  of 
things,  to  have  his  time  of  play.  In  the  theater,  and 
concerning  all  that  pertained  to  it,  he  was  serious ; 
out  of  it  the  singer  was  indulging  his  fondness  for  the 
lighter  things  of  which  his  still  boyish  heart  was  fond. 

It  amused  him  to  play  pranks  upon  his  comrades, 
whose  discomfiture  gave  him  a  peculiar  glee ;  and 
he  delighted  in  sketching,  —  any  one,  anywhere,  and 
the  more  publicly  conspicuous  the  better.  It  at- 
tracted attention  to  him,  and  this  he  may  have  liked, 
but  the  probabilities  are  that  his  exuberance  chiefly 
prompted  him  to  a  practice  which  was  a  harmless 
enough  recreation. 

Vittorio  Arimondi  relates  how  Caruso,  as  well  as 
other  principals  of  the  Monte  Carlo  company,  would 
commission  the  tenor's  secretary  to  go  during  an 
opera  performance  to  the  Casino  gaming  tables  in 
efforts  to  win  at  roulette.  Lorello  had  been  suc- 
ceeded by  another  secretary  —  a  Signer  Giordano  — 
and  he  invariably  departed  with  one  hundred  francs, 
—  and  as  invariably  came  back  without  them.  His 
reappearance  was  the  signal  of  a  general  shouting  of 
his  name,  to  no  purpose.  But  it  was  diverting,  with- 
out any  considerable  cost. 

While  in  Monte  Carlo  Caruso  received  from 
Ruggero  Leoncavallo,  composer  of  "I  Pagliacci", 
the  following  letter. 


192  ENRICO    CARUSO 

Dear  Enrico : 

I  come  with  my  heart  in  my  hands  to  ask  if  you 
will  do  for  me  what  you  have  already  done  for 
Giordano  and  Cilea  —  to  create  the  tenor  role  in 
my  new  opera,  "Rolando",  which  I  have  just  finished. 
The  music  is  written  for  you,  with  your  voice  of 
paradise  still  in  my  ears  and  in  my  heart.  The  few 
who  have  heard  the  score  judge  it  to  be  my  master- 
piece, and  believe  the  tessitura  and  inflections  of  the 
canto  have  been  created  for  your  intentions.  I  am 
sure  that  if  you  could  hear  the  music  that  you,  with 
that  high  feeling  which  is  part  of  your  heart,  would 
not  refuse  me  the  favor  I  am  asking.  You  never 
will  find  a  role  including  every  emotion  —  the  hu- 
morous, the  pathetic,  the  loving,  and  the  tragic  - 
to  the  extent  as  does  the  role  of  Henning  in 
"  Rolando. "  Hear  it,  please,  and  decide. 

The  opera  will  be  given  in  Germany  for  the  first 
time  —  in  Berlin,  during  October.  I  wish  to  arrange 
the  Italy  premiere,  in  Rome,  in  November,  or  during 
the  first  fortnight  of  December,  as  you  may  choose. 
The  role  of  the  baritone  will  be  sung  by  Battistini, 
the  prima  donna  is  to  be  Emma  Carelli.  The  en- 
semble will  be  worthy  of  you,  and  the  Italian  premiere 
should  be  of  unique  interest.  I  hope  that  you  will 
not  refuse,  to  me  only,  what  you  granted  to  other 
confreres.  I  count  upon  your  friendship,  on  your 
goodness  of  heart,  and  I  tell  you  it  would  be  a  great 
sorrow  for  me  if  you  refuse  to  do  what  I  ask. 

Sonzogno  will  write  you  also  on  the  subject.  I 
wanted  to  be  the  first  to  ask  you.  Now  I  salute  you 
with  the  hope  of  receiving  a  favorable  reply. 

Your  admirer  and  friend, 
Ruggero  Leoncavallo. 

Caruso  replied  that  he  would  prefer  to  hear  the 
opera  before  deciding ;  and  to  this  the  composer 


CLIMBING  193 

wrote,  "Thank  you.  There  is  in  your  letter  a  thread 
of  hope.  In  two  or  three  days  I  must  be  in  Nizza  to 
assist  at  the  premiere  of  'Zaza'  there.  Being  so 
near  I  will  come  to  Monte  Carlo  and  lunch  with  you, 
and  at  the  same  time  I  will  speak  with  you  about 
the  informal  proposal  I  have  received  to  go  to  New 
York  and  conduct  my  'Rolando*  there.  Naturally, 
you  must  create  Henning." 

"Rolando"  had  its  Berlin  premiere,  as  Leoncavallo 
expected,  on  December  13,  1904,  though  with  less 
success  than  the  public  had  anticipated.  Whether 
this,  or  Caruso's  own  judgment  of  the  tenor  role, 
influenced  him  in  his  decision  to  refuse  Leoncavallo's 
request  seems  not  to  have  developed ;  it  is  merely  a 
fact  that  he  did  not  sing  in  the  Naples  premiere  of 
the  opera. 

Another  new  country  —  Spain  —  prepared  to  wel- 
come Caruso  for  the  first  time,  at  the  close  of  his 
Monte  Carlo  engagement.  After  some  haggling, 
Doctor  Albert  Bernis,  impresario  of  the  Liceo 
Theater,  of  Barcelona,  at  length  had  consented  to 
pay  the  tenor  his  fee.  To  the  manager  it  appeared 
exorbitant,  and  he  did  not  hesitate  to  make  known 
his  opinion ;  but  he  had  promised  the  Barcelona 
public  to  bring  Caruso  to  them  "at  any  price",  so 
there  was  no  alternative.  Once  he  had  appeared, 
some  readjustment  might  be  possible  (such,  at  any 
rate,  is  the  belief  of  Luis  Piera  Figueras,  a  music 
enthusiast  and  patron  who  was  present  in  Barcelona 
at  the  time). 

The  singer  reached  his  destination  on  April  17, 1904 ; 
three  evenings  later  he  faced  a  Liceo  audience,  in 


194  ENRICO    CARUSO 

"  Rigoletto."  His  principal  associates  were  Mme. 
Esperanza  Clasenti  and  Enrico  Berriel,  and  Maestro 
Giuseppe  Baroni  conducted.  Figueras  has  explained 
that  such  was  the  vocal  freedom  and  artistry  dis- 
closed by  Caruso  in  the  Questa  o  quella  cabaletta  of 
the  first  act  that  the  assemblage  shouted  aloud, 
"Viva  Caruso!'*  Quite  different  was  the  attitude 
when  the  E  il  sol  dell1  anima  duet  with  the  soprano 
was  reached,  in  the  second  act.  It  had  not  gone  far 
when  from  the  gallery  was  heard  the  unmistakable 
sound  of  hisses.  Coming  so  unexpectedly,  after  the 
previous  manifestation  of  approval,  the  tenor  was 
half-tempted  to  stop  singing.  At  the  conclusion  of 
the  act  Caruso  was  informed  that  he  had  been  hissed 
for  having  sung  out  of  tune.  Expert  opinion  chal- 
lenged this  assertion ;  it  maintains  that  the  tenor's 
virtually  perfect  pitch  had  differed  with  that  of  the 
soprano  because  she  had  sung  flat. 

Inwardly  raging,  yet  determined  to  perform  his 
duty,  Caruso  continued  with  his  part  of  the  perform- 
ance. So  well  did  he  progress  that  his  delivery  of 
the  La  donna  e  mobile  aroused  his  hearers  to  frenzy. 
They  shrieked  their  Vivas !  and  demanded  no  less 
vociferously  a  repetition  of  the  aria  ;  but  the  singer, 
piqued  by  those  hisses  during  the  earlier  scene,  would 
only  bow.  In  the  midst  of  the  uproar,  and  while 
Caruso  stood  coldly  facing  it,  the  galleryites  called 
loudly,  "He  is  discourteous  not  to  sing  it  again!" 
The  performance  was  concluded  amid  silence.  There 
were  no  curtain  calls  for  the  artist ;  an  impasse  had 
been  reached  between  Caruso  and  his  auditors. 

Such  discord  gave  to  Impresario  Bernis  his  oppor- 


,so 


10  c      s  -« 

O  4?   .So 

O  PO  g  <a  5 

H  -glSj 


1  &.i  § 


,,0.- 

^U  u 
^^c 


CLIMBING  195 

tunity,  and  waiting  upon  the  tenor  he  said,  "You 
were  not  liked  by  the  Barcelona  public,  so  I  cannot 
have  you  continue  unless  you  agree  to  sing  at  half 
the  price  we  agreed  upon/'  It  was  a  futile  effort. 
"Not  one  penny  less  than  my  fee  will  I  accept/' 
returned  the  tenor.  "You  have  announced  me  to 
appear  in  'Rigoletto'  on  next  Saturday,  therefore  I 
will  sing ;  afterward  I  will  leave."  True  to  his 
word,  Caruso  sang  in  the  Liceo  for  a  second  time 
"Rigoletto."  After  the  Questa  o  quella,  during  the 
duet  with  the  soprano,  and  following  the  La  donna  e 
mobile  the  identical  scenes  of  the  previous  repre- 
sentation took  place ;  it  had  somewhat  the  appear- 
ance of  having  been  rehearsed. 

Word  of  the  difficulty  having  reached  the  mayor  of 
Barcelona,  he  requested  the  tenor  to  reconsider  his 
decision  to  depart  before  the  end  of  his  engagement. 
He  and  the  cultivated  music  lovers  of  the  city,  the 
mayor  explained,  disapproved  of  what  had  happened. 
If  Caruso  would  only  consent  to  remain  —  even 
this  appeal  had  no  effect  upon  the  singer. 

In  after  years  Bernis  explained  to  Andres  de 
Segurola,  the  basso,  that  the  tenor  actually  had  sung 
off  pitch,  and  that  the  public  had  been  justified  in 
hissing  him.  The  impresario  believed  that  if  Caruso 
had  treated  the  hisses  less  seriously  and  had  re- 
sponded to  the  demands  for  an  encore  of  the  fourth 
act  aria,  all  would  have  been  well.  His  attitude  in 
having  received  the  applause  with  such  coldness  and 
evidences  of  superiority  had,  Bernis  felt,  been  un- 
fortunate. Many  flattering  proposals  were  after- 
ward received  by  the  tenor  from  Barcelona,  but  he 


196  ENRICO    CARUSO 

always  refused  them.  Nor  could  Madrid  (a  city 
in  which  he  never  sang)  successfully  woo  him.  And 
all  subsequent  managerial  appeals  were,  to  quote  the 
words  of  Figueras,  "  Todo  fue  tiempo  perdido  para  los 
impresarios.1'  (It  was  time  lost  to  the  impresari.) 

Caruso  shook  the  dust  of  Spain  from  his  shoes, 
traveled  to  Paris,  and  prepared  for  his  first  appear- 
ance there  in  one  special  performance  of  "  Rigoletto", 
which  it  was  the  intention  to  give  to  aid  Russian 
soldiers  wounded  in  the  Russian-Japanese  War. 
Although  it  was  unusual  for  a  singer  to  debut  in 
circumstances  other  than  might  attach  to  a  regular 
season,  Caruso,  while  at  Monte  Carlo,  had  yielded 
to  the  persuasions  of  the  Paris  Russian  ambassador 
who  was  sojourning  there. 

Ample  time  was  afforded  the  singer  to  rest  and 
indulge  in  some  recreation  in  a  city  which  held  for 
him  a  strong  fascination.  Parisians  were  interested 
in  the  approaching  performance  of  "Rigoletto", 
which  was  to  be  given  under  the  patronage  of 
Countess  Greffulhe  for  the  benefit  of  the  hospital 
train  of  Grand  Duchesse  Vladimir  of  Russia.  To- 
ward the  end  of  April  the  performance  took  place, 
in  the  Sarah  Bernhardt  Theater.  Mme.  Lina  Cava- 
lieri  was  the  Gilda,  Maurice  Renaud  appeared  in  the 
role  of  Rigoletto,  Vittorio  Arimondi  was  the  Spara- 
fucile,  and  Mme.  Thevenet  had  the  small  part  of 
Maddalena.  Maestro  Vigna  directed  a  performance 
which  made  Caruso  an  instant  favorite.  Gabriel 
Astruc,  the  Paris  representative  of  the  tenor  from  the 
time  of  that  debut,  said  that  this  appearance  was  the 
start  of  a  Caruso  furore  in  Paris  which  never  abated. 


CLIMBING  197 

Astruc  describes  how  peasants,  wearing  overalls,  ap- 
peared at  the  box  office  of  the  Sarah  Bernhardt 
Theater  holding  loo-franc  notes  in  their  hands. 
They  wished  to  hear  the  tenor,  even  at  the  to  them 
terrific  price. 

Paris  more  than  compensated  for  the  wounds 
Barcelona  had  administered  to  the  sensitive  singer. 
He  snapped  his  metaphorical  fingers,  and  departed 
for  Prague  where  he  had  been  engaged  to  appear 
in  the  Konigliches  Deutsch  Landestheater  by 
the  celebrated  impresario  Angelo  Neumann.  On 
May  4,  with  Signora  Regina  Pinkert,  Fraulein 
Schafer,  Enrico  Pignataro,  and  Vittorio  Arimondi, 
and  Arturo  Vigna  conducting,  Caruso  made  his 
Bohemian  debut  as  the  Duke  in  "Rigoletto."  After 
an  "  Elisir  "  the  tenor  proceeded  to  the  Konigliches 
Opernhaus,  of  Dresden,  where  on  May  8,  1904,  he 
appeared  in  a  single  presentation  of  "Rigoletto" 
with  the  same  cast. 

The  Prague  music  reviewers  had  termed  Caruso's 
voice  to  be  "like  gold,  clear  and  brilliant  in  color, 
and  of  extraordinary  roundness."  They  referred  to 
that  voice  as  unique,  and  remarkable  in  its  warmth. 
"He  (Caruso)  is  not  a  thief,"  wrote  one  chronicler, 
' —  as  are  so  many  others  —  of  rubati  and  crescendi. 
He  keeps  always  the  style  of  the  bel  canto  with  a  noble 
manner  faithful  to  its  traditions." 

Writing  in  Caruso's  autograph  book  Angelo  Neu- 
mann declared,  "After  Graziani  and  Calzolari,  I  have 
never  heard  a  voice  or  an  artist  as  superb  and  as 
complete  as  you  are." 

Barcelona,  if  not  forgotten,  could  now  be  looked 


198  ENRICO    CARUSO 

back  upon  by  the  tenor  with  an  amused  tolerance. 
He  closed  the  chapter  of  those  particular  experiences, 
then  set  his  face  toward  Florence. 

It  was  at  this  time  that  Caruso  purchased  from 
Baron  Pucci  the  Villa  Campi,  —  famous  in  its 
section  near  the  village  Lastra  a  Signa,  in  the 
province  of  Florence.  First  called  the  Villa  Pucci, 
Caruso  renamed  it  Villa  Bellosguardo  (Beautiful 
View).  In  the  course  of  years  the  singer  spent  more 
than  three  million  lire  in  perfecting  the  villa  itself, 
beautifying  the  gardens,  and  developing  the  acreage 
forming  the  estate.  He  caused  improvements  to  be 
made  on  the  several  farms ;  he  arranged  with  fattori 
(farmers)  to  work  the  land  on  mezzadria  (half  and 
half)  shares.  It  yielded  grapes  for  wine  and  an 
abundance  of  vegetables. 

Within  the  villa  the  tenor  had  placed  a  consider- 
able part  of  his  collections  of  paintings,  furniture, 
bronzes  and  enamels,  coins,  and  other  objets  d'art. 
Another  considerable  collection  gradually  was  ac- 
quired in  New  York,  where  at  the  time  of  writing  it 
was  in  the  Canessa  Galleries. 

A  long  tour  confronting  Caruso,  and  Fofo  having 
then  reached  an  age  where  his  education  demanded 
consideration,  the  singer  gave  his  attention  to  that 
important  matter.  Consultations  with  friends,  and 
investigations,  at  length  caused  him  to  select  the 
academy  La  Badia  Fiesolana  (situated  at  Fiesole, 
near  Florence)  as  the  most  suitable  school  in  which  to 
place  his  son.  The  boy  remained  in  this  academy 
until  he  was  fifteen,  when  he  withdrew  to  live  with 
his  aunt  Signorina  Rina  Giachetti. 


T"        6 


H       c 
-<      -2 


5  1 

H       > 

H-l          .{• 


o    Q 
H    w 


CLIMBING  199 

It  had  been  two  years  since  Caruso  had  sung  in 
Covent  Garden.  His  reappearance  there  in  "Rigo- 
letto",  the  opera  in  which  he  had  first  been  heard  by 
the  English,  was  accomplished  on  May  17,  1904,  with 
a  cast  which  included  Mmes.  Melba  and  Kirkby- 
Lunn,  and  Messrs.  Renaud  and  Journet.  Luigi 
Mancinelli,  a  former  Metropolitan  Opera  Company 
maestro,  was  the  conductor.  The  King  and  Queen 
of  England,  the  Princess  Victoria,  and  the  Duke  and 
Duchess  of  Connaught  were  among  the  assemblage. 
Not  a  critic  disagreed  in  the  opinion  that  the  tenor's 
voice  and  artistry  had  grown  during  his  absence. 
During  that  season  Caruso  appeared  in  twenty- 
six  performances,  the  operas  being  "  Pagliacci ", 
"Boheme",  "Aida",  "Traviata",  and  "Ballo  in 
Maschera."  In  addition  to  those  artists  mentioned 
the  tenor  had  as  associates  Mmes.  Destinn  and 
Selma  Kurz  and  Messrs.  Scotti  and  Plancon.  July 
25  relieved  Caruso  from  further  immediate  opera 
activities.  He  needed  a  real  rest,  and  he  went  to 
the  Villa  alle  Panche. 


CHAPTER  SEVEN 
ESTABLISHED 

THERE  was  a  reason  for  lingering  at  the  Villa  alle 
Panche,  which  on  September  7,  1904,  became  ap- 
parent. For  on  that  day  a  second  son  was  born  to 
Enrico  Caruso.  Ada  Giachetti  was  the  mother. 
The  boy  was  named  Enrico  Caruso,  Jr.,  but  he  was 
immediately  called  Mimmi,  as  he  still  is. 

October  of  that  year  promised  another  new  field 
into  which  the  tenor  was  to  venture,  —  Germany. 
He  had  conquered  among  Latins  and  Anglo-Saxons ; 
if  he  should  succeed  in  a  similar  measure  with  a 
Teutonic  public  he  could  rest  assured  of  what  might 
come.  It  was  therefore  with  real  concern  that  he 
prepared  for  his  Berlin  debut,  at  Des  Westens 
Theater,  where  once  again  he  was  to  be  tested  in  the 
role  of  the  Duke  in  "Rigoletto."  With  Maestro 
Roth  conducting,  and  Frau  Mary  Stoller  and  Eduard 
Nawisky  in  the  two  other  leading  characters,  Caruso 
was  first  heard  by  a  German  audience  on  October 
5,  1904.  He  seems  to  have  had  no  more  difficulty  in 
gaining  the  approval  of  that  Berlin  public  than  of 
others.  It  was  by  no  means  an  exclusively  popular 
verdict,  for  the  critics  wrote  of  him  as  an  "  exponent 
of  the  typical  Italian  art  of  singing  now  so  rare." 
Two  nights  later  in  "Traviata",  with  the  same 
singing  associates,  Caruso  faced  his  second  German 


ESTABLISHED  201 

assemblage.  Then  he  departed  for  London,  where 
he  had  been  engaged  to  appear  in  an  autumn  season 
to  be  given  at  Covent  Garden  by  the  San  Carlo 
Opera  Company,  brought  from  Naples  by  Impresario 
Roberto  De  Sanna. 

It  must  have  been  balm  to  Caruso's  heart  to  have 
been  the  choice  of  the  San  Carlo  Theater  manager  to 
appear  in  this  pretentious  London  season  as  leading 
tenor.  What  would  Naples  think  of  this  honor ! 
Would  its  people  regret  having  made  his  1902  home- 
coming so  disturbing  ?  And  would  they  perhaps 
hold  some  wish  that  before  long  he  might  appear 
before  them  again  ?  Caruso  hoped  so.  He  wanted 
his  fellow  Neapolitans  to  feel  his  absence  and  to 
yearn  for  his  presence  among  them  in  the  opera. 
They  would  hear  of  his  London  appearances,  as 
they  heard  of  all  those  others  during  the  past  two 
years.  It  became  apparent  to  him  that  the  severest 
punishment  he  could  administer  would  be  to  surpass 
himself,  and  this  he  undertook  to  do  on  October  17 
of  that  year  when  he  reappeared  before  a  London 
audience  in  "Manon  Lescaut."  Signorina  Rina 
Giachetti  and  Sammarco  and  Arimondi  were  in  the 
cast,  and  Cleofonte  Campanini  presided  over  the 
music  side  of  the  performance.  On  eight  subse- 
quent occasions  the  tenor  was  heard :  in  this 
opera,  also  in  "La  Boheme",  with  Miss  Alice 
Nielsen  and  Signorina  Emma  Trentini,  and  Pasquale 
Amato  and  Arimondi;  in  "Carmen",  supported  by 
Mme.  Bressler-Gianoli,  Miss  Nielsen,  and  Amato ; 
and  in  "Pagliacci",  the  other  artists  being  Sam- 
marco and  Francesco  Daddi. 


202  ENRICO    CARUSO 

Success  was  now  exerting  upon  Caruso  another 
effect ;  one  which,  though  no  doubt  amusing  to  him, 
was  destined  to  call  forth  from  more  serious  persons 
criticism  for  lack  of  dignity  before  the  public.  A 
favorite  with  the  people,  the  tenor  was  indulged  by 
most  of  them  in  the  pranks  he  began  more  and  more 
to  permit  himself  to  play  upon  his  fellow  artists ; 
but  those  who  took  their  opera  more  thoughtfully 
questioned  whether  the  tenor  was  privileged  to  amuse 
the  majority  by  introducing  some  uncalled-for  com- 
edy bit  into  his  part,  or  by  some  other  act  causing 
a  comrade  to  appear  ridiculous  in  a  serious  situation. 
Amato  felt  the  effects  of  Caruso's  prankishness  dur- 
ing one  of  these  London  "Boheme"  performances 
when,  attempting  to  put  on  his  coat  to  go  out  for 
medicine  for  the  dying  Mimi,  he  found  Caruso  had 
sewed  up  the  sleeves.  Yet  the  public  laughed ; 
and  it  laughed  when  Arimondi,  after  finishing  the 
touching  zimarra  aria  in  the  same  opera,  endeav- 
ored unsuccessfully  to  place  upon  his  head  Colline's 
tall  hat  —  which  had  been  partly  filled  with  water. 
What  matter,  so  long  as  the  people  did  not  care, 
if  Caruso  wished  occasionally  to  play  the  clown  ?  His 
voice,  which  he  gave  them  so  unsparingly,  and  his 
personality  were  individual  and  unique.  He  was 
first  among  tenors,  and  these  small  practices  were 
spontaneous  and  natural  to  him.  So  they  en- 
couraged the  singer  by  their  laughter  until,  little  by 
little,  he  fell  into  like  habits  wherever  he  went. 
Eventually  they  were  among  the  tenor's  distin- 
guishing traits,  and  became  responsible  for  prompting 
so  many  to  regard  him  as  a  comedian. 


ESTABLISHED  203 

That  London  season  closed  November  3  with  a 
performance  of  "Manon  Lescaut",  which  sent  the 
singer  on  his  New  York  journey  with  a  light  heart. 
It  was  to  be  his  second  season  at  the  Metropolitan; 
his  cachet  was  fixed  for  six  thousand  lire  an  appear- 
ance ;  there  was  sufficient  reason  to  expect  even 
a  more  pronounced  recognition  than  before.  The 
singer  cabled  to  his  friend  Mme.  Viafora  to  have 
prepared  for  him  the  same  apartment  he  had  occupied 
the  preceding  season,  but  it  had  been  rented  by 
another.  Therefore,  on  reaching  New  York,  he 
found  quarters  in  the  York  Hotel,  situated  in  Seventh 
Avenue,  only  two  blocks  from  the  opera  house. 

An  altogether  different  reception  from  the  one 
given  Caruso  in  1903  awaited  him  at  his  1904  Metro- 
politan premiere  appearance.  Then  he  was  known 
and  admired  ;  accounts  of  his  European  successes  had 
been  cabled  to  New  York  newspapers  and  published, 
and,  as  invariably  occurs  in  any  like  circumstance, 
they  added  to  prestige  won.  What  nervousness 
the  singer  may  have  felt,  his  inherent  self-confidence 
was  growing.  Mishaps  may  come  to  any  opera 
singer  at  unsuspected  moments ;  they  cannot  be 
avoided.  Still,  when  one's  voice  is  under  full  com- 
mand and  the  role  thoroughly  learned,  an  experienced 
artist  faces  his  public  with  assurance  in  his  heart. 
Caruso  had  been  gradually  expanding  in  the  authority 
of  his  delivery ;  gradually  growing  in  belief  in  him- 
self. He  was  always  prepared  and  always  in  earnest 
to  give  the  utmost  to  the  public  to  which  he  sang. 
And  from  the  review  published  in  the  New  York 
Sun  of  November  24,  1904  —  which  mentioned  that 


204  ENRICOCARUSO 

"Perhaps  he  imitates  Tamagno  a  little  at  times" 
it  would  appear  that  he  was  yielding  to  those  dramatic 
instincts  to  give  more  and  more  voice.  He  had 
made  his  season's  debut  in  "Ai'da"  to  the  general 
satisfaction  of  those  concerned  ;  and  he  continued,  to 
his  last  appearance  in  1905,  to  do  so.  The  fifty-four 
occasions  upon  which  he  sang  that  season  —  thirty 
in  New  York,  five  in  Philadelphia,  three  in  Boston, 
two  in  Pittsburgh,  one  in  Cincinnati,  three  in  Chicago, 
one  in  Minneapolis,  one  in  Omaha,  one  in  Kansas 
City,  six  in  San  Francisco,  and  one  in  Los  Angeles  — 
made  Caruso  known  to  the  people  of  the  United 
States.  Through  the  medium  of  the  press  glowing 
reports  of  him  had  swept  across  the  land,  and  for 
once  expectations  were  realized.  From  1905  Caruso 
was  established  on  his  singer's  throne.  He  had  his 
misfortunes  —  some  of  them  darkly  ominous  —  but 
as  an  opera  artist,  and  in  concert  when  he  elected  so 
to  appear,  he  was  Caruso. 

Before  that  transcontinental  tour  of  the  Metro- 
politan, however,  his  name  was  still  unfamiliar  in  at 
least  one  city,  Los  Angeles.  Advised  that  he  was  to 
appear  there,  the  local  impresario  wrote  to  Conried, 
"Couldn't  you  substitute  Andreas  Dippel  for 
Caruso  ?  I  am  sure  Dippel  would  attract  a  larger 
audience  ;  he  is  far  better  known  here  than  Caruso." 

Caruso,  well  satisfied  by  this  time  with  the  United 
States,  had  begun  to  look  upon  its  people  and  customs 
with  a  more  than  superficial  eye.  As  imitative  as 
he  was  observant,  he  took  to  himself  the  consideration 
of  matters  touching  dress  and  deportment.  The 
tailor,  the  bootmaker,  the  furnisher  were  summoned 


ESTABLISHED  205 

to  display  their  samples  and  take  the  singer's  measure- 
ments ;  and  so  the  wardrobe  increased.  It  was  on 
December  12,  1904,  that  Tito  Ricordi,  addressing 
Caruso  from  the  Carlton  Hotel,  London,  wrote : 

As  I  have  arranged  everything  for  "Butterfly"  at 
Covent  Garden  for  next  season,  and  since  you  are  to 
be  the  first  Pinkerton  in  London,  it  would  seem  to 
me  an  opportune  thing  while  you  are  in  New  York 
to  have  your  costumes  made  there.  The  uniforms 
are  two :  a  dark  blue  one,  for  the  first  act,  and 
another  one  of  white.  Mind,  however,  that  both  of 
them  are  simple  uniforms  of  a  lieutenant  of  the 
navy.  I  would  advise  you  to  consult  George  Max- 
well, who  was  in  Brescia  at  the  premiere  of  the  opera. 

I  am  so  happy  to  hear  of  your  recent  successes  at 
the  Metropolitan,  and  I  avail  myself  of  the  occasion 
to  give  you  my  compliments  and  best  wishes  for  a 
Merry  Christmas  and  Happy  New  Year. 

Yours, 

Tito  Ricordi. 

The  growing  consciousness  of  his  professional  op- 
portunities and  responsibilities  had  prompted  Caruso, 
during  the  preceding  May  while  in  London,  to  engage 
as  accompanist  and  repetiteur  Richard  Barthelemy ; 
and  the  two  worked  diligently  every  day.  Rec- 
reation the  tenor  would  consider  only  after  the 
routine  of  work  had  been  performed.  And  he  was 
insistent  upon  detail.  Old  roles  were  refreshed  in 
his  memory ;  new  ones  were  taken  up  for  the  sort 
of  study  that  occupied  so  many  of  Caruso's  hours. 
He  was  beginning,  at  about  this  time,  to  give  closer 
attention  to  whatever  attached  to  any  character  in 
which  he  was  to  appear ;  its  history,  the  period  in 


206  ENRICO    CARUSO 

which  an  opera  was  laid,  and  the  costumes.  He  was 
to  develop  a  deeper  study  of  these  matters  as  years 
passed,  but  the  practices  which  then  were  becoming 
more  a  fixed  habit  were  commencing  to  show  at  the 
opera.  Perhaps  this  conscientious  thoroughness  was 
also  a  factor,  if  in  less  degree  than  the  singer's  voice 
and  singing  talent,  for  the  vogue  which  he  then 
started  to  acquire.  The  public  may  not  have  ap- 
preciated the  broadening  artistry  due  to  the  labors  of 
which  it  was  not  aware ;  the  chances  are  that  it  did 
not.  For  the  Caruso  tones  were  then  entering  their 
full  glory,  and  it  was  the  listener's  ear  which  appears 
to  have  been  chiefly  charmed.  Yet  there  can  be  no 
doubt  that  the  subsequent  days  wherein  the  tenor's 
supreme  art  was  to  rule  were  being  prepared  for 
during  that  second  Metropolitan  season. 

His  consideration  for  the  needs  of  others  was  also 
beginning  to  show  itself  in  substantial  ways.  Pas- 
quale  Simonelli  explained  the  origin  of  the  annual 
Metropolitan  Opera  House  performance  for  the  ben- 
efit of  the  Italian  Hospital,  an  undertaking  which 
means  so  much  to  the  Italian  Benevolent  Society. 
"  In  1904,  after  a  similar  opera  representation  through 
which  the  French  Hospital  profited,  I  asked  Conried 
if  he  would  assist,  in  this  same  way,  the  Italians.  He 
consented  willingly,  and  thus  encouraged  I  selected 
for  our  proposed  performance  the  three  most  popular 
artists  of  that  time,  —  Mme.  Sembrich,  Caruso,  and 
Scotti.  But  Mr.  Zanolini,  secretary  of  the  Italian 
Benevolent  Society,  feared  for  the  expense  of  such 
a  cast  which  would  bring  the  total  cost  of  the  sug- 
gested performance  to  $4500.  Mr.  Zanolini  doubted 


ESTABLISHED  207 

the  theater  could  be  filled.  When  I  expressed  my 
disappointment  to  Caruso,  he  reassured  me  with  the 
generous  offer,  'Tell  Mr.  Zanolini  that  I  will  return  to 
him,  intact,  my  cachet" 

For  his  part  in  this  charitable  undertaking  Conried 
received,  through  the  solicitations  of  Simonelli  and 
the  Italian  Consul  Tosti,  the  decoration  of  Chevalier 
of  the  Crown  of  Italy,  and,  later,  Count  Massiglia, 
Consul  General  at  New  York,  was  instrumental  in 
having  conferred  on  the  impresario  the  order  of 
Officer  of  the  Crown  of  Italy. 

There  were  moments  of  relaxation,  as  for  example 
in  a  "La  Gioconda"  presentation,  when  the  playfully 
inclined  Caruso  pressed  an  egg  into  one  hand  of  the 
baritone  Giraldoni,  who  was  left  to  get  rid  of  it  as 
best  he  might.  In  Boston  Caruso  succumbed  to  an 
attack  of  mumps  ;  and  this  gave  copy  for  the  news- 
paper paragraphers  and  brought  the  singer  still  more 
firmly  into  the  public  eye.  So  the  season  wore  on  ; 
Caruso  appeared  in  concerts  given  in  the  homes 
of  James  H.  Smith,  Miss  Leary,  and  at  a  Bagby 
Waldorf-Astoria  musicale.  He  tried  vainly  to  make 
"Lucrezia  Borgia"  interesting;  succeeded  in  his 
first  New  York  appearances  in  "Les  Huguenots" 
and  "Ballo  in  Maschera"  in  strengthening  his 
position,  and  finished  his  1904-1905  appearances  at 
the  farewell  given  on  March  3.  In  the  fourth  act  of 
"La  Gioconda"  —  with  Mmes.  Nordica  and  Homer, 
and  Giraldoni  —  and  the  first  act  of  "Pagliacci"  — 
appearing  with  Mme.  Bella  Alten  and  Scotti  —  Ca- 
ruso sang  as  apparently  he  never  had  sung  before. 
Throngs  of  people  were  turned  away  from  the 


208  ENRICO    CARUSO 

Metropolitan  box  office,  unable  to  gain  admission ; 
a  laurel  wreath  was  presented  to  the  tenor,  who  was 
experiencing  his  first  taste  of  riotous  popularity. 
Dashing  from  the  stage,  Caruso  quickly  returned, 
dragging  Heinrich  Conried  with  him.  Old-time 
New  York  opera  patrons  agreed  that  it  was  an  un- 
usual scene,  a  brilliant  audience,  and  a  gala  conclu- 
sion to  an  interesting  season. 

II 

Earlier  in  the  year  Caruso  had  received  from 
Edoardo  Sonzogno  a  letter  concerning  a  season  the 
publisher-impresario  was  arranging  to  give  at  the 
Sarah  Bernhardt  Theater,  in  Paris.  Dated  in  Milan, 
this  letter  ran : 

I  received  from  Mr.  Higgins  a  telegram  as  follows : 
"Written  to  Caruso  to  accept  singing  with  your 
company  in  Paris  until  May  19."  I  am  so  glad  now 
that  you  have  the  permission  and  all  misunderstand- 
ings are  out  of  the  question.  Dear  Caruso,  I  could 
not  give  in  Paris  a  season  of  opera  —  in  which  I  wish 
to  give  all  the  best  the  Italian  art  can  offer  —  without 
you,  who  should  be  the  principal  element.  You  will 
sing  in  "Fedora",  and  Campanini  will  be  the  con- 
ductor. There  is  much  expectation  in  Paris  for  this 
great  season,  and  I  want  to  give  there  not  only  the 
best  artists  but  the  best  chorus,  and  the  best  or- 
chestra I  can  possibly  find. 

By  this  time  you  have  received  the  official  letter 
from  Mr.  Higgins,  and  it  will  remain  only  to  arrange 
the  dates  you  wish  to  perform  the  opera,  dates  which 
should  not  be  less  than  four  until  May  19. 

I  ask  you  to  please  let  me  know  when  it  will  be 
possible  for  you  to  make  the  first  appearance,  then 


a,n.*3 

i/ 

<^X>zy^--~-  @~*^z> 
&/#"*•. 


Via  Verdi.  4, 

Milano. 


^ 


^ 

/^4^v       *f-*~~4Z~~   /^^ceXg. 

/W^    9^^^^^^-    --   — ^>' 

s^xr- pdt^~z+-  p^ 


PUCCINI  COUNTS   ON  CARUSO'S  COLLABORATION  FOR  THE   SUCCESS 
OF   THE    LONDON   PREMIERE   OF  HIS    "MAD AHA   BUTTERFLY" 

9-  2-  05 
Dearest  Caruso, 

I  learned  of  Tosca  and  Boheme  at  the  Metropolitan  and  it  pleased  me  so  much  to  hear  the 
echoes  of  the  successes  —  mostly  obtained  through  you  and  your  merits. 

In  London  you  will  sing  Butterfly.     I  hope  very  much  for  your  collaboration  together  with 
Destinn  and  Scotti.  ...     I  can  hear  you,  I  can  see  you  in  that  part,  which  not  being  so 
lengthy  a  one  (less  work  for  you  to  learn  it)  has,  notwithstanding,  the  need  of  your  refulgent 
voice  and  of  your  art  for  the  purpose  of  putting  the  role  in  its  just  and  efficacious  evidence. 
I  thank  you  and  I  greet  you. 

Affectionately 

G.  Puccini. 


ESTABLISHED  209 

I  will  make  the  announcement.  One  rehearsal,  I 
think,  will  be  enough,  as  each  of  the  selected  artists 
knows  already  the  opera  through  having  sung  in  it. 
It  will  be  a  perfect  ensemble,  I  am  sure. 

It  is  useless  to  say  that  I  count  upon  your  good 
will  and  friendship  to  make  these  performances 
possible,  and  I  thank  you  in  advance. 

Believe  Me  Affectionately  Yours, 

Ed.  Sonzongo 

To  make  this  season  all  he  had  stated  was  in  truth 
Sonzogno's  earnest  desire.  With  the  aid  of  Gabriel 
Astruc  as  chief  assistant  he  laid  careful  plans  and 
announced  a  repertory  which  included  besides 
"Fedora"  the  same  composer's  "Siberia",  and 
"Andrea  Chenier",  "L'Amico  Fritz",  and  "II 
Barbiere  di  Siviglia."  But  alas  !  The  works  which 
the  French  public  best  liked  —  operas  by  Verdi, 
Donizetti,  Bellini,  and  Puccini  —  were  missing  from 
the  Sonzogno  list.  It  is  true  that  Caruso  was  a 
magnet  whenever  he  appeared ;  even  before  the 
premiere  "Fedora"  not  a  ticket  for  the  six  perform- 
ances was  left  in  the  box  office.  The  speculators, 
as  busy  in  Paris  as  they  are  in  New  York,  laid  goug- 
ing fingers  upon  every  piece  of  available  pasteboard. 
Prices  soared,  the  public  fumed  and  raged,  yet  it 
bought  what  the  speculators  had  to  sell.  But  on 
other  than  Caruso  nights  there  was  no  such  attend- 
ance. 

The  tenor  was  finding  himself  in  those  days.  The 
fire  of  youth  could  be  quickly  lighted  by  whatever 
audience  chose  to  apply  the  match,  which  lay  in 
spontaneous  response  to  Caruso's  preliminary  efforts. 


210  ENRICO    CARUSO 

Nicola  Daspuro,  who  was  present  at  that  intro- 
ductory "Fedora",  on  May  13,  1905,  said  that 
while  the  aria  Amor  ti  vieta  was  the  beginning  of  a 
riot,  the  real  artistic  triumph  came  at  the  end  of 
the  second  act,  when  Caruso  delivered  the  phrase, 
La  fante  mi  svela  I'immondo  ritrovo.  "  His  voice,  and 
the  realism  of  the  anguish  and  horror  he  put  into  the 
phrases,  were  as  lightning  in  a  terrible  storm.  The 
breathing  of  that  assemblage  seemed  to  be  the 
breathing  of  Caruso  ;  the  life  of  each  person  appeared 
to  be  controlled  by  the  singer's  lips.  Even  to  those 
artistically  sophisticated  Parisians  here  was  a  new 
experience :  one  of  the  most  tragic  developments  of 
a  human  character,  in  which  passions  we  all  might 
know  and  feel  were  made  so  real  by  this  artist  that 
our  hearts  flew  to  his  feet.  At  the  finale,  as  Caruso 
sang  the  famous  T'amo,  the  curtain  dropped  with  the 
public  emitting  a  kind  of  ecstatic  yell ;  then  from  a 
thousand  throats  came  cries  of  *  Encore,  encore, 
encore!'  Half  bewildered,  Campanini  was  com- 
pelled to  take  up  his  baton,  and  again  that  finale  was 
sung  —  and  for  an  audience  which  well  knew  that 
from  a  French  impresa  no  bis  would  have  been 
granted.  It  wished  ajso  another  repetition,  and 
clamored  until  Campanini  came  before  the  curtain 
to  say :  *  Excusez-moi,  excusez-nous.  ...  Je  vous 
prie  de  nous  donner  cinq  minutes  de  repos,  car 
dans  ce  moment  nous  sommes  nerveux  .  .  .  presque 
malade* ' 

Each  subsequent  "Fedora"  appears  to  have  pro- 
voked like  public  outbursts.  Caruso  received  twenty 
thousand  francs,  —  from  the  total  receipts  of  one  hun- 


ESTABLISHED  211 

dred  thousand  francs.  It  was  proof  of  what  Giulio 
Gatti-Casazza  always  said:  "Any  amount  you 
may  pay  Caruso,  he  is  always  the  least  expen- 
sive artist  to  any  management." 

A  reporter  of  the  Paris  Le  Gaulois  asked  Caruso, 
"What  do  you  think  of  your  successes  ?" 

"My  successes,"  replied  the  singer,  "or  my 
unhappiness  ?  What  are  my  successes  ?  I  have 
none.  I  happen  to  be  a  very  well-known  tenor,  a 
kind  of  trademark  to  be  exploited  by  an  impresario. 
I  cannot  consider  my  own  desires.  I  dare  not  even 
think  of  catching  cold.  I  have  to  take  care  of  that 
delicate  watch  mechanism  which  is  my  throat,  and 
of  the  rest  of  my  body,  in  order  that  not  a  grain  of 
sand  may  get  into  the  intricate  wheels  and  interfere 
with  their  workings." 

There  had  been  other  artistic  successes  than 
those  of  "Fedora",  in  which  Mme.  Lina  Cavalieri 
and  Titta  Ruffo  participated.  Angelo  Masini,  the 
one  tenor  Caruso  always  revered,  sang  the  farewell 
performance  of  "II  Barbiere  di  Siviglia."  Caruso 
listened  to  him,  then  went  to  his  hotel,  where  a  letter 
from  Giordano  had  been  left  for  him.  It  read : 

My  Dearest  Caruso. 

Before  leaving  Paris  I  must  tell  you  again  and 
again  how  grateful,  how  sincerely  grateful,  I  am  to 
you  for  what  you  have  done  for  me  here  and  for  what 
you  will  do  for  me  in  London.  I  will  wait  in  Milan 
for  your  word  calling  me.  Sonzogno  tells  me  he  has 
sent  you  all  the  models  for  the  costumes,  as  you  de- 
sired. Again  a  thousand  thanks. 
I  am  Fraternally  yours, 

U.  Giordano 


212  ENRICO    CARUSO 

"La  Boheme"  reintroduced  Caruso  to  Covent 
Garden  patrons  on  May  22  of  that  year,  and  he  sang 
twenty-four  times  before  finishing  the  season  on  the 
following  July  25.  He  reappeared  with  two  stand- 
bys,  Mme.  Melba  and  Scotti.  In  "Rigoletto"  he 
appeared  with  Mme.  Selma  Kurz  and  Scotti  and 
Journet ;  with  Mmes.  Kurz  and  Destinn  and  Clarence 
Whitehill  and  Scotti  he  sang  in  "Les  Huguenots"; 
"Aida"  presented  him  with  Mmes.  Destinn  and 
Donalda  and  Scotti ;  and  when  he  appeared  in 
"Ballo  in  Maschera"  the  tenor's  confreres  were 
Mmes.  Destinn  and  Kurz,  and  Scotti. 

The  much  anticipated  "Madama  Butterfly"  Eng- 
lish premiere  took  place  on  July  10,  1905.  Mme. 
Destinn  was  the  Cio-Cio-San ;  Scotti  sang  the  role 
of  the  consul  Sharpless,  and  Mme.  Lejeune  was  the 
Suzuki.  All  that  Maestro  Puccini  and  Tito  Ricordi 
could  have  wished  was  realized  in  that  representation. 
The  duet  for  soprano  and  tenor  at  the  close  of  the 
first  act  —  with  such  artists  as  Mme.  Destinn  and 
Caruso  —  was  quite  enough  to  satisfy  the  heart  of 
any  composer.  Thereafter  the  acceptance  —  to  use 
a  phrase  of  which  Caruso  was  fond  —  "was  enough." 

In  his  "Nights  in  London"  Thomas  Burke  wrote 
of  that  particular  "Madama  Butterfly",  of  what  the 
opera  in  Covent  Garden  really  is,  also  with  vivid  pen 
of  Caruso.  "What  is  he  ?  He  is  not  a  singer.  He 
is  not  a  voice.  He  is  a  miracle.  There  will  not  be 
another  Caruso  for  two  or  three  hundred  years ; 
perhaps  not  then.  We  had  been  so  accustomed  to 
the  spurious  manufactured  voices  of  people  like  de 
Reszke  and  Tamagno  and  Maurel,  that  when  the 


ESTABLISHED  213 

genuine  article  was  placed  before  us  we  hardly 
recognized  it.  Here  was  something  lovelier  than 
anything  that  had  yet  been  heard  ;  yet  we  must  needs 
stop  to  carp  because  it  was  not  quite  proper.  All 
traditions  were  smashed,  all  laws  violated,  all  rules 
ignored.  Jean  de  Reszke  would  heave  and  strain, 
until  his  audience  suffered  with  him,  in  order  to 
produce  an  effect  which  this  new  singer  of  the  south 
achieved  with  his  hands  in  his  pockets,  as  he  strolled 
around  the  stage. 

"The  Opera  in  London  is  really  more  of  a  pageant 
than  a  musical  function.  The  front  of  the  house 
frequently  claims  more  attention  than  the  stage. 
On  Caruso  and  Melba  nights  it  blazes.  Tiers  and 
tiers  of  boxes  race  round  in  a  semicircle.  If  you  are 
early,  you  see  them  as  black  gaping  mouths.  But 
very  soon  they  are  filled.  The  stalls  begin  to  leap 
with  light,  for  everybody  who  is  not  anybody,  but 
would  like  to  be  somebody,  drags  out  everything 
she  possesses  in  the  way  of  personal  adornment  and 
sticks  it  on  her  person,  so  that  all  the  world  may 
wonder.  At  each  box  is  a  bunch  of  lights,  and  with 
the  arrival  of  the  silks  and  jewelry,  they  are  whipped 
to  a  thousand  scintillations. 

"The  blaze  of  dancing  light  becomes  painful; 
the  house,  especially  upstairs,  is  spitefully  hot.  Then 
the  orchestra  begins  to  tumble  in ;  their  gracefully 
gleaming  lights  are  adjusted,  and  the  monotonous 
A  surges  over  the  house  —  the  fiddles  whine  it,  the 
golden  horns  softly  blare  it,  and  the  wood-wind 
plays  with  it. 

"But  now  there  is  a  stir,  a  sudden  outburst  of 


214  ENRICO    CARUSO 

clapping.  Campanini  is  up.  Slowly  the  lights  dis- 
solve into  themselves.  There  is  a  subdued  rustle 
as  we  settle  ourselves.  A  few  peremptory  Sh-sh-sh! 
from  the  ardent  galleryites. 

"Campanini  taps.  His  baton  rises  .  .  .  and  sud- 
denly the  band  mumbles  those  few  swift  bars  that 
send  the  curtain  rushing  up  on  the  garret  scene.  Only 
a  few  bars  .  .  .  yet  so  marvelous  is  Puccini's  feel- 
ing for  atmosphere  that  with  them  he  has  given 
us  all  the  bleak  squalor  of  the  story.  You  feel  a  chill 
at  your  heart  as  you  hear  them,  and  before  the  curtain 
rises  you  know  that  it  must  rise  on  something 
miserable  and  outcast.  The  stage  is  in  semi-dark- 
ness. The  garret  is  low-pitched,  with  a  sloping  roof 
ending  abruptly  in  a  window  looking  over  Paris. 
There  is  a  stove,  a  table,  two  chairs,  and  a  bed. 
Nothing  more.  Two  people  are  on.  One  stands 
at  the  window,  looking,  with  a  light  air  of  challenge, 
at  Paris.  Down  stage,  almost  on  the  footlights,  is  an 
easel,  at  which  an  artist  sits.  The  artist  is  Scotti, 
the  baritone,  as  Marcello.  The  orchestra  shudders 
with  a  few  chords.  The  man  at  the  window  turns. 
He  is  a  dumpy  little  man  in  black  wearing  a  golden 
wig.  What  a  figure  it  is  !  What  a  make-up  !  What 
a  tousled-haired,  down-at-heel,  out-at-elbows  Clerk- 
enwell  exile !  The  yellow  wig,  the  white-out  mous- 
tache, the  broken  collar.  .  .  .  But  a  few  more 
brusque  bars  are  tossed  from  Campanini's  baton, 
and  the  funny  little  man  throws  off,  cursorily,  over 
his  shoulder,  a  short  passage  explaining  how  cold  he 
is.  The  house  thrills.  That  short  passage,  throb- 
bing with  tears  and  laughter,  has  rushed,  like  a 


ESTABLISHED  215 

stream  of  molten  gold,  to  the  utmost  reaches  of  the 
auditorium,  and  not  an  ear  that  has  not  jumped  for 
joy  of  it.  For  he  is  Rodolfo,  the  poet ;  in  private 
life,  Enrico  Caruso,  Knight  of  the  Order  of  San 
Giovanni,  Member  of  the  Victorian  Order,  Cavalier 
of  the  Order  of  Santa  Maria,  and  many  other  things. 
"As  the  opera  proceeds,  so  does  the  marvel  grow. 
You  think  he  can  have  nothing  more  to  give  you  than 
he  has  just  given  ;  the  next  moment  he  deceives  you. 
Toward  the  end  of  the  first  act  Melba  enters.  You 
hear  her  voice,  fragile  and  firm  as  fluted  china,  before 
she  enters.  Then  comes  the  wonderful  love-duet  — 
Che  gelida  manina  for  Caruso  and  Mi  chiamano  Mimi 
for  Melba.  Gold  swathed  in  velvet  is  his  voice. 
Like  all  true  geniuses,  he  is  prodigal  of  his  powers ; 
he  flings  his  lyrical  fury  over  the  house.  He  gives 
it  all,  yet  somehow  conveys  that  thrilling  suggestion 
of  great  things  in  reserve.  Again  and  again  he  re- 
captures his  first  fine  careless  rapture.  His  voice 
dances  forth  like  a  little  girl  on  a  sunlit  road,  way- 
ward, captivating,  never  fatigued,  leaping  where 
others  stumble,  tripping  many  miles,  with  fresh 
laughter  and  bright  quick  blood.  There  never  were 
such  warmth  and  profusion  and  display.  Not  only 
is  it  a  voice  of  incomparable  magnificence :  it  has 
that  intangible  quality  that  smites  you  with  its  own 
mood  :  just  like  something  that  marks  the  difference 
between  an  artist  and  a  genius.  There  are  those  who 
sniff  at  him.  'No  artist/  they  say,  'look  what  he 
sings.'  They  would  like  him  better  if  he  were  not 
popular ;  if  he  concerned  himself,  not  with  Puccini 
and  Leoncavallo,  but  with  those  pretentiously  subtle 


216  ENRICO  CARUSO 

triflers,  Debussy  and  his  followers.  But  true  beauty 
is  never  remote.  The  art  which  demands  transcen- 
dentalism for  its  appreciation  stamps  itself  at  once  as 
inferior.  True  art,  like  love,  asks  nothing  and  gives 
everything.  The  simplest  people  can  understand 
and  enjoy  Puccini  and  Caruso  and  Melba,  because 
the  simplest  people  are  artists.  And  clearly,  if 
beauty  cannot  speak  to  us  in  our  own  language,  and 
still  retain  its  dignity,  it  is  not  beauty  at  all. 

"Caruso  speaks  to  us  of  the  little  things  we  know, 
but  he  speaks  with  a  lyric  ecstasy.  Ecstasy  is  a 
horrible  word ;  it  sounds  like  something  to  do  with 
algebra  ;  but  it  is  the  one  word  for  this  voice.  The 
passion  of  him  at  times  almost  frightened  me.  I 
remember  hearing  him  at  the  first  performance  of 
'Madama  Butterfly',  and  he  hurt  us.  He  worked 
up  the  love  duet  with  Butterfly  at  the  close  of  the 
first  act  in  such  fashion  that  our  hands  were  wrung, 
we  were  perspiring,  and  I  at  least  was  near  to  fainting. 
Such  fury,  such  volume  of  liquid  sound  could  not  go 
on,  we  felt.  But  it  did.  He  carried  a  terrific  cre- 
scendo passage  as  lightly  as  a  schoolgirl  singing  a 
lullaby,  and  ended  on  a  tremendous  note  which  he 
sustained  for  sixty  seconds.  As  the  curtain  fell  we 
dropped  back  in  our  seats,  limp,  dishevelled,  and 
pale.  It  was  we  who  were  exhausted.  Caruso 
trotted  on,  bright,  alert,  smiling,  and  not  the  slight- 
est trace  of  fatigue  did  he  show." 

A  personality  of  such  distinction  as  to  be  in  demand 
for  almost  every  special  occasion,  Caruso  was  com- 
manded to  appear  on  June  8  before  the  King  and 
Queen  of  England  and  King  Alfonso  of  Spain. 


ESTABLISHED  217 

The  third  act  of  "La  Boheme"  and  the  fourth  act 
of  "Ugonotti"  had  been  chosen  as  appropriate 
operatic  bits ;  and  with  the  tenor,  as  artists,  were 
Mmes.  Melba,  Destinn,  and  Parkina,  and  Scotti  and 
Whitehill.  Just  sixteen  days  later  Caruso  received 
the  following  letter  from  Lord  Farquhar. 

Dear  Signor  Caruso : 

I  am  desired  by  Their  Majesties,  the  King  and 
the  Queen,  to  forward  to  you  the  enclosed  souvenir 
of  your  visit  to  Buckingham  Palace,  and  to  thank 
you  especially  for  the  great  pleasure  you  gave 
Their  Majesties  and  their  guests  by  your  beautiful 
singing. 

I  must  also'  congratulate  you  on  the  success  of 
the  charming  concert. 

Yours, 

Farquhar. 
Postscript. 

This  letter  would  have  reached  you  more  than 
a  week  ago  had  it  not  been  for  the  pressure  during 
Ascot  week. 

F. 

The  "enclosed  souvenir"  proved  to  be  a  diamond 
and  ruby  pin,  with  the  initials  of  the  king.  The  tenor 
was  pleased  by  this  remembrance.  He  had  an  odd 
way  of  expecting  thoughtful  attentions,  and  although 
he  was  always  as  delighted  as  a  child  when  some 
evidence  of  consideration  arrived,  he  could  be 
quite  put  out  if,  by  any  chance,  the  one  who  should 
have  made  known  a  proper  appreciation  delayed 
in  so  doing.  And  woe  to  the  person  who  ever 
forgot. 

What  experiences  that  London  season  brought ! 


218  ENRICO    CARUSO 

In  the  old  courtyard  of  the  Savoy  Hotel,  on  the  eve- 
ning of  July  v26,  a  Venetian  lagoon  appeared  almost 
as  if  by  magic.  George  A.  Kessler,  of  New  York, 
wished  to  give  a  dinner  to  twenty-four  of  his  friends 
-  a  dinner  that  would  be  remembered.  Caruso 
was  asked  to  sing,  and  sing  he  did  —  for  a  fee  no 
other  artist  probably  could  have  got. 

The  Covent  Garden  engagement  was  over ;  Os- 
tende  was  to  come,  but  for  a  little  while  the  tenor 
could  forget  about  singing.  He  strode  forth  into  the 
streets  with  his  companions,  and  with  them  went 
the  rounds.  It  was  summer,  there  was  nothing  to 
do  save  what  one  wished  ;  one  morning  found  Caruso, 
Tosti,  and  Scotti  motoring  out  to  Windsor  for  lunch- 
eon. After  the  meal  there  followed  the  usual  Caruso 
antics.  The  sound  of  a  motor  pausing  before  the 
restaurant  attracted  the  musical  trio ;  looking,  they 
became  still  more  attentive,  for  from  the  car  alighted 
Adelina  Patti,  her  husband  Baron  Cederstrom,  and 
the  baron's  young  sister.  Standing  like  three  sol- 
diers in  a  line,  their  left  hands  behind  them,  their 
right  hands  holding  their  hats,  and  grinning  as  so 
many  schoolboys,  Caruso,  Tosti,  and  Scotti  bent 
from  the  waist  in  a  salute  to  the  famous  prima  donna. 
Before  she  would  permit  them  to  sit  at  her  table 
she  made  them  pose  before  her  camera,  in  the  very 
attitudes  they  had  assumed  at  her  appearance. 

Ill 

Pleasure-seeking  Ostende,  which  draws  thousands 
each  year  into  Belgium,  was  waiting  for  Caruso. 
Impresario  Georges  Marquet,  General  Director  of 


ESTABLISHED  219 

the  Resort  Amusements,  reasoned  shrewdly  what  it 
would  mean  to  inaugurate  the  Theater  Royal  with 
an  opera  including  Caruso  in  the  cast.  The  news 
of  his  coming  had  touched  Ostende  with  a  flare  of 
anticipation.  Many  already  there  had  heard  the 
tenor ;  many  had  not.  He  was  a  sort  of  curiosity 
—  primarily  to  be  heard,  of  course,  but  also,  one  was 
to  bear  in  mind,  to  be  seen.  What  was  he  like  ? 
Where  was  he  to  stop  during  that  month  of  August, 
which  was  to  have  Ostende's  celebrated  bathing 
beach  eclipsed  by  a  singer  ?  Guests  at  the  Con- 
tinental Hotel  were  the  favored  ones  who  might 
oftenest  catch  a  glimpse  of  the  tenor.  He  arrived 
at  that  hostelry  a  few  days  in  advance  of  August  3, 
which  was  the  date  he  was  to  make  his  first  appear- 
ance in  Belgium,  in  "Rigoletto." 

Great  ladies,  famous  men,  the  curious  of  both  sexes 
who  were  neither  great  nor  famous,  yet  for  reasons  of 
their  own  were  set  down  at  this  distinctive  watering 
place,  stared  at  the  stocky  figure  and  the  chubby 
face  of  the  artist.  Solitude  he  was  able  to  find  only 
in  his  own  hotel  rooms. 

The  King  and  Queen  of  Belgium,  and  H.R.H. 
the  Duke  of  Abruzzi,  were  in  the  audience  which 
received  "Rigoletto/*  Mile.  Lalla  Miranda  and 
M.  Beronne  appeared  as  Gilda  and  the  Jester. 
French  was  the  language  of  the  country,  and  of  the 
opera,  —  for  all  save  Caruso,  who  was  permitted 
to  sing  the  text  of  the  Duke  in  Italian.  From  an- 
other having  less  to  offer  vocally  there  might  have 
ensued  objections ;  the  critics  doubtless  would  have 
made  the  matter  a  particular  point.  Instead  there 


220  ENRICO    CARUSO 

was  only  a  repetition  of  other  expert  views  in  the 
substance  of  opinions  expressed  in  the  newspapers. 
The  Ostende  Carillon,  and  La  Rejorme,  a  leading 
daily  of  Brussels  which  had  sent  its  first  music  critic 
to  this  premiere,  published  eulogies,  as  had  other 
newspapers  before  them.  The  Caruso  voice  was 
pronounced  "  a  delight,  supremely  enchanting,  which 
sounds  like  a  clarinet  played  by  an  archangel." 
There  was  much  more,  and  at  length,  the  quoting 
of  which  is  needless.  The  public  was  even  more 
outspoken  if  less  expert ;  but  what  it  offered  came 
spontaneously  from  hearts  that,  under  the  spell  of 
the  singer,  had  lost  all  calm. 

A  series  of  concerts  at  the  Kursaal  followed  the 
opera  representations.  These  were  as  crowded  by 
the  Caruso-mad  throng,  which  hung  on  his  tones, 
and  then  applauded  until  its  strength  was  spent. 
Jan  Kubelik,  the  violinist,  and  an  orchestra  con- 
ducted by  Maestro  Rinskopf  participated  in  these 
concerts.  At  their  conclusion  the  tenor  turned  from 
work  and  set  his  face  to  the  south,  toward  his  Villa 
Bellosguardo. 

Like  other  periods  of  rest  he  was  then  experiencing, 
this  one  held  none  of  the  extended  tranquillity  which 
it  should.  Family  gatherings  were  somehow  never 
quite  to  be  arranged.  Marcellino  Caruso  was  con- 
tent to  remain  by  the  side  of  his  wife  Maria  Castaldi 
Caruso,  who  had  steadily  resisted  her  son's  entreaties 
to  leave,  for  even  brief  visits,  her  Naples  home. 

But  others  needed  no  invitation  to  cross  the  thresh- 
old of  whichever  villa  the  singer  was  occupying. 
Often,  when  it  was  quiet  and  rest  he  wished,  some 


ESTABLISHED  221 

composer  or  maestro  or  artist  or  agent  descended  upon 
him.  Fond  as  he  was  of  companionship,  there  were 
times  when  he  felt  the  desperate  craving  of  isolation. 
Success  which  was  bulking  larger  each  year  was  his, 
yet  he  could  not,  it  appeared,  have  everything ;  not 
the  one  thing  which,  as  a  boy,  he  had  vaguely  dreamed 
of.  Outwardly  happy,  the  singer  had  not  always 
the  light  heart  his  face  seemed  to  reflect.  Nor  was 
his  health,  for  all  his  stoutness  of  body,  of  the  best. 
For  the  physical  exercise  he  needed  to  keep  in  con- 
dition was  as  repugnant  as  water  to  a  kitten.  He 
would  go  about  over  the  land  surrounding  his  villa, 
conversing  with  the  farmers,  but  for  the  most  part 
he  preferred  lingering  in  the  nearer  recesses  of  his 
garden. 

The  change  which  invariably  was  wrought  at  the 
approach  of  departing  time  for  the  important  win- 
ter's engagement  told  the  story :  Caruso's  greatest 
happiness  lay  in  his  work.  Then  a  smile  hovered 
almost  constantly  about  the  corners  of  his  mouth ; 
he  would  hum  occasionally ;  and  his  eyes  would 
glow  as  though  beholding  some  scene  to  come. 

November  20,  1905  —  and  the  third  Caruso  season 
at  the  Metropolitan.  He  was  to  receive  seven  thou- 
sand francs  an  appearance  ($1344  at  the  rate  of 
current  exchange).  As  events  transpired  he  sang 
sixty-four  times  during  that  1905-1906  year :  in  forty 
operas  and  four  concerts  in  New  York,  the  remain- 
ing occasions  being  in  other  cities.  How  steadily  the 
Caruso  resistance  held.  Not  a  single  appearance 
did  he  miss.  Considering  his  sedentary  life  and  his 
constant  smoking  of  cigarettes,  it  seems  remarkable. 


222  ENRICOCARUSO 

Still,  the  act  of  singing  requires  no  slight  physical 
exertion,  and  this  may  possibly  have  helped.  The 
receipts  for  his  public  efforts  during  that  season  totaled 
$87,984  as  against  $65,664  for  the  year  before,  and 
$29,807.62  for  his  first  season.  Since  his  reputation 
was  increasing  at  a  prodigious  rate,  his  royalties 
from  the  sale  of  his  phonograph  records  were  growing 
at  a  corresponding  pace.  Money  as  well  as  fame  was 
rolling  in  upon  this  favored  Neapolitan,  and  he  was 
investing  in  securities  a  comfortable  part  of  what 
he  earned. 

New  York  swept  upon  the  Metropolitan  Opera 
House  for  that  season's  premiere  with  a  zest  new 
and  easily  explained.  Another  star,  which  was 
fast  becoming  brighter  than  any  which  had  shone 
in  the  exclusive  Metropolitan  firmament,  seemed 
moving  to  a  fixed  place.  Mme.  Nordica,  Mme. 
Homer,  and  Plancon  were  of  the  cast  in  the  repre- 
sentation of  "La  Gioconda"  presented  on  that  eve- 
ning. Maestro  Vigna  conducted.  More  compelling 
than  ever,  Caruso  received  an  ovation  at  his  first 
appearance  which  was  an  indication  of  the  enthu- 
siasm in  store.  It  was  a  Caruso  night,  as  each  sub- 
sequent season  premiere  was  regularly  to  become, 
—  not  to  mention  those  many  others  that  followed, 
year  after  year,  until  that  farewell  "La  Juive"  which 
none  suspected  was  to  be  the  farewell. 

New  York  had  now  come  to  regard  Caruso  as  its 
rather  particular  property.  What  mattered  if  he 
sang  in  other  countries  out  of  what  was  in  the  United 
States  its  regular  season  ?  From  November  to  the 
following  spring  he  belonged  to  the  nation's  metrop- 


ESTABLISHED  223 

olis.  His  goings  and  comings,  even  when  of  a  per- 
sonal nature,  were  held  to  be  appropriate  for  chron- 
icling in  the  press.  He  was  interviewed  for  special 
articles,  and  often  made  to  say  things  he  never  really 
said  or  quite  understood,  as  explained  to  him  by 
those  "feature  writers"  from  notes  they  made.  Be- 
ing "in  the  news",  the  tenor  was  a  public  character. 
His  daily  routine  ;  his  diet ;  what  he  liked  to  do  and 
what  he  did  not  like  to  do,  were  set  down  in  print, 
and  not  infrequently  the  singer  was  made  to  appear 
in  a  light  which  annoyed  him  in  the  extreme.  For 
it  is  certain  —  reading  through  the  mass  of  clippings 
taken  from  the  New  York  newspapers  of  that  season 
—  Caruso  was  scarcely  responsible  for  much  of  what 
was  published  concerning  him ;  he  appears,  all  too 
often,  to  have  been  the  victim  of  imaginatively  in- 
clined newspaper  folk  intent  upon  a  story  that  would 
enlist  the  approval  of  some  enterprising  editor. 

If,  as  happened  during  a  January  representation 
of  "Tosca",  the  tenor  gave  the  impression  of  kissing 
the  prima  donna  (Mme.  Emma  Eames)  with  evi- 
dences of  realism,  it  became  the  subject  of  exag- 
gerated newspaper  articles.  And  when  during  a  per- 
formance of  "L'Elisir  d'Amore"  he  accidentally  cut 
his  temple  with  the  bottle  containing  the  supposed 
elixir,  and  later  narrowly  missed  being  struck  by  the 
descending  drop-curtain,  the  reporters  plied  their 
pencils  in  glee  over  having  a  "good  story"  to  write. 

This  season  brought  its  humorous  experiences, 
as  well.  One  of  these  occurred  on  the  evening  of 
January  4,  1906,  when  "Faust",  without  a  chorus, 
was  performed.  The  choristers,  denied  demands 


224  ENRICO    CARUSO 

made  upon  Conried,  went  on  strike.  Caruso, 
Mme.  Emma  Eames,  and  Pol  Plancon,  who  were 
members  of  the  cast,  were  nervous  because  of  the 
omission  of  the  customary  choruses,  but  nothing 
interfered  to  mar  their  parts  in  the  performance. 

Even  a  change  of  domicile  could  not  be  accom- 
plished without  the  news  of  it  getting  into  the  break- 
fast-table newspaper.  It  was  so  in  December,  1905, 
when  Caruso  moved  from  the  Hotel  York  to  54  West 
Fifty-seventh  Street.  People  made  it  a  point  to  walk 
past  this  dwelling,  eager  to  see  the  exterior,  even 
though  an  examination  of  the  premises  should  be 
denied  them. 

There  was  enough  for  the  tenor  to  do  without  dis- 
turbing himself  too  seriously  over  these  pryings  into 
his  private  life,  though  he  rebelled  against  a  curiosity 
of  what  he  might  choose  to  do  outside  the  theater. 
Not  that  he  objected  to  the  public's  attention.  He 
was  aware  of  what  it  meant  to  him  professionally. 
He  would  have  preferred,  however,  to  have  been 
relieved  of  the  stares  and  comments  which  increased 
as  his  popularity  grew.  But  such  a  thing  was  not 
to  be.  The  frequent  publishing  of  his  photographs 
and  cartoons  made  him  easily  singled  out  from  others. 
His  round  face,  upturned  moustache,  and  black 
hair  were  peculiarly  Caruso-esque.  And  the  indi- 
vidual Caruso  gait. 

To  his  valets,  Martino,  and  Mario,  who  continued 
faithful  members  of  his  household  to  the  day  of  the 
tenor's  death,  he  would  often  say,  "Why  will  they 
annoy  me  ?"  Yet,  had  he  been  neglected,  he  doubt- 
less would  have  been  made  unhappy. 


ESTABLISHED  225 

"Favorita",  "Sonnambula",  "Faust",  "Marta", 
and  "Carmen"  were  the  operas  Caruso  added  to  his 
New  York  repertory  during  the  1905-1906  season. 
It  was  a  distinguished  company,  with  Mmes.  Sem- 
brich,  Eames,  Nordica,  Fremstad,  Homer,  Edyth 
Walker,  Emma  Abbot,  Marie  Rappold,  Bella  Alten, 
Josephine  Jacoby,and  MM.  Campanari,  Scotti,  Burg- 
staller,  Knote,  Dippel,  Journet,  Dufriche,  Reiss, 
Paroli,  Rossi,  and  Blass  among  the  principals.  It 
was  during  this  season  that  Miss  Geraldine  Farrar 
joined  the  company  of  which  she  was  soon  to  become 
a  foremost  member. 

The  introductory  concert  in  which  the  tenor  ap- 
peared that  year  took  place  on  January  18,  1906, 
in  the  home  of  Mr.  James  H.  Smith.  His  associates 
were  Mme.  Rappold  and  Miss  Lina  Abarbanell, 
sopranos,  and  Nahan  Franko,  violinist.  The  Salut 
demeure,  from  "Faust",  and  a  group  of  songs  by 
Tosti  comprised  the  offerings  which  brought  the 
singer  two  thousand  dollars,  of  which  he  was  allotted 
one  thousand  five  hundred. 

January  22  marked  Caruso's  second  concert  ap- 
pearance, when  he  sang  at  a  Bagby  Musicale  at  the 
Waldorf-Astoria.  Victor  Herbert  and  his  orchestra 
had  a  part  in  that  program.  Two  days  later  the 
tenor  journeyed  to  Washington,  where  he  sang  with 
Miss  Abbot  and  Jean  Gerardy,  the  'cellist,  at  a  musi- 
cale  given  by  Mr.  and  Mrs.  Perry  Belmont  in  their 
Scott  Circle  home.  Besides  the  first-act  duet  from 
"Boheme",  Caruso  sang  the  Una  furtiva  lagrima 
aria  and  a  song  by  A.  Buzzi-Peccia.  His  fee  for  this 
engagement  was  two  thousand  five  hundred  dollars, 


226  ENRICO    CARUSO 

and  he  also  was  given  the  use  of  a  private  car  to 
and  from  Washington.  A  smaller  cachet  came  to 
him  for  appearing,  on  February  27,  in  a  concert 
arranged  by  Mrs.  Orme  Wilson  in  her  home,  but 
the  entire  amount  —  one  thousand  five  hundred 
dollars  —  the  Metropolitan  management  permitted 
him  to  retain. 

In  the  midst  of  these  musical  activities,  and  while 
opera  at  the  Metropolitan  was  at  its  height,  Direc- 
tor Conried  announced  the  completion  of  arrange- 
ments to  send  the  Metropolitan  Opera  Company 
on  a  tour  to  the  Pacific  Coast.  Scarcely  had  this 
news  been  made  public  when  Oscar  Hammerstein 
startled  New  York  with  a  statement  carrying  still 
greater  import.  He  declared  his  intention  of  launch- 
ing a  season  of  opera  in  the  Manhattan  Opera  House 
the  following  autumn,  and  the  press  carried  accounts 
of  the  engagement  of  Alessandro  Bonci,  and  the  re- 
ported successful  negotiation  of  contracts  with  the 
great  Battistini,  Edouard  de  Reszke,  Giovanni  Zena- 
tello,  and  —  possibly  —  a  few  farewell  appearances 
of  Jean  de  Reszke  himself.  Although  the  de  Reszkes 
and  Battistini  were  destined  not  to  come,  the  announce- 
ment was  sufficient  to  fire  public  anticipation. 

With  competition  threatening,  the  Metropolitan 
organization  was  moved  to  still  greater  endeavors. 
Caruso  —  to  whom  the  mere  mention  of  Bond's 
name  was  ever  a  source  of  stimulation  —  sang  with 
renewed  fervor.  He  appeared,  with  Scotti,  at  the 
benefit  given  in  March  for  the  Italian  Immigrants 
and  Miss  Leary's  Italian  Settlement ;  and  on  March 
16  the  Metropolitan's  New  York  season  came  to  a 


ESTABLISHED  227 

close.  "La  Gioconda"  was  the  opera;  in  the  cast 
with  Caruso  were  Mmes.  Nordica  and  Homer,  and 
Scotti  and  Plancon ;  Vigna  conducted.  Twenty- 
one  calls  resulted  when  the  final  curtain  fell.  It 
was  a  noteworthy  night ;  a  noteworthy  season  as 
well,  for  the  total  receipts  were  estimated  at 
£1,173,000. 

How  little  did  that  company  of  traveling  musicians 
appreciate  what  fate  held  for  them !  Two  appear- 
ances in  Baltimore,  two  in  Washington,  three  in  Pitts- 
burgh, three  in  Chicago,  two  in  St.  Louis,  and  one 
in  Kansas  City  had  presented  Caruso  to  the  people 
of  these  cities  in  "Marta",  " Faust ",  "Lucia  di 
Lammermoor",  "Pagliacci",  "Carmen",  and  "Bo- 
heme."  On  the  night  of  April  17  —  the  eve  of  the 
great  San  Francisco  earthquake  and  fire  —  the  tenor 
sang  Don  Jose  in  "Carmen." 

Antonio  Scotti  related  the  Caruso  experiences 
during  that  terrifying  occasion.  He  occupied  quarters 
in  the  Palace  Hotel  near  those  of  the  tenor.  "I 
awoke,"  said  the  baritone,  "at  a  quarter  before  five 
on  that  unforgettable  Wednesday  morning,  with  a 
feeling  of  seasickness.  Then  I  heard  the  sound  of 
falling  plaster  and  cries  in  the  street.  I  rushed  to 
make  lights,  but  could  not ;  there  was  no  electricity. 
When  I  tried  to  unlock  the  door,  there  was  no  key 
to  be  found.  It  had  been  jostled  to  the  floor,  where 
I  finally  discovered  it.  Once  in  the  outer  hallway 
I  saw  Martino,  Caruso's  valet ;  and  almost  imme- 
diately Caruso  himself,  fully  dressed,  came  out  of 
his  room  ;  and  seeing  me  cried 'Totonno  !'  I  begged 
him  to  wait,  but  he  seemed  half-crazed  and  only 


228  ENRICO    CARUSO 

continued  on  his  way  down  stairs.  I  put  on  my 
clothing,  hurried  below  and  there  met  Mme.  Sem- 
brich  and  Plancon.  Plancon  was  a  sight ;  he  had 
not  had  time  to  dye  his  beard  —  as  he  did  each  morn- 
ing —  and  it  was  green. 

"I  walked  to  the  square  on  which  the  St.  Francis 
Hotel  fronts  and  here  I  met  several  other  Metro- 
politan artists.  The  scenes  I  will  not  undertake  to 
describe  ;  it  cannot  be  told  in  a  way  to  give  one  more 
than  a  suggestion  of  the  terror  and  excitement. 
While  I  was  standing  in  a  dazed  state,  Caruso  un- 
expectedly appeared.  He  had  a  towel  about  his 
neck  and  carried  a  framed  portrait  of  Theodore 
Roosevelt,  which  had  been  given  him  by  the  then 
president  of  the  United  States.  I  remember  that 
Caruso  and  I  exchanged  some  words,  and  that  he 
announced  his  determination  of  returning  to  the  Pal- 
ace Hotel  to  pack  his  trunks.  I  sought  to  dissuade 
him,  without  success.  He  left  me  to  return  to  the 
hotel  where,  among  other  adventures,  he  engaged  in 
a  fight  with  a  Chinaman. 

"After  a  time  I  went  looking  for  some  sort  of 
conveyance,  and  found  a  wagon.  I  asked  the  driver 
how  much  he  wanted  to  take  some  trunks  and  friends 
to  the  home  of  Arthur  Bachman,  whom  Caruso  and 
I  knew.  He  insisted  on  being  paid  three  hundred 
dollars,  and  I  agreed.  Anything,  I  thought,  to  get 
to  some  place  of  safety. 

"We  finally  got  Caruso's  trunks,  and  mine,  and 
some  others  on  this  wagon ;  then  we  piled  on  our- 
selves, and  slowly  were  taken  out  of  the  danger  zone 
to  the  home  of  Mr.  Bachman.  That  night  Caruso 


ESTABLISHED  229 

could  not  be  induced  to  occupy  a  room  in  the  house ; 
he  slept  under  a  tree  in  the  Bachman  yard. 

"The  next  day  we  started  for  the  ferry  to  try  to 
get  across  the  bay  to  Oakland,  where  we  could  board 
a  train  to  start  east.  In  some  way  Caruso  became 
separated  from  us.  I  recall  that  he  appeared,  as 
we  were  loaded  into  a  launch,  and  that  we  saw  him 
in  an  altercation  with  some  officers  on  the  dock.  He 
was  still  carrying  the  portrait  of  Roosevelt,  which 
proved  to  be  his  passport,  for  when  he  showed  it 

—  with  the  inscription  of  the  president  to  Caruso, 

—  they  allowed  him  to  pass,  and  he  joined  our  party 
in  the  launch.     That  ended  our  immediate  troubles. 
We  were  soon  safely  in  the  train,  but  carrying  with 
us  recollections  we  could  never  forget." 

The  first  word  received  by  Director  Conried  from 
the  scene  of  the  disaster  came  from  Nahan  Franko, 
concert-master  of  the  Metropolitan  Opera  Company 
Orchestra.  It  read :  "  Inform  families  of  musicians, 
through  union,  of  safety  of  all." 

But  what  a  financial  loss  the  opera  company  sus- 
tained. The  tour  had  to  be  abandoned ;  thousands 
of  dollars  in  advance  subscriptions  were  returned 
to  the  San  Francisco  public,  and  in  spite  of  the  in- 
surance the  loss  of  stage  settings,  properties,  and 
costumes,  and  orchestra  instruments,  totaled  a  large 
figure. 

Caruso  reached  New  York  with  badly  shaken 
nerves,  though  grateful  for  having  escaped  without 
injury.  Soon  after  his  arrival  he  sailed  for  London 
where  he  was  scheduled  to  open  the  Covent  Garden 
season  on  May  15. 


230  ENRICO    CARUSO 

IV 

Extraordinary  success  affects  people  in  different 
ways.  Caruso,  for  all  his  gifts,  was  none  the  less 
susceptible.  He  always  said  that  he  was  as  human 
as  other  folk,  and  in  many  respects  this  was  indeed 
true,  for  he  inclined  to  the  same  things  those  about 
him  inclined  towards,  and  was  keen  in  his  desire  to 
have  the  good  will  of  the  public.  Thus,  to  be  criti- 
cized for  a  personal  act  hurt  him,  —  often  more 
deeply  than  an  adverse  phrase  penned  by  a  reviewer 
for  some  artistic  blemish  charged  against  him  in  a 
performance.  In  view  of  this  sensitiveness  it  may 
appear  strange  that  his  thirty-third  year  found  him 
developing  a  half-swaggering  independence,  unless 
it  served  merely  to  prove  him  to  have  been  like  the 
average  run  of  mortals.  Whatever  the  analysis 
applied,  the  difficulty  of  maintaining  a  level  course 
must  appear  clear.  For  distinction  and  wealth  were 
being  piled  upon  the  tenor ;  men  and  women  made 
fools  of  themselves  over  him  ;  he  was  treated  almost 
like  a  monarch.  Perhaps  tolerance  should  be  exer- 
cised in  treating  some  of  his  behavior  at  that  time ; 
he  had  been  given  so  much,  and  in  so  short  a  period, 
it  is  small  wonder  if  his  honors  went  a  bit  to  his  head. 

Having  the  artist's  nature,  he  was  then  moved  by 
it,  despite  his  naturally  well-balanced  mind,  into 
exaggerations  of  public  conduct  which  he  completely 
outgrew  in  his  maturer  years.  Yet  not  a  little  of 
the  criticism  that  has  been  directed  against  the  tenor 
was  overdrawn,  and  some  of  it,  emanating  from 
sources  jealous  of  his  success,  was  downright  untrue. 
At  least,  it  would  seem  no  more  than  fair  to  make 


ESTABLISHED  231 

allowances  during  that  time  for  one  who  lacked  the 
advantages  many  another  had,  and  whose  steady 
growth  in  qualities  of  integrity  and  fineness  rilled 
those  closing  years  of  his  life  with  deeds  which  could 
have  come  only  from  a  man  deserving  the  just  esteem 
of  those  who  really  knew  him. 

London,  in  1906,  was  as  wild  over  Caruso  as  New 
York.  And  his  reappearance  in  "Rigoletto"  during 
that  spring  Covent  Garden  season  only  piled  fresh 
fuel  upon  the  fires  of  his  popularity.  In  sheer  golden 
beauty  and  liquidness  of  tone,  his  voice  was  then 
probably  at  its  best.  It  had  intensity  and  power 
also,  but  the  timbre  had  not  begun  to  darken,  — 
which  happened  several  years  later,  as  the  result 
of  his  singing  heavy  roles  and  giving  without  stint 
every  vocal  resource  he  possessed.  The  ease  of  his 
voice  emission,  his  marvelous  breath  capacity  and 
control,  and  the  authority  with  which  he  delivered 
a  phrase  were  elements  which  even  the  casual  listener 
could  apprehend.  Nor  did  one  need  to  be  partic- 
ularly musical  in  order  to  appreciate  that  the  Caruso 
voice  and  the  Caruso  singing  were  more  than  ex- 
ceptional. He  thrilled,  also,  quite  as  much  by  his 
inherent  talent  for  song  and  through  the  fidelity 
of  his  vast  understanding  of  the  deepest  meanings 
of  composer  and  poet.  A  greater  artist  he  was 
ultimately  to  become,  but  according  to  the  lights  of 
some,  Caruso,  in  those  days,  was  the  singer  supreme. 
Night  after  night,  in  virtually  every  engagement, 
he  was  consistently  the  same.  Doubtless  he  rose 
or  fell  vocally  as  his  spirits  or  physical  condition 
compelled,  yet  so  slight  was  this  variance  that  com- 


232  ENRICO    CARUSO 

mon  opinion  seldom  found  the  tenor  other  than  the 
Caruso  they  knew,  or  expected  to  hear. 

Mme.  Donalda  and  Scotti  and  Journet  were  of 
the  "Rigoletto"  cast  which,  under  Campanini's 
baton,  brought  the  tenor  back  to  Covent  Garden. 
He  appeared,  presently,  in  "Pagliacci",  with  Mme. 
Destinn;  and  soon  after  was  heard  in  "Tosca",  in 
which  Signorina  Rina  Giachetti  sang  the  title  role 
to  the  Scarpia  of  Scotti.  There  followed  "  Traviata  ", 
with  Mme.  Melba  and  Battistini ;  afterward  came 
"Don  Giovanni",  twice  performed  to  the  delight 
of  the  London  public,  and  the  satisfaction  of  Mme. 
Destinn  and  Battistini  and  Journet,  who  also  ap- 
peared. In  all,  Caruso  sang  on  twenty-nine  occasions 
before  the  termination  of  his  contract,  July  26. 

Out  of  the  theater,  however,  the  singer  took  what- 
ever time  was  necessary  to  attend  to  the  demands 
made  upon  him  by  members  of  his  family.  On 
July  13,  in  a  letter  penned  in  the  Hotel  Cecil  to  his 
brother  Giovanni,  who  had  just  acquainted  him 
with  the  news  of  an  expected  new  arrival  in  his  family, 
Caruso  wrote : 

"I  am  very  tired,  and  long  for  a  real  rest.  You 
ask  me  the  name  your  coming  child  should  bear.  Why 
don't  you  ask  Father  ?  He  is  still  living  and  he, 
not  I,  is  the  one  to  be  asked.  I  want  you  to  know 
that  Papa  is  the  only  one  who  should  be  listened  to 
—  not  I.  Remember,  he  is  still  living." 

Before  that  the  tenor  had  agreed  to  sing  for  a 
benefit  concert  to  be  given  under  the  auspices  of  the 
French  Embassy,  and  this  act  prompted  Paul  Cam- 
bon  to  send  him  the  following  letter : 


ESTABLISHED  233 

"I  am  told,"  wrote  the  ambassador,  "that  you 
have  consented  to  sing  at  the  concert  organized 
by  this  embassy.  I  express  to  you  all  my  gratitude 
and  that  of  the  French  in  London.  Your  name  will 
be  an  element  of  success,  and  I  am  sure  every  one  will 
dispute  the  pleasure  of  hearing  you  sing.  I  am  really 
touched  by  the  grace  with  which  you  have  consented 
to  lend  your  cooperation  at  our  benefit,  which  has 
never  before  received  such  admirable  proof  of  sym- 
pathy." 

Here  again  was  evidence  of  Caruso  willingness 
to  aid,  wherever  he  could,  a  worthy  cause.  And 
he  was  forever  putting  his  hand  into  his  pocket  to 
assist  with  money  persons  and  undertakings  often 
undeserving  of  his  generosity. 

From  London  he  went  to  Ostende,  where  he  sang 
in  a  series  of  Kursaal  concerts  with  his  usual  recog- 
nition ;  then  he  journeyed  to  Italy  for  a  few  weeks' 
rest  at  his  Bellosguardo  Villa. 

The  second  of  October,  1906,  brought  Caruso 
before  a  Vienna  audience  for  the  first  time.  The 
Royal  Opera  House  reflected  traditions  which  had 
always  interested  the  tenor ;  and  the  known  dis- 
crimination of  the  Viennese  public  disturbed  him 
not  a  little  as  to  how  he  was  to  be  received.  The 
opera  was  "Rigoletto",  and  Caruso's  chief  asso- 
ciates in  the  cast  were  Mme.  Kurz  and  Titta  Ruffo. 
Like  many  a  previous  nervous  anxiety,  this  one 
was  blown  afar  on  the  winds  of  triumph.  The  quiet 
and  tranquillity  he  had  gained  in  his  native  land  had 
freshened  the  Caruso  resources.  Such  a  voice  and 
such  singing  could  scarcely  be  lost  upon  so  keen  an 
assemblage,  nor  was  it.  His  pulse  quickening  under 


234  ENRICO    CARUSO 

this  newest  approval,  the  tenor  continued  on  to 
Berlin,  where  he  sang  his  introductory  Don  Jose  in 
"  Carmen." 

That  appearance  sealed  for  always  the  Caruso 
vogue  in  Berlin.  Already  had  he  gained  his  place, 
and  a  secure  one  it  appeared  to  be.  But  on  this 
occasion  Kaiser  Wilhelm  was  present,  listening  at- 
tentively and  indicating  in  the  royal  manner  his 
approbation  of  the  Italian  visitor  before  whom  the 
foremost  German  singers  bowed.  During  the  per- 
formance the  tenor  was  commanded  to  appear  before 
the  Kaiser,  a  summons  he  obeyed  with  wonderment 
over  what  was  to  occur.  Caruso  faced  the  former 
German  ruler  at  other  times,  and  in  other  circum- 
stances, though  never,  as  he  said,  with  such  a  flut- 
tering of  his  heart.  It  must  have  fluttered  still 
more  when  he  had  bestowed  upon  him  the  title  of 
Imperial  Chamber  Singer. 

Many  were  the  incidents  attending  that  Berlin 
engagement.  In  his  most  jovial  mood,  after  the 
strain  of  the  premiere,  the  tenor  plunged  into  the 
kind  of  play  which  seemed  so  unfailingly  to  relieve 
any  tension.  One  night,  following  his  custom  of 
smoking  between  the  acts,  the  tenor  was  accosted 
by  a  fireman  who  informed  him  he  was  infringing 
upon  an  unbreakable  rule.  "I  am  sorry,"  said  the 
fireman,  "but  you  cannot  smoke." 

"Then  I  will  leave  the  theater,"  replied  Caruso, 
in  a  jesting  tone  which  was  not  understood. 

Alarmed  at  what  he  accepted  as  an  earnestly  ut- 
tered threat,  the  fireman  reported  the  matter  to  his 
chief.  That  officer  hastened  to  the  stage  and  gave 


ESTABLISHED  235 

Caruso  full  permission  to  smoke,  with  one  proviso : 
he  must  be  followed  about  constantly  by  the  fireman, 
carrying  a  pail  of  water.  And  this  actually  hap- 
pened, during  the  remainder  of  Caruso's  engagement. 

To  Paris  the  tenor  journeyed  next,  there  to  sing 
in  a  performance  given  at  the  Palais  du  Trocadero 
on  October  25,  for  the  benefit  of  the  Maison  de 
Retraite  de  Pont-aux-Dames,  of  which  Constant 
Coquelin  was  president.  An  audience  of  five  thou- 
sand persons  paid  one  hundred  fifty  thousand  francs 
to  attend  this  concert.  Some  time  afterward, 
at  the  solicitation  of  Coquelin,  France  decorated 
Caruso  with  the  Croix  de  Chevalier  de  la  Legion 
d'Honneur. 

New  York  silently  beckoned,  and  the  singer  sailed 
away  for  his  fourth  successive  season  at  the  Metro- 
politan. 

Another  change  of  residence  took  place  for  Caruso ; 
and  this  time  he  decided  to  stop  at  the  Savoy  Hotel. 
His  suite  overlooked  Central  Park,  and  there  he 
spent  many  an  hour,  driving  or  walking,  and,  often, 
studying  some  role  he  was  to  sing.  Singled  out, 
because  of  the  conspicuousness  of  his  position,  for 
criticism  of  various  kinds,  Caruso,  like  many  another 
person  of  eminence,  had  often  to  suffer.  Thoughtless 
people  who  spoke  out  of  slight  knowledge  or  none  at 
all,  and  the  envious,  chafed  because  of  the  singer's 
success.  He  could  not  in  the  nature  of  things  please 
every  one  :  had  he  been  perfect  there  yet  would  have 
gone  up  many  voices  in  complaint.  An  experience 
which  Caruso  encountered  shortly  before  he  was  to 
reappear  before  a  Metropolitan  audience  was  but 


236  ENRICO    CARUSO 

one  of  many  he  had  to  undergo.  But  he  emerged 
from  it,  and  his  season's  debut,  on  November  28, 
1906,  with  Mmes.  Sembrich  and  Alten,  and  Scotti 
in  "La  Boheme",  was  attended  by  a  reception 
from  the  audience  which  revealed  completely  the 
estimation  in  which  he  was  held. 

Caruso's  associates  have  told  how,  overjoyed  at 
that  manifestation  of  public  confidence,  he  broke 
down  upon  reaching  his  dressing  room  and  cried. 
There  was  reason  for  this  display  of  emotionalism, 
for  a  cold  or  disapproving  attitude  on  the  part  of 
that  assemblage  might  easily  have  sent  the  singer 
from  American  shores  forever.  The  whole  affair, 
drawn  out  as  it  had  been,  was  a  shock  that  im- 
parted to  Caruso  a  sobering  effect,  and  it  is  a  fact 
that  thereafter  his  serious  side  deepened  and  con- 
tinued steadily  to  prevail. 

The  incentive  to  make  his  artistic  self  more  es- 
sential "  was  redoubled."  In  voice  and  song  Caruso 
established  himself,  with  each  fresh  appearance, 
more  firmly  in  the  good  will  of  his  hearers,  while 
on  the  critics  he  exerted  an  even  stronger  appeal. 
"Traviata"  and  "Marta"  followed  "Boheme"  in 
quick  succession  ;  then  came  the  tenor's  first  "  Fe- 
dora" in  New  York.  The  cachet  for  this  season  was 
seven  thousand  five  hundred  francs  ($1440)  an 
appearance,  and  for  the  sixty-two  opera  perform- 
ances in  which  Caruso  sang  in  the  United  States 
between  November  28,  1906,  and  April  27,  1907,  he 
received  $89,280.  If  it  had  not  been  for  his  indis- 
position on  six  different  occasions,  the  singer  would 
have  increased  his  income  for  that  season  by  nearly 


VIVLA    FEDORA 

BAVENO 


\\  .       \  %  ',         \\  0  C  -. 


THE   AUTHOR   OF       FEDORA       TO   CARUSO   AFTER   THE 
PREMIERE   AT   THE   METROPOLITAN   OPERA   HOUSE 


12-12-1906 


means  an  assured  triumph.     I  am  grateful  to  you, 


ig  _     ___^    _^ 

I  embrace  you. 

U.  Giordano. 


ESTABLISHED  237 

ten  thousand  dollars.     Still,  he  had  no  cause  for 
financial  complaint. 

After  the  "Fedora"  presentation,  which  took  place 
in  the  Metropolitan  on  December  5,  Caruso  received 
from  Giordano  the  following  letter,  sent  December  12 
from  the  Villa  Fedora,  at  Baveno : 

Dear  and  Great  Enrico, 

You  have  already  a  telegram  signed  by  Son- 
zogno  and  myself.  But  I  feel  the  necessity  of  sending 
you  a  few  lines  written  by  me,  to  express  my  hearty 
thanks.  You  have  been  and  always  will  be  the  great- 
est, the  only,  Loris.  Therefore,  you  can  imagine 
my  happiness  every  time  that  you  will  sing  in  my 
opera.  This  means  an  assured  triumph. 
I  am  grateful  to  you.  ...  I  embrace  you. 

Yours, 

U.  Giordano. 

Caruso  needed  such  encouraging  words  as  these ; 
he  needed,  during  this  specific  season,  any  bit  of 
commendation  that  might  come  to  him,  no  matter 
how  small.  Persons  envious  of  his  success,  who 
stooped  to  the  depths  of  anonymous  communications 
in  efforts  to  disturb  his  peace  of  mind,  were  not  idle. 
Letters  —  even  postcards  —  containing  threats  and 
filled  with  abuse  were  heaped  upon  him.  He  needed 
the  stoutest  courage  to  maintain  his  poise  in  those 
days,  and  to  his  credit  be  it  said  that  he  bore  the 
burden  with  a  minimum  of  complaint. 

Much  of  his  time  he  spent  in  the  seclusion  of  his 
Savoy  suite,  which  consisted  of  rooms  94  to  98. 
There  his  loyal  friends  surrounded  him ;  and  grad- 
ually, as  the  weeks  passed,  then  the  months,  the 


238  ENRICO    CARUSO 

tenor  became  more  his  former  self  in  light-hearted 
moments.  But  his  seriousness  did  not  diminish. 
Caruso  had  entered  a  new  phase  of  his  life.  He 
busied  himself  with  what  was  important,  since  the 
Manhattan  Opera  Company,  giving  performances 
aiming  at  direct  competition  with  the  Metropolitan, 
was  something  of  a  factor  in  New  York's  operatic 
field. 

The  season  ran  on,  presenting  Caruso  in  roles 
he  had  hitherto  not  sung  in  the  United  States,  the 
operas  being  "L'Africaine",  "Manon  Lescaut",  and 
"Madama  Butterfly."  Spring  arrived,  March  23 
sending  the  tenor  up  for  his  season's  farewell  in 
"  Tosca."  The  next  day  the  Metropolitan  company 
started  on  a  four  weeks'  tour.  Caruso  sang  during 
that  month  in  ten  cities ;  twice  in  Baltimore,  twice  in 
Washington,  three  times  in  Boston,  on  four  occasions 
before  Chicago  audiences,  twice  in  St.  Louis,  and 
one  each  in  Cincinnati,  Kansas  City,  Milwaukee, 
St.  Paul,  and  Minneapolis. 

The  engagement  was  concluded  in  Milwaukee, 
April  27.  Hurrying  to  New  York,  Caruso  sailed 
immediately  for  London,  where  he  was  scheduled 
to  appear  at  the  Covent  Garden  opening  on  May  15. 
After  that  representation  of  "La  Boheme",  with 
Mme.  Donalda  and  Scotti  and  Charles  Gilibert,  and, 
two  evenings  later,  a  second  appearance  in  "  Madama 
Butterfly"  with  Mme.  Destinn  and  Scotti,  the  tenor 
crossed  the  English  Channel.  Another  hurried  effort 
—  this  time  in  concert  at  the  Paris  Trocadero,  given 
under  the  patronage  of  the  Belgian  Embassy  and 
the  Comtesse  of  Greuffulhe,  for  the  benefit  of  the 


ESTABLISHED  239 

Belgian  Charities  in  France  —  brought  receipts  of 
one  hundred  fifty  thousand  francs,  —  also  the  decora- 
tion of  the  Cross  of  the  Chevalier  of  the  Order  of 
Leopold. 

Following  a  further  rushed  journey,  which  began 
the  day  after  this  concert,  the  tenor  settled  himself 
in  London  where,  beginning  again  on  May  21  in 
"La  Boheme",  in  which  his  associates  were  Mme. 
Melba  and  Scotti  and  Gilibert,  he  sang  continuously 
until  July  30.  In  all  he  placed  to  his  credit  thirty- 
one  appearances  in  the  operas  "Traviata",  "Ai'da", 
"Carmen",  "Tosca",  "Ballo  in  Maschera",  "Fe- 
dora", "Andrea  Chenier",  and  "I  Pagliacci."  In 
addition  to  those  artists  already  mentioned,  Caruso 
sang  with  Mmes.  Kurz,  Rina  Giachetti,  Kirkby- 
Lunn  and  Severina,  and  MM.  Journet,  Sammarco 
and  Scandiani  (now  impresario  at  Milan's  La 
Scala). 

Easier  days,  with  brighter  skies,  had  come.  Set- 
tled into  the  routine,  Caruso  found  happiness  in  the 
companionship  of  his  younger  son,  Enrico  Jr.,  Mimmi. 
From  Italy  the  boy  had  been  brought  to  London 
by  his  governess,  Miss  Louise  Saer ;  and  established 
in  a  house  in  Ealing  (from  which  the  singer  later 
moved  to  Claringdon  Courts,  in  Maida  Vale)  Caruso 
devoted  considerable  attention  to  the  child  he  loved. 
They  had  barely  gotten  comfortably  settled  in  Ealing 
before  a  gift  arrived  from  the  Duke  and  Duchesse 
of  Vendome  (the  latter  having  been  the  Princess 
Henriette  of  Belgium),  accompanied  by  the  follow- 
ing letter,  signed  by  E.  de  Cartier,  Counsellor  of 
the  Belgium  Legation  at  London.  It  read : 


240  ENRICO    CARUSO 

At  the  request  of  H.  E.  Leghait,  Minister  of 
Belgium  in  Paris,  I  have  the  honour  to  present  to 
you  —  enclosed  herewith  —  a  cigarette  case  which 
Their  Highnesses  the  Duke  and  Duchesse  of  Vendome 
request  you  to  accept  as  a  souvenir  of  the  concert 
you  gave  at  the  Trocadero  in  Paris,  recently,  in  favor 
of  the  Belgian  Charities  in  France.  At  the  same 
time  M.  Leghait  requests  me  to  convey  to  you  his 
thanks,  all  over  again,  for  your  generous  cooperation, 
and  his  gratitude  for  the  wonderful  performance 
which  will  leave  a  memory  with  all  who  had  the 
pleasure  and  good  fortune  to  hear  you  sing. 

The  world  was  getting  right  again;  Caruso  re- 
laxed and  began  to  play  more.  Miss  Saer,  writing 
of  those  and  later  days,  observes: 

"Signer  Caruso  loved  his  children,  and  was  very 
ambitious  for  them.  He  would  often  ask  the  boys 
what  they  intended  to  do  when  they  were  old  enough 
to  earn  for  themselves  ;  and  he  instilled  into  them  the 
necessity  of  having  to  work  in  order  to  live. 

"The  first  time  the  younger  boy  was  left  in  the 
charge  of  his  governess,  and  Signer  Caruso  was  say- 
ing good-by,  the  child  said :  'Where  are  you  going, 
Papa?'  The  father  replied,  'I  am  going  to  work, 
so  you  can  get  food  to  eat  and  clothes  to  wear.'  Later 
on,  when  the  child  (then  four  years  old)  was  asked 
where  his  father  had  gone  he  answered,  'He  has 
gone  to  get  the  dinner/ 

"This  little  boy  was  happy  as  the  day  was  long, 
and  as  a  rule  was  always  laughing,  talking,  singing, 
and  playing  with  his  toys  .  .  .  especially  soldiers. 
Photographs,  taken  from  time  to  time,  would  be 
sent  to  his  father  to  enable  him  to  see  how  Mimmi 
progressed.  On  one  occasion  a  snapshot  having 
been  taken  on  the  sands  which  showed  the  boy  in 


ESTABLISHED  241 

a  serious  mood,  the  governess  thought  it  would  be 
well  for  the  father  to  see  him  in  this  unusual  pose. 
To  her  surprise  a  telegram  arrived,  stating  that  he 
did  not  like  the  expression,  and  would  come  to  cheer 
his  boy  up. 

"At  another  time,  a  telegram  was  received  asking 
if  the  child  were  well.  It  seems  that  Signer  Caruso 
had  had  a  bad  dream  about  Mimmi  which  he  could 
not  get  out  of  his  mind.  Nothing,  however,  was 
wrong  with  the  boy. 

"These  incidents  show  that  Signer  Caruso  was, 
whenever  possible,  very  solicitous  for  the  welfare  of 
his  children ;  and  it  was  unfortunate  for  both  father 
and  children  that  they  could  not  be  —  owing  to 
Signer  Caruso's  art  and  engagements  —  together 
more  than  they  were.  For  each  would  have  had 
a  beneficial  effect  on  the  other. 

"Sometimes,  when  Signor  Caruso  heard  Mimmi 
being  corrected,  he  would  exclaim,  *  Yes,  yes ;  I 
want  you  to  be  a  good  boy  .  .  .  not  a  bad  boy,  as 
I  was/ 

"  He  would,  too,  be  very  interested  in  any  new 
clothes  that  Mimmi  would  show  him ;  and  during 
Signor  Caruso's  holidays  the  governess  has  known 
him,  in  the  case  of  the  elder  boy  who  was  in  boarding 
school,  to  go  out  and  buy  him  clothing,  with  great 
discrimination. 

"When  Signor  Caruso  used  to  sing  in  Covent 
Garden,  he  liked  Mimmi  to  go  to  hear  him.  Always, 
in  acknowledging  the  most  vociferous  applause,  he 
would  not  forget  the  box  where  he  knew  his  child 
was,  but  would  smile  and  throw  many  kisses  to 
him. 

"  The  governess,  too,  will  not  forget  the  look  of 
extreme  approbation  with  which  he  looked  upon 
Mimmi  in  his  first  evening  suit,  when  he  was  seven 
years  old. 


242  ENRICO    CARUSO 

"As  an  employer,  Signer  Caruso  exhibited  keen 
business  traits.  He  would  exact  a  full  day's  work 
for  a  fair  day's  pay ;  but,  at  the  same  time,  he  wished 
his  employe  to  look  upon  him  as  a  friend  as  well  as 
an  employer.  When  one  member  of  his  household 
had  outgrown  her  position  and  asked  him  for  a  rec- 
ommendation, Signor  Caruso  said,  'It  will  be  a 
pleasure  for  me  to  give  you  a  reference,  and  I  want 
you  always  to  look  upon  me  —  not  as  Caruso,  but 
as  a  friend.  Should  you  need  help  at  any  time  be 
sure  to  write  and  tell  me  so.  And  I  want  a  reference 
from  you,  too.' 

"  The  governess  remembers  one  occasion  when, 
leaving  Pagani's  restaurant  in  London,  after  lunch, 
Signor  Caruso  caught  sight  of  Queen  Alexandra 
passing. 

"  With  wild  enthusiasm  he  led  a  cheer.  The  queen 
looked  up,  and  recognizing  him  at  once  cried,  'Oh! 
that  is  Caruso.'  The  crowd  heard,  and  turning  to 
the  great  man  raised  another  cheer,  and  the  shouts 
for  the  queen  and  the  shouts  for  the  singer  became 
intermingled. 

"  Signor  Caruso  was  fond  of  telling  what  Mr.  Mc- 
Cormack's  little  boy  once  said  to  him,  during  one 
of  their  return  voyages  from  America.  The  child 
seeing  Signor  Caruso  for  the  first  time,  eyed  him 
from  head  to  foot,  and  then  said,  'Well,  you  may  be 
the  greatest  Italian  singer,  but  my  father  is  the  great- 
est Irish  singer." 

In  the  midst  of  his  activities  Caruso  was  the 
constant  recipient  of  letters  from  personages.  The 
pleasure  he  gave  seemed  to  have  in  it  very  great  use- 
fulness, and  recognition  was  being  steadily  shown. 
After  a  concert  given  in  London  that  July,  for  the 
Italian  Charities  Association,  the  then  ambassador, 


THE  GRAND, 

FOLKESTONE. 


V*14M* 


AFTER  HEARING   HIS   OWN    "iDEALE,      RECORDED   BY   CARUSO, 
"CICCIO"    TOSTI   GIVES   THE    TENOR  HIS   APPRECIATION 

Saturday,  8  Feb.  :  08 
Dearest  friend, 

I  spent  a  good  half-hour,  today,  in  listening  to  you  sing,  three  times.  "Ideale." 
It  is  the  first  time  that  I  have  loved  the  gramophone. 
Affections. 

Yours 

Ciccio. 
Will  be  in  London  on  Monday. 


ESTABLISHED  243 

Di  San  Giuliano,  thanked  the  tenor  in  a  written 
communication.  It  was  at  about  this  time  that  the 
King  of  England  conferred  upon  Caruso  the  order 
of  M.V.O.  Charged  by  Lord  Farquhar  to  present 
the  decoration  to  his  compatriot,  the  composer, 
Francesco  Paolo  Tosti,  called  on  the  tenor.  Finding 
him  not  at  home,  he  left  the  following  letter ; 

"Carissimo  —  Sorry  not  to  find  you  in.  Here 
is  the  Victorian  Order  that  I  was  asked  to  take  to 
you.  Please  do  write  me  at  once  assuring  me  that 
you  have  received  it.  And  do  please  write  another 
letter,  in  the  official  style  (you  can  write  it  in  French) 
to  Lord  Farquhar,  asking  him  to  thank  the  King 
for  the  great  honor  he  has  bestowed  on  you." 

It  was  signed,"  Affectionately  yours,  Ciccio  Tosti." 

But  the  letter  the  singer  prized,  in  some  ways, 
above  many  he  received  at  this  time,  was  one  from 
Edouard  de  Reszke.  The  basso,  and  also  his  brother 
Jean,  had  visited  Caruso  in  his  Covent  Garden  dress- 
ing room  on  more  than  one  occasion ;  but  the  first 
had  always  left  the  deepest  impression,  when  Jean 
de  Reszke  had  turned  to  Edouard,  saying,  "This 
boy  will  one  day  be  my  successor/'  On  July  16, 
1907,  Edouard  de  Reszke  sent  the  tenor  the  following 
letter : 

Dear  Caruso : 

I  am  so  sorry  I  could  not  manage  to  come  and  bid 
you  good-by  before  leaving  London,  and  tell  you  again, 
viva-voce,  all  the  pleasure  I  had  from  hearing  you 
sing.  I  never  heard  a  more  beautiful  voice.  .  .  . 
You  sing  like  a  god.  You  are  an  actor  and  a  sincere 
artist,  and  above  all  you  are  modest  and  without 


244  ENRICO    CARUSO 

exaggerations.  You  were  able  to  draw  from  my  eyes 
many  tears.  I  was  very  much  touched,  and  this 
happens  to  me  very,  very  seldom.  You  have  heart, 
feeling,  poetry,  truth  .  .  .  and  with  these  qualities 
you  will  be  the  master  of  the  world. 

Please  do  accept  these  few  words  from  an  old  artist 
who  admires  you  not  only  as  an  artist,  but  as  a  very 
dear  man.  May  God  keep  you  in  good  health  for 
many  years.  Au  revoir,  until  next  year. 

Your  friend  and  colleague, 

Edouard  de  Reszke. 


CHAPTER  EIGHT 

TRYING  DAYS 

AN  orderly  and  somewhat  set  procedure  was  begin- 
ning to  dominate  the  life  of  Enrico  Caruso.  It  re- 
flected variety  enough,  and  a  host  of  interests  due 
to  the  meeting  of  new  and  important  people ;  but 
the  tenor's  professional  movements  from  place  to 
place  were  beginning  to  take  him  to  stages  which 
were  familiar  ground.  There  was  something  reassur- 
ing in  the  consciousness  that  an  audience  would  be 
made  up  mainly  of  old  acquaintances ;  something 
to  be  looked  forward  to  in  meetings  thus  renewed. 
Yet  for  all  the  pleasurable  part  which  anticipation 
held,  no  one  knew  better  than  Caruso  what  was  ex- 
pected of  him.  He  was  popular  because  of  his  voice 
and  artistry ;  he  would  continue  thus  only  so  long 
as  nothing  occurred  to  dim  either  the  one  or  the 
other;  so  the  thought  of  each  reappearance,  for  all 
the  thrill  a  reappearance  gave,  was  disturbing  to  his 
nerves.  Once  the  ice  of  a  performance  was  broken 
this  tenseness  passed,  and  the  tenor  became  his 
best  self,  singing  with  spontaneity  and  that  individual 
abandonment  of  style  which  were  conspicuously  his. 

He  left  Italy  in  late  September  of  1907  for  Budapest 
where,  the  evening  of  October  2,  he  appeared  in  the 
Royal  Opera  House  in  "Ai'da."  Two  nights  later, 
in  Vienna,  Caruso  sang  in  the  same  opera ;  and 


246  ENRICO    CARUSO 

"Boheme"  and  "Rigoletto"  following  on  the  sixth, 
ninth,  and  eleventh  of  that  month.  From  Vienna 
the  singer  journeyed  to  Leipzig,  where  the  public 
of  that  city  listened  to  him  in  the  "  Ai'da  "  of  Verdi. 
His  vocal  condition  was  excellent,  and  that  alone  was 
sufficient  to  insure  success  to  his  efforts.  Confidence 
having  been  established  through  actual  accomplish- 
ment, Caruso  put  still  more  spirit  into  his  work.  In 
Hamburg,  on  October  sixteen,  eighteen,  and  twenty, 
he  appeared  in  "Rigoletto", " Ai'da ",  and  " Pagliacci" 
with  a  degree  of  success  that  carried  him  to  Berlin  in 
a  mood  that  augured  well  for  the  four  appearances 
he  was  scheduled  to  make  there  between  October  23 
and  29.  It  is  difficult  to  state  in  which  of  the  two 
operas  —  "  Ai'da  "  and  "  Pagliacci "  -  the  public  liked 
him  better.  When  he  finished  his  tour  in  Frankfurt, 
four  days  later,  after  having  sung  in  "Pagliacci'* 
and  "Rigoletto",  there  was  little  doubt  that  he  was 
likely  to  experience  in  New  York  his  most  satisfactory 
season.  For  that  city  he  sailed  almost  immediately 
from  Bremen ;  and  he  took  with  him  two  thousand 
dollars  for  every  appearance.  Although  the  arrange- 
ments had  been  made  by  the  Metropolitan  Opera 
Company  management,  each  cachet  was  credited 
under  the  terms  for  the  1907-1908  season,  which 
provided  that  the  tenor  was  to  receive  two  thousand 
dollars  whenever  he  sang. 

New  York  welcomed  its  premier  artist  warmly.  He 
was  interviewed  by  the  men  of  the  press,  who  crowded 
about  him  when  he  came  off  the  ship.  This  business 
disposed  of,  Caruso  was  driven  to  the  Plaza  Hotel ; 
once  more  had  he  changed  his  living  place.  It  is 


Photo  M.  E.  HewUt  Studio,  N.  Y. 

MARBLE    BAS-RELIEF,    BY    THE    MASTER     OF    THE    MARBLE    MADONNAS, 
XV.    CENTURY,    IN   THE   CARUSO   COLLECTION 

Now  in  the  Caruso  Chapel  at  the  Cimitero  del  Pianto,  in  Naples. 


TRYING   DAYS  247 

strange,  in  the  light  of  his  intense  superstition, 
that  he  should  have  agreed  to  being  lodged  in  a 
suite  on  the  thirteenth  floor.  But  he  was  soon 
moved  to  rooms  1123,  1125,  1127,  1129. 

Those  who  had  been  accustomed  to  Caruso  with  a 
moustache  beheld  him  at  that  time  clean-shaven. 
And  observant  persons  must  have  noticed  about  him 
a  more  serious  manner  than  he  had  habitually  shown 
before.  For  it  is  of  record  that  1907  brought  the 
tenor  back  to  the  United  States  with  a  consciousness 
of  his  opportunities,  which  he  had  decided  not  to 
neglect. 

Already  interested  in  collecting  objets  d'art,  he 
began,  at  this  period  of  his  life,  to  devote  more  time 
and  attention  to  acquiring  new  pieces.  An  artist 
by  nature,  he  built  up  his  collection  as  one  will  who 
does  so  because  of  sheer  love  of  it.  Still,  his  enjoy- 
ment did  not  cease  when  he  had  made  some  new 
purchase.  The  singer  spent  a  part  of  each  day  with 
those  pieces  of  art  he  had  about  him ;  and  in  this  he 
found  a  special  pleasure. 

Caruso  began  by  buying  a  gold  coin  of  Arsinoe  II. 
From  this  small  beginning,  about  1906,  he  was 
prompted  to  purchase  other  coins  until,  at  the  time 
of  his  death,  he  owned  nearly  two  thousand  different 
gold  coins  of  all  countries,  and  of  dates  that  ranged 
from  the  fifth  century  B.C.  to  modern  times.  But 
the  plastic  arts  interested  him  most ;  and  often,  in 
his  visits  to  museums  of  art,  he  would  stand  before 
some  specimen  impossible  for  him  to  attain,  gazing 
admiringly  yet  regretfully  at  what  he  would  have  liked 
to  own.  He  had  been  particularly  drawn  to  the 


248  ENRICO    CARUSO 

J.  Pierpont  Morgan  Collection  in  the  New  York 
Metropolitan  Museum  of  Art ;  and  later,  when  that 
collection  was  broken,  came  the  chance  to  secure 
a  part  of  the  bronzes  and  enamels. 

Among  these  purchases  were  ten  pieces  of  Limoges 
enamel,  containing  a  plaquette  by  Nardon  Penicaud 
—  "  The  Adoration  of  the  Magi."  Two  other  plaques 
which  the  artist  prized  highly  were  by  Pierre 
Raymond,  and  represented  "The  Entombment"  and 
" The  Descent  from  the  Cross."  He  also  secured  from 
what  had  been  the  Morgan  Collection  a  small  mortar 
(Venetian,  XVI  Century) ;  a  door  knocker  (Venetian, 
XVI  Century) ;  a  large  mortar  (Venetian,  XVI 
Century) ;  a  pair  of  candlesticks  by  Alessandro 
Vittorio ;  the  figure  of  a  bear,  by  Riccio  ;  a  Hercules, 
after  Bertoldo ;  a  horse  (Paduan  work,  XVI  Cen- 
tury) ;  an  equestrian  figure  (North  Italian,  XVI  Cen- 
tury) ;  and  three  lamps  by  Riccio. 

In  the  Caruso  Collection  of  pottery  —  which 
numbers  some  three  hundred  pieces  —  were  objects 
dating  back  to  1000  B.C.  and  continuing  on  to 
the  XVI  Century,  —  specimens  from  Egypt,  Greece, 
Rome,  Rhages,  Rakka,  Sultanabad,  Damascus,  and 
Rhodes.  He  loved  each  one  of  them,  and  knew  their 
respective  histories. 

Of  small  vases  and  plates  in  glass,  the  singer  gath- 
ered in  the  course  of  his  travels  some  four  hundred 
pieces.  Some  were  of  Egyptian  periods,  some  of 
Greek,  and  others  of  Roman.  Not  a  few  were  of 
rare  iridescence  and  colorings ;  and  these  the  tenor 
was  fond  of  turning  over  and  over,  commenting  upon 
their  beauties  —  if  a  friend  happened  near.  These 


TRYING   DAYS  249 

glasses  were  designed  for  toilet  purposes,  appreciated 
in  ancient  times  to  such  extent  that  they  often  were 
placed  upon  the  tombs  of  the  owners  when  they  died, 

—  a  practice  which  accounted  for  the  excellent  pres- 
ervation of  such  fragile  pieces. 

While  bas-reliefs  interested  Caruso  he  had  only 
a  few ;  but  each  was  very  fine.  One  was  by  Tullio 
Lombardi,  dated  1526;  another  was  a  relief  of  the 
Quattrocento,  by  the  Master  of  the  Marble  Madonnas, 
and  this  work  so  appealed  to  the  singer  that  his 
family,  knowing  of  his  sentiment  for  it,  has  caused 
it  to  be  placed  on  the  altar  of  his  chapel. 

Perhaps  one  of  the  most  unique  parts  of  Caruso's 
objets  d'art  consist  of  about  twenty-five  enameled 
gold  boxes  and  fifty  gold  watches,  of  the  XVIII  Cen- 
tury. Some  of  these  boxes  were  acquired  from  the 
Alfred  Rothschild  Collection,  Paris.  They  are  beau- 
tifully enameled,  and  regarded  as  chefs-d'oeuvre  of 
French  gold-smithing.  It  was  the  tenor's  wish  that 
this  collection  should  always  be  kept  intact,  and 
so  his  heirs  have  arranged  that  it  be  made  a  special 
bequest  to  Gloria  Caruso. 

In  the  Villa  Bellosguardo,  at  Signa,  the  entire 
furniture  appointments  (excepting  one  bedroom, 
which  contained  eight  original  French  pieces  of  the 
period  of  Francois  I)  are  of  XVI  Century  Italian. 
There  is  also  a  XVII  Century  chapel,  with  a  large 
Presepio  which  consists  of  about  five  hundred  figures 

—  personages,  animals,  et  cetera  —  each  one  in  wood, 
sculptured  by  distinguished  artists  of  South  Italy  of 
the    XVII    Century   among    them    San     Martino, 
Vaccari,  Mosca,  and  others. 


250  ENRICO    CARUSO 

Nor  does  the  Caruso  Collection  stop  here.  It 
includes  paintings,  as  well  as  other  works  of  art  which 
need  not  be  detailed,  and  old  velvets,  embroideries, 
and  other  textiles,  —  two  of  which  are  a  dalmatic 
and  a  chasuble,  both  regarded  as  fine  examples  of 
XVI  Century  English  embroidery. 

It  is  difficult  to  determine  the  sum  Caruso  had  in- 
vested in  his  art  collection.  Estimates  place  the 
amount,  conservatively,  at  $500,000 ;  but  the  belief 
exists  that,  if  it  were  offered  for  sale,  it  would  bring 
a  still  larger  sum.  The  tenor  was  a  wise  purchaser. 
He  knew  art  and  its  value  ;  and  while  he  undoubtedly 
paid  good  prices  for  many  pieces,  it  is  a  fact  that  he 
occasionally  picked  up  a  bargain,  and  was  elated 
in  knowing  that  he  had.  One  such  was  a  bronze 
plaquette  by  Tullio  Lombardi,  a  Venetian  artist 
of  the  XV  Century,  which  the  singer  found  in  a 
London  bric-a-brac  shop.  Whether  the  dealer  was 
unwary,  it  is  a  fact  that  Caruso  bought  it  for  ten 
shillings.  Its  true  value  was  about  $500,  and  when 
the  tenor  learned  of  this,  he  was  wildly  delighted. 

Although  scarcely  in  the  same  category,  the  stamp 
collection  Caruso  made  was  by  no  means  insignificant. 
He  had  many  books  in  which,  with  his  own  hands, 
he  had  pasted  rare  stamps  of  almost  every  country. 
Burrowing  for  something  out  of  the  ordinary  fas- 
cinated him ;  and  the  more  circuitous  the  course, 
the  more,  apparently,  did  he  enjoy  it.  For  he  was 
your  true  collector.  To  commission  another  to 
gather  something  rare  —  unless  it  chanced  to  be  a 
piece  of  art  or  some  stamp  he  particularly  wanted  - 
deprived  him  of  the  enjoyment  of  both  acquisition  and 


Photo  M.  E.  Hewitt  Studio. 

EIGHTEENTH   CENTURY   GOLD    WATCHES,    ENAMELED   AND   JEWELED, 
IN   THE   CARUSO   COLLECTION 

Gift  of  Signori  E.  and  A.  Canessa  to  Caruso,  on  the  occasion  of  his  Twenty-Fifth 
Operatic  Anniversary. 


TRYING    DAYS  251 

possession.  So  he  browsed  among  antique  shops, 
and  into  out-of-the-way  spots  as  well,  looking  for 
the  unusual.  Occasionally  he  was  rewarded  in  find- 
ing what  he  believed  would  fit  in  the  collection  he 
gradually  was  building.  But  art  for  its  own  sake 
he  appreciated.  The  time  he  spent  in  the  galleries 
and  museums  would  seem  proof  of  that.  And 
November,  1907,  found  him  turning  with  increasing 
fervor  into  a  channel  that  was  to  enrich  his  artistic 
sensibilities  and  serve  as  an  aid  in  developing  that 
side  of  him  which  made  his  later  character  inter- 
pretations achievements  to  be  remembered. 

II 

A  fortune  was  earned  by  Caruso  during  that  1907- 
1908  season.  Fifteen  autumn  appearances  in  Europe, 
sixty-eight  in  operas  presented  in  the  United  States, 
two  New  York  musicales,  and  seven  concerts  (which 
comprised  the  tenor's  first  American  tour  outside  of 
opera)  netted  him  $187,500,  since  for  his  out-of-town 
concert  engagements  he  had  received  $2500  each. 
The  new  world  was  assuredly  an  El  Dorado  for  this 
Neapolitan  who,  scarcely  ten  years  earlier,  had  had 
to  struggle  for  opportunities  to  sing  at  barely  a 
living  wage. 

The  record,  from  an  endurance  standpoint,  stands 
forth  as  unique.  Indisposition  did  not  once  interfere 
with  the  filling  of  an  announced  engagement.  From 
November  18,  when  Caruso  made  his  reappearance 
in  "Adriana  Lecouvrer"  at  the  opening  of  the  Met- 
ropolitan season,  until  May  18,  when  the  final  con- 


252  ENRICO    CARUSO 

cert  was  sung,  the  tenor  appeared  on  seventy-seven 
occasions. 

Mme.  Lina  Cavalieri  and  Antonio  Scotti  were 
associates  in  the  cast  which  sang  during  the  first 
presentation  of  "Adriana  Lecouvrer"  in  the  United 
States.  The  opera  caused  no  special  enthusiasm, 
and  it  was  given  on  only  two  subsequent  occasions. 
More  interest  was  displayed  in  the  "Iris",  which 
Caruso  added  to  his  Metropolitan  repertoire  on 
December  6  of  that  year,  singing  with  Mme.  Emma 
Eames.  February  26  was  an  eventful  date,  because 
it  brought  the  singer  forward  in  "II  Trovatore",  an 
opera  which  makes  vigorous  demands  upon  the  tenor. 
The  resistance  and  dramatic  fiber  of  Caruso's  voice, 
as  shown  in  his  Manrico,  indicated  clearly  the  way 
his  career  was  pointing.  It  was  predicted  that  he 
would  drift  more  and  more  towards  heroic  roles, 
despite  his  eminent  fitness  for  those  of  lyric  character. 

Experts  who  felt  that  Caruso  was  a  tenor  of  pure 
lyric  type  regretted  seeing  him  yield  to  those  robust 
tendencies  which  he  was  beginning  to  disclose,  even 
in  music  which  needed  no  pronounced  dramatic 
emphasis.  Others  —  realizing  the  growth  of  the 
singer's  art  and  visualizing  its  promise  —  admired 
the  readiness  with  which  he  was  seizing  new  and  larger 
opportunities.  For  it  is  true  that  a  wider  range 
of  expressiveness,  histrionically  as  well  as  vocally, 
offers  in  characters  of  large  mold. 

Metropolitan  patrons  listened  to  Caruso  in 
"Faust",  "Manon  Lescaut",  "Tosca",  "Madama 
Butterfly",  "Pagliacci",  Puccini's  "Boheme", 
"Fedora",  and  "Ai'da."  What  tenor  could  have 


TRYING   DAYS  253 

sung,  with  such  consistency  and  satisfaction  to  his 
hearers,  so  many  roles  of  markedly  different  qualities  ? 
And  who  can  forget  the  enthusiasm  he  caused  in 
"  Boheme  ",  with  Miss  Geraldine  Farrar,  who  was  then 
at  the  height  of  her  powers  ? 

That  season  served  to  cement  the  ties  between  the 
United  States  public  and  Enrico  Caruso.  He  had 
gotten  his  bearings ;  his  popularity  exceeded  that 
of  any  artist  within  the  recollection  of  the  oldest 
inhabitant,  excepting,  possibly,  in  the  opinion  of 
some,  Jean  de  Reszke.  But  the  pertinent  fact, 
which  was  highly  gratifying  to  the  Metropolitan 
Opera  Company  board  of  directors,  was  the  con- 
tentedness  of  this  superlatively  useful  tenor.  It 
mattered  little  if  the  devotees  of  De  Reszke  declared, 
as  was  their  frequent  wont,  the  supremacy  of  their 
departed  idol ;  Caruso  was  there ;  vocally  he  was 
the  unquestioned  superior  of  his  Polish  predecessor ; 
and  if  in  finish  of  art  and  aristocracy  he  lagged  be- 
hind the  De  Reszke  standards,  he  was  a  magnet 
needed  to  hold  the  interest  of  the  people.  All  in  all, 
it  is  questionable  if  these  directors  would  have  ex- 
changed the  Caruso  of  that  season  for  the  De  Reszke 
of  a  decade  before,  which  had  crowned  him  as  first 
of  all  tenors.  As  for  the  masses  (and  quite  possibly 
the  majority  of  discriminating,  and  unprejudiced 
auditors)  Caruso  would  have  been  preferable  to 
that  rival  whose  traditions  he  was  forced  constantly 
to  meet.  For  his  vocal  and  inherent  singing  gifts 
appear  to  have  been  manifestly  the  superior. 

As  in  other  seasons,  the  Metropolitan  made  a  brief 
tour  after  its  New  York  farewell  performance  of 


254  ENRICO   CARUSO 

April  4,  when  "II  Trovatore"  was  given,  with  Mme. 
Rita  Fornia,  Mme.  Homer,  and  Riccardo  Stracciari 
in  the  cast.  Three  appearances  in  Boston,  two  in 
Baltimore,  one  in  Washington,  three  in  Chicago, 
and  two  in  Pittsburgh  brought  the  tenor  to  the  be- 
ginning of  his  concert  tour.  Then  he  sang  —  and 
in  most  of  the  cities  for  the  first  time  —  in  Columbus, 
Toronto,  Detroit,  Buffalo,  Cleveland,  Rochester,  and 
Montreal. 

The  tour  had  been  arranged  by  the  Wolfsohn 
Musical  Bureau,  the  assisting  artists  being  Miss  Julia 
Allen,  soprano ;  Miss  Margaret  Keyes,  mezzo- 
soprano  ;  Henri  Scott,  basso,  and  a  youthful  violinist, 
"Sammy"  (since  become  Sergei)  Kotlarsky. 

Profitable  though  he  found  such  efforts,  and  much 
as  he  was  sought  by  communities  willing  to  pay 
almost  any  price  to  get  him,  Caruso  disliked  to  ap- 
pear on  the  concert  platform.  He  asserted  frankly 
that  it  was  not  his  metier ;  and  he  was  never  wholly 
comfortable  before  an  audience  outside  a  perfor- 
mance of  opera.  He  was  intensely  nervous  before 
his  first  aria.  And,  always,  he  used  music.  Asked 
why  he  did  so,  when  he  sang  the  airs  in  opera  from 
memory,  he  said,  "  I  feel  more  secure,  and  I  always 
read  both  the  words  and  the  notes.  On  the  stage 
I  have  the  prompter  to  rely  on,  which  reassures 
me ;  in  concert,  if  I  were  to  forget  the  text  or  the 
music,  I  would  be  lost  without  the  music." 

On  May  21,  1908,  aboard  the  Kaiserin  Augusta 
Victoria,  Caruso  sailed  for  Europe.  His  party  con- 
sisted of  himself,  Maestro  Tullio  Voghera,  his  accom- 
panist, his  valet  Martino,  and  Father  Tonello,  an 


TRYING    DAYS  255 

old  and  valued  friend.  "The  day  before  we  sailed," 
relates  Father  Tonello,  "Caruso  gave  me  the  itinerary 
of  our  trip.  'We  go  first  to  London,  where  I  am  to 
sing  at  Albert  Hall  for  a  benefit  concert  under  the 
patronage  of  the  King  and  Queen  of  England.  Two 
weeks  later  we  will  leave  for  Paris,  where  I  am  to 
appear  in  "Rigoletto"  for  the  poor  artists  and  com- 
posers. Then  we  will  travel  directly  to  Naples,  to 
see  my  father.  He  is  sick,  and  I  wish  to  go  to  his 
bedside  before  going  on  to  Florence/ 

"I  was  pleased  to  learn  of  Caruso's  affection  for 
his  aged  parent,  and  surprised  also,  because  he  had 
told  me  on  several  occasions  that  his  father  had 
always  objected  to  his  musical  career,  and  some- 
times had  treated  him  harshly.  Had  Marcellino 
Caruso  had  his  way,  Enrico  would  perhaps  never  have 
gotten  farther  than  a  clerkship. 

"Caruso  ate  in  the  ship's  Ritz  restaurant,  some- 
times with  Maestro  Voghera,  sometimes  with  me. 
The  first  three  days  out  were  uneventful.  Sunday, 
the  24th  of  May,  was  a  glorious  day,  one  of  the  most 
perfect  I  have  ever  known  while  at  sea.  Caruso 
was  particularly  happy,  and  he  insisted  that  Voghera 
and  I  dine  with  him  in  the  Ritz  restaurant.  While 
I  was  in  the  ship's  barber  shop  a  wireless  message 
was  brought  me.  It  read,  'Prepare  Caruso  for  the 
sad  news  of  his  father's  death.'  I  scarcely  knew  what 
to  do.  When  I  reached  the  promenade  deck  Caruso 
greeted  me  with  the  words,  'You  must  be  a  great 
man.  Several  millionaires  are  on  this  boat,  and 
some  other  distinguished  people,  yet  you  are  the  one 
person  who  has  received  a  wireless  to-day.'  Ob- 


256  ENRICO    CARUSO 

serving  my  seriousness,  Caruso  continued  to  tease  me. 
We  dined.  Immediately  afterward  I  conferred  with 
the  captain  of  the  ship  —  a  particular  friend  of  the 
singer  —  and  with  Voghera  and  Martino.  We  de- 
cided that  I  should  convey  the  sad  news  to  Caruso 
just  before  he  retired. 

"It  was  midnight  when  the  tenor  went  to  his 
stateroom.  He  was  in  high  humor,  and  remarked 
that  he  had  had  'lots  of  fun'  and  was  ' looking  for- 
ward to  reaching  London  in  four  days  more.  Then 
Paris,  and  —  Naples/ 

"  I  trembled  at  having  to  begin. 

"'By  the  way/  I  said,  'when  we  sailed  you  received 
a  quantity  of  letters  and  cablegrams ;  did  you,  by 
any  chance,  receive  any  information  about  your 
father's  health?' 

"He  looked  into  my  eyes,  searchingly;  then  in 
a  voice  which  betrayed  his  anxiety  he  observed,  'I 
see  now  that  the  wireless  you  received  this  morning 
was  about  my  father.  Let  me  see  it/ 

"When  he  had  read  it  he  collapsed,  and  in  a  voice 
choked  with  sobs  he  began  to  cry  out  to  his  father  — 
as  though  he  were  actually  present.  Hours  passed 
before  he  could  be  induced  to  go  to  bed.  But  he 
arose  at  five  o'clock  the  next  morning  and  wrote  out 
six  wireless  messages  :  one  to  his  stepmother,  two  to 
Tosti  and  to  Gabriel  Astruc,  asking  that  his  engage- 
ments be  canceled,  and  others  to  Camille  Saint-Saens, 
the  composer,  and  other  intimate  friends,  acquainting 
them  with  the  news  and  expressing  his  misery.  The 
message  to  Maria  Castaldi  Caruso  read:  'Learn 
middle  ocean  death  adored  father.  Am  desperate, 


TRYING    DAYS  257 

desolate,  heart-broken.  Am  near  you,  dividing 
sorrow.  Hope  having  paid  all  ritual  homages  his 
memory  as  he  deserved.  Embrace  you  weepingly.' 

"We  arrived  at  Plymouth  on  Thursday  night,  May 
28,"  continued  Father  Tonello.  "The  following 
day  we  went  to  Mount  Avenue  House,  Ealing,  near 
London.  Tosti  was  there  to  greet  and  comfort 
Caruso ;  also  to  inform  him  that  despite  his  bereave- 
ment he  must  try  to  meet  his  engagement  at  Albert 
Hall,  since  the  house  had  been  completely  sold  out." 

The  situation  was  one  doubly  trying  to  the  soul 
of  the  singer,  for  he  was  saddened  by  another  blow, 
which  followed  that  caused  by  the  death  of  his  father. 
The  woman  he  loved,  and  who  had  borne  his  two 
children,  had  left  his  house.  He  could  not  at  once 
bring  himself  to  credit  the  circumstances  which  took 
Ada  Giachetti  out  of  his  life  ;  but  facts  were  not  long 
to  be  disputed.  Perhaps,  at  another  time,  the  shock 
would  have  been  less  difficult  to  bear.  Coming  at 
that  time,  it  was  a  loss  magnified ;  and  the  singer 
needed  the  friends  who  stood  loyally  at  his  side. 

Father  Tonello  describes  the  situation. 

"Well,"  said  Tosti,  "what  shall  I  announce  in 
the  program  for  to-morrow  ?" 

Caruso  looked  up  at  the  composer,  and  replied, 
"  If  I  can  sing  at  all,  it  will  be  Vesti  la  giubba,  il 
lamento  di  Canio  nei  Pagliacci." 

When  Tosti  had  departed,  the  tenor  went  "with 
great  and  fearful  hesitation"  to  the  piano  and  began 
to  vocalize.  His  voice  rang  true. 

Father  Tonello  relates  that  Cajuso  went  the 
following  afternoon  to  Albert  Hall,  his  face  revealing 


258  ENRICO    CARUSO 

the  depth  of  his  agitation.  The  tenor  sang  first 
on  the  program,  which  included  Mme.  Melba,  and 
Mario  Sammarco.  "  He  began  the  recitative  to  the 
'  Pagliacci '  aria  in  a  voice  touched  by  an  emotion 
deeper  than  any  he  had  known  before.  Yet  only 
Paolo  Tosti  and  one  other  friend,  who  were  of  the 
thousands  which  thronged  the  auditorium,  realized 
what  Caruso  was  experiencing  during  those  moments. 
He  sang  the  lament  with  a  pathos  and  passion  I  had 
never  heard  him  put  into  the  aria  before.  It  was  not 
to  be  wondered  at  that  the  people  went  mad.  If  they 
could  only  have  known !  All  they  saw,  as  they  ap- 
plauded frantically,  was  a  man,  with  face  unnaturally 
pale,  who  came  again  and  again  before  them. " 

III 

On  June  7,  while  the  tenor  was  still  in  London,  he 
received  from  Gaston  Calmette,  then  editor  of  Paris 
Le  Figaro,  the  following  letter : 

Dear  Friend : 

I  could  not  get  your  address  in  London  until  now 
although  I  wished  to  be  the  first  to  welcome  you  back 
to  Europe.  You  are  coming  to  Paris  to  add  new 
laurels  to  those  without  number  which  you  already 
have.  I  will  be  in  the  first  row  to  acclaim  you,  and 
my  Figaro  will  be  happy  to  send  throughout  the 
world,  to  the  throng  of  your  admirers,  the  news  of 
your  fresh  conquest  in  Paris.  Bravo  !  Bravo  ! 

This  communication  was  one  of  several  Caruso 
received  at  the  time  which  helped  steady  him  in  the 
sorrow  that  caused  his  shoulders  to  droop.  After 
he  had  read  what  Gabriel  Astruc  had  to  say  the 
tenor  wrote  him : 


TRYING    DAYS  259 

My  dear  Gabriel : 

Your  telegram  touched  me  very  much.  Please 
express  my  heartiest  thanks  to  the  beloved  Victorien 
Sardou,  Camille  Saint-Saens,  and  Jules  Massenet. 
In  my  deep  sorrow  I  do  not  forget  what  I  must  do  to 
alleviate  the  sorrow  of  others.  You  can  announce 
that  I  will  sing  —  as  I  promised  —  for  the  benefit 
performance  of  the  Disabled  Artists  House. 

And  on  June  u,  1908,  Caruso  appeared  for  the 
first  time  in  the  Opera  of  Paris,  in  "Rigoletto", 
under  the  baton  of  Tullio  Serafin.  Mme.  Melba  was 
the  Gilda,  and  Maurice  Renaud  the  Jester.  The 
receipts  reached  one  hundred  fifty  thousand 
francs,  and  the  occasion,  attended  by  President 
Fallieres  of  France,  and  Mme.  Fallieres,  was  note- 
worthy in  a  number  of  respects.  Afterward  Caruso 
sent  his  personal  check  for  twelve  thousand  five  hun- 
dred francs  (the  amount  of  the  fee  which  it  had  been 
necessary  to  remit  to  the  Metropolitan  Opera  Com- 
pany management)  to  Paul  Hervieu,  president  of 
the  Society  of  Authors  and  Composers.  It  was 
another  piece  of  evidence  of  the  generosity  of  a 
singer  who,  his  word  once  given,  could  be  relied  on. 

But  there  was  no  happiness  that  summer  for  Enrico 
Caruso.  A  shadow  was  cast  about  his  villas,  and 
upon  his  days  —  wherever  he  went.  It  was  not  in 
his  nature  to  be  embittered,  yet  he  more  than  once 
felt  his  lips  sardonically  curving.  The  autumn  he 
welcomed,  because  it  again  brought  work.  As  before, 
he  began  his  1908-1909  season  with  a  tour  of  Ger- 
many, opening  on  October  i  in  Wiesbaden,  where 
he  sang  in  "  Rigoletto."  In  Frankfurt  Caruso  ap- 


260  ENRICO    CARUSO 

peared  in  "  La  Boheme "  and  "  Pagliacci."  The 
tenor  went  to  Bremen  for  a  single  appearance  in 
"Pagliacci";  continued  to  Hamburg,  where  the 
operas  presented  were  "Pagliacci"  and  "Boheme"; 
and  after  one  "Rigoletto"  in  Leipzig  he  concluded 
his  journey  in  Berlin,  where  on  October  20,  22,  and 
24  he  sang  in  "Pagliacci",  "Boheme",  and  "Ai'da." 
This  tour  was  under  the  direction  of  Herr  Ledner, 
who  had  been  retained  by  the  Metropolitan  Opera 
Company  management  to  make  the  arrangements. 
It  was  while  Caruso  was  in  Hamburg  that  he  re- 
ceived a  letter  from  Constant  Coquelin,  which  read  : 

My  dear  Friend : 

Through  a  good  and  sincere  friend  I  had  word 
of  your  departure.  I  had  commissioned  her  with  a 
message  to  you,  which  she  delivered.  I  was  really 
disappointed  not  to  have  had  your  answer,  as  all 
my  hope  was  in  you.  I  did  not  look  for  anything 
but  you,  and  this  year  again  passes  without  the 
Societe  des  Artistes  Dramatiques  having  had  for 
their  benefit  a  matinee. 

My  comrades  reproached  me,  and  I  took  it  all 
upon  my  shoulders,  not  wanting  to  say  I  had  had  no 
answer  from  you.  I  did  not  doubt  for  a  moment 
the  answer  I  would  have  from  your  big  heart  so  full 
of  fraternal  charity ;  and  your  kind  letter  proves 
it.  When  I  think  what  you  did  in  the  opera,  and 
for  those  authors,  I  die  of  jealousy. 

I  also  hear  through  the  same  friend  that  you  were 
preoccupied  ;  that  you  had  lost  your  charming  gayety, 
the  good  humor  of  the  man  just  glad  to  be  living ; 
that  you  were  melancholy,  and  a  little  discouraged. 
Dear  Caruso,  you  have  no  right  to  be  that ;  nothing 
in  this  world  equals  the  miracle  of  your  voice  —  of 


TRYING    DAYS  261 

your  talent  —  and  that  must  console  you  for  the  little 
discomforts  of  life,  usually  most  unjust.  In  reason- 
ing, one  must  judge  the  things  for  what  they  are 
worth  and  not  suffer  except  for  the  relative  meaning 
of  it  all. 

It  happened  to  me,  more  than  once  in  my  life, 
to  be  disappointed,  disillusioned  in  friends.  ...  I 
was  quite  cured  —  even  to  not  having  a  regret.  We 
should  only  regret  what  is  worthy  of  it.  Your 
triumphs  will  be  a  noble  distraction  for  you,  and  the 
jealousies  of  one  or  the  other  do  not  exist  when  one 
is  indisputably  the  first.  I  am  sorry  not  to  have* 
been  able  to  spend  a  few  days  with  you ;  it  would 
have  been  good  for  you  to  listen  to  a  few  of  my  ex- 
periences .  .  .  you  would  have  been  amused  at  more 
than  one,  and  have  reflected  upon  some  of  them. 

When  do  you  return  to  Europe  ?  Tell  me  first 
that  you  are  feeling  better,  and  then  we  will  talk  of 
a  big  project.  I  hope  it  will  be  before  the  month  of 
May.  Pon-aux-D antes  always  claims  your  visit ; 
there  you  are  loved  as  nowhere.  Let  me  finish  by 
telling  you  that  before  November  we  will  have  begun 
rehearsals  of  "Chantecler." 

Give  me  the  news,  Dear  Caruso.  No,  you  have 
not  lost  any  of  my  friendship,  which  is  forever  grate- 
ful to  you  and  which  wishes  you  all  the  happiness 
you  so  richly  deserve. 

Your  friend, 
Coquelin. 

Close  friends  of  Caruso,  who  were  often  with  him 
during  these  years,  assert  that  the  change  which 
became  noticeable  in  him  the  previous  season  had 
deepened  when  he  reached  New  York  in  November, 
1908.  The  loss  of  his  father,  and  the  estrangement 
between  him  and  Ada  Giachetti,  had  left  their  mark. 


262  ENRICO    CARUSO 

There  began,  then,  those  faintly  perceptible  altera- 
tions of  contour  in  the  singer's  face  ;  and  that  sleek, 
pudgy  quality  of  the  flesh  gradually  gave  way  to 
firmness.  Fortunately,  enough  demanded  Caruso's 
attention  to  occupy  most  of  his  time.  Heinrich 
Conned  had  been  succeeded  as  director  of  the  Metro- 
politan by  a  dual  control  consisting  of  Giulio  Gatti- 
Casazza,  as  general  manager,  and  Andreas  Dippel, 
as  administrative  manager ;  and  the  advent  of 
Arturo  Toscanini,  as  principal  conductor,  put  new 
color  upon  New  York's  opera.  The  tenor  was  aware 
of  the  crisis  affecting  both  his  private  and  profes- 
sional life,  and  to  meet  it  he  bent  every  effort. 

Desiring    a    new    environment,    Caruso    selected 
for  his  New  York  home  that  year  the  Knickerbocker 
Hotel.     It  appears  to  have  been  a  happy  choice, 
for  he  made  it  his  permanent  home  while  in  the 
United  States  ;  and  not  until  the  summer  of  1920  - 
when  word  reached  him  in  Havana  of  the  decision  to 
remodel  the  Knickerbocker  into  an  office  building  - 
did  he  consider  moving. 

Although  the  1908-1909  season  in  the  Metropolitan 
Opera  House  did  not  open  until  November  16,  Caruso 
sang  in  a  representation  of  "Faust"  which  the  com- 
pany gave  in  the  Academy  of  Music,  Brooklyn,  two 
nights  before.  It  was  in  "Ai'da",  however,  that  the 
regular  opera  subscribers  welcomed  the  tenor,  under 
altered  conditions  which  the  public  was  willing 
enough  to  accept. 

To  his  friends,  it  was  apparent  that  Caruso  needed 
to  be  diverted.  He  was  clearly  grieving,  and  his 
health  not  of  the  best.  Singing  seemed  to  be  an 


TRYING    DAYS  263 

effort  for  him ;  and  anxious  moments  weighed  upon 
those  who  sought,  in  various  ways,  to  lift  the  singer 
from  his  gloom.  They  thronged  his  hotel  apartment, 
to  play  cards  and  gossip  with  him ;  and  frequently 
a  party  would  be  made  up  to  go  to  some  Italian 
restaurant,  where  atmosphere  could  be  had  that 
reminded  Caruso  of  his  native  land. 

In  spite  of  these  efforts  the  tenor  continued  to 
droop.  On  December  18, 1908,  he  became  indisposed 

—  after  having  sung  seventeen  times  in  "Faust", 
"Aida",     "Boheme",     "Butterfly",     "Traviata", 
"Tosca",  "Carmen",  and  "Cavalleria  Rusticana" 

—  and  he  missed  two  appearances.     He  missed  two 
more,  the  middle  of  the  February  following,  and  later 
that  month,  three  successive  opportunities  to  earn 
his  two  thousand  dollar  cachet.     Matters  appeared 
to  be  going  from  bad  to  worse  when,  on  March  8, 
he  could  not  sing  his  announced  performance  in  "II 
Trovatore",  nor  appear  in  any  of  six  other  operas  for 
which  he  had  been  cast.     April  brought  little  im- 
provement in  Caruso's  condition  ;  seven  times  he  was 
obliged  to  report  his  indisposition  to  the  Metropolitan 
management,  —  a  total  of  twenty-one  for  that  season. 

Yet  for  all  his  ill  fortune  he  had  sung  on  forty-four 
occasions  (two  being  in  concert) ;  and  his  earnings 
totaled  (with  his  ten  October  engagements  in  Ger- 
many) $98,350.  In  addition  to  the  works  already 
mentioned,  Caruso  sang  also  in  Massenet's  "Manon", 
for  the  first  time  in  the  United  States,  and  in  "  Pa- 
gliacci."  He  was  still  in  a  state  of  dread  not  unlike 
that  he  had  felt  when  he  had  written  to  his  brother 
Giovanni,  on  April  2,  "  I  did  not  sing  for  one  month 


264  ENRICO    CARUSO 

and  a  half.  I  will  resume  singing  to-morrow  matinee, 
and  you  can  understand  how  nervous  I  am,  as  I  do 
not  know  if  I  will  be  able  to  give  the  performances 
of  the  full  season  or  quit  and  rest  one  entire  year 
at  home.  Pray  for  me.*' 

With  feelings  of  gravest  apprehension,  the  tenor 
sailed  for  Italy,  where  he  could  consult  specialists 
of  his  own  nationality.  He  went  direct  to  Milan, 
and  to  Professor  della  Vedova  who  was  celebrated 
as  a  throat  surgeon.  Almost  at  the  beginning  of 
the  tenor's  career  he  had  developed  a  node  on  one 
vocal  chord,  which  della  Vedova  had  removed. 
After  this  expert  had  examined  Caruso,  he  declared 
that  he  had  succumbed  again  to  a  similar  affection. 

The  singer  was  taken  quietly  to  a  dwelling,  and 
once  more  an  operation  was  performed ;  very  soon 
he  was  able  to  go  to  the  Hotel  Cavour.  In  spite  of 
pledges  of  secrecy,  della  Vedova  was  alleged  by  his 
patient  to  have  informed  a  representative  of  the 
Corriere  della  Sera  of  what  had  happened.  The 
story  which  was  immediately  sent  out  to  many  parts 
of  the  world  so  angered  Caruso  that  he  later  refused  to 
pay  the  whole  of  the  sixty  thousand  lire  fee  Professor 
della  Vedova  demanded.  The  singer  asserted  that 
he  had  never  been  shown  any  evidence  to  prove  that 
a  node  had  actually  been  removed  ;  and  that  a  young 
Florentine  physician,  quite  unknown,  had  relieved 
him  of  his  trouble  —  said  to  have  been  rheumatic 
concretions.  A  scraping  of  infiltrations  from  the 
tenor's  vocal  chords  was  stated  to  have  wrought  a 
cure.  Weeks  of  anxious  waiting  followed  ;  then  the 
singing  voice  was  discovered  to  have  been  restored. 


TRYING    DAYS  265 

Attorneys  finally  brought  about  the  settlement  of 
Professor  della  Vedova's  claim,  which  certain  of 
Caruso's  fair-minded  friends  persuaded  him  was  just. 
The  first  operation  charge  had  been  only  fifty  lire ; 
this  second  one  was  at  length  reduced  to  thirty 
thousand  lire  which  the  singer  then  paid.  Professor 
della  Vedova  believed  it  was  a  reasonable  charge 
for  his  services  in  enabling  Caruso  to  resume  his 
career  and  earning  powers. 

After  a  short  stay  at  his  Bellosguardo  villa,  he 
went  to  Salsomaggiore  and  then  to  Montecatini,  — 
places  celebrated  for  their  medicinal  waters.  Grad- 
ually he  improved.  By  midsummer  he  was  almost 
cheerful,  and  his  physical  condition  vastly  changed. 
No  longer  did  he  shrink  at  the  thought  of  an  ap- 
proaching public  appearance,  for  when  August  20 
arrived  he  began  a  concert  tour  of  England,  Scotland, 
and  Ireland  (under  the  management  of  the  Quinlan 
Musical  Bureau)  with  an  optimistic  air. 

With  Miss  Hilda  Saxe,  violiniste,  as  assisting 
artiste,  and  Tullio  Voghera  as  his  accompanist, 
Caruso  appeared  in  Plymouth,  Blackpool,  Glasgow, 
Edinburgh,  Newcastle,  Manchester,  and  Belfast ; 
then  at  Albert  Hall,  London,  and  on  September  20, 
for  a  second  time  in  Liverpool.  No  further  need 
to  worry  about  his  voice ;  he  had  conquered  with 
his  audiences,  and  so  with  more  of  his  former  spirit 
he  departed  for  eight  opera  appearances  in  Germany. 
Frankfurt,  Nurnberg,  Hamburg,  Berlin,  and  Bremen 
heard  Caruso  that  autumn — in  "Rigoletto",  "Lucia 
di  Lammermoor",  "Tosca",  "Carmen",  "Boheme", 
and  "  Pagliacci." 


266  ENRICO    CARUSO 

IV 

Caruso  reached  New  York  in  the  autumn  of  1909 
lighter  of  heart  than  he  had  been  in  eighteen  months. 
He  appeared  as  one  relieved  of  a  weight,  and  his 
mood  turned  now  and  again  to  jest.  The  Metro- 
politan had  passed  under  the  sole  management  of 
Giulio  Gatti-Casazza  —  Andreas  Dippel  having  with- 
drawn —  and  the  future  seemed  to  augur  well.  Nor 
was  there  any  evidence  from  the  direction  of  the 
weakening  Manhattan  Opera  Company  to  indicate 
any  individual  rivalry  which  Caruso  need  consider. 
It  looked  like  a  propitious  season  for  the  tenor, 
and  such  it  proved  to  be.  He  sang  fifty-seven 
times  in  the  opera,  and  once  in  concert.  Includ- 
ing his  pre-season  European  concert  and  operatic 
engagements,  his  earnings  for  1909-1910  reached 
$158,350; 

The  change  in  the  tenor's  vocal  condition  was 
instantly  apparent  to  the  critics  and  public  which 
greeted  him  in  the  Metropolitan  on  November  15. 
As  in  the  previous  year,  he  had  sung  once  in  another 
city  —  this  time,  as  Radames  in  "A'ida",  in  Phila- 
delphia. With  Mme.  Destinn  and  Pasquale  Amato 
in  the  cast,  Caruso  opened  the  regular  New  York 
season  in  "La  Gioconda."  From  that  moment  he 
moved  steadily  forward,  with  no  mishap  to  mar  his 
course.  "Traviata",  "Butterfly",  "Pagliacci", 
"Aida",  "Tosca",  "Faust",  and  "Boheme"  served 
to  dispel  any  doubt  the  people  may  have  had  con- 
cerning the  possible  failing  in  the  singer's  resources. 
And  when,  on  January  22,  1910,  he  sang  in  the  first 


TRYING    DAYS  267 

United  States  representation  of  Franchetti's  "Ger- 
mania"  the  experts  knew  that  all  was  well. 

But  two  experiences  of  that  season  were  trying 
affairs :  the  first,  which  brought  about  a  meeting 
between  him  and  Mme.  Ada  Giachetti,  upsetting 
him  completely  ;  the  second,  threatening  his  personal 
safety,  causing  him  mild  alarm. 

The  mother  of  his  two  children  appeared  with 
sudden  unexpectedness  in  New  York,  while  the  tenor 
was  preparing  for  a  rehearsal  at  the  Metropolitan. 
He  was  calm  enough  as  he  went  with  his  attorney  from 
the  Knickerbocker  to  the  York  Hotel,  where  Mme. 
Giachetti  was  stopping ;  it  only  vanished  when  he 
saw  the  woman  who  still  held,  for  all  the  suffering 
she  had  caused  him,  an  irresistible  appeal.  During 
the  private  talk  they  had  together  Caruso  wept. 
In  the  end  he  gave  to  Mme.  Giachetti  what  she  had 
made  the  journey  to  get,  —  money.  A  cash  payment 
was  made,  and  a  settlement  arranged ;  then  the 
soprano  returned  almost  immediately  to  Italy. 
Some  time  afterward  she  brought  suit  against  Caruso, 
in  a  Milan  court.  Serious  charges  were  preferred, 
and  the  trial  caused  a  commotion ;  but  the  tenor 
was  completely  vindicated.  The  depth  of  his  feeling 
for  this  woman  was  such,  however,  that  despite  all 
that  had  occurred  he  continued  sending  her  money 
almost  to  the  day  of  his  death.  "Send  this  to  the 
mother  of  the  children,"  he  would  say,  after  he  had 
written  out  a  cheque  ;  and  the  last  one  he  ever  wrote 
was  returned,  when  it  had  been  paid,  to  his  New 
York  bank,  weeks  after  his  funeral  had  taken  place. 

The   second   experience   of  that   winter  was   an 


268  ENRICO    CARUSO 

attempt  made  to  blackmail  Caruso,  by  alleged 
members  of  the  so-called  "Black  Hand."  The 
letter  received  in  February  of  1910  demanded  the 
payment  of  fifteen  thousand  dollars,  if  the  singer 
wished  to  escape  the  penalty  of  death.  He  was 
instructed  to  carry  a  package  containing  the  money 
at  a  certain  time  on  his  way  to  the  Metropolitan 
Opera  House.  A  man  would  appear,  to  whom 
Caruso  was  to  hand  the  package ;  complying  with 
this  demand,  his  personal  safety  was  assured.  In- 
stead, the  tenor  was  provided  by  the  New  York  de- 
tective bureau  with  an  escort ;  and,  although  efforts 
were  made  to  keep  the  police  officers  under  cover, 
their  presence  was  discovered  by  the  blackmailers, 
and  nothing  happened. 

A  second  letter  warned  against  further  efforts 
to  thwart  those  who  wanted  money.  In  it  a  place 
in  Brooklyn  was  designated  as  a  spot  where  the 
cash  was  to  be  left.  The  police  now  planned  with 
greater  care  than  before  ;  and  on  the  night  stipulated, 
Martino,  one  of  Caruso's  valets,  took  the  package. 
On  the  top  and  bottom  bank  notes  had  been  placed, 
but  the  bulk  of  the  bundle  of  money  consisted  of 
strips  of  green  paper,  so  cut  as  to  resemble  bills. 

The  entire  block  in  which  the  designated  house 
stood  had  been  surrounded  by  detectives.  Martino 
made  the  trip,  unaccompanied,  to  Brooklyn.  He 
located  this  house,  then  placed  the  package  on  the 
steps,  according  to  instructions.  A  quarter  of  an 
hour  passed  before  anything  suspicious  happened. 
Then  three  men  appeared.  They  passed  the  steps 
where  the  package  of  money  lay,  returned,  passed  it 


TRYING   DAYS  269 

again,  —  then  picked  it  up.  Instantly  detectives 
swarmed  upon  them  from  every  side.  One  of  the 
three  escaped,  but  two  were  arrested.  Several 
months  later,  while  Caruso  was  singing  in  Paris, 
Antonio  Misiani,  the  ringleader,  was  sentenced  by 
Judge  Fawcett  to  seven  years'  imprisonment  and 
deportation.  At  a  later  trial  Antonio  Cincotta  was 
tried  and  convicted.  The  publicity  of  the  affair 
possibly  served  as  a  lesson  to  others  who  may  have 
held  similar  ideas  of  extorting  money  from  Caruso, 
for  he  was  never  afterwards  bothered  by  threats 
of  like  nature.  But  when  a  petition  for  the  pardon 
of  the  two  culprits  was  prepared,  the  following  year, 
the  signature  which  headed  it  was  that  of  Enrico 
Caruso. 

Otto  H.  Kahn,  chairman  of  the  board  of  directors 
of  the  Metropolitan  Opera  Company,  had  long  wished 
to  have  that  organization  presented  in  Europe. 
With  Caruso  in  his  best  form,  and  a  finer  artist 
than  ever,  it  appeared  a  propitious  time  for  an  under- 
taking which,  once  announced,  caused  a  whirl  of 
discussion  on  both  sides  of  the  Atlantic.  The  press 
took  up  the  matter ;  the  artists  of  the  Metropolitan 
were  elated  at  the  opportunities  certain  to  be  offered  ; 
altogether,  it  was  a  decision  unique  in  the  history 
of  opera,  with  the  consequences  a  matter  of  specula- 
tion in  many  quarters. 

Besides  appearances  in  Brooklyn  and  Philadelphia, 
Caruso  had  sung  in  representations  given  by  the 
Metropolitan  in  Boston,  Chicago,  Cleveland,  Mil- 
waukee, St.  Paul,  and  St.  Louis ;  and  on  May  4  and 
May  7  of  1910  he  had  received  the  first  indorsement 


270  ENRICO    CARUSO 

of  two  Atlanta  audiences  which,   until   then,   had 
never  heard  him. 

Gabriel  Astruc  —  guaranteed  against  loss  for  one 
half  of  the  proposed  Paris  season  by  Mr.  Kahn  - 
was  moving  assiduously  in  preliminary  preparations  ; 
and  he  had  already  communicated  encouragement 
in  the  following  letter : 

"If  we  have  Caruso  —  and  if  Caruso  sings  'Aida', 
'Pagliacci',  and  'Manon  Lescaut'",  Astruc  had 
written  Mr.  Kahn,  "the  success  is  assured  ;  and  I  am 
positive  that  it  will  not  be  necessary  to  touch  one 
penny  of  the  money  guaranteed  by  our  patrons." 

To  secure  Caruso's  pledge,  personally,  Astruc 
wrote  the  singer ;  and  the  latter,  eager  for  a  satisfac- 
tory outcome  of  the  project,  replied  with : 

Mon  cher  Gabriel : 

The  season  here  will  be  over  in  a  few  days,  and 
I  am  anticipating  with  much  pleasure  and  joy  the 
moments  when  I  will  be  in  Paris,  to  interpret  my 
three  preferred  roles  —  "Ai'da",  "Pagliacci",  and 
"  Manon  Lescaut "  -  at  the  Chatelet  Theater,  before 
the  Parisian  public  that  is  so  dear  to  me. 

Au  reyoir, 
Enrico  Caruso. 

If  Caruso  appreciated  his  Parisian  public  it  was  an 
appreciation  returned.  When,  on  April  20,  1910,  the 
advance  sale  for  the  announced  Metropolitan  Opera 
Company  season  at  the  Chatelet  opened,  the  people 
clamored  only  for  Caruso  tickets.  Here  was  a 
dilemma.  To  protect  himself  financially,  Astruc 
issued  a  notice  that  no  subscriptions  for  an  "Alda" 
performance  would  be  accepted  without  purchase  of 


TRYING    DAYS  271 

tickets  for  an  "Otello"  representation.  To  secure 
seats  for  a  "Pagliacci"  and  "Cavalleria  Rusticana" 
performance  it  was  necessary  also  to  subscribe  for 
a  "Falstaff";  while  those  who  wished  to  attend 
the  "Manon  Lescaut"  must  indicate  a  similar  wish 
to  attend  a  performance  of  one  of  the  operas  in 
which  Caruso  was  not  scheduled  to  sing.  From 
the  public  there  arose  a  howl  of  objections,  of  course, 
but  it  was  of  no  avail.  The  capitulation  was  im- 
mediate, for  on  the  morning  of  May  21  (the  day  of  the 
season  premiere)  the  subscription  receipts  had  reached 
the  sum  of  six  hundred  thousand  francs. 

Prior  to  his  Paris  reappearance,  and  with  the 
Metropolitan  forces,  Caruso  had  consented  to  sing 
once,  —  at  a  Trocadero  concert  given  for  L'£cole 
Menagere.  But  this  affair,  in  which  Mmes.  Brozia 
and  Lapeyerette  and  M.  Florexo,  and  Miles.  Geniat 
and  Robinne  assisted,  only  heightened  public  interest 
to  hear  the  tenor  in  opera ;  and  the  one  hundred 
thousand  francs  receipts  added  to  Caruso's  pop- 
ularity. Again  the  singer  sent  his  cheque  for  the 
amount  of  his  fee  —  ten  thousand  francs  —  to  Mme. 
la  Comtesse  Greffuhle,  head  of  the  organization 
which  was  to  benefit. 

"Ai'da"  opened  the  Metropolitan's  first  and  only 
Paris  season,  with  Caruso,  Mmes.  Destinn  and 
Homer,  and  Amato,  and  Toscanini  conducting. 
Every  seat  in  the  Chatelet  Theater  was  occupied  ; 
no  other  space  where  one  could  stand  was  vacant. 
The  attitude  toward  the  visiting  organization  was 
friendly,  though  not  completely  so.  Some  persons 
chose  to  interpret  the  undertaking  as  a  desire  to 


272  ENRICO    CARUSO 

show  Paris  how  opera  should  be  given ;  and,  as 
might  have  been  expected,  the  approval  was  some- 
what qualified.  Caruso,  alone,  received  a  whole- 
hearted indorsement.  The  audience  enthused ;  the 
press  almost  raved.  One  writer  declared  that 
"Caruso  has  a  voice  vibrant,  magnificent.  He  is 
a  marvelous  tenor  who  feels  the  music,  and  he  has 
the  ability  to  make  the  listeners  feel  what  he  is  sing- 
ing. What  a  triumph  he  made  last  night.  The 
other  artists  went  very  well  .  .  .  but  it  was  a  Caruso 
night.  He  carried  the  work  of  all  the  opera.  Thank 
God  he  has  strong  shoulders." 

Fifteen  regular  representations  and  two  extra 
ones  comprised  that  season:  three  each  of  "A'ida", 
and  "Pagliacci",  and  five  of  "Manon  Lescaut", 
with  nine  of  the  three  other  operas.  Mile.  Lucrezia 
Bori,  Amato,  and  de  Segurola  sang  in  "Manon 
Lescaut",  and  Miss  Bella  Alten  and  Amato  in  "Pa- 
gliacci", which  Vittorio  Podesti  conducted.  In  the 
three  "Otello"  performances  the  principals  were 
Mme.  Frances  Alda  and  Leo  Slezak  and  Antonio 
Scotti;  while  in  "Falstaff"  Scotti  had  the  title  role. 

A  scrutiny  of  the  receipts  indicates  the  drawing 
powers  which  Caruso  disclosed.  At  the  opening 
"A'ida"  the  return  totalled  63,204  francs.  Two 
evenings  later,  when  "Cavalleria  Rusticana"  and 
"  Pagliacci "  were  presented,  the  income  dropped  to 
52,304.  But  it  ascended  on  May  25  to  64,307 
francs,  immediately  following  an  "Otello"  (without 
Caruso)  which  had  drawn  no  more  than  48,296  francs. 
The  second  double  bill,  in  which  "Pagliacci"  was 
the  attraction,  yielded  64,307  francs ;  and  this  sum 


TRYING    DAYS  273 

was  exceeded  by  more  than  one  thousand  francs  at 
the  second  "Aida.".  The  first  "Manon  Lescaut" 
brought  61,391  francs  into  the  Chatelet  coffers; 
a  repetition  of  the  opera  was  rewarded  with  a  slight 
increase  in  patronage,  while  the  third  one  was  still 
more  profitable,  by  two  thousand  francs.  Nor 
did  the  rest  of  the  regular  performances,  in  which 
the  tenor  participated,  yield  less  than  sixty-two 
thousand  francs  each.  Only  when  the  two  extra 
representations  of  "Manon  Lescaut'*  were  offered 
did  the  receipts  drop,  —  to  42,626  and  46,536  francs 
respectively.  These  performances,  it  should  be  ex- 
plained, were  not  subscription  affairs  ;  therefore  the 
patronage  was  really  very  large. 

The  gross  financial  return  for  the  season  reached 
864,707  francs.  Of  this  amount  the  ten  Caruso 
performances  were  worth  to  the  management 
594,978  francs  (an  average  of  nearly  sixty  thousand 
francs  an  opera) ;  the  other  nights  brought  269,729 
francs  from  the  public  (almost  forty-five  thousand 
francs  each).  Mme.  Olive  Fremstad,  Herman  Jad- 
lowker,  and  Amato  had  shared  in  the  "Cavalleria" 
representations ;  there  had  been  both  the  Metro- 
politan orchestra  and  chorus,  and  its  settings.  Alto- 
gether, the  effort  was  one  of  distinction.  The  June 
25  farewell  closed  an  undertaking  which  left  Paris 
something  to  think  about ;  but  the  Metropolitan 
has  never  since  repeated  its  experiment  of  that  year. 

For  Caruso  there  had  been  one  extra  appearance, 
—  when  he  sang  for  the  benefit  of  the  survivors  of 
the  victims  of  the  lost  French  destroyer  Pluviose  —  in 
the  third  act  of  "Boheme",  with  Miss  Farrar,  then 


274  ENRICO    CARUSO 

appearing  at  the  Opera  Comique,  and  Scotti,  and  in 
the  final  scene  in  "  Faust." 

The  effort  had,  however,  been  a  severe  strain. 
Within  eight  days,  as  the  close  of  the  Chatelet  season 
drew  near,  the  tenor  had  appeared  six  times.  Still, 
he  seemed  to  have  been  the  one  who  felt  grateful, 
for  he  wrote  to  Astruc,  addressing  him  as  "  My  dear 
Gabriel",  on  June  28,  —  " Before  leaving  Paris  per- 
mit me  to  send  you,  once  again,  my  sincerest, 
heartfelt  thanks  for  the  continued  proof  of  the 
friendship  you  have  shown  me.  Be  sure  that  I 
will  never  forget  all  the  courtesies  you  extended 
me.  I  will  always  be  grateful  to  you." 

What  an  experiment  to  look  back  upon !  Nor 
was  it  prestige  and  money  only  which  Caruso  carried 
away  with  him.  A  communication  he  always  valued 
had  come,  after  one  of  his  Chatelet  appearances, 
from  Mme.  Rejane. 

"When  an  artiste  has  had  the  delicate  and  unique 
pleasure  —  as  I  had  while  listening  to  you  last  even- 
ing —  she  has  but  one  desire  :  to  tell  it  to  you  at  once 
.  .  .  the  profound  impression.  It  is  a  real  joy,  and 
although  I  know  you  slightly,  I  would  like  to  grasp 
your  hand  and  thank  you  for  that  unforgettable 
evening." 


CHAPTER  NINE 

A  NEW  PERIOD 

THE  world  was  assuming  once  again  a  more  benign 
aspect.  Health  and  honors  and  wealth  were  heaping 
upon  the  singer.  He  experienced  only  one  deep 
regret ;  a  single  longing  still  remained  unsatisfied. 
Doubtless  it  would  always  so  remain.  He  would  have 
liked  to  put  out  of  his  mind  all  thought  of  this  person  ; 
yet,  try  as  he  did,  there  continued  the  old  gnawing 
at  his  heart.  Resting  in  the  Bellosguardo  Villa  did 
not  lessen  it ;  nor  hours  spent  at  the  Villa  Alle  Panche. 
In  some  respects  memories  were  but  kindled  anew. 
Fortunately  friends  were  always  near  to  give  the 
comforting  words  so  needed.  One  of  these  —  Otto 
Gutekunst  of  London  —  tells  of  the  Caruso  he  and 
Mrs.  Gutekunst  knew. 

"A  heart  of  gold,  and  one  of  nature's  gentlemen, 
if  ever  there  was  one  !  A  big  mind  and  intellect,  and 
simple  and  playful,  like  a  child.  He  was  ever  affec- 
tionate and  confiding  towards  his  friends.  With  him 
have  passed,  and  have  we  passed,  the  happiest  years 
of  our  lives ;  and  the  gap  he  has  left  can  never  be 
filled  again  ...  as  far  as  we  are  concerned  ;  neither 
by  artist  nor  by  man,  and  certainly  not  by  such  a 
combination  of  both. 

"We  first  got  to  know  him  through  Selma  Kurz, 
the  Vienna  prima  donna,  when  they  were  both  sing- 


276  ENRICO    CARUSO 

ing  at  Covent  Garden.  She  was  then  staying  with 
us,  in  1904.  From  then  until  the  war  broke  out  — 
he  last  sang  in  London  in  1914  —  we  were  the  most 
intimate  friends,  and  together  whenever  he  and  we 
were  disengaged.  He  dined  with  us,  or  we  with  him, 
after  the  performances.  We  mostly  waited  for  him, 
and  supped  together,  or  we  met  at  Pagani's,  with 
other  friends,  such  as  Tosti,  Denza,  Scotti,  Barthe- 
lemy,  Lecomte  (Count  Scalzi),  now  also  dead.  Some- 
times he  would  dine  with  us  en  petite  comite,  with 
just  a  few  friends,  and  sing  to  us  or  draw  caricatures  or 
play  'coon  can'  or  some  Italian  card  game. 

"At  times  we  took  him  for  drives,  because  we 
thought  the  air  would  do  him  good,  for  he  used  to 
sleep  with  closed  windows !  Nature  and  scenery 
never  —  strange  to  say  —  seemed  to  appeal  to  him, 
or  interest  him  greatly. 

"  In  those  days  both  he  and  I  used  to  overindulge 
at  times  at  table,  both  being  blessed  with  great 
appetites ;  and  I  advised  more  exercise  and  re- 
stricted diet.  He  suffered  from  headaches,  at  times, 
in  consequence  of  these  transgressions,  or  rather  from 
lack  of  exercise  and  air.  Finally,  in  New  York,  he 
found  a  doctor  who  put  him  on  a  strict  diet  and  gener- 
ally took  him  in  hand,  with  success.  He  was  also 
forbidden  excessive  cigarette  smoking. 

"It  was  in  1910, 1  think,  that  we  thought  we  might 
interest  him  in  two  games  which  would  afford  him 
occasional  or  regular  exercise.  We  took  him  to 
Stoke  Pogis,  and  he  played  his  first  round  of  golf 
.  .  .  coached  by  I.  Sherlock,  the  professional.  He 
went  around  in  something  like  155.  Not  bad  for 


A    NEW   PERIOD  277 

one  who  had  never  held  a  golf  club  in  his  hands. 
Unfortunately,  he  was  so  tired,  for  some  days,  that 
he  could  scarcely  fulfill  his  engagements ;  and  that 
was  the  end  to  golf.  Some  time  after  we  induced  him 
to  try  lawn  tennis.  His  first  and  only  game  con- 
sisted of —  I  think  —  one  set.  Then  he  disappeared 
in  the  hall  and  fell  fast  asleep.  There  was  no  more 
tennis  after  that.  But  he  enjoyed  the  games  and 
was  as  gay  as  a  boy. 

"We  went  with  him  to  Ostende,  when  he  fulfilled 
his  first  engagement  to  sing  at  the  Kursaal.  Some 
18,000  people  usually  heard  him  ...  in  a  space 
which  nominally  would  hold  only  12,000.  One  had 
to  be  in  one's  place  an  hour  before  the  commencement 
in  order  to  be  able  to  get  one's  seat,  as  later  the 
auditorium  was  so  packed  that  it  became  impossible 
to  move.  The  enthusiasm  was  incredible. 

"We  used  to  bathe,  and  take  amusing  snapshots  of 
one  another  in  the  sea,  where  he  used  to  pose  as  a 
Triton,  or  sea  monster,  blowing  up  his  cheeks  or 
making  grimaces.  Barthelemy  was  with  us  at  that 
time,  and  we  were  very  jolly  together.  The  year  fol- 
lowing we  were  there  again,  he  insisting  that  we  should 
be  his  guests ;  and  he  exercised  his  hospitality  in 
the  most  touchingly  scrupulous  and  conscientious 
manner.  Voghera  and  Lecomte  (Count  Scalzi)  were 
with  us  that  time,  and  I  recollect  no  end  of  amusing 
little  episodes  and  happenings  in  those  happy  days. 
It  was  interesting  to  listen  for  hours,  when  he  studied 
and  practised  from  the  new  operas  for  New  York, 
where  he  had  to  sing  in  one  new  work  every  fall. 
At  night  there  was  very  little  to  do.  We  did  not 


278  ENRICO    CARUSO 

gamble,  to  speak  of,  but  he  used  to  say,  with  a  wink 
of  the  eye,  'Oh!  Comme  on  s' amuse  a  Ostende!!' 

"In  the  following  years,  when  his  London  season 
was  over,  he  commenced  going  on  continental 
tournees ;  to  Berlin,  Dresden,  Frankfurt,  Munich, 
Vienna,  Stuttgart,  where  we  nearly  always  accom- 
panied him,  I  combining  business  of  my  own  with  this 
pleasure.  He  used  to  feel  very  nervous  whenever 
he  sang  to  new  audiences,  always  wanting  to  give 
of  his  very  best. 

"And  the  people  worshipped  him,  everywhere; 
and  there  was  the  keenest  competition  for  tables 
at  supper,  after  any  Caruso  performance,  near  his 
table.  When  he  entered,  with  us,  everybody  would 
rise  as  one  man  and  cheer  him,  just  as  if  a  king  had 
entered ;  only  more  genuinely  and  enthusiastically. 
And  then,  of  course,  one  felt  very  proud,  being  the 
center  of  attention  and  admiration  all  the  time  — 
though  it  was  of  course  only  reflected  glory,  for  our 
part.  There,  everybody  tried  to  get  him  to  lunch 
or  dinner,  especially  at  Berlin  where  we  knew  many 
people.  Those  we  knew  usually  asked  us  in  the  first 
instance,  or  him  through  us,  knowing  that  he  would 
be  more  inclined  to  accept  if  we  came  also.  If  he 
did  not  wish  to  speak  or  converse  at  these  entertain- 
ments, or  was  bored  by  meeting  a  crowd  of  people 
he  did  not  know,  or  he  did  not  want  to  eat  and  drink, 
he  just  started  sketching  portraits  and  caricatures, 
to  the  great  delight  of  the  various  sitters. 

"His  eyesight  and  self  possession,  when  once 
actually  on  the  stage,  were  phenomenal.  I  don't 
think  he  once  failed  to  spot  us,  wherever  we  might 


ANEWPERIOD  279 

be  sitting,  in  stalls  or  box,  in  any  opera  house.  It 
was  a  sort  of  sport  with  him. 

"We  used  to  look  after  little  Enrico  —  Mimmi  — 
between  the  ages  of  three  and  ten,  especially  during 
Enrico's  absence.  The  boy  was  very  attached  to 
'Auntie  Lina'  and  'Uncle  Otto/ 

"I  just  recall  an  example  of  Enrico's  subtle  and 
kindly  way  of  teasing  me  with  regard  to  my  singing. 
We  were  staying  with  him  at  the  Bristol,  in  Vienna, 
our  apartment  being  above  his.  The  bathrooms  also 
ran  straight  up,  one  over  the  other  to  the  top  floor, 
all  the  windows  opening  on  the  same  air  shaft.  I  used 
to  sing  songs  and  exercises  while  bathing  and  dress- 
ing ;  and  he  said  to  me,  on  the  second  or  third  morn- 
ing, with  a  sly  wink  of  the  eye,  'Otto,  I  wish  you 
would  not  sing  in  your  bathroom,  because  people 
will  think  it  is  I.'  All  the  same,  we  occasionally 
sang  duets  together,  at  home.  Nor  shall  I  ever 
forget,  when  in  Paris,  at  a  performance  of  the 
'Precieuses  Ridicules',  we  went  to  Coquelin's  dress- 
ing room  after  the  first  act.  They  embraced  affec- 
tionately, and  Coquelin  confessed  to  a  paralyzing 
fear  of  having  to  sing  in  the  next  act,  with  Caruso 
sitting  almost  next  to  him,  with  us,  in  the  stage  box. 

"There  are  hundreds  more  of  these  little  touches 
and  memories  that  I  could  write  about.  And  now 
—  alas  !  —  all  is  over.  It  ended  practically  with  the 
beginning  of  the  war,  for  after  that  —  or  since  the 
summer  of  1914  —  we  never  saw  him  again  .  .  . 
though  our  correspondence  never  ceased,  nor  our 
fondest  thoughts  and  memories  of  the  happy 
past. 


280  ENRICO    CARUSO 

"Half  our  interest  in  life  has  gone  with  him.  I 
might  say,  with  Scotti : 

"I  don't  know  when  we  may  have  once  more  the 
courage  to  bear  the  strain  of  turning  on  any  of  his 
gramophone  records !  Or  of  hearing  any  of  the 
operas  of  his  repertoire/' 

That  summer  of  1910  seemed  not  to  have  benefited 
the  singer  in  restoring  his  vitality,  sapped  through 
the  continuous  effort  and  strain  of  a  season  overlong. 
If  he  could  have  brought  himself  to  regular  exercise, 
taking  enough  air,  and  restricting  his  diet,  his  peace 
of  mind  might  have  been  eased.  But  he  invariably 
met  any  such  suggestion  with  a  shrug  of  his  heavy 
shoulders,  or  would  turn  irritatingly  to  light  a  cig- 
arette. And  it  was  an  obstinacy  which  held  to  the 
very  end.  Considering  his  sensible  attitude  toward 
most  matters,  this  unwillingness  to  heed  what  was 
likely  to  affect  his  own  welfare  may  appear  strange. 

After  his  vacation  period,  which  he  concluded  in 
Paris,  Caruso  departed  for  Brussels  where,  on  Septem- 
ber 24  and  25,  he  sang  in  two  representations  of 
"  Boheme "  at  the  Theatre  de  la  Monnaie.  Mme. 
Alda  and  Pasquale  Amato  appeared  with  him,  the 
performance  being  conducted  by  Maestro  Dupuis. 

His  1910  tour  in  Germany  opened  October  I, 
with  "Aida",  in  Frankfurt.  Three  nights  later 
he  reappeared  there  in  "Carmen";  then  came 
Munich,  where  the  latter  opera  and  "Boheme"  were 
given.  Hamburg  welcomed  the  tenor  on  October  15 
in  "Rigoletto",  and  before  his  departure  he  was  also 
heard  in  "Carmen"  and  "Marta."  No  mention 
is  made  of  any  apparent  vocal  indisposition.  His 


ANEWPERIOD  281 

receptions  were  of  the  usual  impressive  order,  but 
he  was  not  his  best  physical  self.  Nevertheless  his 
Berlin  accomplishments  did  not  suffer.  He  himself 
related  a  conversation  held  between  two  women,  who 
had  seats  directly  back  of  one  of  the  singer's  friends. 

"When  I  made  my  first  appearance  of  that  season, 
in  'Ai'da',  one  of  these  auditors  —  who  were  both 
hearing  me  for  the  first  time  —  remarked,  'Why  he 
isn't  a  tenor,  his  voice  is  baritone/  At  my  next 
effort,  three  nights  later,  in  'Carmen',  the  discussion 
continued.  The  ladies  agreed  that  they  might 
possibly  be  mistaken  during  that  performance ;  and 
when  'L'Elisir  d'Amore*  was  presented,  my  critics 
no  longer  questioned  that  I  was  a  tenor.  In  explana- 
tion of  this  seeming  misunderstanding,  I  can  say  that 
I  always  use  a  different  character  of  voice  for  music 
which  is  strictly  lyric  or  dramatic.  Radames  is  a 
role  which  demands  a  dark,  heavier  quality  of  tone, 
while  Nemorino  is  just  the  opposite." 

The  tenor  always  insisted  that  he  kept  his  "  different 
voices"  in  a  chest  of  drawers;  one  containing  his 
"  Ai'da"  voice  ;  another  the  one  he  used  in  "Marta"  ;  a 
third  holding  the  precious  instrument  with  which  he 
sang  in  "Boheme", —  and  so  on,  throughout  his 
entire  repertoire.  And  it  is  a  fact  that  throughout 
any  day  on  which  a  performance  was,  he  governed 
his  actions  and  his  state  of  mind,  to  prepare  him  for 
the  music  of  the  night.  If  it  were  to  be  "  Samson  et 
Dalila",  "La  Juive",  "La  Forza  del  Destine",  "Le 
Prophete",  or  any  other  heavy  work,  Caruso  would 
lie  down  during  the  day  and  vocalize  very  little,  — 
in  slow  sustained  phrases.  If,  contrarily,  he  had  to 


282  ENRICO    CARUSO 

sing  in  such  an  opera  as  "  L'EHsir  d'Amore  ",  he  would 
rise  early  and  move  actively  about  his  apartments. 
Every  action,  every  thought,  would  be  light  and 
swift.  Seeking  extreme  suppleness  and  agility,  he 
would  sing  swift  scales  in  the  most  lyric  quality  of 
tone.  And  when  it  came  time  for  him  to  deliver  his 
first  phrase  in  the  opera,  his  voice  was  invariably  the 
character  of  voice  the  composer  sought. 

So  well  did  Caruso  sing  his  Don  Jose  in  "Carmen** 
that  he  was  summoned,  at  the  conclusion  of  the  repre- 
sentation, to  the  presence  of  the  Kaiser  in  the  Imperial 
box.  The  tenor,  still  under  the  influence  of  his  tragic 
final  scene  in  the  opera,  confessed  to  an  inability  to 
reply,  at  first,  in  other  than  French  monosyllables 
to  the  remarks  of  the  Kaiser.  But  when  the  then 
ruler  of  Germany  said,  "Caruso,  why  don't  you  turn 
your  back  to  America,  and  stay  with  us,  always  in 
Europe  ?"  the  tenor  answered,  "Your  Majesty,  my 
gratitude  to  America  will  be  extinguished  only  with 
my  death." 

II 

Caruso  returned  to  the  United  States,  where  he 
was  received  as  a  conqueror.  His  previous  season 
had  been  his  best,  and  the  memory  of  his  Paris 
triumphs  still  clung  to  the  minds  of  all  who  had  read 
of  them.  His  place  in  the  Metropolitan  was  seem- 
ingly as  fixed  as  the  very  foundation  upon  which  the 
opera  house  was  reared.  Back  once  more  amid 
familiar  places  and  scenes  and  people,  it  was  like  home 
—  and  next  to  Italy,  Caruso  by  that  time  had  come 
so  to  regard  New  York.  He  liked  Fifth  Avenue, 


ANEWPERIOD  283 

the  cosmopolitanism  of  the  crowds,  and  those  little 
spots  to  which  he  had  become  so  accustomed  that 
they  almost  seemed  to  greet  him  with  friendly  nods. 
And  he  was  contented  in  his  Knickerbocker  apart- 
ment. There,  with  his  secretary  and  his  valets 
Martino  and  Mario,  he  lived  in  solid  comfort.  His 
slightest  wish  had  only  to  be  made  known,  —  an  atten- 
tion which  secretly  meant  very  much  to  the  singer. 

The  season  began,  with  Gluck's  "Armide."  It 
was  not  a  particularly  suitable  role  for  Caruso.  He 
always  said  that  Renaud  was  the  one  character  which 
gave  him  so  little  to  do,  in  both  singing  and  acting, 
that  to  appear  in  the  opera  was  like  taking  a  rest. 
The  public  did  not  care  for  the  classic  strains  of  the 
work,  and  three  performances  sufficed.  Very  dif- 
ferent was  the  part  of  Dick  Johnson,  in  Puccini's 
"La  Fanciulla  del  West",  which  had  its  world 
premiere  at  the  Metropolitan  on  December  10,  1910, 
with  the  composer  present.  And  yet  it  could  not 
be  saved  even  by  the  glorious  singing  of  Caruso 
and  the  equally  sincere  efforts  of  Mme.  Destinn  and 
Pasquale  Amato,  whose  voice  and  artistry  made  him 
a  fitting  associate  for  his  illustrious  compatriot. 

It  was  during  this  time  Amato' s  singing  was  con- 
sidered second  only  to  that  of  Caruso.  The  friend- 
ship between  the  two  artists  was  of  the  closest  —  few 
enjoyed  Caruso's  affection  and  confidence  in  such  a 
degree  as  did  Amato. 

The  New  Year  came,  and  Caruso  continued  his 
work.  He  had  already  appeared  in  a  Philadelphia 
representation  of  "  A'ida"  ;  he  went  to  Brooklyn  for  a 
"Pagliacci"  performance,  and  in  mid-January  to 


284  ENRICO   CARUSO 

Chicago  where  he  sang  twice  —  in  "Pagliacci"  and 
"La  Fanciulla  del  West"  —  with  the  Chicago- 
Philadelphia  Opera  Association,  which  consisted  of 
the  Manhattan  organization  the  Metropolitan  had 
acquired  from  Oscar  Hammerstein  and,  shortly 
after,  had  sold  to  a  group  of  Westerners  and  Philadel- 
phians.  A  single  appearance  as  Canio  in  Cleveland 
left  the  tenor  free  to  return  to  New  York,  where  he 
arrived  feeling  out  of  sorts. 

He  resumed  his  singing,  however ;  and  besides  a 
"Gioconda",  "La  Fanciulla  del  West",  and  "Ger- 
mania",  he  sang  at  a  musicale  given  by  Mrs.  Corne- 
lius Vanderbilt,  and  at  one  given  in  the  Waldorf- 
Astoria. 

On  February  6,  1911,  Caruso  made  his  final  ap- 
pearance of  that  season,  with  Mme.  Destinn  and 
Amato,  in  "Germania."  It  was  an  unconscious 
farewell ;  although  indisposed,  the  tenor  confidently 
expected  to  resume  his  place  in  later  performances. 
The  New  York  newspapers  announced  Caruso  to  be 
suffering  from  a  cold ;  but  as  the  days  passed,  and 
he  did  not  reappear,  the  concern  of  the  public  and 
press  increased. 

United  States  newspapermen  have  what  is  termed 
"a  nose  for  news."  Let  them  suspect  something  to 
be  hidden,  and  their  ingenuity  is  instantly  challenged 
to  ferret  out  the  truth.  As  February  waned,  and 
Caruso  continued  absent  from  the  casts  of  the  Metro- 
politan, the  reporters  increased  their  efforts  to  dis- 
cover whether  the  statements  that  he  was  suffering 
from  influenza  were  not  covering  certain  facts.  From 
some  source  came  the  rumor  that  the  tenor  had,  by 


Copyright  H  Mishkin,  N.  Y. 
CARUSO   AS   DICK   JOHNSON   IN    "THE    GIRL   OF   THE    GOLDEN   WEST" 


ANEWPERIOD  285 

his  continuous  and  unrestrained  singing,  developed 
another  node  on  one  of  his  vocal  chords.  This  rumor 
was  ridiculed  by  the  opera  house  management ;  by 
the  artist's  physician ;  by  his  friends.  Still,  the 
story  prevailed.  And  then,  one  morning,  came  the 
word  that  Caruso  had  been  advised  to  return  to 
Europe,  where  the  climate  and  rest  might  help  to 
restore  him  to  health. 

The  singer's  Knickerbocker  apartment  had  become 
the  objective  of  a  host  of  daily  visitors.  Friends, 
advisers,  newspapermen,  and  others  swarmed  the 
place.  Nervous  over  his  inability  to  fill  his  opera 
engagement,  Caruso's  sensitiveness  added  to  his 
troubles.  He  feared,  intensely,  adverse  criticism. 
"Now,"  he  declared,  "my  enemies  will  say  I  have 
lost  my  voice."  It  was  a  delicate  situation,  in- 
tensified by  the  singer's  own  emotionalism.  Out 
of  the  storm,  however,  came  one  whose  very  poise 
served  to  calm  the  tenor's  fears,  —  Calvin  G.  Child,  of 
the  company  which  made  exclusively  Caruso's 
phonograph  records. 

Between  Caruso  and  Child  there  had  developed 
a  deep  friendship,  growing  out  of  an  association  which 
had  begun  in  1903.  The  first  Caruso  phonograph 
records  had  been  made  in  late  1901  or  1902,  in  Milan, 
for  the  Gramophone  Company  of  London.  Soon 
after  the  tenor's  United  States  debut,  he  had  been 
visited  by  Child  ;  and  a  proposal  that  ten  opera 
arias  be  recorded  was  tendered  and  accepted.  The 
financial  basis  was  an  outright  payment ;  the  selec- 
tions chosen  were:  Vesti  la  giubba  ("Pagliacci"), 
Celeste  A'ida  ("Aida"),  Una  furtiva  lagrima  ("L'Elisir 


286  ENRICO    CARUSO 

d'Amore"),  La  Donna  e  mobile,  Questa  o  quella 
("Rigoletto"),  E  lucevan  le  stelle  ("Tosca"), 
Recondita  armonia  ("Tosca"),  La  reve  (Massenet's 
"Manon"),  Di  quella  pira  ("II  Trovatore"),  and  the 
Siciliana,  from  "Cavalleria  Rusticana."  Caruso 
went  on  February  i,  1904,  to  the  Victor  recording 
laboratories  in  New  York,  then  located  in  Carnegie 
Hall ;  and  in  a  single  afternoon  he  made  all  these 
records.  Only  one  "master"  was  demanded  at 
that  time  ;  later  it  was  Caruso's  custom  to  make  two 
master  records  of  each  selection,  and  frequently  he 
made  three.  If  he  were  not  thoroughly  satisfied  he 
would  even  go  to  the  pains  to  make  a  fourth,  —  in 
order  to  secure  what  he,  and  Child,  deemed  was 
artistically  essential. 

"I  never  knew  him  to  make  a  record  which  was 
mechanically  defective,"  said  Child, "for  he  had  the 
one  perfect  voice  for  recording.  But  there  was  one 
bad  note  in  the  first  E  lucevan  le  stelle  which  I  pointed 
out  at  the  time.  'That's  emotion,'  he  said,  when  he 
listened  to  the  note  ;  afterward,  though,  the  number 
was  remade. 

"  During  Caruso's  third  season  in  the  United  States, 
and  realizing  that  a  royalty  arrangement  would  be 
more  satisfactory  than  outright  payments,  we  made 
a  contract  with  him  on  the  former  basis.  During 
his  illness  in  the  late  winter  of  1911,  I  visited  Enrico 
to  discuss  a  renewal  of  his  contract.  It  was  his  way, 
often,  when  seeking  my  opinion  of  any  matter  affect- 
ing him,  to  give  me  the  details  of  a  hypothetical  case. 
On  this  occasion  he  said  : 

"'What  would  be  the  status  of  a  contract  between 


ANEWPERIOD  287 

an  artist  and  a  phonograph  company  if  the  artist 
wished  to  terminate  his  contract  ? ' 

'Well/  I  replied,  'if,  in  the  instance  of  your  own 
contract,  you  preferred  not  to  renew  it,  you  would 
be  privileged  to  enter  into  arrangements  with  any 
other  company ;  but  if  you  made  for  that  company 
records  you  had  made  for  us,  on  a  royalty  basis,  your 
interest  in  such  of  those  records  as  we  might  sub- 
sequently sell  would  cease.  You  could,  however, 
make  any  records  you  had  not  sung  for  us  without 
in  any  way  affecting  your  rights  in  those  you  did  not 
record  elsewhere/ 

"Since  we  are  discussing  contracts,  your  own 
with  the  Victor  will  expire  in  about  sixteen  months. 
You  have  been  ill,  and  the  financial  loss  due  to  your 
absence  from  the  opera  and  your  medical  expenses 
must  have  been  heavy.  If  you  would  like  to  renew 
your  contract  with  us,  I  will  be  glad  to  pay  you  an 
advance  of  twenty-five  thousand  dollars  against 
your  future  royalties/ 

"  I  remember  that  he  looked  up  sharply  as  I  made 
the  statement.  'You  say  that  your  company  will 
advance  me  twenty-five  thousand  dollars  if  I  sign  a 
new  contract  ? ' 

"'Yes/ 
'When  could  I  have  the  advance  ?' 

"'Well,  to-day  is  Saturday;  I  will  be  here  at 
two  o'clock  on  Monday  afternoon  with  a  cheque/ 

"For  reply  he  turned  to  the  table  near  him,  and 
picking  up  a  letter  from  it,  handed  it  to  me.  'There/ 
he  said,  'is  an  offer  from  a  phonograph  company 
offering  me  more  to  make  records  than  you  offer. 


288  ENRICO    CARUSO 

Please  answer  it.  And  please  make  out  a  contract 
arranging  that  Caruso  will  sing  for  your  company, 
as  long  as  he  lives/ 

"I  explained  that  such  a  contract  would  scarcely 
be  legal,  and  suggested  a  term  of  years.  'Very  well, 
then  make  it  for  twenty-five  years ;  and  —  never 
mind  about  the  twenty-five  thousand  dollar  advance/ 

"Such  an  action  was  typical  of  Caruso;  he  had 
only  one  way  of  doing  business. 

"  He  never  was  the  slightest  trouble.  Never  did  we 
have  any  arguments  over  making  a  record.  He 
realized,  very  soon  after  our  first  royalty  arrange- 
ments, the  seriousness  of  the  work. 

'You  know,  Child/  he  said,  'recording  is 
different  from  the  opera  or  concert.  On  the  stage, 
if  you  take  a  note  in  the  wrong  way,  it  is  possible 
to  turn  quickly  away,  with  a  gesture ;  or  one  may 
look  angrily  at  the  conductor,  thus  moving  an 
audience  to  believe  it  is  his  fault,  not  the  singer's. 
But  this  you  cannot  do  when  you  make  a  record, 
because  what  you  sing  is  there  for  all  time.  So  one 
must  not  only  approach  the  task  seriously ;  it  is 
necessary  to  be  in  the  best  vocal  condition/ 

"Caruso's  visits  to  us  for  professional  purposes 
were  invariably  looked  forward  to  with  real  pleasure. 
For  he  was  more  than  a  great  artist ;  his  consideration 
of  members  of  the  recording  staff,  and  of  the  orchestra, 
made  every  Caruso  date  anticipated  with  delight. 
It  was  the  practise,  first,  to  rehearse  the  composition 
to  be  recorded,  then  to  make  a  little  test  of  it  ... 
to  determine  if  everything  was  correctly  adjusted. 
The  actual  making  of  the  'masters'  was  done  with 


ANEWPERIOD  289 

the  utmost  zeal  and  patience,  and  nothing  ever  was 
too  slight  to  be  made  as  perfect  as  possible. 

"Many  times,  when  Caruso  appeared  with  other 
artists  in  the  securing  of  concerted  compositions, 
the  finished  proof  record  might  reveal  an  unsatisfac- 
tory phrase  or  an  incorrect  note  caused  by  another 
singer  or  the  orchestra.  In  such  instances,  though 
blameless  himself,  Caruso  never  objected  to  or  com- 
plained about  a  remake.  He  was  always  most  con- 
siderate of  singers  who  worked  with  him. 

"On  one  occasion,  when  he  was  singing  the  Cujus 
animam  from  the  "Stabat  Mater ",  it  was  impossible 
to  avoid  several  rehearsals  of  the  introduction,  which 
has  a  difficult  and  trying  part  for  the  trumpeter,  who 
plays  an  obbligato.  When  the  'masters'  were  at 
length  finished,  Caruso  —  who  always  sang  with  his 
collar  and  scarf  off  —  picked  up  a  gold  and  enamel 
scarf-holder,  and  handing  it  to  the  trumpet  player, 
he  said, '  You  deserve  a  reward  ;  I  thought  you  would 
surely  crack/ 

"Often  he  came  to  the  recording  laboratory  with 
little  souvenirs  for  members  of  the  staff  and  the 
orchestra  ;  and  once  he  brought  each  of  them  a  gold 
medallion  with  a  bas-relief  of  his  head  on  one  side. 

"I  never  knew  him  to  appear  among  us  that,  should 
a  change  have  taken  place  in  the  orchestra  personnel 
or  if  some  member  were  not  present,  he  did  not  in- 
stantly notice  the  absence  and  inquire  where  the 
missing  player  was. 

"Naturally,  he  was  held  in  esteem  by  the  musicians. 
And  at  times,  when  it  was  imperative  —  because  of 
his  opera  engagements  —  to  make  records  on  a 


290  ENRICO    CARUSO 

Saturday  or  a  Sunday,  there  was  no  objection,  — 
because  they  were  working  for  Caruso. 

"After  each  number,  the  players  would  applaud. 
But  when  an  entire  morning,  or  afternoon,  had  been 
devoted  to  work,  there  would  come  a  lull  in  the 
spontaneity  and  enthusiasm  of  such  applause.  Then 
the  tapping  of  bows  on  violins,  and  other  physical 
demonstrations  of  approval,  would  become  somewhat 
perfunctory.  Once  he  turned  to  me,  and  with  a 
twinkle  in  his  eye,  remarked,  'Tell  them  they  don't 
have  to  do  that.' 

"His  interest  in  the  mechanical  side  of  recording 
was  intense.  He  was  the  one  artist  who  was  taken 
'behind  the  scenes'  and  shown  just  how  we  proceeded 
mechanically.  He  was  always  ready  to  make  ex- 
perimental tests,  to  aid  us  in  our  advancement  in  the 
art ;  and  ever  willing  with  helpful  suggestions. 

"The  procedure,  after  a  proof-pressing  was  re- 
turned from  the  factory,  was  for  me  to  take  it  to 
him  .  .  .  that  we  might  hear  it  together.  Some- 
times he  would  say  he  doubted  if  the  composition  was 
good  material  for  the  public.  We  always  respected 
his  opinions.  Our  own  we  considered  important,  yet 
until  a  record  had  Caruso's  acceptance,  it  could  not 
go  to  the  public. 

"For  many  years  I  had  sought  to  have  him  come 
to  the  United  States  well  in  advance  of  the  time  for 
him  to  begin  his  professional  duties  in  public.  It 
seemed  only  just,  to  himself  and  to  us,  that  he  devote 
to  his  recording  several  days  when  he  was  perfectly 
fresh,  and  his  mind  free  from  having  to  think  of  other 
music  matters.  Until  the  early  autumn  of  1920 


ANEWPERIOD  291 

(he  had  spent  the  summer  at  his  leased  villa  on 
Long  Island),  we  had  usually  had  to  make  records  a 
day  or  two  at  a  time,  either  in  late  December  or  early 
January,  or  in  the  spring,  before  he  left  for  Europe. 

"He  said  he  thought  I  was  right  in  the  suggestion 
offered ;  so  a  lengthy  repertoire  was  prepared  in  the 
spring  of  1920,  and  in  the  following  September, 
before  starting  on  his  concert  tour,  a  full  week  was 
devoted  to  recording  it.  I  was  so  delighted  at  the 
results  that  I  commented  on  them,  unconsciously,  in 
the  presence  of  one  of  the  orchestra  players,  who 
observed,  *  That's  right,  —  to  get  him  when  his  voice 
is  rested/  It  was  almost  prophetic,  for  the  time  he 
might  have  planned  to  come  to  us  found  him  fight- 
ing desperately  for  his  life  .  .  .  and  never  afterwards 
was  he  able  to  sing  as  he  would  have  wished,  to  make 
a  record." 

The  sum  of  $1,825,000  in  talking-machine  royal- 
ties had  been  paid  to  Caruso  during  the  life  of  his 
contracts  ...  to  January  1920,  an  average  of  a 
little  more  than  one  hundred  twenty-five  thousand 
dollars  a  year.  But  for  the  year  from  January  1921 
to  1922  the  royalties  received  by  the  Caruso  estate 
reached  the  sum  of  four  hundred  thousand  dollars. 
Thus,  a  total  of  $2,225,000  has  been  earned  through 
this  medium.  "While  the  1921  income  does  not/'  de- 
clares Child,  "establish  a  figure  for  the  future  since  it 
is  absolutely  unprecedented  —  it  is  a  fact  that  with 
only  one  new  number  issued,  the  gross  receipts 
from  the  sale  of  Caruso  talking-machine  records 
from  January  i,  1922,  to  the  following  May  were 
in  excess  of  those  for  the  same  period  two  years 


292  ENRICO    CARUSO 

previous,  when  several  new  compositions  were  being 
regularly  released ;  and  this  four  months'  income, 
during  the  first  part  of  1922,  almost  equalled  that 
for  the  similar  length  of  time  one  year  ago. 

"Apart  from  our  business  relations,"  said  Child, 
"those  of  a  personal  nature  were  of  two  fast  friends. 
When  he  once  said  to  me,  '  Child,  everybody  is  ask- 
ing me  to  sing  a  concert  tour ;  I  suggest  that  you 
manage  my  concert  affairs,  and  you  and  I  will  divide 
the  profits/  Deeply  as  I  valued  this  proof  of  con- 
fidence, I  explained  that  my  lack  of  experience  in 
that  field  was  sufficient  cause  to  prompt  declining 
the  generous  offer.  I  told  him  I  felt,  if  I  were  to 
accept,  that  our  friendship  would  end. 

"His  loss  I  cannot  undertake  to  estimate,  because 
it  is  not  possible.  In  life,  I  held  for  him  affection 
and  admiration.  Now  that  he  is  gone  I  realize  still 
more  how  true  a  friend  he  was." 


Ill 

Caruso  sailed  for  London  in  February,  1911,  with 
the  people  of  many  countries  gravely  concerned 
over  his  state  of  voice.  The  backbiters  (among 
them  those  who  pretended  friendship)  remarked 
prophetically  that  his  career  was  "finished."  Ex- 
perts who  had  all  along  discountenanced  his  tendency 
toward  a  prodigality  of  tone  wagged  their  ears  sagely. 
"He  sang  too  strenuously  and  too  much,"  they  de- 
clared. It  was  the  masses,  whose  hearts  the  tenor 
had  reached  with  his  singing,  who  were  genuinely 
distressed. 


Copyright  Famous  Players  LasKy  Corporation. 


CARUSO   AS   HE   APPEARED   IN       THE    SPLENDID   ROMANCE,      A   FILM 
MADE   IN   AMERICA   BUT   NEVER   PRODUCED 

The  r61e  he  assumed  was  that  of  a  prince. 


ANEWPERIOD  293 

Having  suffered  previously  from  the  effects  of  a 
nodule,  it  was  the  belief  in  many  quarters  that  the 
old  trouble  had  returned.  Italian  newspapermen, 
in  particular,  interested  themselves  in  the  matter, 
with  the  result  that  rumors  got  abroad  that  Professor 
della  Vedova  had  gone  to  Caruso,  and  performed 
another  operation  similar  to  the  two  previous  ones. 
Thereupon,  reports  spread  that  Caruso  might  never 
sing  again. 

He  was  in  London  when  this  news  broke ;  and  to 
the  press  the  following  statement  was  given :  "The 
canard  that  my  vocal  chords  are  giving  me  trouble 
is  pure  invention.  The  Italian  doctor  who  is  said 
to  have  started  the  rumor  did  so  merely  to  advertise 
himself;  and  the  story  he  gave  to  a  reporter  about 
a  'corn*  having  made  its  appearance  in  my  throat 
is  absolutely  without  foundation.  Indeed,  the  Ital- 
ian doctor  has  not  examined  me  for  two  years.  For 
the  rest,  my  voice  is  in  good  condition  as  ever  and 
I  will  duly  keep  my  continental  and  other  engage- 
ments. Doctor  William  Lloyd,  under  whose  care 
I  have  been  since  my  return  to  London,  assures  me 
that  my  vocal  chords  are  perfectly  healthy  and  nor- 
mal." 

Le  Figaro,  of  Paris,  defended  the  singer  in  an 
article  published  on  May  20,  1911,  which  read  :  "We 
wish  to  put  a  stop  to  innumerable  pieces  of  misin- 
formation about  Caruso's  voice.  He  has  not,  thank 
Heaven !  lost  it.  Our  esteemed  friend  is  in  London, 
resting  after  an  attack  of  la  grippe  in  New  York." 

By  this  time  much  improved,  and  hoping  to  allay 
fears  over  his  condition  by  appearing  conspicuously 


294  ENRICO    CARUSO 

in  public,  Caruso  went  to  a  fancy-dress  charity  ball 
given  that  spring  in  the  Savoy  Hotel.  Many  dis- 
tinguished people  were  present.  Among  the  party 
of  which  Caruso  was  one  were  Lady  O'Hagan ;  the 
Hon.  Wilfred  Edgerton,  costumed  as  a  Chinaman ; 
Lady  Rosslyn,  attired  as  Lady  Hamilton  (after  Rom- 
ney) ;  the  Earl  of  Shrewsbury,  made  up  as  an  Amer- 
ican Indian,  and  Mr.  and  Mrs.  Gutekunst.  Caruso 
was  garbed  as  a  Moor,  which  made  him  appear  much 
like  Nadir,  in  "The  Pearl  Fishers." 

It  was  at  this  time  that  the  London  receiver  of 
taxes  adjudged  the  tenor  a  resident  of  the  British 
metropolis  —  since  he  maintained  a  domicile  in 
Maida  Vale  —  and  assessed  him  at  a  figure  he  con- 
sidered outrageously  high.  So  incensed  was  Caruso 
that  he  ordered  removed  from  his  London  residence, 
almost  overnight,  all  its  furnishings ;  and  those  he 
did  not  send  as  gifts  to  friends  he  had  shipped  to  Italy. 
By  such  means  did  he  escape  being  taxed.  And 
he  thereupon  moved  his  son  Mimmi,  and  his  gov- 
erness, Miss  Saer,  to  Criklewood  (the  home  of  the 
Saers),  where  they  remained  until  1914.  At  the  out- 
break of  the  war  both  went  to  the  villa  of  Signorina 
Rina  Giachetti,  at  Livorno,  and  later  to  the  villa 
at  Signa.  When  Caruso  married  Miss  Dorothy 
Benjamin,  in  1918,  Miss  Saer  and  Mimmi  went  to 
live  at  the  Hotel  Paoli,  on  the  Lungarno,  Florence. 

It  is  significant  that  the  tenor  refrained  wholly 
from  singing  until  the  opening  of  the  1911-1912 
New  York  Metropolitan  season.  Europeans  did 
not  hear  his  voice  that  year.  Nervous  over  his 
artistic  future,  Caruso  turned  in  his  wretchedness 


ANEWPERIOD  295 

from  everything  musical.  His  chief  object  was  to 
try  to  forget,  and  he  devoted  himself  more  than 
had  been  his  wont  to  efforts  to  find  pleasurable  mo- 
ments. Old  friends  and  acquaintances  saw  him 
oftener ;  new  people  were  met,  some  of  whom  he 
cultivated.  Signorina  Elisa  Ganelli,  a  Milanese 
salesgirl,  was  one  of  those  who  attracted  the  tenor 
those  summer  days.  She  was  comely,  spirited,  and 
companionable ;  to  be  gloomy  in  her  society  was 
no  easy  matter.  So  the  months  passed. 

By  autumn,  Caruso  had  emerged  from  his  nervous 
irritability.  His  health  was  improved ;  the  voice, 
tried  judiciously  now  and  again,  was  giving  forth  its 
former  resonance.  His  courage  regained,  the  tenor 
set  sail  for  New  York,  where  he  discovered  more 
than  one  friendship-pretender  eager  to  shake  him 
by  the  hand.  Caruso  met  them  all  with  philosophic 
tolerance.  He  held  no  delusions  over  the  constancy 
of  certain  individuals ;  but  of  what  use  was  it  to 
quarrel  needlessly  ?  He  was  convinced  of  his  re- 
stored vocal  vigor.  While  that  lasted  he  could  afford 
to  smile,  even  if  it  disguised  his  real  feelings. 

The  evening  of  November  13,  1911,  disposed  of 
any  doubts  the  public  then  held  as  to  the  Caruso 
voice.  For  his  Radames  in  "Ai'da",  in  which  he 
appeared  at  the  Metropolitan  opening  with  Mmes. 
Destinn  and  Margarete  Matzenauer,  gave  the  op- 
timists renewed  joy.  Nor  was  it  any  short-lived 
jubilation.  "Gioconda",  "La  Fanciulla  del  West", 
"Pagliacci",  "Armide",  "Tosca",  "Boheme"  — 
as  well  as  repetitions  of  some  of  these  operas  —  con- 
firmed evidences  that  the  tenor  was  his  complete 


296  ENRICO    CARUSO 

artistic  self.  He  made  new  phonograph  records, 
which  are  still  among  the  best  sellers,  and  continued 
with  his  operatic  triumphs.  Then  something  else 
happened.  Keen  observers  detected  an  improve- 
ment in  the  singer's  acting  which  hinted  at  the  first 
blossomings  of  an  unsuspected  side  of  Caruso's  art. 
Hardship,  disappointments,  sorrow,  illness,  and 
the  strain  of  endeavoring  to  maintain  a  hard-won 
position  constituted  the  price  for  its  fruits.  But  it 
seems  to  have  been  a  price  necessary  to  the  devel- 
opment of  the  Caruso  resources. 

The  year  1912  swung  the  tenor  into  a  series  of 
fresh  successes  —  at  the  Metropolitan,  in  Brooklyn, 
in  Philadelphia.  Where  were  the  calamity  howlers 
of  ten  months  before  ?  Under  cover,  apparently ; 
at  least,  nothing  was  heard  from  them. 

In  the  midst  of  this  reestablished  security  the 
singer  was  disturbed  again  when,  on  February  17, 
suit  in  Milan  was  brought  against  him  by  Signorina 
Ganelli,  for  alleged  breach  of  promise.  It  proved 
no  more,  however,  than  a  temporary  annoyance ; 
in  less  than  a  month  the  case  was  thrown  out  of  court, 
with  damages,  in  any  amount,  denied  the  plaintiff. 

Relieved  of  this  threatened  trouble,  Caruso  sang 
on  with  increasing  powers.  Then  followed  "Rigo- 
letto",  and  "Manon  Lescaut"  —  in  which,  according 
to  the  New  York  Sun,  "Caruso  never  sang  better. 
.  .  .  The  voice  ...  is  now  matched  by  the  grace 
and  significance  of  his  actions.  There  is  no  need 
to  say  more.  For  such  a  delight  all  lovers  of  beauty 
can  give  thanks.  .  .  ."  The  season  finished  on 
April  27,  at  Atlanta,  with  the  tenor  appearing  in 


ANEWPERIOD  297 

"Rigoletto."  He  had  sung  fifty  times,  without 
missing  a  single  performance ;  and  his  monetary 
return  was  one  hundred  thousand  dollars. 

One  extra  appearance  followed,  at  a  benefit  con- 
cert given  in  the  Metropolitan  Opera  House  for  the 
families  of  the  victims  who  had  perished  with  the 
lost  steamship  Titanic.  Mme.  Lillian  Nordica, 
Misses  Mary  Garden,  Bella  Alten,  Marie  Mattfeld, 
Bernice  de  Pasquali,  Kathleen  Parlow  (violiniste), 
and  Andres  de  Segurola  were  on  the  programme 
which  was  conducted  by  Alfred  Hertz  and  Giuseppe 
Sturani.  The  patrons  and  patronesses  were  Pres- 
ident Taft  and  the  Duke  and  Duchess  of  Connaught ; 
W.  Bourke  Cochran  delivered  the  commemorative 
address.  Caruso  sang  The  Lost  Chord,  in  English, 
to  the  accompaniment  of  the  New  York  Philharmonic 
Orchestra,  led  by  Frank  Damrosch. 

IV 

Memories  of  a  victory  won  in  enhancing  his  place 
in  the  hearts  of  the  American  public  sent  the  singer 
that  1912  spring  happily  upon  his  voyage  to  Europe. 
His  confidence,  too,  had  been  strengthened ;  and 
from  it  a  broadened  authority  grew.  Symptoms  of 
cynicism  —  a  bit  mild  perhaps,  yet  none  the  less 
clear  —  also  became  manifest.  For  it  was  inevitable 
that  Caruso  was  to  learn,  out  of  his  experiences  with 
life,  of  human  frailties. 

On  the  very  day  of  his  sailing  he  had  received  from 
Arrigo  Boito  a  cablegram  inviting  him  to  create  the 
tenor  role  in  the  composer's  "Nerone",  scheduled 
for  its  premiere  at  La  Scala  during  the  1913  season, 


298  ENRICO    CARUSO 

in  connection  with  the  celebration  of  the  Verdi  cen- 
tenary. Urged  by  Giulio  Ricordi,  the  editor,  and 
Toscanini,  Caruso  accepted  this  invitation,  though 
to  do  so  it  became  necessary  for  him  to  cancel  his 
planned  autumn  tournee  of  Germany.  Although 
Herr  Ledner  released  Caruso  from  his  contract, 
the  opera  was  not  finished  in  time  for  the  proposed 
date  of  the  premiere. 

Three  appearances  in  "La  Fanciulla  del  West", 
and  three  others  in  the  always  welcome  "Rigoletto" 
presented  the  singer  at  the  Paris  Opera  for  the  first 
time  in  his  career.  With  Mme.  Carmen  Melis  and 
Titta  Ruffo,  and  Maestro  Pome  conducting,  these 
mid-May  performances  raised  Caruso  still  higher 
in  the  estimation  of  discriminating  Parisians.  The 
Opera  management  begged  him  to  appear  in  a  few 
representations  of  "II  Barbiere  di  Siviglia",  with 
Feodor  Chaliapin,  but  without  avail.  He  sought 
rest,  and  in  the  following  September  he  began  his 
1912-1913  season  as  guest  artist  in  Munich,  ap- 
pearing in  "Tosca"  and  in  "Rigoletto",  and  at  the 
Hof  Theater,  in  Stuttgart.  Writing  to  his  brother 
Giovanni,  after  his  two  appearances  in  "Pagliacci" 
and  "Boheme",  Caruso  stated  that  never  had  he 
known  such  an  ovation  as  the  one  tendered  him  after 
he  had  sung  the  racconto,  in  the  first  act  of  "  Boheme  ", 
the  last  part  of  which  he  had  been  compelled  to 
repeat. 

"Manon  Lescaut"  reintroduced  the  tenor  to  his 
New  York  public,  on  November  n,  with  Mile.  Bori 
and  Scotti  as  his  chief  associates,  and  Giorgio  Po- 
lacco  conducting.  That  1912-1913  season  carried 


Copyright  H.  Mlshkln,  N.  Y. 


CARUSO    IN    1913,    THE    YEAR    WHICH    MARKED    THE    BEGINNING     OF 
HIS  ASCENDANCY 


ANEWPERIOD  299 

Caruso  to  still  higher  ground.  He  sang  only  one 
unfamiliar  opera,  "Les  Huguenots";  little  of  an 
uncommon  nature  occurred  to  require  chronicling. 
Roles  which  he  had  made  almost  exclusively  his 
own  were  those  in  which  the  people  heard  and  saw 
him  —  in  such  representative  works  as  "Gioconda", 
"Pagliacci",  "Boheme",  "Aida",  the  "Manon" 
of  Massenet,  "Tosca",  "Cavalleria  Rusticana", 
and  "La  Fanciulla  del  West."  As  Raoul,  in  "Les 
Huguenots",  the  tenor  attracted  attention  for  the 
heightened  distinction  of  his  bearing ;  as  for  his 
singing  of  the  music,  he  was  impressing  more  and 
more  upon  his  audiences  the  fact  that  heroic  parts 
were  to  become  a  forte. 

Forty  of  the  fifty  appearances  Caruso  made  in 
the  United  States  that  season  took  place  in  the  Met- 
ropolitan. Brooklyn  heard  him  twice,  Philadelphia 
four  times,  Boston  once,  and  Atlanta  on  three  occa- 
sions. He  sang  in  no  concerts ;  he  missed  only  two 
appearances ;  his  gross  earnings  were  one  hundred 
thousand  dollars. 

On  his  way  to  London,  for  the  Covent  Garden 
season,  he  ran  down  to  Paris  where,  for  a  fortnight, 
he  stopped  at  the  felysee  Palace  Hotel.  Then  he 
crossed  the  English  Channel,  took  up  his  abode  at 
the  Savoy  Hotel,  and  prepared  to  give  Londoners 
what  they  had  been  waiting  to  hear.  "Pagliacci" 
was  the  opening  opera,  with  Caruso,  Mme.  Carmen 
Melis,  and  Sammarco.  The  tenor  appeared  from 
May  20  to  June  28,  the  other  operas  being  "Ai'da", 
"Tosca",  and  "Boheme",  and  his  associate  artists 
were  Mmes.  Melba,  Destinn,  and  Edvina,  and  Scotti. 


3oo  ENRICO    CARUSO 

He  did  not  realize,  when  he  visited  Vienna  the 
following  September  for  two  appearances  in  "Rigo- 
letto"  and  one  in  "Carmen",  that  he  was  never  to 
sing  there  again.  Nor  —  because  of  the  war,  and 
his  subsequent  illness  and  death  —  that  the  October 
of  1913,  which  he  spent  in  Germany,  was  likewise 
an  unsuspected  good-by.  Munich  had  one  repre- 
sentation each  of  "Pagliacci",  "Carmen",  and  "  Bo- 
heme";  Stuttgart,  the  last  German  city  in  which  he 
ever  appeared,  enthused  over  Caruso  in  "Carmen", 
"Tosca",  and  "Rigoletto."  From  the  Hotel  Mar- 
quardt,  Stuttgart,  he  wrote  to  his  brother  Giovanni 
that  not  only  was  he  being  followed  through  the 
streets  by  crowds,  but  that  they  remained  under 
his  hotel  window  at  night  .  .  .  "watching  over  him 
like  a  precious  stone."  It  was  not  unlike  an  earlier 
demonstration  outside  his  dressing-room  windows, 
at  the  Berlin  Royal  Opera.  He  had  arrived  early 
at  the  theater,  as  was  his  custom,  and  was  already 
costumed  and  made  up  for  the  stage  when  Martino, 
one  of  his  valets,  pulled  aside  a  curtain  to  look  at 
the  throng  below,  which  was  calling  loudly  for  the 
tenor.  "  Let  us  see  him,"  they  called,  on  catching  sight 
of  Martino ;  and  the  latter  told  his  master  of  the 
situation.  Touched  by  this  demonstration,  the 
tenor  said,  "If  it  were  not  that  I  should  take  care 
of  my  voice  this  evening,  I  would  sing  to  them." 
Instead  he  had  to  be  content  with  showing  himself 
at  the  window,  and  waving  a  hand. 

Tranquil  in  all  important  respects  was  Caruso's 
1913-1914  season  in  the  United  States.  New  York, 
Philadelphia,  Brooklyn,  and  Atlanta  were  the  only 


ANEWPERIOD  301 

cities  which  caught  the  sound  of  his  voice.  He  re- 
fused point-blank  every  concert  engagement  offered. 
From  November  17  until  the  following  April  22 — 
when  he  departed  for  Georgia  —  New  York  City 
was  his  home.  He  appeared  in  one  new  opera,  Char- 
pentier's  "Julien";  and  with  Miss  Tarrar  as  chief 
associate,  he  interested  a  certain  few.  But  the  opera 
was  not  a  success ;  after  five  representations  it  was 
put  on  the  shelf,  where  it  still  lies. 

"Aida",  "Ballo  in  Maschera",  "Gioconda", 
" Tosca  ", " Pagliacci ", "  Manon ",  "  Manon  Lescaut", 
"Boheme",  and  "La  Fanciulla  del  West"  were  the 
Caruso  operas  of  that  year.  And  the  same  amount 
he  had  earned  the  season  before  —  one  hundred 
thousand  dollars  —  was  the  tenor's  reward  for  fifty 
engagements  he  sang,  without  the  loss  of  one. 

The  winter  had  been  a  reasonably  happy  one  for 
him.  He  was  content  to  remain  in  his  Knicker- 
bocker apartment ;  and  while,  as  had  been  his  custom 
for  several  years,  he  lunched  frequently  at  Del 
Pezzo's  restaurant  in  West  Thirty-fourth  Street, 
the  routine  of  life  was  growing  smoother.  It  would 
have  been  wise  had  he  been  careful  of  his  diet.  Un- 
fortunately, he  ate  too  heartily.  Often  he  would 
begin  a  meal  with  antipasto,  soup,  and  three  kinds 
of  spaghetti ;  then  attack  a  meat  course,  with  various 
Italian  vegetables,  and  wander  on  through  a  salad 
to  fruit  and  coffee.  There  would  have  been  much 
wine,  in  the  course  of  the  eating,  and  innumerable 
cigarettes.  It  is  no  wonder  he  put  on  weight ;  no 
wonder,  since  he  shunned  exercise  and  plenty  of 
fresh  air,  that  he  should  have  experienced  in  fre- 


302  ENRICO    CARUSO 

quency  and  in  increasing  violence  those  terrific  aches 
in  his  head.  But  friendly  remonstrance  was  of  no 
avail.  He  would  listen,  and  occasionally  nod  affirm- 
atively, —  and  that  was  an  end  to  the  matter.  Still, 
the  golden  lustre  of  the  Caruso  voice  was  not  per- 
ceptibly tarnished.  It  was  becoming  heavier ;  less 
lyric-like  in  its  shimmering  quality ;  and  the  habit 
of  scooping  high  notes,  in  a  manner  typical  of  the 
artist,  was  becoming  more  fixed.  Experts  regretted 
that  the  tenor  disclosed  unmistakable  tendencies 
in  the  direction  of  heroic  operas.  Their  conclusions 
may  have  been  right.  For  it  is  possible,  had  Caruso 
been  satisfied  to  curb  his  ambitions,  that  he  would 
have  put  less  strain  upon  his  matchless  voice. 
Nevertheless,  it  was  a  temptation  no  other  artist  — 
in  all  probability  —  could  have  resisted.  The 
larger  roles  were  his  to  sing,  if  he  wished,  —  and 
to  sing  them  was  his  keenest  desire. 

He  realized,  also,  the  strategic  advantage  of  his 
position  at  the  Metropolitan  in  being  able  to  fill  in 
equal  measure,  to  the  satisfaction  of  a  worshiping 
public,  the  duties  of  a  lyric  and  of  a  dramatic  leading 
tenor.  So,  he  found  himself  actuated  by  a  three- 
fold desire  :  to  gratify  personal  aspirations  ;  to  con- 
tinue as  the  idol  of  a  people  who  were  eager  to  have 
him  sing  in  different  types  of  roles ;  and  to  bask  in 
the  esteem  of  a  management  which  was  showing  an 
increasing  willingness  to  eat  from  his  hand.  After 
all,  it  must  be  admitted  that  Caruso  bore  himself 
amazingly  well.  He  had  power,  yet  never  did  he 
abuse  it ;  nor  did  he  abuse  the  still  greater  power 
which  was  to  come.  Standing,  as  he  was,  upon  the 


ANEWPERIOD  303 

threshold  of  his  most  glorious  artistic  moments,  he 
poised  with  perfect  balance  for  the  leap. 

In  the  spring  of  1914  he  went  to  London,  —  for 
the  last  season  before  a  public  which  prized  him  as 
did  that  of  the  newer  world.  He  was  not  aware  of 
this  at  the  time.  He  did  not  know  that  thereafter 
events  were  to  shape  in  ways  tying  him  more  firmly 
to  the  western  country  across  the  seas.  It  is  merely 
a  fact  that  after  his  opening  "Aida",  with  Mmes. 
Destinn  and  Kirkby-Lunn,  and  Dinh  Gilly,  the 
season  sped  to  a  rousing  close.  "Tosca",  "Ballo 
in  Maschera",  "Madama  Butterfly",  and  "  Boheme," 
were  the  other  works  in  which  he  sang.  Mmes. 
Melba,  Muzio,  Rosa  Raisa,  Edvina,  and  Zeppilli, 
and  Antonio  Scotti  and  Pompilio  Malatesta  were 
members  of  the  casts  in  which  the  tenor  appeared 
that  Covent  Garden  season.  June  29,  1914,  marked 
Caruso's  final  London  appearance.  The  opera  was 
"Tosca."  Fatigued  beyond  words,  the  singer  went 
for  absolute  rest  to  Bagni  di  Montecatini,  near  Lucca. 
It  was  one  month  before  he  wrote  to  his  brother.  In 
a  letter  filled  with  expressions  of  his  discouragement, 
Caruso  admitted  to  feeling  really  ill.  The  doctors, 
he  wrote,  called  it  "a  nervous  breakdown",  and  ad- 
vised him  to  "go  to  the  mountains."  He  winced 
at  the  thought  of  going  to  an  unfamiliar  spot,  and 
acquainted  Giovanni  with  his  determination  to  pro- 
ceed to  Bellosguardo,  where  he  asked  his  brother 
to  join  him.  "But  do  not  tell  a  soul,"  he  warned. 
"I  cannot  be  disturbed  with  either  letters  or  visitors." 

Germany's  declaration  of  war,  followed  soon  after 
by  Italy's   announced   decision  to   remain   neutral, 


304  ENRICO    CARUSO 

only  added  to  Caruso's  agitation.  He  worried  over 
the  future  of  his  country,  and  the  worry  did  him  no 
good.  As  the  weeks  passed,  and  the  tremendous 
gravity  of  the  situation  increased,  so  did  the  emotion- 
alism of  the  half-broken  Neapolitan  destroy  his 
chances  for  the  tranquillity  required  for  his  recovery. 
When  Temistocle  Ricceri  appealed  to  Caruso  to  sing 
at  an  affair  to  be  given  October  19  in  the  Costanzi,  of 
Rome,  to  secure  funds  to  enable  Italian  workingmen 
to  leave  Germany,  there  could  only  be  one  answer. 
The  great  Battistini,  and  Lucrezia  Bori,  Giuseppe 
de  Luca,  and  other  illustrious  artists  sang  in  excerpts 
from  operas  that  memorable  evening.  Toscanini 
conducted ;  yet  even  his  aversion  to  encores  melted 
before  the  tumult  which  demanded  again  the  Vesti 
la  giubba,  delivered  by  Caruso  during  the  represent- 
ation of  "  Pagliacci ",  in  which  he  participated.  For 
twenty  minutes  the  Costanzi  was  the  scene  of  en- 
thusiasm akin  to  riot.  Again  —  as  in  other  previous 
instances  —  did  this  particular  one  mark  an  un- 
premeditated farewell.  For  never  afterward  did 
Enrico  Caruso  sing  to  his  beloved  Romans.  Im- 
mediately after  the  performance  he  was  rushed  in  a 
special  train  to  Naples,  where  he  took  a  steamer 
sailing  at  once  for  New  York.  He  had  no  time  even 
to  go  to  bid  his  stepmother  and  sister  good-by  ;  they 
went  to  the  pier  to  see  him  off.  So  he  departed 
westward,  —  without  having  had  the  opportunity 
of  paying  his  faithful  visit  to  the  little  Church  of 
Sant  Anna  alle  Paludi,  and  to  the  fountain  he  had 
made  while  a  boy  and  which  still  continued  to  give 
drinking  water  to  his  fellow  Neapolitans. 


CHAPTER  TEN 

GOLDEN  DAYS 

WAR  influences  were  not  materially  lessened, 
though  thousands  of  miles  separated  the  tenor  from 
the  actual  scenes  of  conflict.  In  New  York  one 
could,  and  did,  hear  quite  as  much  of  what  was  going 
on  as  those  who  were  in  Europe  (in  certain  respects 
the  news  was  less  restricted  and  thus  more  quickly 
learned).  It  was  Caruso's  nature  to  be  patriotic. 
Although  he  did  not  diminish  his  allegiance  to  either 
his  art  or  the  Metropolitan,  his  interest  in  Italy's 
attitude  stirred,  as  the  weeks  passed,  with  deeper 
intensity.  He  was  beyond  the  age  limit  of  those 
eligible  at  the  first  call,  should  his  country  decide 
to  throw  her  fortunes  on  the  side  of  the  Allies.  But 
it  was  by  no  means  certain  which  way  Italy  was  to 
swing.  Uncertainty  plunged  New  York's  Italian 
colony  into  heated  discussions ;  and,  amongst  his 
friends,  the  singer  did  not  hesitate  to  speak  his  mind. 
He  rebelled,  with  all  his  fervor,  against  the  Austrians. 
Trieste  —  in  his  judgment,!  no  less  than  in  that  of 
many  of  his  compatriots  —  was  truly  Italian  soil. 
He  was  ready  to  support  Italy ;  and  means  was  not 
denied.  For  that  was  the  season  in  which  began  a 
new  contract,  which  yielded  him  two  thousand  five 
hundred  dollars  an  appearance. 

"Ballo  in  Maschera"  was  the  introductory  opera. 


306  ENRICO    CARUSO 

Mme.  Destinn  and  Pasquale  Amato  were  of  the 
cast.  Three  evenings  later  —  on  November  19  — 
the  singer  appeared  in  "Carmen."  "Gioconda", 
a  second  "Carmen",  another  "Gioconda",  then 
"Pagliacci",  "Aida",  "Manon",  and  "Huguenots" 
followed  at  intervals.  Caruso  was  appearing  regu- 
larly twice  each  week ;  his  singing  was  clocklike ; 
his  hold  upon  the  New  York  public  stronger  than 
ever.  Then,  with  the  end  of  his  season  drawing 
near,  in  mid-February,  the  newspapers  began  to 
speculate  whether  the  tenor  and  Manager  Gatti- 
Casazza  were  pulling  smoothly  together.  Although 
explanations  of  the  Raoul  Gunsbourg  contract  had 
been  made,  some  people  questioned  these  explana- 
tions. Yet  it  was  true  that  Caruso  had  promised 
the  Monte  Carlo  impresario,  several  years  before, 
to  appear  at  the  Casino.  The  fulfillment  of  that 
contract  had  been  postponed  repeatedly;  in  1914 
Gatti-Casazza  agreed  with  his  leading  tenor  that  he 
was  right  in  deciding  that  the  appearances  should 
be  no  longer  delayed.  This  reason,  and  no  other, 
sent  Caruso  to  Monte  Carlo  after  his  1915  farewell 
at  the  Metropolitan,  which  he  sang  on  February  17, 
in  "  Pagliacci."  He  had  appeared  just  twenty-eight 
times,  for  which  he  received  the  sum  of  seventy  thou- 
sand dollars.  From  that  time  forth  he  was  no  longer 
bound  to  the  New  York  organization  on  terms  other 
than  those  which  covered  his  services  when  it  gave 
performances.  He  made,  thereafter,  his  own  outside 
contracts,  —  and  he  profited  accordingly. 

A  commission,  delegated  by  the  mayor  of  Caruso's 
native  city,  met  the   steamer   Duca   d'Aosta  when 


GOLDEN    DAYS  307 

it  arrived  at  its  Naples  berth.  A  benefit  performance 
was  being  arranged  for  the  refugees  from  the  Avez- 
zano  earthquake,  and  as  usual  in  like  circumstances, 
the  tenor's  services  were  sought.  Although  he  was 
willing  to  aid,  Gunsbourg  declined  to  delay  Caruso's 
Monte  Carlo  debut ;  so,  instead,  the  singer  con- 
tributed some  money,  and  went  on  his  way. 

The  Monte  Carlo  colony  of  connoisseurs  were 
curious  to  hear  the  tenor  once  more.  Malicious 
tongues  had  spread  reports  that  the  golden  and  vel- 
vety beauty  of  those  tones  had  passed.  The  audi- 
ence which  assembled  in  the  Casino  that  March  14 
evening  was  eager,  and  a  bit  anxious  as  well. 
"Ai'da"  was  the  opera;  and  in  the  cast  were  Mme. 
Felia  Litvinne  (sister  to  the  brothers  De  Reszke), 
Alfred  Maguenat,  and  Marcel  Journet.  Caruso 
went  apprehensively  from  the  Hotel  Paris  to  the 
theater,  and  prepared  nervously  for  the  test  that 
was  to  come.  He  had  not  many  hours  to  pass  in  a 
state  of  agitation ;  before  the  representation  was 
half  finished  he  had  crossed  the  danger  line.  Still, 
these  Latins  —  to  whom  he  had  not  sung  in  many 
years  —  were  not  thoroughly  convinced. 

Camillo  Antona  Traversi,  a  Parisian  newspaper- 
man and  critic  of  repute  and  who  had  been  engaged 
as  secretary  of  Gunsbourg's  company,  went  to  see 
Caruso  in  an  entract  during  that  representation. 
"When  I  entered  his  dressing  room,"  said  Traversi, 
"Caruso  spoke  abruptly. 

Camillo,  you  know  I  am  an  imbecile !  I  feel 
a  role  too  much.  I  try  always  to  give  my  best  in 
interpreting  a  part.  I  know  that  I  am  a  singer  and 


3o8  ENRICO    CARUSO 

an  actor  —  yet,  in  order  to  give  the  public  the  im- 
pression that  I  am  neither  one  nor  the  other,  but 
the  real  man  conceived  by  the  author,  I  have  to  feel 
and  to  think  as  the  man  the  author  had  in  mind. 
All  the  secrets  lie  in  the  heart  of  the  artist.  The 
difficulty,  the  terrible  difficulty,  does  not  cease  when 
an  artist  has  reached  the  pinnacle  of  perfection  - 
the  top  of  the  ladder,  as  we  say.  He  is  haunted, 
when  he  gets  there,  by  that  never-ending  inner  ques- 
tion :  "When  will  I  go  down  ?"  I  never  step  upon 
a  stage  without  asking  myself  whether  I  will  succeed 
in  finishing  the  opera.  The  fact  is  that  a  conscien- 
tious singer  is  never  sure  of  himself,  or  of  anything. 
He  is  ever  in  the  hands  of  Destiny. 

'The  public  is  quick  to  approve  or  disapprove. 
It  sometimes  happens,  because  of  a  trivial  frog  in 
the  throat,  that  the  voice  becomes  suddenly  weaker. 
It  is  nothing  to  be  alarmed  at,  if  the  public  would 
only  realize.  But  it  is  quick  to  leap  to  conclusions. 
So,  when  we  are  at  the  zenith  we  travel  through 
occasional  storms.  The  Damocles  sword  is  dangling 
constantly  above  the  head  of  every  great  singer. 
For  the  unforeseen  occurrence  may  often  be  the 
most  damaging.  If  that  frog  I  spoke  about  happens 
to  come,  and  the  voice,  for  a  time,  is  veiled,  an  audi- 
ence may  judge  hastily  and  be  at  fault. 

"It  is  too  bad  that  the  public  expects  from  me, 
always,  perfection  —  which  it  is  impossible  for  me 
always  to  attain.  I  am  not  a  machine.  I  am  a 
human  being.  I  may  sing,  one  night,  to  please  the 
people.  The  same  opera,  sung  by  me  the  following 
night,  is  less  excellent  because  I  am  not  in  the  same 


GOLDEN    DAYS  309 

mood  or  do  not  chance  to  feel  as  well.  Even  though 
I  may  sing  better  than  somebody  else,  I  am  criti- 
cised as  having  been  "bad"  .  .  .  because  I  have  sung 
less  well  than  the  last  time  I  was  heard.  Do  you 
see  my  point  ?' 

The  singer  had  little  to  complain  of,  however, 
when  he  appeared  in  "Pagliacci",  with  Signorina 
Alice  Zeppilli ;  and,  also,  when  for  his  third  appear- 
ance he  was  cast  with  Signorina  Graziella  Pareto  and 
MM.  Maguenat  and  Journet  in  "Lucia  di  Lammer- 
moor."  Incidentally,  he  saved  an  appearance  to 
Signorina  Pareto,  when  the  soprano  caught  a  cold, 
by  supplying  some  of  his  own  remedies  and  acting 
successfully  as  impromptu  physician. 

Restored  in  the  minds  of  the  skeptics  to  his  former 
singing  place,  Caruso  was  soon  besieged  by  im- 
presari. One  of  these  was  Walter  Mocchi,  who  con- 
trolled a  season  in  South  America.  Wishing  to  be  rid 
of  Mocchi's  importunings,  Caruso  said  he  would 
accept  an  engagement,  —  if  he  were  paid  thirty-five 
thousand  francs  in  gold  for  each  appearance.  How 
little  did  the  singer,  in  spite  of  his  steady  advance- 
ment, suspect  his  approaching  commercial  value 
as  an  artist.  And  how  complete  was  his  surprise 
when  Mocchi  held  him  to  his  word,  and  informed  him 
that  within  one  week  would  they  be  on  board  a 
steamer,  bound  for  Buenos  Aires. 

A  full  twelve  years  had  passed  since  the  tenor 
had  appeared  in  that  city.  Even  before  he  sang 
he  must  have  been  reassured,  for  the  advance  sale 
—  immediately  upon  the  announcement  of  Caruso's 
engagement  —  had  leaped  to  an  unprecedented 


310  ENRICO    CARUSO 

figure.  The  debut  was  made  during  May,  at  the 
Colon  Theater,  in  "Ai'da",  with  Mme.  Roggeri  and 
Giuseppe  Danise.  "Pagliacci"  followed,  with  the 
same  artists.  No  one  complained  of  the  bigger, 
darker  voice ;  it  had  just  the  warmth  South 
Americans  admired,  while  the  art  of  the  artist 
thrilled.  There  was  just  one  opinion,  —  which  coin- 
cided with  the  opinions  which  had  held,  and  were 
continuing  to  hold,  in  those  other  parts  of  the  world 
where  Caruso  reigned. 

Massenet's  "Manon",  with  Mme.  Genevieve  Vix 
and  Mario  Sammarco,  which  Giuseppe  Sturani  con- 
ducted, was  the  third  opera.  The  fourth  was  the 
"Manon  Lescaut"  of  Puccini,  conducted  by  Gino 
Marinuzzi,  with  Signora  Gilda  Delia  Rizza  and  Sam- 
marco in  the  cast.  Two  "Lucia  di  Lammermoor" 
presentations  took  place  with  Signora  Amelita  Galli 
Curci.  He  had  been  hoisted  to  a  new  pedestal ; 
honors  which  it  had  seemed  could  scarce  be  ex- 
ceeded had,  indeed,  been  surpassed.  Of  a  sudden 
had  come  a  fresh  impetus  to  carry  the  singer  still 
farther  in  advance  of  even  his  most  distinguished 
confreres.  For  from  that  engagement  must  date 
the  period  of  the  Caruso  supremacy  which  set  him 
apart  from  all  others ;  a  supremacy  which,  as  an 
artist,  made  him  signally  and  conspicuously  unique. 
He  had  in  fact  become  the  first ;  thereafter  no  force 
was  to  arrest  the  solidity  of  his  position,  in  which 
he  was  destined  to  grow  in  that  measure  justifying 
its  attainment. 

Mocchi's  gratitude  to  the  tenor  was  expressed  in 
a  gift  made  to  him  just  as  he  was  about  to  depart, 


GOLDEN    DAYS  311 

in  August,  for  Italy.     It  was  a  gold  cigarette  case 
with  the  following  inscription : 

To  Caruso,  the  dearest  of  all  friends 
the  least  dear  of  all  the  artists. 

Just  one  touch  of  sadness  marked  Caruso's  stay 
in  Buenos  Aires.  On  June  2,  1915,  he  received  at 
the  Hotel  Plaza  a  cablegram  telling  him  of  the  death 
of  his  sister  Assunta.  ( 

Another,  of  a  different  nature,  came  to  him  soon 
after  he  had  reached  his  Bellosguardo  Villa,  at  Signa. 
Accused  by  the  Parisian  press  of  being  pro-German, 
and  deploring  the  actions  of  Gabriele  d'Annunzio, 
Caruso  wrote  in  heated  anger  to  his  friend  Camillo 
Traversi,  who  was  then  in  Paris.  The  communi- 
cation was  dated  September  12,  1915. 

My  dear  Camillo : 

On  my  return  yesterday  from  Buenos  Aires, 
I  found  here  your  letter,  and  the  clippings  of  the 
Paris  papers  .  .  .  including  the  article  of  Le  Matin 
in  regard  to  that  infamy.  The  invention  was  a  ter- 
rible blow  to  me.  It  was  not  alone  the  item  which 
caused  me  such  pain,  but  the  unfavorable  comments 
of  these  Paris  papers  —  which  evidently  have  for- 
gotten what  I  did  for  Coquelin's  benefits  for  the 
House  of  the  Disabled  Artists,  for  the  Belgians, 
for  the  Society  of  Journalists,  and  other  French 
benefits.  The  infamy  did  not  surprise  me  as  much 
as  the  readiness  of  the  learned  Parisian  people  to 
believe  that  I  could  possibly  be  such  a  coward,  such 
a  mean  man. 

Believe  me,  dear  Camillo,  I  cried  of  rage ;  and 
if  some  day  I  can  discover  the  person  responsible  for 
it  all,  then  the  world  will  hear  me  speak  something 
of  him  and  of  myself.  During  the  past  few  years 


312  ENRICO    CARUSO 

the  press  seems  to  have  had  a  mania  of  occupying 
itself  with  poor  me,  giving  me  many  troubles.  I 
did  not  bother,  because  they  were  speaking  of  my 
voice  .  .  .  lost ;  but  now  it  is  of  a  different  subject. 
Before  I  die  of  heart-failure,  I  wish  God  to  grant  me 
grace  —  to  permit  me  to  give  to  Satan  the  soul  of 
this  man  who  intended  to  make  the  world  believe 
I  was  such  a  vile  man  .  .  .  not  an  Italian  of  blood 
and  flesh. 

With  greetings,  believe  me, 

Yours, 

Enrico  Caruso. 

The  singer's  fierce  anger  had  cooled  somewhat 
when  he  was  called  on  to  assist  in  two  performances, 
planned  to  be  held  in  the  Dal  Verme  Theater,  of 
Milan,  to  aid  artists  in  need  of  work.  Those  two 
appearances  were  in  "Pagliacci",  on  September 
23  and  25.  Toscanini  conducted  the  opera,  and 
"II  Segreto  di  Susanna",  which  was  the  preceding 
piece.  Signorina  Claudia  Muzio,  Luigi  Montesanto, 
and  Angelo  Bada  were  of  the  "Pagliacci"  cast. 
Since  Caruso  had  not  sung  in  Milan  for  a  number  of 
years,  his  first  endeavor  resembled  a  debut.  He 
was  intensely  nervous ;  there  appears,  however,  to 
have  been  slight  cause  for  worry.  The  next  morning 
the  Milanese  newspapers  eulogized  Caruso  and  his 
art.  His  voice,  the  writers  declared,  had  not  "gone." 
On  the  contrary,  it  remained  still  the  beautiful 
instrument  of  those  times  when  he  had  sung  in 
"Fedora";  perhaps  a  more  dramatic  voice,  but,  if 
anything,  more  beautiful  than  before. 

It  has  been  said  that  in  his  closing  years  Caruso 
did  not  sing  in  Italy  because  his  compatriots  ob- 


Copyright  H.  Mishkin,  N.  Y. 
CARUSO  AS   SAMSON  IN   "  SAMSON  ET  DALILA" 


GOLDEN    DAYS  313 

jected  to  the  heavier,  darker  timbre  of  the  tones 
they  had  admired  in  earlier  years,  —  when  their 
lyric  purity  had  first  captivated  the  Italian  people. 
So  far  as  can  be  learned,  no  such  general  opinion 
held.  The  tenor  was  so  constantly  in  demand,  and 
at  fees  so  much  higher  than  any  Italian  opera  house 
could  afford  to  pay  him,  that  it  appears  to  have  been 
a  mere  matter  of  business  for  him  to  have  accepted 
contracts  offered  elsewhere.  I 

He  never  sang  in  Italy  after  his  two  appearances 
in  Milan.  Who  knows  that  he  might  not  have  liked 
to.  It  is  questionable  if  such  a  public  demonstra- 
tion of  mourning,  as  attended  his  death  and  funeral, 
could  have  come  from  a  people  who  did  not  truly 
feel. 

II 

No  one  who  heard  and  saw  Caruso  during  his 
first  Samson  in  "Samson  et  Dalila",  which  opened 
the  Metropolitan's  season  of  1915-1916,  could  have 
dbubted  his  ripened  art.  Previous  admissions  had 
been  made  by  eminent  music  reviewers  of  the  tenor's 
developed  acting  resources.  It  remained  for  his 
Samson  to  disclose  him  in  a  role  of  larger  mold  and 
potentialities  than  any  in  which  New  York  had 
known  him.  The  Saint-Saens  opera  started  the 
singer  toward  that  final  phase  of  his  career.  In  it 
he  checked  —  for  a  time,  at  least  —  the  remon- 
strances of  those  who  kept  insisting  that  he  was  a 
lyric  tenor  who  had  wandered  outside  his  metier. 
How  different  a  man  he  had  become  from  the  Caruso 
of  a  decade  before  !  Experience  and  associations  had 


ENRICO    CARUSO 

not  been  without  their  influence.  The  very  shape 
of  his  head  had  changed,  —  along  with  the  contour 
of  his  features.  He  was  jovial  of  mood  to  the  many 
who  saw  him  casually  in  the  streets.  He  enjoyed, 
if  less  effusively,  indulging  in  his  jokes  and  pranks. 
And  he  turned  as  often  and  with  as  keen  a  pleasure 
to  that  oldtime  habit  of  sketching,  —  both  caricature 
and  portraits.  But  the  serious  side  of  the  man  was 
having  its  way.  Those  who  saw  him  often  in 
his  home  observed  the  gradual  transformation  of 
the  singer.  If  only  the  public  which  observed  him 
cutting  capers  before  the  Metropolitan  curtain,  or 
seemingly  having  the  time  of  his  life  in  "L'Elisir 
d'Amore",  could  have  seen  him  in  his  Knickerbocker 
apartment,  as  he  actually  was !  Only  in  these  cir- 
cumstances could  they  have  fathomed  the  real 
Caruso. 

There  the  public  might  have  glimpsed  him,  fol- 
lowing the  ceaseless  routine  of  work.  For  it  was 
work  that  carried  Caruso  to  the  goals  he  reached. 
Some  people  have  rather  doubted  it.  To  them  it 
was  to  his  voice  that  all  the  credit  went.  Those 
persons  cannot  know  that  for  Caruso  there  were 
few  real  vacations.  Out  of  season  he  slaved.  At 
Signa,  he  almost  invariably  coached  his  roles  —  old 
as  well  as  new  —  with  Maestro  Mugnone.  Occasion- 
ally Barthelemy  aided  him  in  this  capacity ;  he  re- 
spected this  accompanist  because  of  his  musician- 
ship. Maestri  Sarmiento,  Gaetano  Scognamiglio, 
Tullio  Voghera,  Bruni,  Dell'  Orefice,  and  Vincenzo 
Bellezza  —  all  at  one  time  or  another  accompanists  to 
the  tenor  —  commanded  his  respect.  During  his  last 


GOLDEN    DAYS  315 

few  seasons,  with  the  exception  of  a  break  of  two  years, 
Salvatore  Fucito  acted  as  the  tenor's  accompanist. 

Besides  "Samson  et  Dalila",  the  operas  in  which 
Caruso  sang  at  the  Metropolitan  during  1915-1916 
were"Boheme",  "Tosca",  "Manon",  "Pagliacci", 
"Marta",  "Ballo  in  Maschera",  "Ai'da",  "Manon 
Lescaut",  "Rigoletto",  and  "Carmen."  He  missed 
only  one  performance  that  year ;  and  for  the  forty- 
nine  in  which  he  participated  he  earned  one  hundred 
eighteen  thousand  dollars. 

An  indication  of  the  value  the  Metropolitan  board 
of  directors  had  then  come  to  place  upon  Caruso's 
services  was  shown  in  a  letter  written  by  their  chair- 
man, Otto  H.  Kahn,  in  a  letter  dated  March  27, 
1916.  It  read : 

Mr.  Gatti-Casazza  has  informed  me  that  while 
you  prefer  not  to  sign  a  contract  at  this  time  for  an 
extension  of  your  present  contract,  you  have  given 
him  your  verbal  assurance,  which,  coming  from  you 
is  just  as  good  as  a  written  contract,  that  he  may 
depend  upon  your  remaining  with  the  Metropolitan 
Opera  Company.  In  taking  note  of  this  welcome 
declaration,  may  I  express  my  sincerest  gratification, 
not  only  as  Chairman  of  the  Metropolitan  Opera 
Company,  not  only  as  one  of  the  public,  in  the 
affection  and  admiration  of  which  you  have  a  unique, 
an  unrivalled  place,  but  also  as  your  personal  friend 
and  well-wisher  who  holds  you  in  the  highest  esteem 
for  the  splendid  qualities  of  character  which  dis- 
tinguish you  as  an  artist  and  as  a  man.  With  cordial 
good  wishes,  and  in  the  hope  that  your  health  and 
strength  and  the  glory  of  your  incomparable  voice 
and  superb  art  may  be  preserved  for  many  years  to 
come,  I  remain  —  Very  sincerely  yours. 


3i6  ENRICO    CARUSO 

Caruso  went  to  Signa  for  a  rest.  He  was  con- 
tinuing to  suffer  more  frequently  from  those  violent 
headaches.  The  previous  year,  while  in  Buenos  Aires, 
he  had  at  times  screamed  from  the  pain ;  the  one 
Metropolitan  appearance  he  had  missed  during  the 
1915-1916  season  had  been  due  to  a  headache 
attack.  Doctor  Holbrook  Curtis  had  attributed  the 
source  to  an  affection  of  the  nose  ;  and  an  operation 
had  been  performed.  But  it  brought  no  relief.  The 
first  indications  of  one  of  these  spells  would  be 
hardened  swellings  at  the  sides  of  the  singer's  neck. 
Massage  and  electric  treatments  never  seemed  to 
help.  An  attack  would  generally  last  for  three  or 
four  hours,  then  slowly  subside.  The  effect,  how- 
ever, was  to  leave  the  tenor  limp  and  nerve-wrought. 

Barthelemy  joined  Caruso  at  Signa  to  assist  him 
in  preparing  the  music  side  of  the  role  of  Nadir  in 
"The  Pearl  Fishers",  which  the  tenor  expected  to 
sing  on  the  opening  night  of  the  Metropolitan's 
1916-1917  season.  Mme.  Frieda  Hempel,  Giuseppe 
de  Luca,  and  Leon  Rothier  were  of  that  representa- 
tion, which  Maestro  Polacco  conducted.  The  pub- 
lic, despite  Caruso's  presence  in  the  cast,  displayed 
slight  interest  in  the  opera  ;  it  was  given  only  twice 
thereafter.  In  other  works  —  those  which  were 
ever  favorites  with  New  Yorkers,  especially  if 
Caruso  sang  —  there  was  no  cause  for  complaint. 
"Manon  Lescaut",  "Samson  et  Dalila",  "Pa- 
gliacci",  "Marta",  "Alda",  "Carmen",  "L'Elisir 
d'Amore",  "Rigoletto",  and  "Boheme"  followed. 
What  variety  was  presented  in  the  leading  tenor 
characters  of  these  operas  ! 


js SL 


A  PAGE  OF  THE   SCORE   OF   "  SAMSON  ET  DALILA"   COPIED   BY  CARUSO 
How  he  studied  the  r61e  of  Samson. 


GOLDEN   DAYS  317 

Success  crescendoed  for  the  tenor  without  a  pause. 
Not  once  that  season  did  he  miss  an  engagement. 
His  appearances  were  the  same  in  number  as  of  the 
year  before  ;  his  earnings  precisely  the  same.  New 
York,  Brooklyn,  Philadelphia,  and  Atlanta  were  the 
only  cities  that  heard  him  in  opera ;  but  on  May  I 
Caruso  sang  in  concert  in  Cincinnati,  beginning  a 
brief  tour  which  took  him  also  to  Toledo  and  Pitts- 
burgh. The  Cincinnati  Symphony  Orchestra  par- 
ticipated in  these  three  concerts ;  and  Richard 
Barthelemy  was  Caruso's  accompanist.  For  the 
first  two  appearances  the  singer  received  three 
thousand  five  hundred  dollars  each ;  five  thousand 
dollars  was  paid  him  for  the  concluding  one. 

Preparations  were  made,  following  Caruso's  final 
United  States  concert  of  that  year  (with  the  Mozart 
Society,  of  New  York),  for  the  journey  to  Buenos 
Aires.  The  tenor  hesitated  about  undertaking  the 
trip :  the  World  War  had  reached  an  acute  stage ; 
ships  were  being  ruthlessly  torpedoed  ;  Caruso  won- 
dered whether  it  was  a  risk  to  be  taken.  He  went 
about  matters  with  much  foresight,  and  besides 
providing  himself  with  numerous  life  preservers,  he 
had  made  a  suit  of  clothes  which  was  guaranteed  to 
keep  him  afloat. 

Caruso  disembarked  from  the  SS.  Saga  when  it 
reached  Rio  Janeiro,  and  boarded  the  SS.  Indiana 
for  Buenos  Aires.  On  June  17,  and  with  Mme. 
Vallin-Pardo  as  leading  soprano,  he  made  his  first 
reappearance  at  the  Colon  Theater  in  "L'Elisir 
d'Amore."  The  reception  was  a  repetition  of  those 
scenes  which  had  greeted  his  efforts  two  years 


3i8  ENRICO    CARUSO 

before.  "Pagliacci"  evoked  similar  enthusiasm 
when  Caruso  sang ;  and  it  grew  in  intensity 
when  he  was  heard  in  "Manon",  "Tosca", 
"Boheme",  and  "Lodoletta",  —  this  last  work  be- 
ing new  to  the  tenor  at  that  time.  Other  South 
American  cities  had  insisted  they  be  given  the  then 
matured  Caruso  ;  so  a  tour  was  undertaken  to 
Montevideo,  Rio  de  Janeiro,  and  San  Paolo.  A 
return  trip  had  to  be  made  to  Rio,  for  two  final  ap- 
pearances. The  operas  were  "  Carmen  "  and  "  Manon 
Lescaut";  and,  on  October  16,  1917,  Caruso  sang 
in  the  latter  work  for  the  last  time  in  South  America, 

Vincenzo  Bellezza,  one  of  the  Colon  Theater 
conductors,  sailed  with  the  tenor  for  New  York  in 
the  capacity  of  accompanist.  They  worked  together 
on  the  voyage  northwards,  and  more  than  one 
passenger  aboard  the  SS.  Saga  was  treated  to  bits  of 
impromptu  concerts.  Relief  at  the  safe  ending  of 
his  long  journey  overjoyed  the  singer.  He  reached 
New  York  with  his  face  wreathed  in  smiles.  It  had 
been  a  hard  year,  without  any  extended  period  of 
rest,  but  all  that  was  forgotten.  And  there  was  no 
need  to  be  disturbed  over  opening  the  Metropolitan 
season  in  a  new  opera ;  "  A'ida"  had  been  chosen. 

It  was  at  this  time  that  Bruno  Zirato  was  invited  to 
accept  the  post  of  Secretary  to  Enrico  Caruso. 
Others  had  preceded  him,  though  none  had  served 
in  a  full  secretarial  capacity.  Generally  it  had  been 
an  arrangement  in  which  friendship  formed  a  princi- 
pal part,  with  the  compensation  being  more  in  the 
form  of  tickets  to  the  opera  performances  in  which 
the  tenor  appeared,  and  occasional  "presents", 


GOLDEN    DAYS 

wherein  cash  sometimes  figured.  After  Count  Scalzi 
—  who  had  been  the  third  person  to  aid  Caruso  by 
writing  letters  and  in  other  minor  ways  —  there 
came  Luigi  Roversi,  Enrico  Scognamillo,  Doctor 
de  Simone,  and  Constant  J.  Sperco. 

Zirato  was  the  first  real  secretary  Caruso  had  ; 
for  he  spent  his  entire  time  with  the  tenor,  and  made 
of  his  position  a  matter  of  the  strictest  and  most  rigid 
business.  He  served  his  employer  faithfully  and 
well,  how  well  those  who  were  close  to  Caruso  during 
his  desperate  illness  during  those  dragging  final 
months  best  know.  While  between  Caruso  and 
Zirato  there  was  a  never-ceasing  element  of  friend- 
ship (the  singer  often  addressed  his  secretary  by  the 
endearment  term  of  Compare),  both  men  inclined 
naturally  toward  discipline,  and  each  seemed  to  take 
a  certain  satisfaction  in  maintaining  those  niceties 
which  preserved  in  their  relationship  a  perfect  under- 
standing. The  best  evidence  of  Zirato's  standing 
with  the  singer  was  his  uninterrupted  continuance 
in  office.  For  the  latter  was  a  difficult  man  to  please. 
After  her  husband's  death,  and  when  she  had  re- 
turned to  New  York,  Mrs.  Caruso  wished  to  have 
Zirato  near  her ;  his  presence  somehow  exerted  on 
her  a  comforting  effect.  So  he  became  her  secretary. 

The  United  States,  having  joined  the  side  of 
the  Allies  in  the  war,  was  then  aflame  with  patri- 
otism. Although  opera  was  the  principal  interest 
in  the  singer's  life,  he  found  himself  not  unwillingly 
drawn  into  paths  traveled  by  others  who  were  less 
emotional  than  himself.  He  had  already  been  a 
large  purchaser  of  Italian  bonds ;  he  turned  with 


320  ENRICO    CARUSO 

corresponding  readiness  to  his  check-book  to  add 
to  his  store  of  securities,  —  this  time  in  the  form  of 
United  States  Liberty  Bonds. 

His  days  —  and  the  nights  also  —  were  filled  with 
experiences  of  many  kinds.  Grateful  to  a  nation 
which  had  dealt  out  such  bounty  and  honors  to  him, 
Caruso  felt  the  American  side  of  his  nature  throbbing 
in  tune  with  his  Italian.  He  had  yielded  to  an  im- 
pulse to  give  lessons  to  a  baritone  whose  exceptional 
voice  appealed  to  him ;  and  for  an  hour  or  more 
at  a  time  he  would  sit  at  a  piano,  thumping  clumsily 
a  few  simple  chords,  while  this  only  pupil  he  ever  had 
struggled  to  imitate  the  tones  the  tenor  sang.  It  was 
not  a  successful  undertaking.  After  five  months 
Caruso  reluctantly  gave  up  the  task  as  an  impossible 
job.  Yet  it  disturbed  him  that  he  had  failed.  His 
one  consolation  was  the  encouragement  voiced  by  his 
friend,  Doctor  P.  Mario  Marafioti,  who  said,  "Re- 
member, Enrico,  that  you  will  be  judged  as  a  singer, 
not  as  a  teacher." 

The  work  at  the  Metropolitan  wore  on ;  "L'Elisir 
d'Amore",  "Marta",  "Samson  et  Dalila",  "Manon 
Lescaut",  "Pagliacci",  "Carmen",  and  "Tosca" 
had  proved  Caruso's  expanding  artistry ;  his  voice 
still  held  ;  and  he  could  venture  a  backward  glance  at 
a  career  already  distinctive  enough  to  stand  as  it  was. 
At  forty-five,  and  beginning  his  fifteenth  consecutive 
season  in  the  foremost  opera  house  of  the  world,  he 
felt  the  serene  side  of  his  nature  coming  more  to  fore. 
Offers  from  impresari  from  all  parts  of  the  world 
poured  in  upon  him.  These  offers,  fantastic  in  their 
financial  inducements,  he  read  with  the  most  casual 


GOLDEN   DAYS  321 

interest.  They  pleased  him ;  that  was  all.  His 
mind  was  filled  with  thoughts  of  other  matters ; 
of  persons,  and  one  of  these  was  an  American  girl, 
—  Miss  Dorothy  Benjamin.  He  had  met  her  at  the 
home  of  Maestro  Fernando  Tanara,  and  again  at  a 
tea  given  by  Doctor  Marafioti.  Driving  her  home, 
Caruso  noticed  that  she  had  forgotten  her  gloves. 
He  urged  her  to  put  on  the  pair  he  had  been  wearing, 
and  when  they  parted  insisted  she  should  keep  them 
as  a  souvenir.  Then,  for  months,  he  had  not  seen 
her  again.  But  he  had  remembered. 

Meanwhile,  December  gave  way  to  January,  and 
on  the  1 2th  of  that  month,  1918,  came  the  United 
States  premiere  of  Mascagni's  "Lodoletta."  Miss 
Farrar  and  Pasquale  Amato  sang  with  him ;  and 
these  artists  strove  mightily,  though  in  vain,  to  give 
the  opera  some  popularity.  A  real  opportunity  was 
on  the  way,  and  it  arrived  on  February  7,  when  the 
tenor  made  his  first  appearance  as  John  of  Ley- 
den,  in  "Le  Prophete."  What  compensation  this 
achievement  must  have  given  for  those  early  years 
of  struggle !  There  were  experts  who  continued  to 
expostulate  over  the  insistence  of  Caruso  in  singing 
such  heavy  roles.  But  others  thought  they  recog- 
nized in  the  man  a  great  artist ;  a  tenor  with  every 
kind  of  voice.  Indeed,  it  has  been  contended  that 
while  Caruso  did  actually  begin  with  a  lyric  tenor,  his 
later  days  found  him  possessed  of  an  instrument 
suited  for  any  type  of  role.  There  was  to  appear, 
however,  one  exception.  For  when  he  essayed 
Avito  in  "L'Amore  dei  tre  Re",  the  endeavor  met 
with  an  indisputable  lack  of  success.  Caruso  strug- 


322  ENRICO    CARUSO 

gled  three  times  after  his  first  appearance  in  the  part, 
on  March  14,  1918,  though  to  no  satisfying  end. 
The  best  evidence  that  he  considered  it  not  for  him 
was  the  fact  that  never  afterwards  did  he  attempt  to 
sing  it. 

And  one  other  annoying  experience  occurred  in 
Boston,  at  the  close  of  the  Metropolitan  season  in 
April.  The  music  reviewers  of  that  city  criticized 
the  tenor  mercilessly.  He  insisted  they  were  not 
fair ;  he  himself  felt  that  he  had  done  himself  justice. 
Whatever  the  facts,  Caruso  never  sang  there  again. 

An  income  from  his  opera  duties  had  brought  the 
singer  that  season  the  sum  of  one  hundred  twenty- 
five  thousand  dollars  for  his  fifty  appearances ;  a 
Biltmore  Morning  Musicale  had  yielded  four  thou- 
sand more ;  and  the  talking-machine  royalties  had 
totaled  a  huge  sum.  The  gross  income,  however, 
was  reduced  by  $59,832.15,  —  which  Caruso  paid  to 
the  United  States  Government  as  income  tax.  Nor 
would  he  avail  himself  of  the  courtesy  proffered  by 
"Big  Bill"  Edwards,  then  Collector  of  Internal 
Revenue,  to  visit  the  tenor  personally  at  his  hotel 
home.  Instead,  Caruso  went,  "like  any  other 
citizen, "  to  Edwards's  office,  to  tender  in  person  his 
check. 

With  benefit  performances  of  every  known  sort 
offered  every  little  while  to  secure  funds  for  some 
war-working  organization,  Caruso  was  sought  out 
on  every  side.  He  was  more  than  good-natured ; 
his  responses  were  made  gladly,  with  a  full  heart. 
It  was  a  matter  of  pride  that,  beyond  the  fact  that 
his  name  had  a  definite  value  with  the  public,  in- 


GOLDEN    DAYS  323 

fluential  men  and  women  showed  plainly  their  re- 
spect for  him  as  a  useful  citizen.  On  April  14,  1918, 
Caruso  contributed  his  services  at  a  concert  given  in 
the  Metropolitan  Opera  House  for  the  benefit  of  the 
Italian  Reservists ;  and  at  the  third  Liberty  Loan 
Rally,  held  on  May  I  in  New  York's  Carnegie  Hall, 
he  sang  gratuitously  again.  Three  times  during 
that  month  he  appeared  for  other  worthy  causes : 
for  the  Italian  Relief  Fund,  at  Poli's  Theater, 
Washington,  D.  C. ;  at  the  Metropolitan  Opera 
House  at  an  Italian  Red  Cross  benefit  concert ;  and 
in  the  same  place,  three  nights  later,  for  the  American 
Red  Cross. 

Friends  marveled  that  Caruso  continued  to  remain 
in  the  United  States  ;  it  had  been  his  custom  to  sail 
for  Europe  before  the  end  of  each  May.  But  June 
arrived,  finding  the  singer  still  established  at  the 
Knickerbocker.  He  sang  on  the  tenth  of  that 
month  at  the  Metropolitan  for  the  benefit  of  the 
Women's  Naval  Service,  then  rested. 

Meanwhile,  the  infrequent  and  almost  casual 
meetings  with  Miss  Benjamin  had  been  succeeded  by 
visits  paid  to  the  young  woman  in  her  father's  home. 
When  the  Benjamin  family  departed  to  the  Spring 
Lake,  New  Jersey,  summer  place,  the  tenor's  ob- 
jective lay  often  in  that  direction.  Those  closest 
to  Caruso  did  not  apprehend  that  he,  an  Italian,  and 
an  artist,  might  be  paying  court  to  an  American  girl, 
whose  upbringing  had  been  so  dissimilar  to  his  own. 
Yet,  whatever  the  appearances,  his  fidelity  remained 
unshaken.  After  Caruso  had  returned  from  Ocean 
Grove,  New  Jersey,  where  he  sang  in  late  July  his 


324  ENRICO    CARUSO 

first  concert  on  a  percentage  basis  (which  netted  him 
$6638.83),  he  was  oftener  than  ever  in  the  society  of 
the  lady  whose  attractiveness  had  first  excited  his 
admiration.  She  was  different  from  those  comprising 
the  entourage  which  hung  upon  him ;  she  spoke  his 
native  language,  and  imperceptibly  Caruso  fell  to 
discussing  with  her  certain  business  affairs  which  at 
that  time  arose.  Together  they  went  over  the 
Famous  Players-Lasky  Corporation  offer  of  one 
hundred  thousand  dollars  each  for  two  motion 
pictures  in  which  it  was  the  desire  of  this  company 
the  tenor  should  appear ;  and  they  both  hesitated  to 
have  him  shown  upon  the  screen  in  a  film  as  his 
real  self,  and  with  such  a  title,  as  was  at  first  sug- 
gested, as  "  My  Cousin  ".  This  hesitancy  is  disclosed 
in  a  letter  written  to  the  tenor  by  Jesse  L.  Lasky,  an 
officer  of  the  corporation,  on  July  10,  1918,  in  which 
the  writer  stated  :  "I  shall  be  pleased  to  discuss  this 
matter  with  you  at  great  length  on  your  return,  and 
trust  I  have,  in  some  measure,  satisfied  your  fears  on 
this  subject."  Both  pictures  were  subsequently 
made,  although,  regardless  of  their  financial  ad- 
vantages, Caruso  was  never  quite  happy  over  his 
participation  in  either  one. 

The  singer  left,  in  mid-August,  to  appear  in  a 
concert  at  Saratoga  Springs.  He  took  as  assisting 
artists  Miss  Nina  Morgana,  soprano,  and  Mayo 
Wadler,  violinist,  with  Salvatore  Fucito  as  his 
accompanist.  The  success  was  very  large,  and  the 
fee  seven  thousand  dollars.  But  throughout  the 
trip,  and  the  stay  in  the  famous  New  York  watering- 
place,  Caruso  was  the  embodiment  of  a  man  carrying 


Copyright  Underwood  &  Underwood  Studios,  N.  Y. 
MRS.   ENRICO  CARUSO 


GOLDEN    DAYS  325 

a  troublesome  mental  burden.  There  was  good 
reason.  For  just  before  his  departure  from  New 
York  the  tenor's  proposal  of  marriage  to  Miss 
Benjamin  had  been  followed  by  an  unsuspected 
outcome.  Her  father  had  insisted  upon  a  financial 
arrangement  which  neither  she  nor  Caruso  could 
countenance  or  agree  to. 

He  arrived,  still  agitated,  at  the  Knickerbocker 
Hotel  in  New  York,  where  Miss  Benjamin  and  a 
woman  friend  awaited  him.  What  Miss  Benjamin 
had  to  say  was  enough  to  move  Caruso  to  instant 
decision.  "You  will  return  here  to-morrow  morning 
at  eleven,"  he  said,  "and  we  will  be  married." 

At  the  appointed  hour  (August  20)  Miss  Benjamin 
was  at  the  Knickerbocker.  She  had  communicated 
with  a  friend  —  Mrs.  John  S.  Keith  —  who  went  to 
her  at  once.  Caruso,  Miss  Benjamin,  Mrs.  Keith, 
and  Zirato  entered  the  singer's  waiting  automobile, 
—  all  of  them  a  bit  serious  of  face,  for  developments 
had  progressed  swiftly.  A  marriage  license  was 
thereupon  secured,  and  the  party  was  driven  to  the 
Church  of  the  Transfiguration  (The  Little  Church 
Around  the  Corner)  ;  but  the  pastor,  uncertain  as  to 
whether  Caruso  was  already  married,  preferred  not 
to  officiate.  The  Reverend  Oliver  Paul  Barnhill, 
of  the  Marble>  Collegiate  Church,  at  Fifth  Avenue 
and  Twenty-ninth  Street,  performed  the  marriage 
ceremony,  with  Mrs.  Keith  and  Zirato  as  witnesses. 
On  one  page  of  his  personal  account  book,  in  which 
the  tenor  himself  made  every  entry,  he  wrote  : 

"Expenses  for  my  marriage.     .  .  .  $50.00"  ! 

It    was    not    until    some    time    afterwards    that 


326  ENRICO   CARUSO 

Mrs.   Caruso  was  presented  with  her  engagement 
ring. 

That  first  summer  which  the  singer  ever  spent  in 
the  United  States  assumed,  then,  an  aspect  different 
from  any  he  had  ever  known.  His  attitude  toward 
the  world  was  that  of  a  man  with  new  responsibilities  ; 
his  bearing  became  more  than  ever  one  of  dignity  and 
reserve.  And  the  Caruso  hangers-on  —  astounded 
at  their  patron's  marriage  —  found  fewer  oppor- 
tunities to  thrust  themselves  upon  him,  and  partake 
of  the  gratuities  he  had  thrown  their  way.  Mrs. 
Caruso's  father  was  quoted  in  the  newspapers  as 
having  said  some  unpleasant  words  over  which  the 
tenor  was  distressed  ;  but  the  storm  passed,  and  work 
went  on  even  before  autumn  quite  arrived,  —  the  two 
motion  pictures  having  been  finished  on  September 

30. 

There  had  been  during  August  several  other 
benefit  concerts  in  which  the  tenor  had  taken  part, 
in  one  of  which  Liberty  Loan  subscriptions  secured 
from  among  the  audience  had  netted  more  than 
four  million  dollars.  He  had  gone  to  Buffalo  for  a 
regular  concert,  which  was  to  have  been  given  on 
October  8  and  was  only  canceled  because  of  the 
prevalent  epidemic  of  influenza.  But  before  leaving 
that  city  he  appeared,  at  the  request  of  Governor 
Charles  Whitman,  at  a  Liberty  Loan  drive  held  in 
the  Iroquois  Hotel.  Mrs.  Caruso,  who  had  ac- 
companied her  husband,  succumbed  to  the  effects 
of  influenza  upon  reaching  New  York,  on  October  12. 
She  insisted,  however,  that  he  keep  his  engagement 
to  sing  a  special  performance  of  "Pagliacci",  given 


GOLDEN   DAYS  327 

with  Miss  Claudia  Muzio,  Pasquale  Amato,  and 
Francesco  Daddi,  under  the  conductorship  of  Giorgio 
Polacco,  in  Detroit  on  October  15.  The  tenor  re- 
ceived seven  thousand  dollars  for  this  one  appearance. 
A  fortnight  later  he  aided  at  a  matinee  held  in  New 
York's  Madison  Square  Garden,  promoted  by  John 
D.  Rockefeller,  Jr.,  for  the  United  War  Work ;  and 
that  same  evening  —  November  3  —  he  sang,  at  the 
special  request  of  Secretary  Josephus  Daniels,  at  the 
concert  given  in  the  Hippodrome  for  the  benefit  of 
the  Navy  Relief  Fund. 

It  had  been  a  trying  and  somewhat  fortuitous 
summer,  yet  no  rest  was  in  sight.  The  Metropolitan 
1918-1919  opening  drew  near;  rehearsals  were  in 
order  ;  yet  Caruso  found  time  to  earn  a  five  thousand 
dollar  fee  by  appearing  at  a  Biltmore  Morning 
Musicale.  After  the  Metropolitan  premiere  in 
"Samson  et  Dalila",  with  Mme.  Louise  Homer  and 
Alfred  Couzinou,  under  the  music  leadership  of 
Pierre  Monteux,  he  made  his  first  appearance  any- 
where as  Don  Alvaro  in  "La  Forza  del  Destine." 
The  occasion  introduced  Miss  Rosa  Ponselle  to 
Metropolitan  subscribers,  and  was  a  memorable 
affair.  Matters  thereafter  settled  into  the  groove 
of  routine.  November  and  December  carried  the 
tenor  before  his  public  in  "L'Elisir  d'Amore",  "Le 
Prophete",  "Marta",  "Pagliacci",  and  three  times 
in  "Lodoletta",  in  an  attempt  to  stimulate  interest 
in  the  Mascagni  opera. 

For  his  year  of  personal  work  Caruso  had  reaped 
an  enormous  sum.  Could  he  have  retained  it  all, 
it  must  have  represented  a  fortune.  The  income 


328  ENRICO    CARUSO 

tax  had,  however,  to  be  considered ;    it  took  from 
the  singer  the  heavy  toll  of  $153,933.70. 

IV 

The  winds  of  life  were  becoming  tempered.  With 
Mrs.  Caruso  at  his  side  there  was  less  need  for  com- 
panionship of  those  previous  days  which  Caruso  had 
not  always  voluntarily  sought ;  and  Bohemianism 
was  thrust  into  the  past.  His  wife  and  his  home 
interested  him ;  he  spent  more  time  with  his  objets 
d'art,  his  stamp  albums,  and  his  scrap  books  which 
required  much  attention  to  keep  up  to  date.  Having 
purchased,  the  preceding  summer,  his  first  automobile 
for  use  in  the  United  States,  the  tenor  fell  to  using  it 
as  the  easiest  means  of  getting  fresh  air.  His  daily 
accumulation  of  mail  increased  ;  the  demands  upon 
him  grew ;  but  Zirato  relieved  him  of  much  which  he 
then  felt  comfortable  in  delegating  his  secretary  to 
perform.  He  had  also  his  regular  caricature  to 
draw,  for  many  do  not  know  that,  from  1906,  Caruso 
contributed  unfailingly  to  the  columns  of  La  Follia, 
a  New  York  weekly  newspaper,  a  sketch  of  some 
kind.  Yet  there  was  always  time  for  the  tenor  to 
attend  personally  to  whatever  was  necessary.  He 
maintained,  with  his  own  hand,  a  correspondence 
with  his  sons  in  Italy ;  and  about  this  time  he  re- 
ceived from  Mimmi  (then  fifteen  years  old)  the 
following  letter,  written  February  15,  from  Florence. 

My  dear  Papa : 

The  arrival  of  your  letter  was  a  great  joy  to  me. 
I  know  from  you  that  my  new  "mammina"  —  if  I 


GOLDEN    DAYS  329 

can  call  her  so,  though  for  the  present  I  will  call  her 
sister,  for  I  have  heard  that  she  is  very  young  —  is, 
as  you  say,  very  adorable ;  and  I  hope  that  we  will 
get  along  well  together. 

I  am  very  sorry  indeed  that  I  cannot  come  to 
America,  but  as  it  is  your  will  —  "  Fiat  voluntat  tua" 
—  I  must  abide  by  it ;  but  I  am  longing  for  the  time 
of  your  arrival  here  so  that,  after  many  years,  we 
will  meet  and  embrace  again,  and  I  hope,  dear  Papa, 
that  you  will  never  leave  us,  or  else  take  us  with  you. 

In  the  meantime  I  will  study  and  try  not  to  lose 
the  year. 

I  am  well  and  waiting  for  you.  When  I  see 
boys  riding  bicycles  I  feel  I  too  would  like  one. 
Would  you  permit  me  to  have  one  ?  I  am  a  big 
boy,  now,  and  I  feel  I  need  one  so  much  when  I  go  to 
school,  or  when  I  go  for  a  walk.  I  shall  be  glad  to 
have  your  news. 

With  very  much  love,  dear  Papa,  from  your 
affectionate  son  Enrico 

Enrico  Jr.  got  his  bicycle  ;  just  as  a  little  lame  girl, 
to  whom  the  singer  had  spoken  during  a  Central 
Park  band  concert,  received  from  him  a  gift  of  money 
after  he  had  read  a  letter  written  by  the  child's 
mother,  telling  how  much  joy  his  greeting  had  brought. 
Was  he  thoughtless  ?  In  the  midst  of  the  whirl  of 
things  he  went  to  the  pains  to  recommend  a  tenor 
friend  —  an  American  —  for  a  1919  engagement  at 
Monte  Carlo  which  Raoul  Gunsbourg  had  urgently 
cabled  Caruso  to  accept.  The  intention  was  of  the 
best,  but  Gunsbourg's  reply  read,  "I  regret,  dear 
Enrico,  that  I  cannot  engage  the  tenor  you  suggest, 
for  my  company  is  quite  filled.  I  have,  however,  a 
place  for  one  artist.  It  is  Enrico  Caruso.  He  is  a 


330  ENRICO    CARUSO 

fine  chap.     Will  you  talk  with  him  and  try  to  get 
him  to  accept  my  offer  ?" 

It  was  shortly  before  this  —  on  December  4, 191 8  - 
that   the   late   Cleofonte   Campanini,   then  general 
director  of  the  Chicago  Grand  Opera  Company,  made 
quite   as  flattering    an   offer,   and   one   even    more 
remunerative.     Campanini's  letter  ran  : 

Carissimo  Enrico : 

I  spoke  to  Longone,  asking  him  to  see  you  re- 
garding my  proposal  to  you  to  sing  in  our  preliminary 
tournee  in  the  cities  of  the  west,  beginning  October 
12,  1919,  for  three  weeks.  I  offer  nine  appearances, 
all  guaranteed.  Furthermore,  I  would  like  an  option 
for  a  fourth  week,  the  option  to  be  concluded  on  or 
before  September  I  next. 

The  opera  would  be  only  one  —  "  Pagliacci."  But 
if  you  prefer  another  one,  or  ones,  it  is  up  to  you. 
We  will  agree  on  this  point  later  on.  I  offer  you  five 
thousand  dollars1  for  each  appearance.  With  Eva's 
and  my  best  regards  for  Mrs.  Caruso  and  for  you, 

Affectionately  yours, 
Cleofonte  Campanini. 

Caruso  went  to  Gatti-Casazza  in  the  matter,  and  the 
Metropolitan's  general  manager  said  frankly  that  he 
would  not  be  pleased  if  the  tenor  accepted  Campanini's 
proposal,  though  admitting  that  Caruso  had  the 
right  to  do  so  if  he  wished.  Gatti's  attitude  dis- 
posed at  once  of  the  proposal.  Caruso  recognized 
the  impresario's  sensitiveness  over  having  him  appear 
with  an  organization  then  regarded  as  a  kind  of  rival 
—  since  it  had  begun  to  give  brief  seasons  in  New 

1This  sum  was  just  twice  the  amount  Caruso   was   receiving  for   an   ap- 
pearance at  the  New  York  Metropolitan. 


GOLDEN   DAYS  331 

York,  annually.  So  the  singer  wrote  Campanini, 
expressing  his  regret  in  being  unable  to  accept  the 
invitation. 

It  was  a  comforting  feeling,  being  respected  both 
at  home  and  abroad.  The  singer's  manner  was 
undergoing  a  subtle  change  —  as  no  one  realized 
better  than  he.  Inwardly  he  rather  delighted  in  it, 
but  he  preserved  his  dignified  exterior  until,  more 
and  more,  it  became  an  accepted  thing.  Almost 
before  he  quite  grasped  the  significance  the  season 
neared  its  end.  It  was  the  rounding  out  of  a  quarter 
century  of  activity  on  the  operatic  stage.  With 
"Boheme",  "Lodoletta",  and  "Ai'da"  added  to  those 
operas  he  had  already  sung  that  season,  the  month 
of  March  broke ;  and  on  the  8th,  Caruso  took  Mrs. 
Caruso  to  St.  Patrick's  Cathedral,  to  be  baptized. 
Soon  afterwards  they  were  remarried,  according  to 
the  procedure  of  the  Catholic  church.  The  witnesses 
were  Mrs.  Walter  R.  Benjamin  and  Bruno 
Zirato. 

The  tenor  had  sung  another  concert  —  assisted  by 
Miss  Morgana  and  Elias  Breeskin  —  this  time  at 
Ann  Arbor,  Michigan,  arranged  by  the  Metropolitan 
Musical  Bureau  for  a  seven  thousand  dollar  fee.  He 
had  also  rushed  back,  on  receipt  of  a  telegram  from 
Otto  H.  Kahn,  to  sing  The  Star  Spangled  Banner  in 
the  Metropolitan  on  that  distinctive  occasion  when 
President  Wilson  delivered  his  address  on  the  League 
of  Nations.  Although  his  train  did  not  reach  its 
New  York  station  until  7.45  P.M.,  Caruso  was  dressed 
and  ready  to  go  upon  the  Opera  House  stage  just 
twenty-five  minutes  later. 


332  ENRICO    CARUSO 

Important  as  these  affairs  were  to  the  singer  they 
faded  in  comparison  with  the  one  then  drawing  near. 
For  a  jubilee  celebration  is  something  of  an  event ; 
this  one  fairly  alarmed  Caruso  as  March  22  dawned 
and  he  sensed  the  ordeal  he  must  undergo  that  night. 
A  host  of  artists  participated  in  the  actual  program, 
which  consisted  of  the  third  act  of  "L'Elisir 
d'Amore",  the  first  of"  Pagliacci",  and  act  three  from 
"Le  Prophete."  Besides  Mmes.  Muzio,  Barrientos, 
Matzenauer,  and  Sparkes,  there  were  the  baritones 
de  Luca,  Scotti,  Werrenrath,  and  Schlegel,  the  bassos 
Mardones  and  Didur,  and  tenors  Diaz  and  Bada. 
Maestri  Bodanzky,  Moranzoni,  and  Papi  conducted  ; 
the  auditorium  was  packed  at  extra  prices,  and  the 
audience  one  to  cause  the  heart  of  almost  any  man  to 
skip  an  occasional  beat. 

The  Caruso  who  came  upon  a  specially  set  stage 
after  the  operatic  part  of  the  evening  was  a  pale-faced, 
nervous  man.  Surrounded  by  the  entire  Metro- 
politan Opera  House  personnel,  he  sat  stiffly  in  a 
chair  at  the  front  center  of  the  stage  near  the  foot- 
lights. On  a  long  table,  at  the  rear,  were  arranged 
the  presents  he  had  received. 

James  M.  Beck  had  been  invited  to  make  the 
official  address  of  the  evening,  and  this  he  would  have 
done  if  political  activities  had  not  intervened.  But, 
at  actually  the  eleventh  hour,  Mayor  Hylan  sent 
word  that  if  Beck  spoke,  Police  Commissioner  Enright 
would  not  present  to  the  singer  a  flag  of  the  City  of 
New  York  ;  so  Beck  tactfully  withdrew  (afterwards 
sending  to  Caruso  a  typewritten  copy  of  what  he 
had  intended  to  say),  and  Enright  tendered  the  flag. 


GOLDEN    DAYS  333 

The  tenor's  reply,  delivered  with  hesitating  exactness, 
in  English,  was : 

"  My  heart  is  beating  so  hard  with  emotion  that  I 
feel  that  I  am  afraid  I  cannot  even  put  a  few  words 
together.  I  am  sure  you  will  forgive  me  if  I  do  not 
make  a  long  speech.  I  can  only  thank  you,  and  beg 
you  to  accept  my  sincerest  and  most  heartfelt  grati- 
tude for  to-night,  and  for  all  the  very  many  kindnesses 
you  have  showered  upon  me.  I  assure  you  that  I 
will  never  forget  this  occasion,  and  ever  cherish  in 
my  heart  my  affections  for  my  dear  American  friends. 
Thank  you  !  Thank  you  !  Thank  you  !  .  .  ." 

Throughout  his  enunciation  of  those  few  sentences 
the  singer  clutched  with  his  right  hand  the  staff  of 
the  municipal  flag  he  had  received.  He  was  white- 
faced  under  his  emotion,  and  it  was  fortunate  that 
Zirato  stood  just  behind,  ready  to  prompt  him 
when  his  mind  searched  for  an  elusive  word. 

Mr.  Kahn,  speaking  for  the  Metropolitan  board  of 
directors,  said : 

"In  offering  you  the  tribute  of  our  admiration  it 
is  not  the  glory  of  your  voice  which  I  have  in  mind 
primarily,  though  it  is  the  most  glorious  and  perfect 
voice  of  a  generation,  and  one  which,  for  having 
heard,  posterity  will  envy  us.  But  in  your  case  we 
admire  the  voice,  the  art,  and  the  man.  I  have  in 
mind  your  boundless  generosity,  your  modesty,  kind- 
liness, and  simplicity,  your  unfailing  consideration 
for  others. 

"Bearing  a  name  which  has  become  a  household 
word  throughout  the  world,  you  have  retained  the 
plain  human  qualities  of  a  man  and  a  gentleman 


334  ENRICO    CARUSO 

which  have  won  you  the  affection  of  those  whose 
privilege  it  is  to  know  you  personally. 

"I  have  in  mind  your  fine  loyalty  to  this  country 
and  this  city.  A  son  of  a  noble  country  which  has 
taken  so  glorious  a  part  in  the  war,  you  have  given 
abundant  proof,  again  and  again,  of  your  warm 
attachment  to  America  and  New  York.  You  have 
managed  even  to  find  a  generous  thought,  a  pleasant 
gesture,  and  a  gracious  word  in  giving  through  the 
painful  process  of  paying  an  income  tax  into  six 
figures." 

The  speaker  finished  by  waving  one  hand  toward 
the  table  on  which  lay  the  gifts  from  the  singer's 
admirers,  among  which  were :  a  silver  vase  from 
the  Metropolitan  Opera  Company  directors ;  an 
illuminated  parchment  from  the  thirty-five  families 
owning  parterre  boxes  in  the  Metropolitan,  and  from 
the  box  holders  of  the  Brooklyn  Academy  of  Music, 
and  the  Philadelphia  Metropolitan  Opera  House ; 
a  gold  medal  from  General  Manager  Giulio  Gatti- 
Casazza ;  another  from  the  chiefs  of  departments 
back  stage ;  a  loving  cup  presented  by  the  chorus ; 
a  silver  vase  from  the  orchestra  musicians ;  a  plat- 
inum watch  set  with  two  hundred  and  eighteen 
diamonds  and  sixty-one  square-cut  sapphires,  pre- 
sented by  Caruso's  fellow  artists ;  and  a  silver  fruit 
dish  from  the  Victor  Talking  Machine  Company. 

Miss  Geraldine  Farrar  expressed  the  feelings  of  her 
assembled  associates  when  she  kissed  her  confrere  on 
one  cheek,  and  then  called  for  three  cheers  for 
America. 

His  gratitude  redoubled,  Caruso  continued  on  his 


GOLDEN    DAYS  335 

way.  A  Commodore  Hotel  Musicale  audience  lis- 
tened to  him  on  April  2  during  the  presentation 
of  a  program  which  included  the  participation  of 
Miss  Mary  Garden,  Mischa  Elman,  and  Arthur 
Rubinstein.  A  week  later  he  appeared  at  a  Buffalo 
concert ;  and  when  the  Metropolitan  season  closed 
at  Atlanta,  Caruso  prepared  for  the  concert  tour 
under  the  Metropolitan  Musical  Bureau  manage- 
ment. Miss  Morgana  and  Mr.  Breeskin  were  the 
assisting  artists  in  the  appearances  the  tenor  made 
in  Nashville,  St.  Louis,  Kansas  City,  St.  Paul, 
Chicago,  Milwaukee,  and  Canton,  Ohio.  The  fee  for 
each  concert  had  been  seven  thousand  dollars,  but 
one  for  eight  thousand  dollars  was  awaiting  him  at 
Springfield,  Massachusetts,  where  he  appeared  with 
Signora  Elena  Bianchini-Cappelli,  with  whom  he 
had  not  sung  since  1895,  in  Egypt. 

For  more  than  eighteen  months  Caruso  had  taken 
no  extended  rest.  He  was  more  weary  than  even  he 
realized  when  he  and  Mrs.  Caruso  sailed,  on  May  24, 
aboard  the  Giuseppe  Verdi,  for  Naples.  At  Signa 
there  would  be  an  opportunity  for  the  quiet  and 
recuperation  he  so  sorely  needed.  He  arrived  there 
in  due  course ;  but  the  Villa  Bellosguardo  was  not 
plundered  of  its  wine,  oil,  and  other  things,  as  was 
erroneously  reported  in  the  newspapers,  during  the 
trouble  with  the  Italian  Reds.  That  summer  of 
1919  was  peaceful  for  the  singer  and  his  wife.  For 
the  first  time  in  years  he  had  about  him  his  family ; 
a  new  note  of  respect  was  reflected  in  the  attentions 
paid  to  him  by  those  who  visited  Signa  during  those 
months. 


336  ENRICO    CARUSO 


Mrs.  Caruso  was  eager  that  Enrico  Jr.  should 
finish  his  education  in  the  United  States;  Caruso 
himself  wished  to  have  his  younger  boy  near  him,  and 
so  on  the  return  voyage  he  was  of  the  party.  They 
landed  in  New  York  on  September  3  ;  and  after 
Mimmi  had  been  placed  in  the  Gunnery  School,  at 
Washington,  Connecticut,  preparations  were  begun 
for  the  City  of  Mexico  season  of  opera  in  which  the 
tenor  had  agreed  to  sing.  Since  the  United  States 
Government  had  furnished  assurance  that  no  vio- 
lence might  be  expected  en  route,  the  journey,  via 
Laredo,  was  begun.  The  private  car  in  which 
Caruso  and  his  party  were  traveling  was  met  at  the 
border  by  an  emissary  of  President  Carranza ;  and 
when  Saltillo  was  reached,  an  armored  car  and  a 
company  of  soldiers  were  provided  to  escort  the  tenor 
in  safety  through  a  zone  regarded  as  dangerous  be- 
cause of  the  proximity  of  the  bandit  Villa  and  his 
men. 

The  City  of  Mexico  was  finally  reached,  without 
incidents  of  an  unusual  nature,  on  September  22. 
Ciro  Stefanini,  one  of  Caruso's  friends,  had  already 
rented  for  him  the  pretentious  home  of  the  widow  of 
Mariscal  de  Limantour,  former  Secretary  of  the 
Treasury  of  Mexico. 

Ricardo  Cabrera,  a  newspaperman  and  respected 
music  chronicler  of  the  City  of  Mexico,  said  that 
although  the  Caruso  train  arrived  at  the  station  at 
six  o'clock  in  the  morning  a  throng  of  people  were 
there  waiting. 


GOLDEN    DAYS  337 

"He  was  escorted  to  the  house  prepared  for  his 
occupancy,  at  the  Avenida  Bucareli  N.  85,  where  he 
breakfasted.  Immediately  afterwards  he  went  to  the 
office  of  the  impresario,  don  Jose  del  Rivero," 
declares  Cabrera,  "where  I  met  him.  Since  I  had 
been  honored  to  be  Special  Secretary,  to  be  of  as- 
sistance in  speaking  and  writing  Spanish,  I  suggested 
that  we  take  a  drink  of  our  national  appetizer,  the 
famous  tequila,  which  is  a  liquor  made  of  agave  in 
the  province  of  Jalisco.  Caruso  was  so  pleased  with 
this  capita  (glass)  that  later,  if  there  was  no  one  near 
to  accompany  him,  he  would  not  infrequently  go 
alone  to  a  saloon  bar  to  have  his  capita  of  tequila. 

"The  Mexican  debut  of  Caruso  took  place  on 
Monday,  September  29,  1919,  in  'L'Elisir  d'Amore/ 
One  cannot  overestimate  the  occasion ;  or  the  re- 
sponsibility of  Caruso  to  Impresario  del  Rivero,  who 
had  not  only  guaranteed  him  seven  thousand  dollars 
an  appearance  for  the  eleven  performances  in  which 
he  was  to  sing  but  had  deposited,  the  preceding 
March,  in  the  tenor's  New  York  bank,  twenty-eight 
thousand  dollars  as  a  guaranty  of  good  faith. 

"I  remember  that  when  the  great  artist  first  ap- 
peared on  the  stage  of  the  Esperanza  Iris  Theater  — 
which  is  not  of  the  best  acoustically,  though  the 
largest  and  most  modern  we  have  —  that  the  audi- 
ence seemed  to  be  holding  its  breath.  Very  evident 
was  their  anxiety  to  discover  whether  Caruso  was 
really  the  phenomenon  generally  reputed,  or,  as 
some  malicious  tongues  had  gossiped,  a  *  tenor  of  the 
past.' 

"The  suspense  ended  very  quickly  after  the  first 


338  ENRICO    CARUSO 

cavatina,  the  Quant1  e  bella,  had  been  reached.  Only 
a  few  bars  were  sung  before  the  people  realized  that 
before  them  was  indeed  the  most  astonishing  tenor 
of  all  times ;  and  this  public,  so  easily  carried  off  its 
feet  by  enthusiasm  when  it  realizes  it  has  not  been 
cheated,  rewarded  Caruso,  after  that  cavatina,  with 
an  ovation.  Many  others  were  to  come ;  I  doubt, 
though,  if  any  one  meant  so  much  to  that  con- 
scientious artist.  When,  in  the  last  act  of  the  opera, 
he  seemed  to  surpass  himself  in  Una  furtiva  lagrima, 
the  audience  appeared  as  if  crazed.  Senorita  Ada 
Navarette,  who  is  so  popular  among  us,  and  who  was 
the  Adina,  Ramon  Blanchard,  who  sang  Dulcamara, 
and  Maestro  Gennaro  Papi,  who  conducted,  were 
temporarily  forgotten. 

"  For  the  second  appearance  of  Caruso,  also  in  the 
same  theater,  the  management  had  chosen  'Ballo  in 
Maschera',  with  Senorita  Clara  Elena  Sanchez, 
Signorina  Gabriella  Besanzoni,  and  Augusto  Ordonez 
appearing  in  the  other  roles,  and  Maestro  Attico 
Bernabini  conducting.  A  confirmation  of  the  first 
audience's  verdict  only  excited  the  populace  in 
their  desires  to  hear  this  newly  acclaimed  tenor ; 
and  the  opportunity  for  twenty-two  thousand  came 
when  *  Carmen'  was  performed  on  Sunday,  October 
5,  in  the  El  Toreo  bull  ring.  In  this  representation 
were  Signorina  Besanzoni,  and  MM.  Ordonez  and 
de  Corabi,  with  Maestro  Papi  conducting.  Caruso 
had  every  opportunity  to  disclose  the  many  sides  of 
his  artistic  skill  in  'Samson  et  Dalila',  sung  in  the 
Esperanza  Iris  Theater  on  October  9,  and  in  the 
pathetic  moments  during  the  mill  scene  he  caused 


GOLDEN    DAYS  339 

some  of  the  auditors  to  weep.  On  this  occasion 
Maestro  Papi  conducted  'Samson',  I  am  told,  for 
the  first  time  in  his  career. 

"Ballo  in  Maschera'  was  repeated,  on  Sunday, 
October  12,  in  the  El  Toreo  bull  ring ;  and  the  follow- 
ing Friday,  in  the  Iris  Theater,  the  fourth  indoor 
performance  took  place.  The  opera  was  'Marta/ 
and  in  it  Caruso  moved  some  to  say,  'This  must  be 
the  way  they  sing  in  Heaven/  The  theater  had  been 
packed  with  the  people  an  hour  before  the  curtain 
rose ;  and  many  who  could  not  gain  admittance 
begged,  almost  piteously,  not  to  be  sent  away  with- 
out having  had  a  chance  to  hear  Caruso.  One  could 
write  at  length  of  the  singer  and  his  impression  upon 
the  thousands  who  heard  him.  If  we  shut  our  eyes 
now  we  can  hear  him  singing  Lionel's  music  .  .  .and 
we  weep  in  the  thought  that  never  shall  we  hear 
him  again.  We  mourn  him,  as  one  mourns  a  de- 
parted brother." 

There  followed  after  those  performances  another 
"Samson  et  Dalila"  in  the  bull  ring;  an  indoor  rep- 
resentation of  "Pagliacci",  which  was  preceded 
(since  they  would  have  no  other  tenor,  even  in 
another  opera,  appearing  with  Caruso)  by  a  sym- 
phonic concert,  given  as  a  serata  d'onore  to  the  star ; 
an  open  air  "Ai'da",  with  Senora  Escobar,  Signorina 
Besanzoni,  and  Ordonez ;  a  concert  given  for  the 
benefit  of  the  City  of  Mexico's  educational  fund,  in 
which  Caruso  sang  gratis ;  and  an  indoor  farewell, 
with  "  Manon  Lescaut."  The  real  farewell,  however, 
was  taken  in  the  El  Toreo.  A  vote  of  the  people 
resulted  in  the  choice  of  the  third  act  of  "I/Elisir 


34o  ENRICO    CARUSO 

d'Amore",  the  first  act  of  "Pagliacci",  and  act  three 
from"Marta." 

Rain  began  to  fall.  Before  the  "Elisir"  had 
been  finished  many  of  the  twenty-five  thousand  per- 
sons present  opened  umbrellas  .  .  .  and  listened  to 
Caruso  singing  to  the  accompaniment  of  pattering 
rain.  "Caruso  had  to  stop,"  relates  Cabrera,  "and 
I  recall  that  when  I  reached  his  dressing  room  he  was 
crying  over  the  disappointment  of  the  people.  He 
asked  me  to  make  the  announcement  that  if  they 
would  be  patient,  and  wait,  he  too  would  wait  - 
until  midnight,  if  necessary  —  to  finish  singing  to 
them.  Within  an  hour  the  rain  ceased  to  fall ; 
and  almost  miraculously  the  sky  cleared,  permitting 
the  performance  to  go  on  to  its  marvelous  end.  I 
cannot  attempt  to  even  feebly  express  the  delighted 
madness  of  the  spectators.  They  would  not  leave 
the  arena.  Instead,  they  waited  until  he  appeared 
to  go  to  his  automobile  ;  then  they  charged,  and  the 
car  had  to  move  very  slowly,  because  even  the  guard 
of  cavalry  soldiers  could  not  keep  people  from 
climbing  upon  it.  He  left  that  same  night  for 
New  York,  taking  with  him  the  hearts  of  the  Mexican 
people." 

Caruso's  own  impressions  of  his  reception  in  the 
City  of  Mexico  were  both  vivid  and  happy. 

"I  did  not  meet  President  Carranza,"  he  said, 
"because  he  was  at  his  country  home,  attending  his 
wife  who  was  ill.  Before  I  first  appeared  he  sent  me 
a  courteous  letter,  expressing  his  regret  that  he  should 
not  be  able  to  hear  me  sing.  Other  officers  of  the 
Mexican  Government  whom  I  met  proved  agreeable. 


GOLDEN    DAYS  341 

They  talked  not  at  all  of  their  affairs,  but  of  mine. 
They  all  bowed  before  music,  and  seemed  to  know  it 
well.  I  loved  that  foreign  land  for  the  reason  that  it 
reminded  me  of  my  own  Italy.  I  saw  only  Mehico 
—  as  they  term  it  —  not  Mexico. 

"When  I  faced  that  premiere  audience  of  three 
thousand  people  I  realized  that  they  had  assembled 
in  the  theater  to  'be  shown',  as  they  say  in  America. 
They  represented  three  thousand  critics ;  and,  for 
all  my  experience,  I  quaked.  I  realized  that  Caruso 
must  prove  himself;  it  was  my  happy  fortune  that 
I  could  do  so.  It  was  strange,  to  see  the  men  — 
stony-faced,  somber  —  leaning  a  trifle  forward,  each 
with  his  right  arm  advanced  slightly,  as  if  it  held  a 
pistol  .  .  .  pointed  at  me  to  shoot,  if  need  be. 
Deo  gratias  — as  they  say  in  Mexico  —  they  did  not 
wish  to  shoot. 

"Although  the  invitations  were  many,  I  accepted 
as  few  as  I  could  without  causing  those  desiring  to 
be  hosts  to  feel  that  I  was  not  grateful.  I  regretted, 
particularly,  that  a  sudden  illness  made  it  necessary 
to  send  word  to  Governor  of  the  State,  Manuel 
Rueda  Magro,  of  my  inability  to  attend  the  dinner 
for  which  I  had  sent  an  acceptance. 

"My  lungs  were  strong  enough  to  preserve  me 
from  any  ill  effects  from  the  rarity  of  the  City  of 
Mexico  atmosphere.  So  I  experienced  no  physical 
inconvenience.  As  for  drinking  (there  is  no  pro- 
hibition in  Mexico)  it  was,  on  every  side,  —  'Will 
the  Seiior  Commendador  do  me  the  priceless  favor 
to  accept  a  little  drink?'  Had  I  accepted  every 
invitation,  I  question  whether  I  should  have  lived 


342  ENRICO    CARUSO 

to  leave  the  country.  Their  pulque  I  tried  only 
once,  —  a  single  swallow  was  too  much. 

"Owing  to  the  Plaza  del  Toreo  being  arranged  for 
the  opera  performances,  a  smaller  toreo  was  erected 
in  a  nearby  town,  where  one  bull  fight  was  arranged 
for  me.  I  occupied  President  Carranza's  box.  After 
a  time  the  people  shouted,  'Kill  the  bull  .  .  .  kill 
the  bull,  Caruso  will  pay  the  fine/ 

"'What  fine  ?'  I  inquired,  curiously.  Then  I  was 
told  that  it  was  ordinarily  forbidden  to  kill  a  bull. 
On  any  occasion  when  the  conduct  of  the  bull  enrages 
the  people,  they  insist  on  having  it  killed  —  being 
willing  to  have  the  amount  of  the  fine  levied  upon 
them  ;  and  something  this  bull  had  done  had  aroused 
the  ill-feelings  of  the  spectators.  But  the  bull  was 
not  killed  that  afternoon,  and  I  escaped  having  any 
fine  to  pay. 

"  I  left  the  City  of  Mexico  with  the  most  pleasur- 
able thoughts  of  those  who  had  been  so  kind  to  me. 
And  I  took  away  a  gold  medal  given  me  by  the 
municipality  for  having  sung  for  their  education 
fund.  My  stay  in  the  land  of  manana  lingers  in  my 
memory  as  one  continuous  fiesta." 


CHAPTER  ELEVEN 
TWILIGHT 

THOSE  years  which  had  fallen  away  were  irretriev- 
ably gone,  yet  in  their  immediate  wake  lay  serenity 
for  Enrico  Caruso.  He  himself  probably  did  not 
sense  how  little  longer  he  was  destined  to  sing,  but 
in  some  vague  fashion  he  may  have  caught  a  con- 
sciousness that  the  twilight  of  his  career  had  begun. 
Time's  touch  had  become  manifest ;  and  though 
robust  he  moved,  then,  with  the  deliberate  heaviness 
of  a  man  whose  physical  buoyancy  has  gone.  The 
once  black  and  abundant  hair  had  thinned ;  the 
features  had  matured  in  a  way  to  give  them  author- 
ity ;  the  singer's  entire  manner  was  that  of  one  who 
had  got  somewhere  and  knew  it.  Whatever  personal 
criticism  may  have  been  leveled  against  Caruso  in 
earlier  days  had  been  gradually  obliterated  under  the 
softening  influences  of  an  inner  growth  and  his  accom- 
plishments. The  public's  estimate  of  him  was  a 
prized  thing,  and  that  he  meant  to  keep. 

It  is  true  that  he  was  suspicious ;  he  had  need  to 
be.  His  own  thoroughness  and  love  of  work  made 
him  a  severe  taskmaster,  demanding  the  utmost  of 
every  member  of  his  staff  ;  yet  he  was  just.  But  of 
administering  praise  he  was  chary.  It  was  enough, 
in  his  opinion,  that  an  employe  was  permitted  to  stay 
on  with  him.  As  for  other  singers :  Caruso  rarely 


344  ENRICO    CARUSO 

commented  at  all  upon  them  ;  and  if  those  who  would 
have  liked  his  favorable  word  were  disappointed,  they 
at  least  were  not  referred  to  in  fault-finding  terms. 

Until  Zirato  went  to  him,  Caruso  had  made  it  a 
practice  to  keep  personally  not  only  his  own  books 
of  accounts  and  attend  to  many  minor  matters,  but 
he  had  insisted  on  cutting  the  coupons  from  his  bonds. 
Indeed,  one  of  his  diversions  was  to  go  with  his 
scissors  to  the  safety  deposit  vault  where  such  se- 
curities were  kept.  In  1919  he  was  persuaded  to 
place  such  matters  in  the  care  of  a  trust  company. 
He  would  not  relinquish  to  any  one  else,  however, 
his  bookkeeping.  His  cash  credits  and  debits  were 
entered  with  his  own  hand,  —  each  dollar  being 
strictly  accounted  for.  There  was  no  slighting  of 
a  single  item  of  outgo.  Tips,  moderate  losses  at 
cards,  and  purchases  of  the  slightest  character,  all 
went  into  Caruso's  cash  book ;  and  he  drew  his  own 
checks,  and  cast  his  balances  in  the  various  New 
York  and  Italian  banks  where  his  deposits  were  kept. 
He  never  gambled  a  penny  on  the  market ;  instead 
he  bought  the  bonds  of  nations,  and  of  corporations 
whose  stability  had  been  long  proved.  Thus,  in 
spite  of  his  huge  current  expenditures,  Caruso's 
fortune  grew.  At  the  time  of  writing,  his  estate 
had  not  been  completely  inventoried ;  but  it  was 
then  estimated  as  one  which  would  probably  approx- 
imate several  millions  of  dollars. 

The  singer  reached  New  York  from  his  Mexico 
journey  on  November  6,  just  eleven  days  prior  to  the 
1919-1920  season  opening  at  the  Metropolitan. 
He  appeared  in  the  premiere  performance,  which  was 


TWILIGHT  345 

"Tosca",  with  Miss  Geraldine  Farrar  and  Antonio 
Scotti.  Intense  though  the  enthusiasm  was  on  that 
evening,  the  singer's  thoughts  were  on  other  and,  to 
him,  more  important  matters.  The  first  was  the 
anticipated  addition  to  the  Caruso  family ;  the 
second,  his  debut  in  the  role  of  Eleazar  in  Halevy's 
"Lajuive."  4 

Mrs.  Caruso  said  that  she  never  quite  compre- 
hended how  her  husband  learned  the  words  and  music 
of  his  part.  There  was  usually,  at  the  beginning  of 
any  day,  some  immediate  bit  of  study  and  practice. 
After  he  had  spent  the  customary  ten  minutes  or 
more  with  his  salt  and  water,  and  other  inhalants 
and  gargles,  the  singer  would  turn  to  his  bath.  While 
he  proceeded  with  it  either  Martino  or  Mario  (his 
valets)  might  take  to  him  a  low  music  rack,  with 
some  score  placed  so  that,  during  his  splashing,  he 
could  read.  His  accompanist,  likely  enough,  would 
be  playing  at  the  piano  in  a  near-by  room,  from  a 
duplicate  of  that  same  score  ;  and  if  Caruso  felt  so 
inclined  he  might  sing  a  bit,  in  half-voice. 

Breakfast  consisting  of  a  cup  of  black  coffee  and 
one  roll  would  already  have  been  had,  in  bed,  where 
the  mail  would  have  been  disposed  of;  then,  after 
the  tub,  would  come  a  glance  at  a  morning  newspaper, 
to  read  cursorily  some  story  his  attention  had  been 
called  to.  Business  or  any  pressing  matters  finally 
out  of  the  way,  the  tenor  would  concern  himself  with 
his  voice  and  his  music.  If  he  had  no  performance 
to  prepare  for  on  the  approaching  evening,  his  vocal 
exercises  would  be  brief.  Should  he  be  scheduled 
for  an  opera,  then  the  score  of  the  work  had  to  be 


346  ENRICO    CARUSO 

played  straight  through  —  every  note  of  it  —  to  the 
end.  It  mattered  nothing  if  it  were  to  be  "A'ida" 
in  which  he  was  to  sing,  or  any  other  work  in  which 
he  had  appeared  a  hundred  times  or  more.  He  in- 
sisted on  refreshing  perfectly  his  memory,  and  of 
placing  in  his  mind  just  as  firmly  the  words  and  music 
of  the  roles  his  associates  were  to  sing.  Is  it  any 
wonder  that  he  was  always  letter  perfect  ?  Such 
preparedness  as  this  enabled  him  —  with  his  voice, 
which  had  such  range,  color,  and  dynamic  plasticity 
—  to  sing  any  piece  of  music  in  an  opera  he  knew 
with  almost  the  same  confidence  as  though  it  were 
part  of  his  own  role.  He  did  it,  to  cite  a  specific 
instance,  during  a  1915  Philadelphia  representation 
of  "Boheme",  when  Andres  de  Segurola  stood 
in  need  of  help.  The  basso  was  suffering  from 
laryngitis.  On  the  way  from  New  York  to  Philadel- 
phia, in  the  Metropolitan's  special  train,  de  Segurola 
confided  to  Caruso  that  he  would  probably  have  to 
"cut"  Colline's  "song  to  the  coat." 

"Don't  do  that,"  counseled  the  tenor,  "I  will 
sing  it  for  you  ;  but  you  would  better  not  speak  about 
it  to  Polacco."  (Polacco  was  the  conductor  of  the 
night.) 

When  Caruso  began  the  air,  Vecchia  zimarra, 
instead  of  de  Segurola,  Polacco  was  astonished. 
At  the  close  of  the  act  he  rushed  back  stage,  furious 
because  he  had  not  been  informed  of  what  to  expect. 
"We  did  not  tell  you,  Giorgio,"  said  Caruso,  "for 
fear  you  might  say  'No." 

Accustomed  as  she  was  to  hearing  her  husband 
so  constantly  at  his  practise,  Mrs.  Caruso  confesses 


Copyright  Mtshtin,  N.  Y. 
CARUSO   AS   ELEAZAR   IN    "  LA   JUIVE 

This  photograph  was  taken  in  Caruso's  dressing-room  at  the  Metropolitan  Opera 
House,  Dec.  24,  1920,  the  night  of  his  last  appearance. 


TWILIGHT  347 

to  wonderment  over  the  way  the  Eleazar  role  grew. 
"I  would  hear  him  occasionally  humming  some 
phrases/'  she  said,  "and  of  course  there  were  times 
when  I  was  present  during  serious  moments  with  the 
piano.  But  Enrico  learned  the  words  and  music  of 
this  character,  it  seemed  to  me,  with  less  effort  and 
certainly  with  much  less  expenditure  of  time  than 
he  customarily  gave  to  a  new  part.  He  wrote  the 
text  and  notes,  and  *  business*  of  the  action,  in  a  small 
book  which  he  could  carry  about  with  him,  —  just 
as  he  always  did.  And  I  daresay  that  he  spent  many 
an  hour  with  Mr.  Bodanzky,  to  get  the  maestro's 
ideas  of  tempi.  For  Enrico  was  careful,  always,  to 
get  the  interpretative  ideas  any  conductor  with  whom 
he  was  to  sing  might  have  with  respect  to  his  music. 
His  own  individuality  never  was  interfered  with ; 
on  the  contrary,  he  always  insisted  that  he  felt  freer 
in  singing  if  he  knew  the  precise  attitude  of  a  maestro 
toward  any  opera  in  question.  It  was  so  with 
Maestri  Moranzoni  and  Papi ;  and  I  distinctly  recall 
that,  while  Enrico  had  previously  sung  Chenier  in 
*  Andrea  Chenier',  he  asked  Maestro  Moranzoni  to 
visit  him  to  go  over  the  score  which  he  was  preparing 
for  the  Metropolitan's  1921  revival.  He  never  was 
able  to  sing  it,  as  all  of  us  know ;  on  the  night  it 
was  first  presented  at  the  Metropolitan  he  lay  des- 
perately ill." 

It  was  the  consensus  of  opinion  that  Eleazar  was 
the  crowning  effort  of  Enrico  Caruso's  career.  The 
critics  so  wrote ;  even  the  public,  though  some  part 
of  it  may  have  preferred  him  in  some  other  role,  was 
impressed  as  by  no  other  with  the  artist's  vocal, 


348  ENRICO    CARUSO 

musical,  and  dramatic  artistry.  As  The  Jew,  Caruso 
was  a  towering  figure.  He  appeared,  declared  the 
most  competent  authorities,  so  natural  and  so 
spontaneous  that  it  was  as  though  one  were  hearing 
and  seeing,  in  reality,  the  character  represented. 

The  tenor  had  been  long  in  preparing  for  it.  He 
spent  considerable  time  in  the  New  York  Public 
Library,  studying  his  subject  and  the  character  of 
Shylock  from  books  and  plays.  Similar  attention 
was  given  to  the  costuming  side ;  and  Caruso  asked 
a  friend  —  Mrs.  Seima  Shubart  —  to  assist  him  in 
rinding  a  shawl  such  as  a  Rabbi  wears  while  saying 
prayers.  This  lady  at  length  secured  from  a  New 
York  Rabbi  a  silken  white  and  black  scarf  which  had 
been  in  use  ;  and  it  was  the  one  the  tenor  wore  in  the 
scene  wherein  Eleazar  presents  the  unleavened  bread 
to  his  co-religionists  just  before  the  Princess  interrupts 
that  ceremony.  To  other  essentials  —  small  as  well 
as  large  —  having  to  do  with  the  faithful  portraiture 
of  the  character  of  the  aged  Jew,  Caruso  devoted 
much  effort.  How  fitting  it  all  was !  For  this  was 
the  last  new  role  in  which  his  best-loved  and  best- 
loving  public  was  to  have  him.  His  associates  in 
that  cast  were  Miss  Rosa  Ponselle,  as  Rachel ;  Miss 
Evelyn  Scotney,  in  the  part  of  the  Princess  ;  Orville 
Harrold,  appearing  as  Prince  Leopold ;  and  Leon 
Rothier,  as  Cardinal  Brogni.  Artur  Bodanzky  con- 
ducted. 

On  December  18, 1919,  in  the  Knickerbocker  Hotel, 
New  York,  a  girl  baby  was  born  to  Enrico  and 
Dorothy  Caruso.  Congratulations  flooded  the  father 
and  mother,  in  person,  and  by  telegraph  and  telephone 


TWILIGHT  349 

from  innumerable  parts  of  the  world.  The  tenor 
was  like  a  child  in  this  new  experience,  which  brought 
him  delight  and  joy.  The  following  evening  —  a 
Friday  —  he  appeared  at  the  Metropolitan  in 
"L'Elisir  d'Amore",  where  he  received  from  the 
audience  an  ovation  which  said  plainly,  —  "  We  are 
happy  for  you  !" 

Christened  Gloria  Caruso,  a  baby  book  was  at 
once  secured  for  the  tiny  newcomer.  Giulio  Gatti- 
Casazza  was  the  first  person  to  write  in  this  book. 
His  inscription  was:  "To  Gloria,  every  glory!" 
She  was  baptized  on  February  7,  1920,  in  the  Caruso 
Knickerbocker  suite,  special  permission  from  Mon- 
signor  Lavelle  having  been  secured  to  allow  the  cere- 
mony to  be  performed  outside  the  church.  Monsignor 
Gherardo  Ferrante  officiated ;  Signora  Marchesa 
Orazio  Cappelli  was  the  godmother.  Immediate 
members  of  both  sides  of  the  Caruso  families,  and  a 
dozen  others,  were  present.  Among  those  who  sent 
gifts  were  Mr.  and  Mrs.  Henry  H.  Rogers,  Mrs. 
Ogden  Goelet,  and  Italo  Montemezzi,  the  composer. 

The  presence  of  a  girl  baby  in  the  Caruso  household 
gave  the  singer  a  new  interest ;  so  deep  an  interest 
did  it  become  that  he  was  appreciably  affected  and 
influenced  in  a  number  of  vital  respects.  Little 
Gloria  thrived ;  she  had  as  a  frequent  companion 
the  greatest  of  tenors,  —  although  she  did  not  appear 
to  be  at  all  awed  over  the  fact.  At  first  he  was  merely 
an  agreeable  and  rather  attentive  person,  whom  she 
liked.  Later,  she  called  him  by  some  name  of  her 
own  conjuring. 

If  Caruso  had  been  responsive  in  other  days  to 


350  ENRICO    CARUSO 

appeals  for  financial  assistance,  the  coming  of  Gloria 
softened  his  heart  still  more.  And  how  well  his 
friends  knew  him  is  indicated  in  a  letter  written  to  the 
tenor  that  January  12,  by  Miss  Farrar.  The  body 
of  the  letter  ran  thus  : 

My  dear  Enrico : 

If  I  may  beg  five  minutes  of  your  attention  from 
the  young  heiress  Gloria,  may  I  ask  you  to  let  me 
have  your  name  on  a  Committee  which  is  making  up 
a  fund  for  our  first  great  American  singer,  Minnie 
Hauk,  born  long  before  our  time  and  now  in  her 
seventieth  year,  blind,  destitute,  and  in  misery  ?  I 
want  to  get  as  much  contribution  as  I  can,  and  I  feel 
that  the  artists  at  the  head  of  the  Committee  are 
the  people  who  can  interest  our  public  in  such  a  thing. 

It  is  not  agreeable  to  ask  charity,  and  I  never  do, 
but  in  this  case  it  is  the  first  time  we  have  ever  had 
the  privilege  of  helping  an  American  name.  I  am 
asking  everybody  to  give  one  hundred  dollars  to  this 
subscription  as  well,  but  if  the  calls  on  your  pocket 
have  been  too  many,  my  real  object  is  for  you  to 
join  the  Committee. 

With  affectionate  wishes  to  you  and  Madame 
for  1920. 

As  ever, 
Geraldine. 

At  the  end  was  a  postscript,  not  the  inevitable 
feminine  addenda,  but  a  single  sentence  which  must 
have  caused  the  tenor  to  chuckle  : 

P.  S.  Please  make  check  payable  to  Mr.  Waldron 
P.  Belknap,  Treasurer,  and  send  it  to  Mr.  Albert 
Morris  Bagby,  Vice-President,  Waldorf-Astoria,  New 
York  City,  marked  "Minnie  Hauk  Fund." 


Copyright  by  Keystone  View  Co.,  N.  Y. 


GLORIA 


The  photograph  was  taken  in  the  garden  of  Mrs.  Caruso's  rented  house  at  No.  144 
East  ssth  Street,  New  York  City. 


TWILIGHT  351 

"Pagliacci",  "Samson  et  Dalila",  "Marta", 
"Manon  Lescaut",  "Forza  del  Destine",  and  five 
repetitions  of  "La  Juive"  had  been  some  of  the  rep- 
resentations demanding  the  singer's  attention  up 
to  the  christening  date  of  Gloria.  Five  days  later  a 
slight  attack  of  bronchitis  caused  him  to  miss  a 
scheduled  appearance  in  "Manon  Lescaut",  and  he 
had  not  recovered  in  time,  one  week  later,  to  sing 
in  "Le  Prophete."  The  indisposition  had  subsided 
by  February  21,  for  on  that  evening  Caruso  appeared 
in  "Le  Prophete",  and,  at  the  Saturday  matinee  of 
that  week,  in  "La  Juive."  He  missed  no  further 
performances  during  that  season,  for  he  continued  on 
through  to  May  i  —  in  Atlanta  —  where  he  sang 
for  the  last  time  there,  in  "L'Elisir  d'Amore."  He 
had  forty-seven  engagements  in  all  (two  less  than  the 
preceding  season),  and  his  cachets  totaled  $117,500. 

But  the  earnings  from  Caruso's  concert  engage- 
ments had  been  large.  During  the  course  of  the 
active  months  at  the  opera  the  tenor  had  managed 
to  find  opportunities  to  sing  at  the  Waldorf-Astoria, 
and  in  Detroit,  Pittsburgh,  Waterbury,  Connecticut, 
and  Scranton,  Pennsylvania.  For  these  out-of-town 
appearances  Caruso  received  seven  thousand  dollars 
each.  One  other  appearance  outside  the  opera  was 
recorded  in  New  York's  Lexington  Opera  House, 
on  the  evening  of  March  28.  The  occasion  was  a 
drive  for  the  Italian  Dollar  Loan,  and  Caruso's 
associates  included  Signora  Luisa  Tetrazzini  and 
Riccardo  Stracciari.  The  tenor  sang  Tosti's  A 
Fucchella,  in  return  for  which  a  man  in  the  audience 
purchased  fifty  thousand  dollars  in  bonds. 


352  ENRICO   CARUSO 

His  Atlanta  contract  fulfilled,  Caruso  turned  in 
the  direction  of  Havana.  He  had  never  appeared 
there.  The  people  were  insistent  that  he  should 
be  brought  to  them,  —  at  any  price.  Adolfo  Bracale 
was  the  impresario  who  undertook  the  venture  ;  and 
in  certain  respects  it  was  to  be  that,  for  he  had  had 
to  guarantee  Caruso  ten  thousand  dollars  for  each 
evening  appearance,  and  five  thousand  dollars  for 
every  matinee.  To  insure  to  himself  a  profit,  Bracale 
charged  very  high  prices  for  seats,  and  this,  as  events 
proved,  was  not  relished  by  the  Havana  public. 

II 

Caruso  reached  Cuba's  metropolis  on  May  5,  and 
went  to  his  quarters  in  the  Hotel  Sevilla.  Signore 
Maria  Barrientos,  Carmen  Melis,  Gabriella  Besan- 
zoni,  and  Escobar,  and  MM.  Mardones,  Stracciari 
and  Parvis  were  of  the  Bracale  Company,  of  which 
Maestro  Padovani  was  principal  conductor.  A  full 
week  off  was  the  premiere,  to  be  given  at  the  Nacional 
Theater,  and  in  which  Caruso  was  to  be  introduced 
to  the  Cubans  in  "Marta."  The  tenor  had  ordered 
for  every  role  save  one  a  complete  set  of  new  costumes, 
of  a  lighter  material  than  he  ordinarily  wore,  because 
of  the  extreme  heat  in  Havana.  "  L'Elisir  d'Amore  " 
was  the  opera  in  which  the  singer  had  expected  to 
make  his  debut.  When  he  learned  that  "Marta", 
for  excellent  reasons,  had  been  substituted  there 
was  a  commotion.  It  would  never  do  to  undertake  an 
important  first  appearance  in  a  new  costume.  For- 
tunately, Punzo  (Caruso's  wardrobier)  had  thought 


TWILIGHT  353 

to  put  some  old  costumes  into  the  trunks ;  and  that 
of  Lionel  chanced  to  be  among  them. 

The  Nacional  was  packed  for  that  opening 
"Marta"  performance.  True  to  form,  Caruso  was 
excessively  nervous  beforehand.  He  knew  something 
of  the  Latin  temperament ;  and  so  much  was  expected 
of  him  that  to  fail,  in  even  slight  measure,  was  likely 
as  not  to  arouse  a  protest.  Some  experts  have  in- 
sisted that  the  greatest  vocal  moments  the  tenor 
ever  experienced  were  in  Mexico  and  Havana.  "  He 
realized,"  declared  one  of  them,  "that  his  New  York 
audience  —  even  all  the  United  States  audiences  — 
would  accept,  and  be  satisfied,  with  whatever  he  had 
to  give.  But  those  Mexicans  and  Cubans  .  .  .  they 
were  another  people/' 

Perhaps.  Nevertheless,  the  Lionel  of  Caruso 
prompted  his  listeners  that  May  I2th  night  to  make 
a  demonstration  which  only  a  supreme  voice  and 
singing  could  have  aroused.  On  May  16,  at  a 
matinee,  the  opera  was  repeated ;  and  two  evenings 
later  the  tenor  was  heard  in  "L'Elisir  d'Amore." 
After  his  "Ballo  in  Maschera",  on  the  2ist,  and 
"Pagliacci",  four  days  later,  the  recognition  was 
"enough."  Scarcely  equal,  it  must  be  admitted, 
to  the  Mexican  ovations,  yet  sufficient  to  convince 
Caruso  that  the  trip  southwards  had  not  been  made 
in  vain. 

"Tosca",  a  "Pagliacci"  matinee,  two  evening 
representations  of  "Carmen",  and  one  of  "Ai'da" 
established  a  Caruso  vogue  in  Havana.  The  populace 
clamored  for  seats,  despite  the  prices.  For  an 
orchestra  place  twenty  dollars  was  the  box-office 


354  ENRICO    CARUSO 

price ;  and  it  angered  many  people,  and  furnished 
food  for  the  gossips  whose  tongues  would  not  be  stilled. 
Even  before  his  arrival  in  the  city,  a  Havana  news- 
paper had  begun  upon  Caruso  a  series  of  violent 
attacks.  His  private  and  professional  life  were 
made  subjects  for  extended  abuse,  and  had  any  of 
these  articles  reached  the  singer's  eyes  there  might 
have  been  trouble.  They  moderated  as  the  season 
wore  on,  yet  they  are  felt  to  have  caused  some  damage. 

A  testimonial  concert  of  the  same  nature  as  the  two 
given  Caruso  in  Mexico  —  a  Serata  d'onore  —  pre- 
ceded, on  June  n,  a  mixed  bill  which  included  the 
third  act  of  "L'Elisir",  and  the  first  from  "  Pagliacci." 
The  auditors  put  no  restraint  upon  their  plaudits, 
with  the  result  that  the  singer  returned  to  his  hotel 
in  a  satisfied  frame  of  mind. 

Two  nights  later  came  "Ai'da",  and  a  crisis  in 
one  of  the  most  trying  opera  engagements  Caruso 
had  known.  "La  Forza  del  Destino"  was  to  have 
been  given  ;  it  was  abandoned  because  of  differences 
between  Bracale  and  the  agent  of  Ricordi  and  Com- 
pany, over  the  payment  of  copyright  fees.  The 
tenor  had  sung  his  Celeste  A'ida  in  a  manner  that  had 
wrought  the  audience  to  a  frenzy.  Signore  Escobar 
and  Besanzoni  had  finished  their  second-act  duet ; 
and  Caruso  was  in  his  dressing  room  changing  into 
Radames's  costume  for  the  Triumphal  Scene.  There 
came  a  sudden  explosion  from  some  part  of  the 
theater,  which  threw  those  present  into  a  panic. 
It  proved  to  be  a  bomb  (believed,  to  this  day,  to  have 
been  instigated  by  some  person  or  persons  angered  at 
the  alleged  excessive  prices  put  upon  the  tickets). 


TWILIGHT  355 

No  lives  were  lost ;  no  one  was  seriously  injured ; 
no  particular  property  damage  was  done ;  but  the 
frightened  people  rushed  for  the  street.  The  police 
and  firemen  arrived  quickly,  and  aided  in  preserving 
sufficient  order  to  see  the  audience  safely  out  of  the 
theater.  The  representation  stopped  at  that  point ; 
and  without  waiting  to  change  from  his  costume  into 
street  attire,  Caruso  went  to  his  waiting  automobile 
and  clad  as  the  triumphant  Radames  was  driven 
through  the  streets  amid  cheers  from  those  near 
by. 

This  experience  in  itself  would  have  been  enough 
to  unnerve  the  tenor.  Unfortunately,  it  had  come 
only  a  few  days  after  a  first  one  which,  although  of 
quite  a  different  character,  was  still  sufficient  to 
put  Caruso  in  an  uneasy  frame  of  mind.  On  June  8, 
at  Easthampton,  Long  Island,  where  the  Carusos 
had  leased  a  villa  for  the  summer,  Mrs.  Caruso  had 
been  robbed  of  jewels  valued  at  one  hundred  and  fifty 
thousand  dollars.  Indications  had  pointed  to  the 
theft  as  having  been  committed  by  some  one  well 
acquainted  with  the  movements  of  the  household, 
which  then  consisted  of  Mrs.  Caruso,  her  sister-in- 
law,  Mrs.  Park  Benjamin,  their  children,  and  ser- 
vants. A  representative  for  the  Associated  Press 
had  visited  the  Nacional  Theater,  during  the  first 
"Ai'da"  performance,  with  the  news.  Zirato  suc- 
ceeded in  keeping  it  from  his  employer  until  after 
the  final  curtain  ;  he  waited  until  they  were  supping, 
at  the  Sevilla,  to  relate  what  had  occurred.  The 
tenor  sent  at  once  a  cablegram  of  reassurance,  and, 
after  passing  over  the  loss  as  something  not  to  worry 


356  ENRICO    CARUSO 

about,  begged  Mrs.  Caruso  to  think  only  of  herself 
and  Gloria. 

But  the  tenor  was  anxious  and  restless.  He  wished 
to  get  the  Cuban  engagement  well  over  with,  and 
after  appearing  at  Santa  Clara,  in  a  mixed-bill  made 
up  of  acts  from  "L'Elisir  d'Amore"  and  "Pagliacci", 
and  at  Cienfuegos,  in  "Ai'da",  he  refused  Bracale's 
pleadings  that  he  remain  and  give  in  Havana  two 
or  three  additional  "popular"  performances.  He 
was  excessively  concerned  for  the  safety  of  his  wife 
and  child  ;  several  cablegrams  each  day  were  passing 
between  the  singer  and  Mrs.  Caruso.  And  then  came 
another  bit  of  disturbing  news,  —  the  sale  of  the 
Knickerbocker  Hotel.  The  information  made  Caruso 
downcast ;  he  had  become  attached  to  the  place ; 
it  was  home  to  him ;  now,  with  all  else  that  had  so 
recently  occurred,  he  regarded  it  as  an  omen  of  ill- 
fortune  to  come. 

There  was  still  a  New  Orleans  concert  appearance 
which  had  been  arranged  for  him  by  the  Metropolitan 
Musical  Bureau,  —  an  appearance  the  tenor  felt 
in  honor  bound  to  keep.  He  would  have  liked  to 
cancel  it ;  doubtless  he  would  have  done  so  if  it  had 
not  been  for  his  sense  of  obligation  and  his  pride  that 
his  word,  once  given,  must  at  all  hazards  be  respected. 

He  therefore  sailed  from  Havana  for  New  Orleans, 
on  June  23,  on  board  the  SS.  Cartago ;  and  with  the 
New  Orleans  appearance  behind  him,  he  proceeded 
direct  to  Atlantic  City,  where  Mrs.  Caruso  and  Baby 
Gloria  were  waiting  to  meet  him. 

The  Atlantic  City  objective  was  consequent  upon  a 
promise  Caruso  had  made  Calvin  Child  to  sing  for 


TWILIGHT  357 

members  of  the  Victor  organization  who  were  as- 
sembled there  in  convention.  Fatigued  as  he  was, 
the  tenor  sang  his  arias  and  songs  with  a  conscien- 
tiousness in  nowise  different  than  if  the  occasion 
had  been  a  regular  public  appearance.  His  concern 
was  manifested,  after  the  concert,  in  his  remark 
about  the  acoustics  of  the  hotel  ballroom  in  which 
the  concert  had  been  held.  Because  of  the  low  ceil- 
ing he  had  wondered  about  the  impression  he  had 
made ;  and  as  he  joined  Mrs.  Caruso,  Mr.  and  Mrs. 
Child  and  others  of  their  party  he  inquired,  "How 
did  my  voice  sound  ?  To  me  it  seemed  out  of  reso- 
nance." Only  a  Caruso  could  take  so  modest  a 
view  of  his  own  work. 

A  few  days  were  spent  in  New  York ;  then  the 
Caruso  family  left,  on  July  4,  for  their  Long  Island 
home.  With  the  exception  of  a  single  concert  the 
Metropolitan  bureau  arranged  for  at  Ocean  Grove, 
New  Jersey  (another  seven  thousand  dollar  affair), 
there  was  no  further  singing  by  the  tenor  that  summer. 
He  had  long  looked  forward  to  that  vacation ;  the 
place  itself  was  several  miles  out  of  town,  —  a  low 
and  comfortable  house  set  on  the  shore  of  a  bit  of 
inland  water,  with  woods  all  about.  But  the  robbery 
had  upset  Caruso's  peace  of  mind,  and  detectives 
of  the  insurance  companies  which  had  written  poli- 
cies on  the  stolen  jewels  were  almost  too  active. 
They  would  appear  at  unexpected  moments  —  to 
quiz  some  member  of  the  household  —  and  some  of 
the  questions  and  insinuations  were  scarcely  pleas- 
ant. The  jewels,  at  the  time  of  writing,  had  not  been 
recovered.  In  1921  two  insurance  companies  paid 


358  ENRICO    CARUSO 

$75,000  and  $18,000  respectively  on  policies  Caruso 
had  carried. 

Impresario  Bracale  exerted  unsuccessfully  every 
possible  influence  to  induce  Caruso  to  go  to  Lima, 
Peru,  for  the  season  he  had  prepared  to  give  in  that 
South  American  city.  Caruso  was  worried ;  his 
health,  further  aggravated  by  headaches,  gave  those 
close  to  him  more  concern  than  they  cared  openly 
to  admit. 

After  the  discharge  of  the  chauffeur  who  had  fallen 
into  disfavor  with  his  employer,  the  atmosphere 
about  the  Caruso  country  place  continued  laden 
with  oppression.  Friends  came  and  went ;  there  were 
unpretentious  dinner  parties,  and  an  occasional  game 
of  cards.  Daytime  relaxations  included  a  few  tries 
at  lawn  tennis,  also  a  bit  of  boating,  since  a  small 
craft  was  moored  at  the  near-by  landing.  Sponta- 
neous enjoyment,  however,  seemed  rarely  to  touch 
the  singer  during  his  Easthampton  sojourn.  Mrs. 
Caruso  had  fixed  up  a  study  for  him  in  one  wing  of 
the  house,  and  he  worked  there,  —  when  he  was 
not  spending  his  time  with  her,  or  playing  with 
Gloria. 

July  and  August  passed ;  September  induced 
thoughts  of  the  coming  season,  and  on  the  twelfth 
of  that  month  the  Carusos  moved  into  the  new 
apartment  they  had  rented  in  the  Vanderbilt 
Hotel.  It  was  the  one  Alfred  Gwynne  Vanderbilt 
had  planned  and,  for  a  time,  occupied.  On  the  top- 
most floor,  its  roominess  and  convenience  seemed 
well  suited  to  the  Caruso  needs.  Yet  the  tenor 
crossed  the  threshold  with  a  sense  of  uneasiness. 


TWILIGHT  359 

III 

There  appeared  to  be  no  rest  for  the  weary.  An 
extensive  tournee  had  been  booked  by  the  Metropol- 
itan Musical  Bureau :  three  at  ten  thousand  dollars 
each,  and  eight  at  seven  thousand  dollars.  The  open- 
ing one,  at  Montreal,  had  been  set  for  September  28  ; 
then  the  route  took  the  little  company  —  which 
included  as  assisting  artists  Miss  Alice  Miriam, 
soprano,  and  Albert  Stoessel,  violinist  —  to  Toronto, 
Chicago,  St.  Paul,  and  Denver.  From  this  city 
to  Omaha,  thence  to  Tulsa,  Oklahoma,  and  still 
farther  south  to  Fort  Worth  and  Houston,  lay  the 
itinerary,  which  finished  with  two  concerts  at  Char- 
lotte, North  Carolina,  and  Norfolk,  Virginia. 

Such  traveling  was  certain  to  fatigue  the  tenor, 
yet  he  did  not  feel,  with  the  income  tax  burden  im- 
pending, that  he  could  afford  to  refuse  so  enticing  a 
reward.  Before  he  took  train  for  Montreal  he  went 
on  September  14,  to  Camden,  New  Jersey.  And 
there,  for  several  successive  days,  he  made  what  were 
to  be  his  final  phonograph  recordings.  The  very 
last  record  of  all  was  Rossini's  Messa  Solennelle. 

If  Caruso  was  tired  from  his  efforts  covering  almost 
continuous  singing  from  the  middle  of  September 
to  the  end  of  October,  he  must  have  reached  New 
York  with  the  consciousness  that  others  agreed  with 
the  substance  of  a  letter  Otto  H.  Kahn  had  written 
him,  a  few  seasons  before.  In  it  the  Chairman  of  the 
Metropolitan  board  had  said  : 

I  have  so  often  and  so  enthusiastically  expressed 
my  admiration  to  you,  that  I  can  hardly  add  anything 


360  ENRICO    CARUSO 

to  what  I  have  already  said.  And  yet  —  having 
just  heard  you  in  "Marta"  —  I  feel  impelled  once 
more  to  send  you  a  line  of  thanks  and  of  admiration. 
Your  voice  was  always  by  far  the  most  beautiful 
organ  I  have  ever  heard,  and  your  art  was  always 
great.  But  the  combination  of  your  God-given 
voice,  in  its  most  splendid  form  as  it  is  this  season, 
together  with  the  maturity  and  perfection  to  which 
your  art  has  grown,  is  beyond  praise.  And  to  sing, 
as  you  do,  with  the  same  artistic  perfection,  heroic 
parts  and  lyric  parts,  is  a  most  astounding  artistic 
feat. 

Please  do  not  trouble  to  acknowledge  this  letter. 
It  is  simply  meant  as  a  spontaneous  tribute  of  ad- 
miration and  gratitude,  which  is  not  new  to  you,  but 
which,  under  the  inspiration  of  your  last  few  per- 
formances, I  could  not  refrain  from  tendering  to  you 
once  more. 

Believe  me,  with  sincere  regards, 

Very  faithfully  yours, 

Otto  H.  Kahn. 

The  tribute  of  this  art  patron  would  doubtless 
have  been  echoed  by  countless  numbers  throughout 
the  world,  had  they  known.  For  the  tenor  had  be- 
come an  idol.  Even  persons  who  were  not  musical 
knew  who  Caruso  was  and  why.  What  few  of  the 
whole  vast  number  even  faintly  realized  was  the 
responsibility  Caruso's  artistic  position  had  wrought. 
He  was  human,  and  being  human  he  appreciated  —  as 
he  had  so  often  said  —  how  machine-like  he  was  ex- 
pected invariably  to  be.  Perhaps  this  was  one  cause 
for  his  sensitiveness  to  the  sort  of  criticism  which 
appeared  in  three  New  York  daily  newspapers  — 
the  Herald,  the  Times,  and  the  World  —  soon  after 


TWILIGHT  361 

he  had  made  his  1920-1921  premiere  in  "La  Juive." 
"L'Elisir  d'Amore"  had  followed,  on  November  18, 
"Samson  et  Dalila",  on  the  24th  and  three  days 
later  a  "Forza  del  Destine/'  But  the  Caruso  who 
had  sung  in  these  operas  was  not,  in  the  judgment 
of  the  trio  of  music  chroniclers,  the  Caruso  of  the 
season  before.  Others,  perhaps  equally  capable  of 
as  correct  appraisement,  had  disagreed  with  the 
objectors,  —  who  attributed  to  overwork  the  tenor's 
alleged  lapse  in  vocal  powers.  "  He  wants  too  much 
money,"  declared  one  of  the  three  critics. 

In  his  Vanderbilt  Hotel  study,  Caruso  read  the 
newspaper  articles  and  was  distressed.  Matters 
had  certainly  gone  awry  since  he  had  left  his  long- 
established  home  in  the  Knickerbocker.  The  singer 
was  superstitious  and  subject,  as  are  so  many  having 
the  artistic  temperament,  to  being  affected  by  signs 
or  occurrences.  Thus,  to  meet  in  the  street  a  nun 
was  a  direct  order  to  instantly  change  the  direction 
of  his  course  ;  but  should  chance  cause  him  to  see  a 
man  hunchback,  after  having  passed  a  woman  so 
deformed,  it  portended  good  ;  otherwise  the  former 
was  an  indication  of  some  ill-luck.  To  pass  under  a 
ladder,  a  stage  bridge,  or  any  piece  of  board  put  up 
amid  the  scenery,  was  a  thing  Caruso  never  con- 
sciously did.  And  it  was  one  of  his  rules  to  avoid, 
if  possible,  starting  a  new  undertaking  on  either  a 
Tuesday  or  Friday.  That  so  intelligent  a  man  could  be 
influenced  by  such  superstitions  —  and  many  others 
which  he  had  —  is  not  so  strange  as  may  appear.  For 
Caruso  was  highly  emotional,  and  the  premonitions 
he  sometimes  experienced  seemed  in  some  fashion 


362  ENRICO    CARUSO 

to  be  identified  with  that  part  of  him  which  can  best 
be  analyzed  as  the  outgrowth  of  an  extreme  sensi- 
tiveness. 

Religion,  from  his  earliest  youth,  had  caught  and 
held  him.  The  tenor's  own  mother  taught  him  to  be 
"  devout  and  prayerful."  Father  Tonello  remembers, 
as  does  many  another,  that  Caruso  had  in  his  dressing 
room  a  little  statue  of  the  Madonna,  one  of  St. 
Anthony,  and  one  of  his  mother ;  and  his  reverence 
for  the  Church,  its  laws,  and  its  priests  never  relaxed. 
Above  Caruso's  bed  hung  a  solid  silver  crucifix,  while 
near  by  were  his  prayer  book,  and  his  beads.  "I  am 
aware  that  some,  knowing  a  few  facts  of  Caruso's 
life,"  said  Father  Tonello;  "his  human  weaknesses 
and  shortcomings,  have  branded  his  religious  senti- 
ments as  superstitious.  There  might  have  been  a 
light  touch  of  that  in  Caruso,  as  in  some  other  men 
we  read  of  in  history.  I  know  that,  even  in  our 
day,  there  have  been  some  highly  educated  and 
intellectual  men  who  wore  charms  or  talismans 
to  protect  themselves  from  evil.  Caruso  was  not  of 
this  type.  His  religion  was  neither  hypocrisy  nor 
superstition,  but  was  true  faith.  Besides  the  fact 
that  occasionally  when  Caruso  and  I  were  alone 
the  topic  of  religion  would  come  up,  in  many  of  his 
letters  which  I  keep  as  precious,  I  have  the  testi- 
mony of  his  belief  and  faith  in  God." 

From  the  many  facts  at  hand  it  is  clear  that  Caruso 
lived  largely  according  to  the  golden  rule.  His 
thoughtfulness  of  others  was  never  spasmodic. 
Rather  was  it  a  thoughtfulness  governed,  as  was  his 
life,  by  a  sort  of  regularity.  At  Christmas  he  never 


TWILIGHT  363 

forgot  many  of  the  Metropolitan  Opera  House  attaches 
and  employes.  Gifts  of  one  kind  and  another  were 
rarely  omitted  (he  retained,  in  a  book,  the  names  of 
persons  he  wished  in  various  ways  to  remember) ; 
and  to  members  of  the  chorus  and  to  others  the  tenor 
tendered  money.  Some  were  of  course  overlooked, 
but  such  omission  was  never  intentional ;  and  if 
Caruso  ever  learned  of  a  seeming  slight,  where 
generosity  should  have  figured,  he  hastened  to 
make  amends.  The  probabilities  are  that  he  did 
not  administer,  in  every  manner  of  respect,  with 
unfailing  justice  ;  few  men  do.  But  his  heart,  oftener 
than  not,  was  in  the  right  place. 

On  this  account  he  felt  aggrieved  that  he  should 
have  been  criticized,  that  autumn  of  1920,  in  a  manner 
he  deemed  unjust.  In  his  rundown  condition  at  the 
time,  he  may  have  magnified  what  others  passed 
over  as  not  worthy  of  serious  thought.  For  he 
had  been  previously  subjected  to  expert  consideration 
which,  though  appearing  in  the  public  press,  had  not 
moved  him  to  such  despair  as  these  latest  critical 
notices. 

"I  know  when  I  sing  well  or  badly,"  he  said,  in 
discussing  these  unfavorable  reviews,  "  and  after  each 
of  those  performances  that  gave  offense  to  those 
writers  I  came  home  satisfied." 

Advised  to  discontinue  reading  the  criticisms  — 
if  they  were  so  disturbing  to  his  peace  of  mind  —  the 
tenor  only  shook  his  head.  "  So  long  as  I  feel  I  am 
displeasing  I  must  read  them." 

The  climax  came  not  long  after  the  opening  of  that 
1920-1921  season.  Caruso  must  indeed  have  been 


364  ENRICO    CARUSO 

far  from  physical  and  nervous  health  to  have  allowed 
himself  to  become  so  disheartened.  Or  it  may  have 
been  that,  fearing  he  might  indeed  be  slipping,  he 
doubted  being  able  to  stand  up  under  what,  in  his 
agitated  state,  he  feared  might  be  actual  failure. 
His  pride  and  sensitiveness  were  too  keen  to  enable 
him  to  withstand  the  effects  of  such  a  shock.  And 
as  the  days  passed,  and  his  self-doubt  threw  a  still 
stronger  shadow,  Caruso  finally  surrendered  to  the 
inner  enemy  which  had  pressed  persistently  upon 
him. 

Few  persons  knew  of  it  at  the  time  ;  it  was  possible 
to  keep  the  matter  secret,  and  it  is  perhaps  fortunate 
that  the  newspapers  never  learned  what  happened. 
For  at  the  zenith  of  his  career,  and  with  the  public 
as  completely  at  his  feet  as  ever,  Caruso  informed 
Gatti-Casazza  of  the  Metropolitan  that  he  wished  to 
resign. 

"If  I  sing  as  those  critics  say  I  sing,"  he  wrote 
to  Gatti-Casazza,  "it  is  time  I  appeared  no  more 
before  the  New  York  public." 

No  bomb,  thrown  in  the  opera's  executive  sanctum, 
could  have  caused  greater  consternation.  Gatti 
knew  too  well  the  temper  of  his  chiefest  asset.  What 
he  had  said  he  should  do  he  assuredly  would  do, — once 
he  became  convinced  no  other  course  lay  open.  To 
arrest  that  decision  was  the  task  the  impresario 
realized  must  be  done,  and  as  quickly  as  possible ; 
so  he  went,  posthaste,  to  the  Vanderbilt,  where  he 
and  Caruso  had  a  long  talk. 

One  other  friend  to  the  tenor  came,  fortunately, 
into  the  situation  a  few  days  afterwards.  His 


TWILIGHT  365 

knowledge  of  the  conditions,  and  his  counsel,  supple- 
menting the  appeal  Gatti  had  made,  put  fresh  courage 
into  Caruso.  He  would  try  again,  he  agreed,  to 
show  them  what  Caruso  could  do.  If  he  failed — . 

"Samson  et  Dalila"  was  the  opera.  Who  that 
heard  can  forget  the  singing  of  the  tenor  on  the  eve- 
ning of  December  3,  1920  !  After  the  second  act  this 
friend  from  whom  Caruso  hoped  to  get  the  truth  went 
to  him  in  his  dressing  room.  The  singer  was  changing 
costumes  ;  but  he  instantly  waved  an  arm  of  dismis- 
sal to  his  valet  Mario,  and  Punzo,  his  wardrobier. 
Sitting  in  his  undergarments,  the  tenor  took  a  deep 
puff  from  the  cigarette  he  was  smoking. 

"Well  ?"  he  said,  inquiringly. 

The  visitor  shrugged  his  shoulders ;  then  he  replied, 
"There  is  nothing  to  be  said  you  yourself  don't 
know.  In  the  morning  the  critics  will  confirm  what 
I  say." 

And  the  following  day  the  reviewers  for  the  Times, 
the  Herald,  and  the  World  wrote  in  effect  that  Caruso 
had  sung  gloriously. 

IV 

Just  how  did  Caruso  sing  ?  Innumerable  persons 
have  asked  the  question, —  which  has  been  variously 
answered.  From  a  strictly  technical  standpoint  this 
matter  of  curiosity  is  natural  enough ;  and  there 
can  be  little  doubt  that  singers  and  teachers,  who 
often  heard  the  tenor,  have  explained,  more  or  less 
satisfactorily,  approximately  how  he  controlled  that 
marvelous  voice  of  his.  To  hear  him  sing  as  he  sang 
that  "Samson"  performance  was  to  hear  the  Caruso 


366  ENRICO    CARUSO 

who  used  a  technique  quite  different  from  one  he 
might  employ  for  a  different  type  of  role.  For,  as 
has  already  been  set  forth  in  these  pages,  he  sum- 
moned at  will  a  quality  and  volume  of  voice  to  suit 
the  mood  of  text  and  music  of  what  lay  before  him  ; 
to  do  this  required  using  his  vocal  apparatus  in  a 
variety  of  ways. 

He  was  gifted,  unquestionably,  with  vocal  re- 
sources of  a  phenomenal  order ;  and  not  alone  in 
natural  beauty  of  tone,  but  in  compass,  flexibility, 
color,  endurance,  and  power.  Laryngologists  who 
have  examined  the  singer's  throat  and  vocal  chords 
state  that  the  length  and  thickness  of  the  chords 
gave  the  capacity  to  sound  extreme  notes,  both  low 
and  high,  while  their  peculiar  softness  was  largely 
responsible  for  the  richness  of  timbre.  And  yet,  one 
eminent  authority  (who  was  an  intimate  friend  of  the 
tenor's  and  a  constant  companion  fora  period  of  years) 
asserts  that  Caruso's  vocal  chords  were  not  only 
unexceptional,  but  that  they  did  not  give  him  his 
unique  voice.  This  may  be  a  matter  of  opinion, 
even  in  scientific  circles,  yet  it  would  appear  that  the 
harmonious  working  of  the  entire  Caruso  vocal 
mechanism  was  chiefly  responsible  for  his  superb 
technique. 

Since  he  did  not  always  possess  it,  there  must  exist 
an  interest  as  to  just  what  that  technique  was,  and 
how  it  was  acquired. 

During  the  singer's  early  years,  as  a  tenor,  it  may 
be  recalled  that  his  voice  is  accurately  reported  as 
having  been  light  to  the  point  of  thinness,  and  that 
the  high  tones  were  insecure.  That  he  sang  without 


TWILIGHT  367 

marked  physical  effort  during  a  critical  period  of 
voice-development  was  undoubtedly  fortunate.  And 
an  analysis  of  the  evidence  at  hand  would  seem  to 
indicate  that  Caruso  fell,  naturally,  into  a  way  of 
breathing  which  was  the  correct  way,  —  and,  there- 
fore, Nature's  own.  Such  must  have  been  the  case  ; 
otherwise,  when  Lombardi  took  him  in  hand  (in 
1896)  to  develop  the  needed  power  of  tone  and  the 
high  notes,  the  subsequent  smoothness  and  liquid- 
like  quality  never  would  have  ensued. 

Caruso  was  probably  singing  with  a  constricted 
throat  in  those  earliest  days.  From  the  accounts 
reported  through  first-hand  sources  he  could  not 
have  sung  otherwise.  How  he  succeeded  —  as  he 
did  —  in  securing  a  natural  relaxation  of  the  muscles 
of  the  throat  and  of  the  tongue,  is  something  Caruso 
never  satisfactorily  explained.  It  is  doubtful  if  he 
really  knew.  Something  happened,  when  he  was 
ripe  to  take  advantage  of  whatever  the  combination 
of  circumstances  was,  to  enable  him  to  fall  into  a 
vocally  safe  and  secure  way  of  delivering  his  singing 
voice. 

After  that  point  had  been  reached  it  was  a  matter, 
merely  —  so  far  as  vocal  technique  was  concerned  — 
for  him  to  apply  his  rare  singing  instinct,  and  to 
appear  in  public  as  frequently  as  possible. 

Once  his  entire  vocal  mechanism  (breath,  and  its 
control ;  vocal  cords,  throat,  tongue,  jaw,  and  lips) 
began  to  function  in  complete  accord,  the  develop- 
ment of  technique  was  only  a  matter  of  time.  Ex- 
perience brought  confidence ;  and  when  maturity 
was  added  to  this,  the  technique  acquired  could  be  (as 


368  ENRICO    CARUSO 

it  always  is,  by  any  one  markedly  proficient  in  any 
interpretative  branch  of  an  art)  forgotten. 

Using  a  minimum  supply  of  breath,  and  learning 
after  long  practice  to  distribute  it  with  the  utmost 
conservation,  Caruso  for  a  long  time  never  forced 
his  tones.  To  whatever  extent  he  may  have  done 
so  during  the  years  following  1905,  it  is  a  fact  that 
almost  never  did  he  " drive"  the  voice  during  the 
period  of  his  fullest  vocal  glory.  He  sang  beautifully 
because  he  sang  naturally  ;  and  one  of  the  secrets,  if 
there  be  any  in  singing  technique,  was  the  purity 
of  his  vowels,  and  his  clear  attack  of  consonants. 
Whoever  understands  the  fundamentals  which  govern 
correct  singing  technique  realizes  the  importance  of 
enunciation.  The  more  distinct  it  is,  the  freer  and 
more  agreeable  the  tone. 

Singing  exclusively  for  years  in  the  Italian  lan- 
guage, and  having  spoken  it  always,  was  an  added 
help  to  the  Caruso  technique.  Every  Italian  word 
ends  with  a  vowel  and  every  vowel  ends  as  it  is  begun, 
—  without  a  vanishing  point,  unlike  English.  It  is 
this  vanishing  point  which  causes  the  singer  trained  in 
the  English  tongue  to  unconsciously  "swallow"  the 
tone,  a  practice  fatal  to  the  emission  of  a  free  and 
pure  musical  sound. 

When  Caruso  attacked  a  tone  (excepting  in  later 
years,  when  he  permitted  himself  an  unnecessary  and 
a  regrettable  habit  of  scooping  the  higher  notes), 
he  attacked  precisely,  with  his  throat  open,  the 
tongue  and  jaw  relaxed,  the  lips  forming  perfectly 
the  vowel  of  the  word  to  be  enunciated,  and  the 
breath  properly  supporting  the  tone  —  but  seldom 


TWILIGHT  369 

forcing  it.     He  secured  his  brilliancy  and  resonance 
principally  from  the  spaces  of  the  mouth  and  head, 

—  especially  the  latter.     They  were  reinforced  by 
the  resonance  supplied  by  Caruso's  deep  chest  (his 
entire  body  aided  in  this  respect),  but  he  directed 
this  tone  to  the  front  of  the  face,  one  might  say  al- 
most at  a  sort  of  disk,  made  up  of  that  part  from 
the  base  of  the  nose  to  the  lower  part  of  the  fore- 
head and  including  the  cheek  bones. 

Many  persons  will  recall  that  Caruso  often  frowned 
when  he  sang,  drawing  his  eyebrows  together  until 
there  appeared  furrows  just  above  his  nose.  He 
always  said  that  this  seemed  to  help  in  concentrat- 
ing the  tone  in  a  way  that  was  most  effective.  The 
base  of  the  nose  always  expanded  sidewise  during 
this  physiological  singing  act ;  and  it  gradually  en- 
larged during  later  years  of  his  life,  as  a  comparing 
of  photographs  will  show. 

But  if  any  one  fancies  that  either  the  translucent 
warmth  or  the  robust  vigor  of  Caruso's  best  tones 
came  from  any  pronounced  physical  effort,  such 
belief  is  incorrect.  He  was  able  to  reinforce  the 
resonance  of  each  tone  through  "letting  it  filter"  to 
the  places  where  it  could  radiate  to  all  the  spaces 
which  yield  resonance.  To  do  this  —  his  vocal 
mechanism  coordinating  with  such  smooth  perfection 

—  was,  for  him,  simple  enough.     He  was  spontane- 
ous and  natural  in  delivering  a  singing  tone.    There- 
fore, his  singing,  save  in  moments  of  greatest  dra- 
matic stress  when  unusual  emphasis  was  required,  was 
no  manifestly  greater  exertion  than  it  was  for  him  to 
talk.     If  there  were  any  real  secret  to  the  Caruso 


370  ENRICO    CARUSO 

method,  it  would  seem  to  lie,  to  a  considerable  ex- 
tent, in  the  fact  that  he  "talked"  his  tones. 

All  the  talk,  at  various  times  current,  that  Caruso 
sang  "by  the  grace  of  God",  was  scarcely  correct. 
His  very  special  endowment,  extraordinary  as  it 
was,  for  its  fullest  development  required  precisely 
what  Caruso  supplied :  intelligent  and  ceaseless 
work.  During  the  first  decade  of  his  career  he  sang 
almost  constantly,  no  matter  where  he  was.  As 
late  as  1912  he  continued,  if  in  a  lesser  degree,  to  do 
so ;  and  in  his  rooms,  or  when  he  was  engaged  else- 
where at  some  task,  or  even  when  strolling,  he  would 
exercise  his  voice  in  something  midway  between  a 
hum  and  a  very  light  tone.  Thereafter  this  practice 
gradually  subsided ;  and  Mrs.  Caruso  says  that 
during  the  summer  of  1920  she  heard  the  sound  of 
his  voice  about  the  Easthampton  house  only  a  few 
times. 

Belief  that  Caruso  did  not  really  know  how  he 
produced  his  tones  is  erroneous.  On  the  contrary 
he  understood  exactly  what  he  did,  and  why.  His 
communicative  powers,  however,  were  not  marked  ; 
his  failure  to  convey  to  his  one  pupil  the  things  he 
sought  to  convey  is  striking  proof  of  this.  But  he 
could  explain  clearly  under  questioning.  This  really 
was  the  one  way  to  extract  from  him  his  knowledge 
of  the  technique  of  singing,  no  less  than  his  knowl- 
edge of  his  own  technique.  On  occasions  he  has  been 
known  to  say  "yes"  to  some  question  about  voice 
when  he  did  not  really  agree.  Such  instances  in- 
variably arose  at  being  quizzed  when  he  was  not  in 
the  mood,  or  when  the  questioner's  ideas  on  the 


ran.  ad 


should,  live! Love 


Love         £her        I      must          or       die 


Copyright  by  Boosey  &  Co. 


A  PAGE   FROM  SECCHl's   "LOVE   ME   OR    NOT,"   ILLUSTRATING  CARUSO'S   ORIGINAL 
METHOD    OF   TEACHING   HIMSELF   HOW   TO    SING   IN   ENGLISH 

His  English  rendering  is  spelt  according  to  the  Italian  rules  of  pronunciation. 


TWILIGHT  371 

subject  matter  were  so  at  variance  with  his  own  that 
he  did  not  wish  to  bother. 

He  spoke  freely  and  at  length  about  singing  tech- 
nique to  only  a  few  persons.  Now  that  he  is  gone 
one  learns  of  the  claims  of  certain  persons,  who 
profess  to  have  obtained  at  first  hand  from  Caruso 
specific  information  as  to  how  he  sang.  The  only 
documentary  evidence  thus  far  come  to  light  is 
presented  in  a  book  on  the  scientific  side  of  the  sing- 
ing voice.  The  material  was  written  by  one  who  was 
a  close  friend  to  the  tenor ;  he  personally  indorsed 
it  shortly  before  his  death. 

Theories  expounded  by  many  voice  educators  to 
the  effect  that  the  human  vocal  instrument  is  deli- 
cate and  requires  constant  tending  were  exploded  by 
Caruso.  He  smoked  cigarettes  constantly  and  was 
careless  about  his  diet.  During  an  entr'acte  of  a 
performance  in  which  he  was  appearing,  it  was  his 
custom  to  eat  an  apple ;  he  smoked  before  going 
upon  the  stage,  and  immediately  when  he  came  off. 
In  brief,  he  treated  his  voice  like  the  exceedingly 
durable  instrument  a  well-used  singing  voice  really  is. 

On  the  way  to  the  theater  Caruso  was  generally 
cheerful,  and  inclined  to  jest.  Once  in  his  dressing 
room  a  full  two  hours  before  the  curtain  was  sched- 
uled to  rise,  his  attitude  changed.  Nothing  would 
be  right ;  nobody  appeared  able  to  satisfy  him.  In 
his  nervous  irritability  which  always  preceded  his 
appearance  before  an  audience,  the  tenor  would 
complain  about  seeming  trivialities :  some  part  of 
his  makeup,  a  wig  that  did  not  set  as  he  thought  it 
should,  a  tie,  or  shoes  and  stockings.  Often  because 


372  ENRICO    CARUSO 

some  trifle  he  reached  for  on  his  dressing  table  might 
be  mislaid,  Caruso  would  seize  the  cover  and,  with 
an  angry  jerk,  send  bottles  and  all  the  other  para- 
phernalia on  the  table  flying. 

During  those  two  hours  which  preceded  the  be- 
ginning of  any  premiere,  the  tenor's  nervousness 
would  not  subside.  On  such  occasions  he  would 
warm  up  his  voice  with  light  scales  and  other  simple 
exercises,  to  make  the  instrument  pliant  and  agile. 
Then  would  come  the  inhalant ;  after  that  a  pinch 
of  Swedish  tobacco  snuff,  to  clear  the  nostrils ;  and 
finally  a  gargle  of  lukewarm  water  and  salt.  He  was 
then  ready  for  the  sip  of  diluted  Scotch  whisky,  — 
and  the  stage. 

No  Metropolitan  representation  ever  began  with- 
out the  visit,  several  times,  of  Ludovico  Viviani, 
an  assistant  stage  manager,  to  inquire  if  Caruso  were 
ready.  And  it  was  always,  "May  we  begin,  Mr. 
Caruso?" 

Particular  to  the  last  detail  about  his  own  costumes 
and  makeup,  and  the  appropriateness  of  any  other 
matters  bearing  upon  a  performance,  the  singer  was 
easily  annoyed  if  an  associate  did  anything  he  con- 
sidered not  good  in  taste.  During  one  "Marta" 
representation  at  the  Metropolitan,  Caruso  arrived 
on  the  stage  after  he  had  been  informed  by  Viviani 
that  all  was  in  readiness  for  the  second  act.  The 
curtain  should  have  immediately  risen,  but  there  was 
no  soprano.  Inquiries  disclosed  that  she  had  not 
yet  finished  curling  her  hair.  Caruso  was  furious. 
When  the  scene  had  been  finished,  he  told  the  singer 
that  servants  not  only  did  not  curl  their  hair,  but 


TWILIGHT  373 

that  they  wore  neither  silk  dresses  nor  silken  stockings. 
The  soprano  was  wise  enough  to  heed  the  advice  ;  at 
the  next  "  Marta"  in  which  she  appeared  the  materials 
of  her  garments  were  simple,  her  hair  quite  straight. 

Paul  Althouse  once  had  an  experience  with  Caruso 
over  a  costume.  He  had  paused  at  the  door  of  the 
great  tenor's  dressing  room  on  his  way  to  the  stage. 
Althouse  had  been  cast  for  Turiddu  in  "Cavalleria 
Rusticana",  which  was  to  precede  "Pagliacci"  with 
Caruso.  The  latter  looked  at  his  younger  confrere, 
then  gasped.  "What !"  he  exclaimed,  "a  first  tenor 
of  the  Metropolitan  dressed  like  you  ?  What  a 
reflection  on  this  institution !  Here,  Mario,"  com- 
manded Caruso,  "get  out  my  Cavalleria  costume." 
He  ordered  Viviani  to  hold  the  curtain  ;  took  Althouse 
into  his  dressing  room ;  the  change  of  costumes  was 
made  and,  observing  the  excellent  fit,  the  singer  said, 
"There,  you  look  a  Metropolitan  first  tenor.  Caruso 
gives  you  that  costume.  Now  go  down  and  sing 
like  Caruso." 

At  the  beginning  of  any  opera  appearance,  the 
tenor's  nervousness  would  hold  —  until  he  had 
delivered  his  first  few  phrases,  and  he  was  satisfied 
with  his  reception.  Thereupon  his  anxiety  would 
appear  to  pass.  There  were  times,  however,  when 
an  entire  first  act  would  go  badly.  He  might  be 
out  of  voice  or  humor  ;  it  was  perhaps  more  frequently 
the  case  than  some  who  idolized  him  might  be  willing 
to  admit.  The  effect  seldom  failed  to  stimulate  the 
tenor  to  supreme  endeavor  in  the  ensuing  act ;  and 
some  of  his  noteworthy  achievements  and  successes 
occurred  after  an  unpropitious  start. 


374  ENRICO    CARUSO 

Then  it  was  that  the  Caruso  voice  was  called  on  to 
the  limit.  To  watch  him  in  such  circumstances,  if 
the  role  chanced  to  be  heroic,  was  a  rare  lesson  in 
the  technique  of  singing,  —  for  those  who  could  ap- 
prehend. Those  who  could  not,  completely  confused 
some  of  the  things  he  did.  The  brilliancy  and  power 
of  the  high  tones,  delivered  with  an  open  throat 
which,  with  the  palate  high  and  the  larynx  low, 
made  a  large  space,  could  be  so  easily  misleading  to 
the  singer  or  educator  ;  and  more  than  one  voice  has 
suffered  in  fruitless  attempts  at  imitation.  The 
reason  was  commonly  due  to  ignorance  of  the  how 
and  why ;  to  an  unwillingness  to  proceed  slowly  in 
building  up  a  technique  modeled  on  the  same  natural 
laws  which  Caruso  obeyed  ;  and  to  a  misconception 
of  the  tenor's  taking  of  breath  and  its  regulation. 
It  was  safe  enough  for  him  to  sing  with  such  apparent 
abandon ;  he  always  knew  the  precise  way  to  form 
each  tone,  whatever  its  pitch ;  and  his  scale  was 
even  throughout  its  entire  compass.  Caruso  did 
not  believe  in  the  so-called  "  registers "  of  the  voice. 
Each  pitch  he  sounded  with  his  voice  had  what 
might  be  termed  a  register  all  its  own.  Thus  every 
note  matched  the  one  immediately  next  it  in  pitch, 
so  that  the  texture  of  the  voice,  both  high  and  low, 
was  relatively  the  same. 

Yet  even  that  voice  needed  occasional  coaxing. 
In  the  coats  of  all  Caruso's  costumes  were  little 
pockets,  wherein  he  could  slip  a  tiny  vial  of  salt  water, 
—  to  be  gargled  surreptitiously  when,  with  his  back 
to  the  audience,  he  found  it  imperative  to  clear  his 
throat  of  mucus.  He  always  managed  these  matters 


TWILIGHT  375 

ingeniously ;  a  gesture,  a  step  one  way  or  another, 
a  momentary  tilting  of  the  head,  and  the  thing  was 
done.  Sometimes,  when  the  action  sent  Caruso 
from  the  stage  for  a  few  minutes,  and  there  was  not 
time  enough  to  go  his  dressing  room,  one  of  his  valets 
would  be  standing  in  the  wings  with  a  glass  of  the 
precious  salt  and  water.  •« 

In  spite  of  every  precaution  to  have  the  throat 
prepared  for  singing,  such  instances  would  arise.  The 
tenor  was  faithful  in  adhering  to  a  specific  schedule 
before  each  engagement.  He  always  rested  for  two 
hours  before  he  went  before  the  public ;  the  rest 
consisted  of  playing  solitaire,  pasting  stamps  in  an 
album  or  clippings  in  a  scrap  book.  During  these 
two  hours  Caruso  would  not  speak  above  a  whisper : 
and  if  his  pantomime  were  not  understood  a  volo 
(quickly)  he  would  declare  the  person  to  be  unin- 
telligent, and  "not  good"  for  him.  The  cleansing 
of  his  throat  (lo  strumento,  he  called  it)  was  accom- 
plished with  the  aid  of  a  French  inhaler,  into  which 
he  had  placed  some  glycerine  and  Dobell  solution. 
The  steam  from  this  Caruso  would  inhale  for  perhaps 
a  quarter  of  an  hour  ;  then  his  throat  would  be  pulita 
(clean).  A  few  rapidly  sung  scales  and  arpeggios 
finished  the  preparations  for  the  appearance.  Caruso 
rarely  used  many  different  sets  of  exercises,  at  anytime. 

Invariably,  he  would  reach  a  place  of  appoint- 
ment in  advance  of  the  hour.  He  was  never  late  in 
his  life,  for  either  a  performance  or  a  train  ;  and 
news-stand  venders,  in  the  railway  stations,  found 
him  a  patron  willing  to  purchase  anything  from 
magazines  to  chewing  gum. 


376  ENRICO    CARUSO 

Scrupulous  to  be  ready  for  any  emergency,  he  was 
versatile  enough  to  meet  many  of  different  sorts. 
Thus,  in  Mexico,  he  virtually  directed  the  rehearsals 
of  every  representation.  The  stage  manager  was 
lacking  in  the  quality  of  experience  to  which  Caruso 
had  been  accustomed,  so  he  took  charge.  In  Havana, 
where  neither  "Marta"  nor  "L'Elisir  d'Amore"  had 
previously  been  given,  it  was  the  tenor  who  indicated 
what  should  be  done.  During  a  "  Marta  "  representa- 
tion in  Mexico,  Caruso's  quick  mind  saved  an  impor- 
tant incident  from  falling  flat.  The  soprano,  Sefiorita 
Navarette,  who  had  forgotten  to  bring  with  her  a 
rose,  prepared  to  sing  The  Last  Rose  of  Summer. 
Noticing  that  she  was  without  the  necessary  flower, 
Caruso  whispered  to  her,  "Take  a  rose  from  your  hat 
and  give  it  to  me."  The  soprano  did  not  hear.  His 
cue  having  arrived,  the  tenor  began  to  sing  (instead  of 
the  words  from  the  score)  "  Gi-i-ve  m-e-ee  the  r-o-ose, 
t-a-ake  o-o-ne  fro-o-om  yo-our  h-a-at."  Still  Se- 
norita  Navarette  did  not  seem  to  understand. 
Whereupon  Caruso  himself  plucked  a  flower  from  the 
lady's  hat,  placed  it  in  her  hand,  and  soon  after 
received  it  from  her,  as  the  action  demanded. 

It  was  this  insistence  for  detail  which  was  partly 
responsible  for  the  tenor's  rounded  artistry ;  and 
who  does  not  appreciate  how  completely  he  gave 
all  he  had  to  give.  After  the  Vesti  la  giubba  aria, 
in  "Pagliacci",  he  always  reached  the  wings  in  a 
state  of  collapse.  Martino,  Mario,  or  Punzo  - 
sometimes  Zirato  —  would  be  waiting  to  catch  him 
as  he  came  off,  panting  from  his  emotion.  And  it 
would  require  smelling  salts,  very  often,  to  bring  him 


Copyright  Mishkin,  N.  Y. 


CARUSO  AS   CANIO  IN   "I  PAGLIACCI ' 


TWILIGHT  377 

back  from  the  half-unconscious  condition  induced 
by  his  exertion.  In  other  heroic  operas,  too,  his 
exhaustion  would  require  the  aid  of  strong  arms. 
Punzo  was  the  one  who  could  ease  him  most  gently. 

Giulio  Gatti-Casazza  considered  Caruso  in  a 
class  quite  his  own.  .  — <mi 

"  I  have  heard  all  the  great  tenors  of  my  time,  over 
and  over  again,"  he  s;aid.  "Many  of  them  were 
wonderful  artists,  with  exceptional  voices ;  and  all 
sang,  I  remember,  some  marvelous  performances. 
Yet  not  one,  in  my  judgment,  ever  sang  an  entire 
role  with  the  vocal  or  artistic  consistency  of  Caruso ; 
and  certainly  no  other  tenor  I  can  call  to  mind  re- 
motely compares  with  him  in  having  continued  to 
sing  —  week  after  week,  and  season  after  season  — 
with  the  same  almost  unvarying  achievement  of 
supremacy,  almost  never  disappointing  an  audience 
through  inability  to  appear. 

"  I  first  heard  him  sing  in  the  autumn  of  1898,  at  the 
Lirico  Theater  in  Milan,  as  Marcello  in  Leoncavallo's 
'La  Boheme.'  During  the  same  season  I  had  a 
second  opportunity,  when  he  appeared  as  Loris  in 
Giordano's  *  Fedora.'  In  that  role  he  had  a  triumph 
so  indisputable  that  his  celebrity  began.  I  was  then 
general  director  of  La  Scala.  I  was  unsuccessful 
in  my  effort  to  engage  Caruso  for  the  1899-1900 
season,  because  he  had  arranged  to  go  to  Petrograd ; 
but  we  signed  a  contract  for  1900-1901. 

"His  La  Scala  debut,  in  Puccini's  'La  Boheme', 
was  not  lucky ;  he  was  suffering  from  laryngitis. 
In  such  a  condition  he  was  indeed  kind  to  have  con- 
sented to  sing  at  all,  which  he  only  did,  at  a  personal 


378  ENRICO    CARUSO 

sacrifice,  to  avert  a  postponement  of  the  performance. 
He  did  not  have  the  opportunity  to  show  the  public 
of  La  Scala  his  superior  qualities ;  in  subsequent 
representations  he  improved.  But  it  was  not  until 
the  first  'Le  Maschere*  of  Mascagni,  that  he  had 
a  triumph  .  .  .  the  more  difficult  to  achieve,  since 
the  opera  was  a  failure.  That  was  what  prompted 
me  to  revive  'L'Elisir  d'Amore',  in  which  Caruso 
had  a  success  that  remained  a  sensation  in  the  annals 
of  the  Teatro  Alia  Scala. 

"During  the  same  season,  in  the  quartet  from 
'Rigoletto',  on  the  program  of  the  concert  given 
to  commemorate  the  death  of  Giuseppe  Verdi,  he 
sang  like  an  angel,  moving  his  hearers  to  indescribable 
emotion.  Later,  he  was  severely  criticised  by  the 
newspaper  reviewers  for  his  Faust  in  'Mefistofele', 
in  which  Chaliapin  also  sang.  I  always  felt  that 
the  criticism  was  unjust.  He  returned  to  La  Scala 
the  next  season,  for  the  performances  of  'Germania' 
—  the  then  new  opera  by  Baron  Franchetti  —  and 
his  recognition  was  overwhelming. 

"In  his  last  years,  Caruso  had,  for  me,  a  voice 
darker  and  more  voluminous  than  when  I  first  heard 
it ;  a  voice  with  a  tendency  to  baritonal  effects. 
However,  I  must  say  that  his  voice  became,  during 
that  final  period  of  his  career,  of  more  extended  range 
and  security.  It  was  of  such  endurance  and  re- 
sponsiveness that  Caruso  was  enabled  to  sing  some 
performances,  under  unfavorable  health  conditions, 
without  causing  the  great  majority  of  the  public  to 
notice  that  he  was  not  in  perfect  physical  form. 

"Throughout  his   closing  seasons  at  the  Metro: 


TWILIGHT  379 

politan,  Caruso  could,  moreover,  sing  roles  of  dra- 
matic character  —  such  as  John  of  Leyden  in  *  Le 
Prophete',  Alvaro  in  'Forza  del  Destine',  and 
Samson  in  *  Samson  et  Dalila'  —  roles  that  in  the 
days  of  his  singing  in  Milan  or  Bologna  (where  I 
heard  him  in  1900,  in  'Tosca'  and  'Iris')  he  would 
not  have  dared  attempt.  He  sang  in  New  York 
those  dramatic  parts ;  yet  he  retained  to  the  end 
his  facility  to  permit  him  to  keep  in  his  repertoire 
such  roles  as  Lionel  in  'Marta',  Nemorino  in 
'L'Elisir',  and  the  Duke  in  'Rigoletto'  ...  all  of 
a  purely  lyric,  almost  light,  character. 

"He  was  a  unique  artist,  with  whom  none  other 
compared.  I  do  not  see  how  we  can  ever  have  such 
another." 


After  that  December  3d  appearance  in  "Samson" 
—  the  matter  of  his  immediate  vocal  powers  disposed 
of  —  Caruso  might  have  settled  into  the  confident 
calm  of  preceding  Metropolitan  years.  Reassured 
as  to  the  attitude  of  those  critics  who  had  so  upset 
him,  he  had  regained  through  his  own  accomplish- 
ment some  steadying  self-confidence.  Had  his  health 
been  better,  and  had  he  been  less  tortured  by  the 
mental  anxieties  caused  by  the  Havana  bomb  ex- 
plosion and  the  robbery  at  his  Easthampton  home, 
the  remainder  of  that  1920-1921  season  need  not 
have  brought  the  tenor  any  lessened  distinction. 
But  physically  he  was  in  a  miserable  state. 

On  the  fourth  of  December,  while  driving  in  his 
automobile  with  Mrs.  Caruso,  he  was  seized  with  a 


380  ENRICO    CARUSO 

chill.  Changing  their  course,  a  visit  was  made  at 
once  to  Doctor  Philip  Horowitz,  Caruso's  personal 
physician ;  and  after  examining  and  prescribing 
for  his  patient,  Horowitz  ordered  him  to  go  home  and 
to  bed. 

Rest  and  quiet  were  seemingly  helpful.  Caruso 
suffered  from  an  occasional  pain  in  the  left  side,  of 
which  he  complained  ;  he  coughed,  and  occasionally 
spat ;  but  he  declined  to  treat  these  matters  seriously, 
and  since  for  weeks  his  temper  had  been  short,  those 
of  the  household  forebore  to  press  upon  him  their 
belief  that  he  should  take  a  complete  rest. 

He  went  to  the  Metropolitan,  the  evening  of 
December  8,  to  appear  in  his  first  "Pagliacci"  of 
the  season.  There  were  no  outward  appearances 
that  anything  untoward  was  to  happen  :  the  prepara- 
tions proceeded  in  the  usual  manner;  the  first  act 
of  the  opera  began,  —  then  came  the  Vesti  la  giubba. 
Many  of  that  audience  which  was  present  will  recall 
the  breaking  of  a  high  tone  near  the  close  of  the  aria 
and  how  Caruso  subsequently  tripped  (inexactly 
reported  in  the  newspapers  as  an  accidental  fall) 
on  one  of  the  steps  leading  to  the  mimic  theater. 
The  truth  is  that  just  as  he  gave  that  full-voiced  high 
A  —  which  demands  after  all  that  has  gone  before, 
a  deal  of  physical  strength  to  support  it  —  Caruso 
felt  an  excruciating  pain  in  his  left  side.  It  made 
him  "  sick  all  over "  and  he  momentarily  "  saw 
black." 

His  tripping  was  deliberately  done,  in  an  attempt 
to  divert  the  attention  of  the  auditors  from  the 
interrupted  high  note.  When  he  staggered  through 


TWILIGHT  381 

the  curtains  of  the  mimic  theater,  he  literally  fell 
into  the  arms  of  Zirato.  And  amidst  his  sobs  he 
managed  to  gasp,  "  My  voice  ...  I  thought  ...  it 
was  .  .  .  gone/' 

Some  minutes  passed  before  the  pain  in  his  side 
had  subsided  enough  to  allow  Caruso  to  move.  He 
lay  crumpled  and  moaning  in  the  arms  of  his  secretary 
surrounded  by  anxious-faced  members  of  the  com- 
pany. Then,  supported  on  both  sides,  he  walked 
laboriously  to  his  dressing  room. 

Zirato  pleaded  with  Caruso  to  abandon  the  re- 
mainder of  the  performance  ;  vain  argument.  Then, 
having  been  sent  for,  Doctor  Horowitz  arrived.  He 
brushed  aside  the  attending  opera  house  physician, 
Doctor  Marafioti,  and  directly  announced  that  "it 
was  nothing  serious."  Horowitz  diagnosed  the  ail- 
ment as  intercostal  neuralgia ;  and,  after  strapping 
the  singer's  left  side  with  adhesive  plaster,  gave  his 
permission  for  Caruso  to  continue  with  the  perform- 
ance. Though  suffering  intense  pain,  the  tenor  went 
on.  When  the  curtain  fell,  he  was  hurried  to  his 
dressing  room,  into  his  street  garments,  and  then  to 
his  hotel. 

Such  was  the  will  of  the  singer  that  he  would  not 
remain  in  bed  ;  for  the  next  morning  he  arose,  though " 
with  swollen  eyes  and  a  yellow  skin.  Entreaties  of 
Mrs.  Caruso  and  Zirato  that  another  physician  be 
summoned  were  of  no  avail ;  they  only  enlisted  from 
the  patient  a  dogged  refusal  to  consider  anything  he 
did  not  wish,  —  such  as  further  medical  attention. 
On  that  day  he  listened  to  a  Miss  Josephine  Luc- 
chese  sing,  and  invited  his  friend  Mrs.  Shubart  to 


382  ENRICO    CARUSO 

dine  with  him  and  Mrs.  Caruso.  So  the  days  passed, 
until  Saturday  evening,  December  n,  when  he 
prepared  to  appear  in  "L'Elisir  d'Amore"  in  the 
Brooklyn  Academy  of  Music. 

It  was  only  a  few  minutes  before  the  scheduled 
hour  that  the  tenor,  already  costumed  as  Nemorino, 
began  to  cough ;  and  looking  at  his  handkerchief, 
discovered  on  it  red  stains.  Alarmed,  he  went 
to  the  washstand,  where  efforts  were  made  to  check 
the  hemorrhage.  The  following  half-hour  was  one 
of  deep  anxiety  for  the  little  group  of  watchers  ;  but 
in  the  theater  an  audience  sat  all  unaware  of  the 
frantic  efforts  going  on  so  near,  that  Caruso  might 
sing  to  them. 

Viviani  had  held  the  curtain  ten  minutes ;  the 
hemorrhage  appeared  to  have  been  stopped.  No 
sooner  did  the  tenor  begin  to  sing  than  the  flow  of 
blood  recommenced.  Doctor  Horowitz,  summoned 
at  Mrs.  Caruso's  order,  arrived  during  the  first  act ; 
and  he  too  joined  those  who  stood  in  the  wings,  with 
fresh  handkerchiefs  which  were  passed;  as  they  were 
needed,  to  the  suffering  artist  on  the  stage.  What 
he  endured  throughout  that  scene,  the  agitation  of 
Mrs.  Caruso  who  sat  in  the  front  row,  and  of  others 
near  enough  to  see  evidences  of  Caruso's  condition 
were  unnerving  to  them  all.  Then  the  curtain  came 
down,  before  some  three  thousand  frightened 
people. 

Back  stage,  assistant  general  manager  Edward 
Ziegler,  press  representative  William  J.  Guard,  and 
others  were  adding  their  pleas  to  those  of  Mrs.  Caruso 
that  the  tenor  should  consent  to  having  the  audience 


TWILIGHT  383 

dismissed.  He  finally  agreed  ;  and  Guard's  announce- 
ment sent  from  the  theater  a  serious-faced  throng. 

Giulio  Gatti-Casazza  and  other  friends  rushed 
to  the  Vanderbilt  Hotel  as  soon  as  they  received  the 
news.  Doctor  Horowitz  declared  the  hemorrhage  to 
have  been  due  to  the  bursting  of  a  vein  at  the  base 
of  the  singer's  tongue  (an  opinion  not  concurred  in 
by  other  physicians  who  were  later  called  into  con- 
sultation). At  two  o'clock  Sunday  morning  Caruso 
fell  asleep. 

He  seemed  better  when  he  awoke  the  following 
morning,  and  although  the  hemorrhage  appeared 
to  have  been  checked,  there  were  occasional  evidences 
of  very  dark  blood. 

On  Monday,  being  scheduled  to  sing  a  Metropolitan 
"La  Forza  del  Destino"  that  night,  Caruso  tried 
his  voice.  It  was  apparently  as  clear  as  ever,  and 
heedless  of  all  opposition  to  sing,  he  did.  What  a 
reception  his  admirers  gave  him  !  In  the  final  act 
he  sang  almost  defiantly,  as  though  to  give  out  to  the 
world  —  "  Caruso  is  not  ill,  he  will  not  be  ill  ...  his 
voice  still  holds."  After  the  representation  he 
dictated  cablegrams,  with  a  sort  of  suppressed  elation, 
to  friends  in  many  parts  of  the  world,  assuring  them 
the  report  of  his  throat  having  been  ruptured  was 
untrue. 

Nevertheless,  solemn  days  followed ;  days  filled 
with  efforts  at  cheerfulness,  through  which  Caruso 
sought,  by  following  a  fairly  regular  routine,  to  allay 
the  fears  of  those  he  loved.  But  neither  his  pride 
nor  his  stubborn  refusal  to  admit  to  being  ill,  could 
conceal  the  fact  that  he  really  was.  During  later 


384  ENRICO    CARUSO 

years  he  had  eaten  less  heartily,  his  old-time  huge 
appetite  returning  only  fitfully.  With  his  poor  body 
struggling  against  the  most  serious  sickness  he  had 
known,  he  took  less  and  less  food ;  finally  he  refused 
nourishment  altogether.  Will  power  kept  him  on  his 
feet  and  going  until  December  21  ;  then  Nature  could 
no  longer  sustain  him.  Seized  again  during  the  night 
by  that  agonizing  pain  in  his  side,  he  got  out  of  bed 
and  bending  forward  so  he  might  ease  his  suffering 
by  bearing  some  of  his  weight  on  his  hands,  he  leaned 
part  way  out  the  window,  for  air.  From  time  to 
time,  at  some  fresh  stab  in  his  side,  he  would  scream 
aloud.  The  morning  found  him  haggard  and  drawn, 
yet  —  stubborn  still.  He  was  cast  to  sing  that 
night  in  "L'Elisir";  he  intended  to  sing,  but  —  he 
said  he  thought  Gatti  should  be  informed  that  he 
was  n't  feeling  very  well.  Once  more  Mrs.  Caruso 
summoned  Doctor  Horowitz  ;  and  again  the  physician 
said,  after  examining  his  patient,  "  It  is  nothing,  just 
intercostal  neuralgia."  So  he  put  fresh  adhesive 
tape  about  the  sensitive  side  and  departed.  At 
four  o'clock  that  afternoon,  after  an  entire  day  of 
severe  suffering,  Caruso  gave  up  his  thought  of  being 
able  to  sing  that  night.  A  few  hours  later  the  pain 
eased. 

Twenty-four  hours  passed  without  recurrence  of 
the  former  physical  agony,  although  the  next  day 
after  Horowitz's  call  —  Thursday  —  Caruso  was  pale 
and  weak.  He  had  sung  with  his  accompanist  bits 
from  "La  Juive" ;  it  seemed  to  encourage  him,  for 
when  Mrs.  Caruso  and  Zirato  begged  him  to  call  in 
physicians  for  a  consultation  he  became  furious. 


o 

w  8 

^J  O\ 

2  H 


O      (N 


Sec 


TWILIGHT  385 

Friday,  December  23,  dawned.  Caruso  rose  at 
about  eleven  and  within  an  hour  was  singing  from 
"La  Juive"  in  his  studio.  Both  Gatti-Casazza  and 
Horowitz  were  present.  The  former  turned  to  the 
physician,  and  inquired  anxiously,  "What  do  you 
think?"  to  which  Horowitz  replied,  "Don't  you 
hear  ?  there  is  nothing  the  matter  with  his  voice." 
Addressing  himself  to  the  tenor  Gatti  said,  "This 
is  a  matter  for  you  alone.  I  don't  want  to  make  any 
suggestion.  You  have  always  decided  about  every- 
thing concerning  your  performances  ;  you  must  do  so 
now." 

"  Padrone,"  returned  Caruso,  "  I  will  sing." 

Preparations  for  Gloria's  Christmas  tree  went  on 
with  only  the  indifferent  assistance  of  the  tenor. 
That  was  enough  to  indicate  the  gravity  of  his  illness, 
for  he  had  always  a  boyish  eagerness  to  take  part  in 
such  affairs.  Mrs.  Caruso  would  have  kept  him  at 
home ;  if  she  could  have  had  her  way,  there  would 
have  been  physicians  conferring  on  her  husband's 
welfare.  Instead  she  was  helpless,  and  compelled 
to  allow  him  to  depart  to  sing  —  that  Christmas 
Eve  of  1920  —  in  the  last  performance  in  which  he 
ever  took  part. 

The  climax  came  at  one  o'clock  the  next  afternoon, 
when  Caruso  went  to  take  his  bath.  His  screams 
brought  the  entire  household  running,  and  writhing 
in  pain,  he  was  carried  to  a  couch  in  his  dressing 
room.  No  longer  did  Mrs.  Caruso  hesitate  to  act 
on  her  own  initiative.  She  wanted  other  physicians  ; 
and  directly  Doctor  Francis  J.  Murray,  of  the  Hotel 
Vanderbilt,  responded  to  the  urgent  summons. 


386  ENRICO    CARUSO 

He  gave  injections  of  codeine  and  morphine.  Within 
a  few  hours  Doctor  Evan  M.  Evans  was  called. 
He  seemed  merely  to  glance  at  Caruso  before  pro- 
nouncing his  opinion:  "A  very  painful  case  of 
pleurisy."  Gatti-Casazza  and  Ziegler  reached  the 
apartment  at  4  o'clock ;  not  long  afterward  a  con- 
sultation was  decided  upon.  On  December  26, 
Doctors  Samuel  W.  Lambert,  Evan  M.  Evans, 
Antonio  Stella,  Francis  J.  Murray,  and  Philip 
Horowitz  conferred.  The  diagnosis  pronounced  the 
ailment  pleurisy :  forty-eight  hours  afterwards 
broncho-pneumonia  developed,  and  on  December 
29  half  a  gallon  of  liquid  was  taken  from  the  pleural 
cavity  with  an  aspirating  needle.  It  was  then  that 
a  consultation  was  held,  at  which  the  decision  was 
reached  to  operate  for  empyema. 

Doctor  John  F.  Erdmann  was  the  surgeon  selected. 
On  December  30  he  operated  ;  and  for  two  days  there- 
after the  tenor's  life  hung  by  a  thread.  Mrs.  Caruso 
slept  near  by  on  a  hospital  bed  ;  shifts  of  two  nurses 
each  were  in  constant  attendance ;  cablegrams  were 
sent  to  scores  of  people.  And  there  was  need  ;  X-rays 
showed  that  Caruso's  left  lung  had  contracted. 

But  still  more  serious  times  lay  just  ahead.  After 
having  recovered  sufficiently  to  receive  personal 
visits  from  friends,  the  fever  returned.  A  consul- 
tation took  place  on  February  9 ;  three  days  later 
a  radical  operation  was  performed  by  Doctor  Erd- 
mann, during  which  it  was  necessary  to  remove 
four  inches  of  one  rib.  Caruso  lapsed  into  uncon- 
sciousness, hovering  between  life  and  death. 

The  relapse  of  which  the  whole  world  knew  at 


TWILIGHT  387 

•- 

the  time  came  on  February  14,  and  on  the  fifteenth 
he  was  thought  to  be  dying.  Only  the  best  of  medical 
and  surgical  attention,  nursing,  and  the  singer's 
own  exceptional  vitality  carried  him  over  a  danger 
period  which  even  members  of  his  attending  staff 
doubted  he  would  survive.  He  swung,  pendulum- 
like,  gaining  and  losing ;  seven  minor  operations 
were  necessary,  the  last  being  a  blood  transfusion 
(the  donor  being  Everett  Wilkinson,  of  Meriden,  Con- 
necticut) soon  after  Caruso's  birthday,  February  27. 

The  convalescence  was  attended  by  widespread 
rejoicing.  The  dread  atmosphere  of  the  sick  room 
gave  way  to  one  optimistic  ;  the  news  association  and 
New  York  newspaper  reporters,  assigned  day  and 
night  to  watch  the  tenor  and  transmit  his  physicians' 
bulletins,  filed  out  of  Caruso's  dining  room,  which  had 
been  their  headquarters.  The  balmy  May  air 
carried  fresh  hope  to  the  singer,  and  on  the  eighteenth 
the  medical  staff  held  its  final  consultation. 

How  the  people  exulted  at  seeing  their  favorite 
singer  in  those  first  automobile  rides  he  took  when 
he  had  grown  strong  enough.  And  what  a  reception 
they  gave  him  at  the  opera  house,  when,  with  Mrs. 
Caruso,  he  got  out  of  their  car  and  walked  slowly 
towards  the  entrance  to  the  executive  offices.  He 
might  be  thin  and  haggard  and  pale ;  what  did  such 
things  matter  ?  Caruso  was  getting  well ! 

And  then  —  after  the  doctors  had  decided  that  a 
change  of  climate  would  be  beneficial  —  passage 
was  engaged  for  Italy.  Caruso  was  going  home ; 
and  the  knowledge  of  it  gave  him  a  further  push 
toward  health. 


CHAPTER  TWELVE 
THE  END 

THE  journey  was  nearly  finished.  Caruso  did 
not  know ;  a  gentle  Providence  may  have  spared  him 
for  those  last  days,  spent  mostly  in  Sorrento,  so  near 
to  his  own  Naples.  He  gathered  strength  and  weight 
fast,  his  appetite  returned,  and  a  bit  of  color  crept 
into  his  cheeks.  Indeed,  photographs  taken  within 
a  month  after  his  arrival  in  Italy  (June  10,  1921) 
showed  him  looking  encouragingly  well.  It  was 
extraordinary,  this  recovery  ;  and  what  news  to  send 
abroad  to  the  waiting  thousands  who  continued  to 
hang  on  anything  that  seemingly  insured  to  them 
their  singer !  Friends  who  called  to  see  the  Carusos 
reported  his  progress :  his  humor  was  of  the  best ; 
he  was  beginning  to  take  daily  strolls,  to  bargain 
good-naturedly  with  shopkeepers  over  the  price  of 
some  small  purchase.  In  brief,  signs  reminding  one 
of  the  old  Caruso  cropped  more  and  more  to  the 
surface. 

There  were  less  buoyant  moments ;  that  was  to 
be  expected.  One  may  not  pause  literally  before  the 
gates  of  death  without  traversing,  every  step  of  the 
way,  the  long  backward  journey.  But  as  June  gave 
way  to  oncoming  July,  Mrs.  Caruso  grew  more 
hopeful.  This  hopefulness  increased  one  sunny 
afternoon,  when  a  youth  ventured  to  seek  the  tenor's 


^ ,  IF 


THE    LAST    PICTURE.      TAKEN    AT    HOTEL    VICTORIA,    SORRENTO,   ITALY, 

JULY,    1921 


THE    END  389 

opinion  as  to  his  singing.  The  boy  sang  M'appari 
from  "Marta",  while  Caruso  listened  with  glistening 
eyes.  He  waited,  quite  motionless,  until  the  air 
was  finished  ;  then  he  spoke. 

"That  is  good,  though  you  did  not  sing  it  in  quite 
the  right  way.  Let  me  show  you  how." 

Mrs.  Caruso  relates  how  she  sat  as  her  husband 
began  to  sing.  "I  was  not  excited,"  she  insists, 
"but,  on  the  contrary,  perfectly  calm.  What  I  heard 
caused  me  to  grow  cold  through  astonishment,  for 
Enrico's  voice  was  as  golden,  as  liquid-like,  and  as 
pure  as  though  he  had  never  known  a  day's  illness. 
He  sang  with  the  perfect  ease  with  which  he  had 
always  sung.  Suddenly  he  ceased  .  .  .  and  I  realized 
that  he  had  finished  the  song." 

Each  day  brought  renewed  happiness  to  the  tenor 
after  that  experience.  His  voice  was  his  most  pre- 
cious possession ;  he  had  guarded  it  against  as- 
saults through  his  long  career ;  and  he  felt  then  — 
possibly,  when  no  one  else  was  about,  he  may  have 
tested  its  power  —  that  the  contracted  left  lung  had 
become  normal.  He  took  up  with  a  new  zest  the 
little  pleasures  of  each  day,  and,  with  Mrs.  Caruso 
and  Baby  Gloria,  lived  in  a  new  and  utterly  happy 
world. 

When  his  padrone  (as  he  always  called  Gatti- 
Casazza)  visited  him  at  Sorrento  on  July  8,  the  tenor 
behaved  like  a  much  indulged  child. 

All  appeared  to  be  moving  well  until  a  few  days 
later,  when  Caruso  returned  very  fatigued  from  an 
over-long  walk.  His  name-day,  July  15,  brought 
a  return  of  the  first  pain  in  his  side  he  had  felt  in 


390  ENRICO    CARUSO 

months.  Mrs.  Caruso's  apprehensiveness  was  fired 
anew ;  she  sought  in  vain  to  cancel  the  dinner  her 
husband  had  planned  for  a  party  of  friends.  None 
of  the  guests  noticed,  however,  that  their  host  was 
out  of  sorts.  Suggestions  that  physicians  be  called 
were  met  with  the  same  former  objections.  So  long 
as  no  practitioner  was  about,  Caruso  was  not  ill ; 
it  was  only  when  the  doctors  surrounded  him  that 
danger  hovered.  Such  was  his  strange  reasoning,  and 
it  was  this  attitude  of  mind  which  caused  him  to  rebel 
against  any  proffers  of  medical  aid. 

He  was  not  really  strong  enough  to  have  attempted 
the  trip  to  Capri  and  Pompeii,  where  he  wished  to 
visit  the  Shrine  of  Our  Lady  of  Pompeii  to  pour  out 
his  thanks  for  his  recovery.  But  he  went,  and  lay- 
ing his  ten  thousand  lire  offering  before  the  sacred 
Image  of  the  Virgin,  the  tenor  wept  in  gratitude. 

That  effort  taxed  him  greatly;  how  much  may 
be  gathered  from  his  feeble  resistance,  on  July  28, 
to  the  visit  paid  by  the  Bastianelli  brothers  (Giuseppe 
and  Raffaele),  famous  Roman  doctors,  who  had  come 
at  Mrs.  Caruso's  call.  They  discovered  the  existence 
of  an  abscess,  and  counseled  that  he  go  to  Rome  for 
an  immediate  operation.  If  only  there  might  have 
been  greater  haste  !  Three  days  elapsed  ;  three  days 
of  precious  time  which  should  not  have  been  wasted. 
When,  on  the  following  Sunday,  Mr.  and  Mrs.  Caruso, 
Giovanni  Caruso  and  the  tenor's  son,  Rodolfo,  de- 
parted for  Naples,  they  could  go  no  farther ;  the 
singer  had  grown  desperately  weak,  and  a  stop  had 
to  be  made  at  the  Hotel  Vesuve. 

The  indomitable  spirit  with  which  Caruso  had 


THE    END  391 

fought  off  the  Grim  Spectre  was  weakening.  A 
physician  came ;  then  others,  after  a  consultation 
had  been  advised. 

Caruso  was  growing  feebler ;  he  clung  to  his  wife's 
hand.  Once  he  roused  from  unconsciousness  to 
murmur,  "Doro  .  .  .  Doro,  don't  let  me  die." 

When  the  array  of  Italian  physicians  and  surgeons 
finally  prepared  to  operate,  they  agreed  it  was  too 
late. 

Through  that  Monday  night,  and  on  into  Tuesday 
morning  of  August  second,  Enrico  Caruso  hovered. 
What  a  struggle  he  had  undergone  !  What  suffering 
had  he  not  endured  !  But  he  was  suffering  no  longer. 
He  was  at  peace  in  his  own  land  where  he  had  longed 
to  be.  His  mind  was  wandering,  —  to  other  places, 
perhaps,  where  in  those  golden  days  of  the  past  he 
had  sung  to  rapt  audiences  of  the  old  and  new  worlds. 
And  perhaps,  in  the  labyrinths  of  his  consciousness,  he 
glimpsed  again  the  odd  boxes  which  run  around  La 
Scala,  the  stiff  interior  of  Covent  Garden,  and  all 
those  other  famous  opera  houses  in  which  he  had 
been  a  guiding  light.  Perhaps  it  was  the  red  and 
gold  auditorium  of  his  own  beloved  Metropolitan 
that  his  fancy  last  saw,  and  that  the  smile  of  peace 
flickered  at  the  imaginary  parting  sweep  of  its  big 
yellow  curtains. 


APPENDICES 

COMPILED  BY  BRUNO  ZIRATO 


APPENDICES 

APPENDIX  A 
LIST  OF  DECORATIONS  TENDERED  TO  ENRICO  CARUSO 

Italy : 

Order  of  Chevalier,  Commendatore  and  Grande  Ufficiale  of  the 

Crown  of  Italy 
France : 

Legion  of  Honor 

Palm  of  Academy 
Belgium : 

Order  of  Leopold 
Spain : 

Order  of  St.  James  of  Compostella 
England : 

Order  of  Michael 

Order  of  British  Victoria 
Germany : 

Order  of  Red  Eagle  of  Prussia 

Order  of  Crown  Eagle  of  Prussia 


ENRICO   CARUSO 


APPENDIX  B 


LIST  OF  OPERAS  IN  THE  REPERTOIRE  OF  ENRICO  CARUSO 


"Aida" 

"Adriana  de  Lecouvreur" 

"Africana" 

"Amore  dei  Tre  Re" 

"Armide" 

"BalloinMaschera" 

"La  Boheme"     (Puccini) 

"La  Boheme"     (Leoncavallo) 

"Carmen" 

"Cavalleria  Rusticana" 

"Don  Giovanni" 

"Elisird'amore" 

"Fanciulla  del  West" 

"Faust" 

"La  Favorita" 

"Fedora" 

"La  Forza  del  Destine" 

"Germania" 

"LaGioconda" 

"La  Juive" 

"Julien" 

"Iris" 


"Lodoletta" 

"Lucrezia  Borgia" 

"Lucia  di  Lammermoor" 

"Madama  Butterfly" 

"Manon" 

"Manon  Lescaut" 

"Marta" 

"Mefistofele" 

"Pagliacci" 

"PecheursdePerles" 

"Le  Prophete" 

"I  Puritani" 

"Rigoletto" 

"Regina  di  Saba" 

"Saffo" 

"Samson  et  Dalila" 

"La  Sonnambula" 

"Tosca" 

"LaTraviata" 

"II  Trovatore" 

"Gli  Ugonotti" 


APPENDICES  397 


APPENDIX  C 

LIST  OF  THE  OPERAS  SUNG  BY  ENRICO  CARUSO  ONLY  A  FEW 
TIMES  OR  SIMPLY  STUDIED  AND  NEVER  PERFORMED 

"Amico  Francesco,"  by  Morelli 

"Arlesiana,"  by  Cilea 

"A  San  Francisco,"  by  Carlo  Sebastian! 

"Celeste,"  by  Marengo 

"Camoens,"  by  Pietro  Musoni 

"Dramma  in  Vendemmia,"  by  Vincenzo  Fornari 

"Romeo  e  Giulietta,"  by  Bellini 

"Hedda,"  by  Ferd.  Leborne 

"Don  Pasquale,"  by  Donizetti 

"Flauto  Magico,"  by  Mozart 

"  Fra  Diavolo,"  by  Auber 

"Jupanki,"  by  Berutti 

"  Lohengrin,"  by  Wagner 

"  Mariedda,"  by  Gianni  Bucceri 

"Malia,"byF.  P.  Frontini 

"  Profeta  Velato,"  by  Daniele  Napolitano 

"Navarraise,"  by  Massenet 

"Voto,"  by  Giordano 

"Maria  di  Rohan,"  by  Donizetti 

"Le  Maschere,"  by  Mascagni 

"Otello,"  by  Verdi 

"Guglielmo  Tell,"  by  Rossini 

"II  Guarany,"  by  Gomes 

"II  Duca  d'Alba,"  by  Donizetti 


APPENDIX  D 


LIST  OF  ALL  APPEARANCES  FROM  1894  TO  1921  WITH  DATES  OF  FIRST  PER- 
FORMANCE, CITY,  HOUSE,  AND  TOTAL  OF  PERFORMANCES  GIVEN,  AND  DIF- 
FERENT IMPRESARIOS  AND  MANAGERS. 


DATE  OP  FIRST 

PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN 

REMARKS 

1894 

November 

Napoli 

sTuovo 

^'Amico 

2 

i6and  18 

Francesco 

1895 

April 

^aserta 

Himarosa 

^avalleria 

mpresa  of  Carlo  Ferrara 

7aust 

^amoens 

[une 

^otrone 

Cathedral 

ligh  Mass 

[une 

Napoli 

Bellini 

raust 

Benefit  performance 

Fuly 

Napoli 

Bellini 

Rigoletto 

August 

Cairo 

Isbekieh 

Tavalleria 

!mpresa  of  Enrico  Santini 

September 

Gardens 

i^igoletto 

l,aGioconda 

Vlanon 

Lescaut 

October 

Napoli 

Bellini 

Rigoletto 

I 

[mpresa  of  Gaetano 

Faust 

I 

Scognamiglio 

November 

Napoli 

Vlerca- 

Traviata 

IS 

Double  performances   oc- 

29 

dante 

curred    on  :    December 

(gia* 

15:   Matinee:  Romeo  e 

Fondo) 

Giulietta  ;        Evening  : 

December 

Napoli 

Merca- 

Romeo  e 

IS 

Traviata.         December 

7 

dante 

Giulietta 

26:      Matinee:      Rigo- 

(gia' 

letto;  Evening:  Romeo 

Fondo) 

e  Giulietta.     December 

December 

Napoli 

Merca- 

Rigoletto 

10 

27  :  Matinee  :  Traviata  ; 

2S 

dante 

Evening:         Rigoletto. 

(gia' 

December  29:  Matinee: 

Fondo) 

Rigoletto;        Evening: 

1896 

January 

Napoli 

Merca- 

Faust 

10 

Traviata.     January   i  : 

ii 

dante 

Matinee  :        Traviata  ; 

(gia' 

Evening  :    Rigoletto 

Fondo) 

398 


APPENDICES 


399 


DATE  or  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

IOTAL  PERFORM- 
ANCES GIVEN 

REMARKS 

1896 

'ebruary 

Napoli 

Vlerca- 

"arewell  appearance  with 

18 

dante 

Rigoletto 

(gia' 

Fondo) 

February 

^aserta 

Dimarosa 

Faust 

3pera  hissed  and  artists 

dismissed  after  II  act 

April 

Napoli 

Bellini 

fraviata 

'mpresa  of  Giulio 

ligoletto 

Staffelli 

7aust 

Vlariedda 

tfay 

Trapani 

Zomunale 

^ucia 

[mpresa  of  Cavallaro 

[une 

Vfarsala 

Xigoletto 

?irst  Sat- 

Salerno 

Verdi 

Uigoletto 

2 

To  celebrate  Independ- 

urday 

ence  Day  (Festa 

and  Sun- 

dello Statute) 

day  of 

June 

August 

Salerno 

^omunale 

Puritani 

[mpresa  of  Visciani 

September 

Tavalleria 

)ctober 

Salerno 

Jomunale 

Traviata 

2O 

[mpresa  of  Giuseppe 

15 

Barmen 

Grassi 

November 

Favorita 

in 

IS 

Pagliacci 

A  San  Fran- 

all 

cisco 

December 

Napoli 

Bellini 

Gioconda 

Dgonotti 

1897 

January 

Napoli 

Merca- 

Gioconda 

Impresa  of  A.  Landi  and 

February 

dante 

Traviata 

Baron  Mascia 

Dramma 

in  Vendem- 

mia 

March  i 

Salerno 

Comunale 

Gioconda 

50 

Impresa  of  Giuseppe 

to  May  4 

Manon 

Grassi 

Lescaut 

in 

Traviata 

Profeta 

Velato 

all 

May  15 

Palermo 

Massimo 

Gioconda 

Impresa  of  V.  Florio  and 

to 

Di  Giorgi.  Inauguration 

June  15 

of  the  Massimo 

July 

Livorno 

Goldoni 

Traviata 

Impresa  of  Arturo  Li- 

August 

La  Boh  erne 

sciarelli 

400 


ENRICO    CARUSO 


DATE  OF  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN  | 

REMARKS 

1897 

September 

Fiume 

Verdi 

La  Boh  erne 

November 

Milano 

Lirico  In- 

La  Navar- 

Impresa  of  Edoardo 

20 

terna- 

rese 

Sonzogno 

zionale 

November 

Milano 

Lirico  In- 

Arlesiana 

World  premiere 

27 

terna- 

zionale 

1898 

January 

Genova 

Carlo 

Boheme  (L) 

13 

Impresa  of  Giovanni 

20 

Felice 

Massa 

February 

Genova 

Carlo 

Pescatori 

8 

3 

Felice 

di  Perle 

June  2 

Trento 

Sociale 

Pagliacci 

to 

Saffo 

June  26 

July  and 

Livorno 

Politeama 

Pagliacci 

Impresa  of  Arturo 

August 

Livornese 

Lisciarelli 

October 

Milano 

Lirico 

Arlesiana 

4 

Impresa  of  Edoardo 

22 

Sonzogno 

November 

Milano 

Lirico 

Boheme  (L) 

7 

November 

Milano 

Lirico 

Fedora 

10 

World  premiere 

17 

December 

Milano 

Lirico 

Saffo 

6 

December 

Farewell  appearance  with 

II 

Fedora 

December 

Petro- 

Grand 

La  Boheme 

Impresa  of  Carlo  Guidi 

to 

grad 

Theatre 

Pagliacci 

1899 

January 

du 

Maria  di 

Conser- 

Roli,m 

vatoire 

Cavalleria 

Traviata 

March  i 

Milano 

Lirico 

Fedora 

8 

Impresa  of  Edoardo 

to  28 

Sonzogno 

May  14 

Buenos 

La  Opera 

Fedora 

3 

Impresa  of  Amelia 

Aires 

Ferrari 

May  24 

Buenos 

La  Opera 

Traviata 

2 

Aires 

June  4 

Buenos 

La  Opera 

Saffo 

2 

Aires 

JuneS 

Buenos 

La  Opera 

Gioconda 

I 

Aires 

June  22 

Buenos 

La  Opera 

Iris 

7 

Aires 

APPENDICES 


401 


DATE  OF  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN 

REMARKS 

1899 

July  4 

Buenos 

La  Opera 

Regina  di 

6 

Aires 

Saba 

July  25 

Buenos 

La  Opera 

Jupanki 

3 

Aires 

August  8 

Buenos 

La  Opera 

Cavalleria 

Farewell  appearance 

Aires 

and  I  and 

II  acts 

from  Iris 

August 

Buenos 

La  Opera 

Cavalleria 

Extra  :  for  benefit  vic- 

10 

Aires 

tims  Black  River  flood 

November 

Roma 

Costanzi 

Iris 

9 

Impresa  of  Eredi  Costanzi 

4 

and  Vincenzo  Morichini 

November 

Roma 

Costanzi 

Gioconda 

3 

ii 

November 

Roma 

Costanzi 

Mefistofele 

8 

22 

December 

Farewell  appearance  with 

IS 

Iris 

December 

Petro- 

Grand 

Aida 

Impresa  of  Carlo  Guidi 

to 

grad 

Theatre  du 

Ballo  in  Ma- 

1900 

February 

Conser- 

schera 

vatoire 

Mefistofele 

March 

Mos- 

Grand 

Faust 

Impresa  of  Carlo  Guidi 

cow 

Theatre 

Aid  a 

Mefistofele 

Ballo  in 

Maschera 

May  10 

Buenos 

La  Opera 

Mefistofele 

4 

Impresa  of  Madame 

Aires 

Ferrari 

May  17 

Buenos 

La  Opera 

Iris 

6 

Aires 

June  9 

Buenos 

La  Opera 

Regina  di 

5 

Aires 

Saba 

June  23 

Buenos 

La  Opera 

La  Boheme 

5 

Aires 

July  12 

Buenos 

La  Opera 

Cavalleria 

i 

Aires 

July  28 

Buenos 

La  Opera 

Manon 

i 

Aires 

August  5 

Buenos 

La  Opera 

Farewell  appearance  with 

Aires 

La  Boheme 

August  9 

Buenos 

Catholic 

Sacred 

Commemoration  of  King 

Aires 

Cathedral 

Hymns 

Humbert  of  Italy 

402 


ENRICO    CARUSO 


DATE  or  FIRST 

PERFORMANCE 

Crrv 

.HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORU- 
ANCES  GIVEN  | 

REMARKS 

I90O 

August  12 

Buenos 

Progress 

Concert 

Benefit  organized  by 

Aires 

Club 

Dames  of  Charity 

August  16 

Monte- 

Solis 

Iris 

to  Sep- 

video 

La  Boheme 

tember 

Cavalleria 

10 

Manon 

October 

Treviso 

Sociale 

Tosca 

12 

Impresa  of  E.  Corti 

23  to 

November 

ii 

November 

Bologna 

Comunale 

Tosca 

15  to 

Iris 

December 

IS 

December 

Milano 

Alia  Scala 

La  Boheme 

10 

Management  of  G.  Gatti- 

26 

Casazza 

1901 

January 

Milano 

Alia  Scala 

Le  Maschere 

3 

World  premiere 

February 

Milano 

Alia  Scala 

Quartet 

Commemoration  of 

i 

from 

Giuseppe  Verdi 

Rigoletto 

February 

Milano 

Alia  Scala 

Elisir 

12 

Revival 

17 

d'amore 

March  16 

Milano 

Alia  Scala 

Mefistofele 

9 

May  1  8 

Buenos 

La-  Opera 

Tosca 

IO 

Impresa  of  Nardi, 

Aires 

Bonetti  and  Company 

June  i 

Buenos 

La  Opera 

Regina  di 

2 

Aires 

Saba 

June  9 

Buenos 

La  Opera 

Rigoletto 

4 

Aires 

June  23 

Buenos 

La  Opera 

Elisir 

2 

Aires 

d'amore 

July  7 

Buenos 

La  Opera 

Lohengrin 

3 

Aires 

JulyS 

Buenos 

La  Opera 

Iris 

3 

Aires 

July  27 

Buenos 

La  Opera 

Traviata 

4 

Aires 

July  29 

Buenos 

La  Opera 

Rossini's 

Commemoration  of  King 

Aires 

Stabat 

Humbert  of  Italy 

Mater 

August  17 

Buenos 

La  Opera 

Farewell  appearance  with 

Aires 

Tosca 

APPENDICES 


403 


DATE  OF  FIRST 
PERFORMANCE 

Cmr 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN  | 

REMARKS 

1901 

November 

Bologna 

Comunale 

Rigoletto 

December 

Trieste 

Politeama 

Elisir 

2 

Benefit  Italian  Benevo- 

14 and  16 

Rossetti 

d'amore 

lent  Association 

December 

Napoli 

San  Carlo 

Elisir 

s 

Impresa  of  R.  de  Sanna 

3° 

d'amore 

1902 

January 

Napoli 

San  Carlo 

Manon 

5 

13 

January 

Napoli 

San  Carlo 

Last  appearance  with 

21 

Manon 

February 

Monte 

Le  Casino 

La  Boheme 

Management  of  Raoul 

I 

Carlo 

Gunsbourg 

February 

Monte 

Le  Casino 

Rigoletto 

16 

Carlo 

March  11 

Milano 

Alia  Scala 

Germania 

H 

World  premiere 

May  14 

London 

Covent 

Rigoletto 

5 

Management  of  H. 

Garden 

Higgins 

May  24 

London 

Covent 

La  Boheme 

4 

Garden 

June  4 

London 

Covent 

Lucia 

3 

Garden 

June  6 

London 

Covent 

Aula 

4 

Garden 

June  14 

London 

Covent 

Elisir 

2 

Garden 

d'amore 

June  28 

London 

Covent 

Cavalleria 

2 

Garden 

July  4 

London 

Covent 

Traviata 

2 

Garden 

July  19 

London 

Covent 

Don 

2 

Garden 

Giovanni 

July  28 

London 

Covent 

Farewell  appearance  with 

Garden 

Rigoletto 

November 

Milano 

Lirico 

Adriana  de 

6 

World  premiere 

6 

Lecouvreur 

December 

Trieste 

Politeama 

Rigoletto 

2 

Benefit  Italian  Benevo- 

10 and  II 

Rossetti 

lent  Association 

December 

Roma 

Costanzi 

Rigoletto 

S 

Impresa  of  Eredi  Costanzi 

26 

and  Vincenzo  Morichini 

1903 

January 

Roma 

Costanzi 

Mefistofele 

5 

10 

January 

Roma 

Costanzi 

Manon 

6 

20 

Lescaut 

Januarys: 

Roma 

Costanzi 

Aid  a 

4 

404 


ENRICO    CARUSO 


DATE  OF  FIRST 
PERFORMANCE 

Cmr 

HOUSE 

OPERA  OR 

CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN 

REMARKS 

1903 

February 

Roma 

Costanzi 

Farewell  appearance  with 

8 

Manon  Lescaut 

February 

Lisbon 

San 

Fedora 

I 

Impresa  of  Jose'  Pacini 

M 

Carlos 

February 

Lisbon 

San 

Aida 

I 

20 

Carlos 

February 

Lisbon 

San 

Tosca 

I 

27 

Carlos 

March  4 

Lisbon 

San 

Adriana  de 

I 

Carlos 

Lecouvreur 

March  10 

Lisbon 

San 

Lucrezia 

I 

Carlos 

Borgia 

March  19 

Lisbon 

San 

Rigoletto 

I 

Carlos 

Marchand 

Monte 

Casino 

Tosca 

5 

April 

Carlo 

May  19 

Buenos 

La  Opera 

Tosca 

2 

Impresa  of  Camillo 

Aires 

Bonetti 

May  21 

Buenos 

La  Opera 

Gerrnania 

3 

Aires 

June  4 

Buenos 

La  Opera 

Elisir 

3 

Aires 

d'amore 

June  1  8 

Buenos 

La  Opera 

Iris 

4 

Aires 

June  26 

Buenos 

La  Opera 

Mefistofele 

I 

Aires 

July  7 

Buenos 

La  Opera 

Adriana  de 

3 

Aires 

Lecouvreur 

July  25 

Buenos 

La  Opera 

Manon 

3 

Aires 

Lescaut 

August  9 

Buenos 

La  Opera 

Farewell  appearance  with 

Aires 

Manon  Lescaut 

August 

Monte- 

Solis 

Mefistofele 

Impresa  of  Camillo 

video 

Iris 

Bonetti 

Tosca 

Manon 

Lescaut 

August 

Riode 

Pedro  II 

Rigoletto 

2 

Janeiro 

Tosca 

2 

Iris 

2 

Manon 

2 

' 

Lescaut 

APPENDICES 


405 


DATE  OF  FIRST 
PERFORMANCE 

Cmr 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN  | 

REMARKS 

1903 

November 

New 

Metro- 

Rigoletto 

4 

Management  of  Heinrich 

23 

York 

politan 

Conried 

Opera 

House 

November 

New 

Metro- 

Alda 

4 

3° 

York 

politan 

December 

New 

Metro- 

Tosca 

3 

2 

York 

politan 

December 

New 

Metro- 

La Boheme 

5 

York 

politan 

2 

i 

December 

New 

Metro- 

Pagliacci 

4 

9 

York 

politan 

I 

December 

New 

Metro- 

Traviata 

23 

York 

politan 

December 

Phila- 

Academy 

Rigoletto 

29 

delphia 

of  Music 

1904 

January  8 

New 

Metro- 

Lucia 

3 

York 

politan 

January 

Phila- 

Academy 

Pagliacci 

12 

delphia 

of  Music 

January 

New 

Home  of 

Musicale 

H 

York 

Mrs.  W. 

P.  Whit- 

ney 

January 

Phila- 

Academy 

Tosca 

19 

delphia 

of  Music 

January 

New 

Home  of 

Musicale 

21 

York 

Mrs. 

Orme 

Wilson 

January 

New 

Metro- 

Elisir 

4 

23 

York 

politan 

d'amore 

February 

Phila- 

Academy 

Aida 

2 

delphia 

of  Music 

February 

New 

Metro- 

Farewell appearance  with 

10 

York 

politan 

Lucia 

March 

Monte 

Casino 

Aida 

Impresa  of 

Carlo 

R.  Gunsbourg 

April  20 

Barce- 

Liceo 

Rigoletto 

2 

Impresa  of  Doctor 

and  23 

lona 

Alberto  Bernis 

April  27 

Paris 

Sarah 

Rigoletto 

Benefit  Russian  Train 

Bernhardt 

Hospital 

406 


ENRICO    CARUSO 


DATE  or  FIRST 
PERFORUANCK 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

1  TOTAL  PERFORM- 
1  ANCES  GIVEN  | 

REMARKS 

1904 

May  4 

Prague 

Landes 

Rigoletto 

Impresa  of  Angelo 

Neumann 

May  6 

Prague 

Landes 

Elisir 

d'amore 

May8 

Dres- 

Opern 

Rigoletto 

Impresa  of  Angelo 

den 

Haus 

Neumann 

May  17 

London 

Covent 

Rigoletto 

4 

Impresa  of  H.  Higgins 

Garden 

May  19 

London 

Covent 

Pagliacci 

5 

Garden 

May  28 

London 

Covent 

La  Boheme 

6 

Garden 

June  13 

London 

Covent 

Aida 

4 

Garden 

June  15 

London 

Covent 

Traviata 

3 

Garden 

June  29 

London 

Covent 

Ballo  in 

4 

Garden 

Maschera 

July  25 

London 

Covent 

Farewell  appearance  with 

Garden 

Traviata 

October  5 

Berlin 

Des 

Rigoletto 

Westens 

October  7 

Berlin 

Des 

Traviata 

Westens 

October 

London 

Covent 

Manon 

3 

With  San  Carlo  Opera 

17 

Garden 

Lescaut 

Company  of  Naples. 

Impresa  of  R.  de  Sanna 

October 

London 

Covent 

Carmen 

3 

21 

Garden 

October 

London 

Covent 

La  Boheme 

2 

27 

Garden 

November 

London 

Covent 

Pagliacci 

I 

2 

Garden 

November 

London 

Covent 

Farewell  appearance  with 

3 

Garden 

Manon  Lescaut 

November 

New 

Metro- 

Aida 

4 

Management  of  Heinrich 

21 

York 

politan 

Conried 

November 

New 

Metro- 

Lucia 

2 

23 

York 

politan 

November 

New 

Metro- 

Traviata 

3 

26 

York 

politan 

November 

New 

Metro- 

Gioconda 

4 

28 

York 

politan 

APPENDICES 


407 


DATE  OF  FIRST 
PERFORMANCE 

Crnr 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN 

REMARKS 

1904 

December 

New 

Metro- 

Lucrezia 

I 

5 

York 

politan 

Borgia 

December 

Phila- 

Academy 

Alda 

13 

delphia 

of  Music 

December 

New 

Metro- 

La Boheme 

2 

16 

York 

politan 

December 

New 

Metro- 

Rigoletto 

2 

21 

York 

politan 

December 

New 

Metro- 

Elisir 

I 

24 

York 

politan 

d  'a  more 

December 

New 

Metro- 

Pagliacci 

3 

26 

York 

politan 

December 

Phila- 

Academy 

Pagliacci 

27 

delphia 

of  Music 

1905 

January 

Phila- 

Academy 

Lucia 

10 

delphia 

of  Music 

January 

New 

Home  of 

Musicale 

12 

York 

Mr.  J. 

M.  Smith 

January 

New 

Metro- 

Tosca 

2 

16 

York 

politan 

January 

New 

Waldorf 

Concert 

Mr.  Bagby  Morning 

23 

York 

Astoria 

Musicale 

Hotel 

January 

Phila- 

Academy 

La  Boheme 

24 

delphia 

of  Music 

January 

New 

Metro- 

Ballo in 

2 

27 

York 

politan 

Maschera 

February 

New 

Metro- 

Les Hugue- 

4 

3 

York 

politan 

nots 

February 

New 

Metro- 

Pagliacci 

Benefit  Italian  Hospital 

21 

York 

politan 

February 

Phila- 

Academy 

Gioconda 

28 

delphia 

of  Music 

March  3 

New 

Metro- 

Farewell appearance  with 

York 

politan 

Act  IV  from  Gioconda 

March  6 

Boston 

Boston 

Lucia 

and  Act  I  from  Pagliacci 

Theater 

March  8 

Boston 

Boston 

Pagliacci 

Theater 

March  10 

Boston 

Boston 

Gioconda 

Theater 

4°8 


ENRICO    CARUSO 


DATE  OP  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 

CONCERT 

TOTAL  PERFORM-  1  1 
ANCES  GIVEN  | 

REMARKS 

1905 

March  13 

Pitts- 

Nixon 

Lucia 

burgh 

Theater 

March  16 

Pitts- 

Nixon 

Gioconda 

burgh 

Theater 

March  18 

Cincin- 

Music 

Gioconda 

nati 

Hall 

March  20 

Chicago 

Audi- 

Lucia 

torium 

March  22 

Chicago 

Audi- 

Pagliacci 

torium 

March  24 

Chicago 

Audi- 

Gioconda 

torium 

March  28 

Minne- 

Audi- 

Pagliacci 

apolis 

torium 

March  30 

Omaha 

Audi- 

Lucia 

torium 

April  i 

Kansas 

Conven- 

Pagliacci 

City 

tion  Hall 

April  6 

San 

Grand 

Rigoletto 

Fran- 

Opera 

cisco 

House 

April  8 

San 

Grand 

Pagliacci 

2 

Fran- 

Opera 

cisco 

House 

April  10 

San 

Grand 

Lucia 

Fran- 

Opera 

cisco 

House 

April  12 

San 

Grand 

Gioconda 

2 

and  15 

Fran- 

Opera 

cisco 

House 

April  1  8 

Los 

Audi- 

Lucia 

Angeles 

torium 

April  26 

New 

Waldorf 

Concert 

Benefit  arranged  by  Miss 

York 

Astoria 

Leary 

Hotel 

May  13  to 

Paris 

Sarah 

Fedora 

6 

First  time  in  France. 

May  20 

Bernhardt 

Management  of  Edoardo 

Sonzogno  and  Gabriel 

Astruc 

May  22 

London 

Covent 

La  Boheme 

6 

Garden 

May  26 

London 

Covent 

Rigoletto 

3 

Garden 

APPENDICES 


409 


DATE  OF  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

i 

TOTAL  PERFORM-  II 
ANCES  GIVEN  || 

REMARKS 

1905 

Junes 

London 

Covent 

Ugonotti 

3 

Garden 

June  8 

London 

Bucking- 

Act III  from 

Before  the  King  and 

ham 

La  Boheme 

Queen  of  England  and 

Palace 

Act  IV  from 

King  of  Spain 

Ugonotti 

June  10 

London 

Covent 

Aida 

2 

Garden 

June  19 

London 

Covent 

Ballo  in 

4 

Garden 

Maschera 

July  I 

London 

Covent 

Don 

2 

Garden 

Giovanni 

v 

July  10 

London 

Covent 

Madama 

4 

First  time  in  England 

Garden 

Butterfly 

July  25 

London 

Covent 

Farewell  appearance  with 

Garden 

La  Boheme 

July  26 

London 

Savoy 

Songs 

Dinner  offered  by  G.  H. 

Hotel 

Kessler 

August  3 

Ostende 

Royal 

Rigoletto 

Inauguration  of  the 

Theater 

August 

Ostende 

Kursaal 

Series  of 

10 

Management  of  Georges 

concerts 

Marquet 

November 

New 

Metro- 

Gioconda 

3 

Management  of  Heinrich 

20 

York 

politan 

Conried 

November 

New 

Metro- 

Rigoletto 

4 

24 

York 

politan 

November 

New 

Metro- 

Favorita 

4 

29 

York 

politan 

December 

Phila- 

Academy 

Favorita 

5 

delphia 

of  Music 

December 

New 

Metro- 

Elisir 

2 

9 

York 

politan 

d'amore 

December 

New 

Metro- 

Sonnambula 

2 

IS 

York 

politan 

December 

New 

Metro- 

La Boheme 

4 

18 

York 

politan 

December 

Phila- 

Academy 

Rigoletto 

26 

delphia 

of  Music 

1906 

January 

New 

Metro- 

Faust 

4 

3 

York 

politan 

January 

New 

Metro- 

Tosca 

i 

8 

York 

politan 

410 


ENRICO    CARUSO 


DATE  or  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN 

REMARKS 

1906 

anuary 

^ew 

Metro- 

Alda 

3 

IS 

York 

politan 

anuary 

^ew 

iome  of 

Musicale 

18 

York 

Mr.  J.  H. 

Smith 

anuary 

'"Jew 

Metro- 

,ucia 

3 

20 

York 

politan 

anuary 

New 

Waldorf 

Concert 

Mr.  Bagby  Musicale 

22 

York 

Astoria 

:anuary 

Phila- 

Academy 

L,a  Boheme 

23 

delphia 

of  Music 

January 

Wash- 

rlome of 

Musicale 

24 

ington 

Mrs. 

Perry 

Belmont 

[anuary 

^ew 

Metro- 

Pagliacci 

3 

3i 

York 

politan 

7ebruary 

^ew 

Metro- 

Marta 

4 

9 

York 

politan 

February 

New 

Metro- 

Traviata 

i 

12 

York 

politan 

February 

Phila- 

Academy 

Aida 

13 

delphia 

of  Music 

February 

Phila- 

Academy 

Carmen 

20 

delphia 

of  Music 

February 

New 

Home  of 

Musicale 

27 

York 

Mrs. 

Orme 

Wilson 

March  i 

Phila- 

Academy 

Faust 

delphia 

of  Music 

March  5 

New 

Metro- 

Carmen 

2 

York 

politan 

March  16 

New 

Metro- 

Farewell appearance  with 

York 

politan 

Gioconda 

March  17 

New 

Waldorf 

Concert 

Benefit  Italian 

York 

Astoria 

Immigrants 

March  19 

Balti- 

Lyric 

Marta 

more 

March  21 

Balti- 

Lyric 

Faust 

more 

March  23 

Wash- 

New 

Lucia 

ington 

Nationa 

APPENDICES 


411 


DATE  or  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 

CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN  | 

REMARKS 

1906 

March  24 

Wash- 

New 

Pagliacci 

ington 

National 

March  27 

Pitts- 

^Jixon 

Barmen 

burgh 

March  29 

Pitts- 

^ixon 

La  Boheme 

burgh 

March  30 

Pitts- 

Sixon 

Faust 

burgh 

April  3 

Chicago 

Audi- 

Faust 

torium 

April  5 

Chicago 

Audi- 

Carmen 

torium 

April  7 

Chicago 

Audi- 

Marta 

torium 

April  9 

St. 

Olympic 

Marta 

Louis 

April  II 

St. 

Olympic 

Faust 

Louis 

April  12 

Kansas 

Conven- 

Marta 

City 

tion 

Hall 

April  17 

San 

Grand 

Carmen 

Fran- 

Opera 

cisco 

House 

April  1  8 

San 

Destruction  of  San  Fran- 

Fran- 

cisco by  earthquake  and 

cisco 

fire.  Company  disbanded 

May  15 

London 

Covent 

Rigoletto 

4 

Garden 

May  17 

London 

Covent 

La  Boheme 

9 

Garden 

May  24 

London 

Covent 

Pagliacci 

3 

Garden 

May  26 

London 

Covent 

Madama 

5 

Garden 

Butterfly 

May  28 

London 

Concert 

Benefit  Belgian  Charities 

June  9 

London 

Covent 

Tosca 

2 

Garden 

June  25 

London 

Covent 

Alda 

2 

Garden 

July  7 

London 

Covent 

Traviata 

2 

Garden 

412 


ENRICO    CARUSO 


DATE  or  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

1  TOTAL  PERFORM-  1  1 
1  ANCES  GIVEN 

REMARKS 

1906 

July  17 

London 

Covent 

Don 

2 

Garden 

Giovanni 

July  26 

London 

Covent 

Farewell  appearance  with 

Garden 

La  Boheme 

August  4 

Ostende 

Kursaal 

Series  of 

10 

Concerts 

October  2 

Wien 

Hof  Oper 

Rigoletto 

October  6 

Berlin 

Des 

Carmen 

Westens 

October 

Paris 

Trocadero 

Concert 

Benefit  arranged  by 

25 

C.  Coquelin 

November 

New 

Metro- 

La Boheme 

5 

Management  of  Heinrich 

28 

York 

politan 

Conried 

December 

New 

Metro- 

Traviata 

2 

i 

York 

politan 

December 

New 

Metro- 

Marta 

2 

3 

York 

politan 

December 

New 

Metro- 

Fedora 

4 

First  time  in  America 

5 

York 

politan 

December 

New 

Metro- 

Lucia 

i 

12 

York 

politan 

December 

New 

Metro- 

Aida 

5 

21 

York 

politan 

December 

Phila- 

Academy 

Fedora 

27 

delphia 

of  Music 

1907 

January 

New 

Metro- 

Tosca 

4 

2 

York 

politan 

January 

New 

Metro- 

L'Africana 

2 

ii 

York 

politan 

January 

Phila- 

Academy 

Marta 

IS 

delphia 

of  Music 

January 

New 

Metro- 

Pagliacci 

2 

16 

York 

politan 

January 

New 

Metro- 

Manon 

3 

18 

York 

politan 

Lescaut 

February 

Phila- 

Academy 

Aid  a 

7 

delphia 

of  Music 

February 

New 

Metro- 

Madama 

4 

ii 

York 

politan 

Butterfly 

February 

Phila- 

Academy 

Madama 

H 

delphia 

of  Music 

Butterfly 

February 

Phila- 

Academy 

Manon 

21 

delphia 

of  Music 

Lescaut 

APPENDICES 


DATE  OF  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

[  TOTAL  PERFORM- 
ANCES GIVEN  1 

REMARKS 

1907 

February 

New 

Metro- 

Rigoletto 

2 

27 

York 

politan 

March  5 

Phila- 

Academy 

Pagliacci 

delphia 

of  Music 

March  7 

Phila- 

Academy 

La  Boh  erne 

delphia 

of  Music 

March  23 

New 

Metro- 

Farewell appearance  with 

matinee 

York 

politan 

Tosca 

March  25 

Balti- 

Lyric 

La  Boh  erne 

With  Metropolitan  Opera 

more 

Company 

March  26 

Balti- 

Lyric 

Pagliacci 

more 

March  28 

Wash- 

Belasco 

Madama 

ington 

Butterfly 

March  30 

Wash- 

Belasco 

Ai'da 

ington 

April  2 

Boston 

Boston 

Tosca 

Theatre 

April  4 

Boston 

Boston 

Marta 

Theatre 

April  6 

Boston 

Boston 

Aid  a 

Theatre 

April  8 

Chicago 

Audi- 

L'Africana 

torium 

April  10 

Chicago 

Audi- 

Aid a 

torium 

April  12 

Chicago 

Audi- 

La Boheme 

torium 

April  13 

Chicago 

Audi- 

Pagliacci 

torium 

April  15 

Cincin- 

Music 

Aida 

nati 

Hall 

April  17 

St. 

Odeon 

Aid  a 

Louis 

April  19 

St. 

Odeon 

La  Boheme 

Louis 

April  20 

Kansas 

Conven- 

La Boheme 

City 

tion  Hall 

April  22 

Omaha 

Audi- 

La Boheme 

torium 

April  24 

St.  Paul 

Audi- 

La Boheme 

torium 

414 


ENRICO    CARUSO 


DATE  OF  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEK 

REMARKS 

1907 

April  26 

Minne- 

Audi- 

Alda 

apolis 

torium 

April  27 

Milwau- 

Alhambra 

Pagliacci 

kee 

May  15 

London 

Covent 

La  Boheme 

8 

Garden 

May  17 

London 

Covent 

Madama 

4 

Garden 

Butterfly 

May  1  8 

Paris 

Trocadero 

Concert 

Benefit  Belgian  Charities 

May  25 

London 

Covent 

Traviata 

5 

Garden 

May  29 

London 

Covent 

Alda 

3 

Garden 

June  6 

London 

Covent 

Carmen 

2 

Garden 

June  13 

London 

Covent 

Tosca 

3 

Garden 

June  28 

London 

Covent 

Ballo  in 

i 

Garden 

Maschera 

July  3 

London 

Covent 

Fedora 

2 

Garden 

July  18 

London 

Concert 

Benefit  arranged  by  the 

Italian  Embassy 

July  20 

London 

Covent 

Andrea 

2 

Garden 

Chenier 

July  26 

London 

Covent 

Pagliacci 

I 

Garden 

July  30 

London 

Covent 

Farewell  appearance  with 

Garden 

La  Boh  erne 

October  2 

Buda- 

Royal 

ATda 

pest 

Opera 

House 

October  4 

Wien 

Stadt- 

Aida 

2 

theater 

October  6 

Wien 

Stadt- 

La  Boheme 

theater 

October 

Wien 

Stadt- 

Rigoletto 

II 

theater 

October 

Leipzig 

Stadt- 

Alda 

13 

theater 

October 

Ham- 

Stadt- 

Aida 

2 

16 

burg 

theater 

APPENDICES 


415 


DATE  OF  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM-  1  1 
ANCES  GIVEN 

REMARKS 

1907 

October 

Ham- 

Stadt- 

Rigoletto 

18 

burg 

theater 

October 

Ham- 

Stadt- 

Pagliacci 

20 

burg 

th  eater 

October 

Berlin 

Staatsoper 

Rigoletto 

23 

October 

Berlin 

Staatsoper 

Aida 

2 

25 

October 

Berlin 

Staatsoper 

Pagliacci 

29 

October 

Frank- 

Opern- 

Pagliacci 

3i 

furt 

haus 

a/M 

November 

Frank- 

Opern- 

Rigoletto 

2 

furt 

haus 

a/M 

November 

New 

Metro- 

Adriana de 

2 

First  time  in  America 

18 

York 

politan 

Lecouvreur 

November 

New 

Metro- 

Aida 

6 

Management  of  Heinrich 

21 

York 

politan 

Conried 

November 

New 

Metro- 

La Boheme 

2 

23 

York 

politan 

December 

New 

Metro- 

Iris 

S 

Revival 

6 

York 

politan 

December 

New 

Metro- 

Madama 

5 

H 

York 

politan 

Butterfly 

December 

Phila- 

Academy 

Madama 

17 

delphia 

of  Music 

Butterfly 

December 

New 

Metro- 

Fedora 

3 

19 

York 

politan 

December 

New 

Metro- 

Tosca 

5 

21 

York 

politan 

1908 

January 

New 

Metro- 

Faust 

5 

6 

York 

politan 

January 

New 

Waldorf 

Concert 

Mr.  Bagby  Musicale 

13 

York 

Astoria 

January 

Phila- 

Academy 

Adriana 

H 

delphia 

of  Music 

January 

New 

Metro- 

Manon 

4 

1 

25 

York 

politan 

Lescaut 

February 

Phila- 

Academy 

Iris 

4 

delphia 

of  Music 

416 


ENRICO    CARUSO 


DATE  OF  FIRST 

PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM-  II 
|  ANCES  GIVEN 

REMARKS 

1908 

February 

New 

Metro- 

Pagliacci 

3 

6 

York 

politan 

February 

New 

Metro- 

Trovatore 

6 

26 

York 

politan 

March  3 

Phila- 

Academy 

Trovatore 

delphia 

of  Music 

March  17 

Phila- 

Academy 

Ai'da 

delphia 

of  Music 

March  31 

Phila- 

Academy 

Tosca 

delphia 

of  Music 

April  3 

New 

Waldorf 

Concert 

Benefit  arranged  by  Mrs. 

York 

Astoria 

Chas.  Steele 

April  4 

New 

Metropol- 

Farewell appearance  with 

York 

itan 

Trovatore 

April  6 

Boston 

Boston 

Iris 

Theater 

April  8 

Boston 

Boston 

Trovatore 

Theater 

April  10 

Boston 

Boston 

Manon 

Theater 

Lescaut 

April  13 

Balti- 

Lyric 

Manon 

more 

Lescaut 

April  15 

Balti- 

Lyric 

Trovatore 

more 

April  1  8 

Wash- 

New Na- 

Pagliacci 

ington 

tional 

April  21 

Chicago 

Audi- 

Trovatore 

torium 

April  23 

Chicago 

Audi- 

Pagliacci 

torium 

April  25 

Chicago 

Audi- 

Iris 

torium 

April  27 

Pitts- 

Nixon 

Faust 

burgh 

April  29 

Pitts- 

Nixon 

Trovatore 

burgh 

May  I 

Colum- 

Memorial 

Concert 

Management  of  Wolfsohn 

bus 

Hall 

Musical  Bureau 

May  4 

To- 

Massey 

Concert 

ronto 

Music 

Hall 

May  6 

Detroit 

Light 

Concert 

Guard 

Armory 

APPENDICES 


417 


DATE  or  FIRST 
PERFORMANCE 

Cm 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN  1 

REMARKS 

1908 

May8 

Buffalo 

Conven- 

Concert 

tion  Hall 

May  II 

Cleve- 

Hippo- 

Concert 

land 

drome 

May  13 

Roch- 

Conven- 

Concert 

ester 

tion  Hall 

May  1  8 

Mon- 

Arena 

Concert 

treal 

May  30 

London 

Albert 

Songs 

Benefit  under  patronage 

Hall 

of  H.  M.  the  King 

June  ii 

Paris 

Academic 

Rigoletto 

Benefit  Societe  des 

National 

Auteurs 

de  Mu- 

sique 

October  I 

Wies- 

Staatsoper 

Rigoletto 

baden 

October  3 

Frank- 

Opern- 

La  Boheme 

furt 

haus 

a/M 

October  7 

Frank- 

Opern- 

Pagliacci 

furt 

haus 

a/M 

October 

Bremen 

Stadt- 

Pagliacci 

ii 

theater 

October 

Ham- 

Stadt- 

Pagliacci 

13 

burg 

theater 

October 

Ham- 

Stadt- 

La  Boheme 

IS 

burg 

theater 

October 

Leipzig 

Stadt- 

Rigoletto 

17 

theater 

October 

Berlin 

Staatsoper 

Pagliacci 

20 

October 

Berlin 

Staatsoper 

La  Boheme 

22 

October 

Berlin 

Staatsoper 

Aida 

24 

November 

Brook- 

Academy 

Faust 

lyn 

of  Music 

November 

New 

Metro- 

Aida 

7 

Management  of  Giulio 

16 

York 

politan 

Gatti-Casazza  and  A. 

Dippel 

November 

Phila- 

Academy 

La  Boheme 

17 

delphia 

of  Music 

4i8 


ENRICO    CARUSO 


DATE  OF  FIRST 

PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM-  1  1 
ANCES  GIVEN 

REMARKS 

1908 

November 

New 

Metropol- 

Madama 

I 

19 

York 

itan 

Butterfly 

November 

New 

Metropol- 

Traviata 

4 

20 

York 

itan 

November 

New 

Metropol- 

Tosca 

2 

21 

York 

itan 

November 

Phila- 

Academy 

Faust 

24 

delphia 

of  Music 

December 

Phila- 

Academy 

Alda 

i 

delphia 

of  Music 

December 

New 

Metropol- 

Carmen 

3 

3 

York 

itan 

December 

New 

Metropol- 

Faust 

3 

5 

York 

itan 

December 

New 

Metropol- 

Rigoletto 

I 

7 

York 

itan 

December 

New 

Metropol- 

Cavalleria 

3 

I? 

York 

itan 

December 

New 

Metropol- 

Pagliacci 

2 

26 

York 

itan 

December 

Phila- 

Academy 

Madama 

29 

delphia 

of  Music 

Butterfly 

1909 

January 

New 

Metropol- 

Trovatore 

I 

4 

York 

itan 

January 

Phila- 

Academy 

Carmen 

12 

delphia 

of  Music 

January 

Brook- 

Academy 

Carmen 

H 

lyn 

of  Music 

January 

Mew 

Waldorf 

Concert 

Mr.  Bagby  Musicale 

18 

York 

Astoria 

January 

Phila- 

Academy 

Cavalleria 

19 

delphia 

of  Music 

January 

Balti- 

Lyric 

Madama 

20 

more 

Butterfly 

January 

Phila- 

Academy 

Trovatore 

28 

delphia 

of  Music 

February 

New 

Metropol- 

Manon 

3 

Revival 

3 

York 

itan 

February 

New 

Home  of 

Musicale 

5 

York 

Mrs. 

George 

Gould 

APPENDICES 


419 


DATE  OF  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM-  1  1 
ANCES  GIVEN  1 

REMARKS 

1909 

March  2 

Phila- 

Academy 

Pagliacci 

delphia 

of  Music 

March  8 

Balti- 

Lyric 

Pagliacci 

more 

April  7 

New 

Metropol- 

Farewell appearance  with 

York 

itan 

Alda 

21  performances  lost 

through  illness 

August  20 

Dublin 

Royal 

Concert 

Management  of  Thomas 

Theater 

Quinlan 

August  25 

Ply- 

Guild 

Concert 

mouth 

Hall 

August  29 

Black- 

Winter 

Concert 

pool 

Garden 

September 

Glas- 

St. An- 

Concert 

3 

gow 

drew's 

Hall 

September 

Edin- 

McEvan 

Concert 

7 

burgh 

Hall 

September 

New- 

Town 

Concert 

10 

castle 

Hall 

September 

Man- 

Free 

Concert 

13 

chester 

Trade 

Hall 

September 

Belfast 

Ulster 

IS 

Hall 

Concert 

September 

London 

Albert 

Concert 

18 

Hall 

September 

Liver- 

Philhar- 

Concert 

20 

pool 

monic 

Hall 

September 

Frank- 

Opern- 

Tosca 

28 

furt 

haus 

a/M 

October  I 

Frank- 

Opern- 

Carmen 

furt 

haus 

a/M 

October  3 

Frank- 

Opern- 

Pagliacci 

furt 

haus 

a/M 

October  7 

Nurn- 

Stadt- 

Rigoletto 

berg 

theater 

420 


ENRICO    CARUSO 


DATE  OF  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OK 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN 

REMARKS 

1909 

October 

Ham- 

Stadt- 

Lucia 

ii 

burg 

theater 

October 

Ham- 

Stadt- 

Tosca 

13 

burg 

theater 

October 

Ham- 

Stadt- 

Carmen 

IS 

burg 

theater 

October 

Berlin 

Staats- 

Carmen 

19 

oper 

October 

Berlin 

Staats- 

La  Boh  erne 

21 

oper 

October 

Berlin 

Staats- 

Pagliacci 

23 

oper 

October 

Bremen 

Stadt- 

Carmen 

25 

theater 

November 

Phila- 

Academy 

Aid  a 

9 

delphia 

of  Music 

November 

New 

Metropol- 

Gioconda 

6 

Management  of  G.  Gatti- 

15 

York 

itan 

Casazza 

November 

New 

Metropol- 

Traviata 

2 

|| 

York 

itan 

November 

Brook- 

Academy 

Madama 

22 

lyn 

of  Music 

Butterfly 

November 

New 

Metropol- 

Pagliacci 

5 

24 

York 

itan 

November 

Phila- 

Academy 

Gioconda 

3° 

delphia 

of  Music 

December 

New 

Metropol- 

Aida 

4 

3 

York 

itan 

December 

New 

Metropol- 

Tosca 

I 

II 

York 

itan 

December 

Balti- 

Lyric 

Pagliacci 

17 

more 

December 

New 

Metropol- 

Faust 

I 

25 

York 

itan 

December 

Phila- 

Academy 

Pagliacci 

28 

delphia 

of  Music 

igio 

January  4 

New 

Metropol- 

La Boheme 

3 

York 

itan 

January 

Boston 

Boston 

Pagliacci 

IS 

Opera 

House 

January 

Brook- 

Academy 

Aid  a 

17 

lyn 

of  Music 

APPENDICES 


421 


DATE  OF  FIRST 
PERFORMANCE 

Cmr 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN  | 

REMARKS 

1910 

January 

New 

Metropol- 

Germania 

5 

First  time  in  America 

22 

York 

itan 

January 

New 

Waldorf 

Concert 

Mr.  Bagby  Musicale 

24 

York 

Astoria 

February 

Balti- 

Lyric 

Gioconda 

2 

more 

February 

Phila- 

Academy 

Rigoletto 

10 

delphia 

of  Music 

February 

Phila- 

Academy 

Germania 

IS 

delphia 

of  Music 

February 

New 

Metropol- 

Rigoletto 

I 

18 

York 

itan 

March  7 

Brook- 

Academy 

Gioconda 

lyn 

of  Music 

March  io 

Phila- 

Academy 

Aida 

delphia 

of  Music 

March  21 

Brook- 

Academy 

Rigoletto 

lyn 

of  Music 

March  23 

New 

Metropol- 

Farewell appearance  with 

York 

itan 

Aida 

March  28 

Boston 

Boston 

Aida 

With  Metropolitan  Opera 

Opera 

Company 

House 

March  30 

Boston 

Boston 

La  Boheme 

Opera 

House 

April  4 

Chicago 

Audi- 

Gioconda 

torium 

April  6 

Chicago 

Audi- 

La Boheme 

torium 

April  9 

Chicago 

Audi- 

Germania 

torium 

April  ii 

Cleve- 

Keith's 

Marta 

land 

Hippo- 

drome 

April  13 

Chicago 

Audi- 

Aid a 

torium 

April  1  6 

Chicago 

Audi- 

Pagliacci 

torium 

April  18 

Mil- 

Audi- 

Aida 

waukee 

torium 

April  20 

Chicago 

Audi- 

Faust 

torium 

i 

422 


ENRICO    CARUSO 


DATE  OF  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOIAI.  PERFORM- 
ANCES GIVEN 

REMARKS 

1910 

April  22 

St.  Paul 

Audi- 

'agliacci 

torium 

April  25 

St. 

Coliseum 

^a  Boheme 

Louis 

April  27 

Chicago 

Audi- 

i'agliacci 

torium 

April  29 

Chicago 

Audi- 

^a Boheme 

torium 

vlay  4 

Atlanta 

Audi- 

Alda 

Vlusic  Festival  Associa- 

torium 

tion 

tfay  7 

Atlanta 

Audi- 

Pagliacci 

torium 

May  1  8 

Paris 

Trocadero 

Concert 

Benefit  L'Ecole 

Managere 

Vlay  21 

Paris 

Chatelet 

Aida 

3 

Management  of  Metro- 

politan Opera  Com- 

pany of  New  York  and 

Gabriel  Astruc 

May  23 

Paris 

Chatelet 

Pagliacci 

3 

fune  9 

Paris 

Chatelet 

Manon 

5 

Lescaut 

fune  19 

Paris 

Dpera 

Excerpts 

Benefit  for  victims  of 

from  Faust 

"  Pluviose" 

and  La 

Boheme 

fune  25 

Paris 

Chatelet 

Farewell  appearance  with 

Manon  Lescaut 

September 

Brux- 

La  Mon- 

La  Boheme 

2 

24  and  25 

elles 

naie 

October  I 

Frank- 

Opern- 

Aida 

furt 

haus 

a/M 

October  4 

Frank- 

Opern- 

Carmen 

furt 

haus 

a/M 

October  8 

Muen- 

Staats- 

Carmen 

chen 

oper 

October 

Muen- 

Staats- 

La  Boheme 

ii 

chen 

oper 

October 

Ham- 

Stadt- 

Rigoletto 

IS 

burg 

theater 

October 

Ham- 

Stadt- 

Carmen 

18 

burg 

theater 

APPENDICES 


423 


DATE  OF  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN 

REMARKS 

I9IO 

Dctober 

Ham- 

Stadt- 

Marta 

20 

burg 

theater 

October 

Berlin 

Staats- 

Aida 

24 

oper 

October 

Berlin 

Staats- 

Barmen 

27 

oper 

October 

Berlin 

Staats- 

Ilisir 

3° 

oper 

d'amore 

November 

New 

Metropol- 

Armide 

3 

Revival 

H 

York 

itan 

November 

New 

Metropol- 

Aida 

4 

Management  of 

17 

York 

itan 

G.  Gatti-Casazza 

November 

New 

Metropol- 

Gioconda 

4 

23 

York 

itan 

November 

New 

Metropol- 

Pagliacci 

3 

25 

York 

itan 

December 

New 

Metropol- 

Fanciulla 

7 

World  premiere 

10 

York 

itan 

del  West 

December 

Phila- 

Metropol- 

Fanciulla 

20 

delphia 

itan 

del  West 

I9II 

January  3 

Brook- 

Academy 

Pagliacci 

lyn 

of  Music 

January 

Chicago 

Audi- 

Pagliacci 

H 

torium 

January 

Chicago 

Audi- 

Fanciulla 

18 

torium 

del  West 

January 

Cleve- 

Keith's 

Pagliacci 

19 

land 

Hippo- 

drome 

January 

New 

Home  of 

Musicale 

24 

York 

Mrs. 

Corne- 

lius 

Van- 

derbilt 

January 

New 

Waldorf 

Concert 

Mr.  Bagby  Musicale 

3° 

York 

Astoria 

February 

New 

Metropol- 

Germania 

2 

I 

York 

itan 

February 

New 

Metropol- 

Last appearance.     Illness 

6 

York 

itan 

prevented  him  from 

continuing  after  per- 

formance of  Germania 

on  this  date 

424 


ENRICO    CARUSO 


DATE  or  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

IOTAL  .PERFORM- 
ANCES GIVEN 

REMARKS 

I9II 

November 

Mew 

Metropol- 

Alda 

s 

Management  of 

13 

York 

itan 

G.  Gatti-Casazza 

November 

^ew 

Metropol- 

^anciulla 

5 

16 

York 

itan 

del  West 

November 

Phila- 

Metropol- 

Gioconda 

21 

del- 

itan 

phia 

November 

Mew 

Metropol- 

'agliacci 

9 

24 

York 

itan 

)ecember 

^ew 

Metropol- 

Gioconda 

5 

7 

York 

itan 

)ecember 

Mew 

Metropol- 

Armide 

4 

16 

York 

itan 

December 

^ew 

Metropol- 

fosca 

2 

21 

York 

itan 

1912 

anuary 

Brook- 

Academy 

^a  Boheme 

2 

lyn 

of  Music 

[anuary 

Phila- 

Metropol- 

^a Boheme 

9 

del- 

itan 

phia 

[anuary 

Mew 

Metropol- 

Cavalleria 

I 

17 

York 

itan 

[anuary 

Brook- 

Academy 

Pagliacci 

27 

lyn 

of  Mu- 

sic 

[anuary 

Phila- 

Metropol- 

Pagliacci 

30 

del- 

itan 

phia 

February 

Mew 

Metropol- 

Rigoletto 

3 

6 

York 

itan 

February 

New 

Metropol- 

La Boheme 

I 

19 

York 

itan 

March  5 

Boston 

Boston 

Fanciulla 

Opera 

del  West 

House 

March  12 

Brook- 

Academy 

Alda 

lyn 

of  Mu- 

sic 

March  30 

New 

Metropol- 

Manon 

3 

York 

itan 

Lescaut 

April  12 

New 

Metropol- 

Farewell appearance  with 

York 

itan 

Pagliacci 

APPENDICES 


425 


DATE  or  FIRST 
PERFORMANCE 

Crnr 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN  | 

REMARKS 

1912 

April  17 

Boston 

Boston 

Pagliacci 

Opera 

House 

April  19 

Phila- 

Metropol- 

Aida 

del- 

itan 

phia 

April  22 

Atlanta 

Audito- 

Alda 

rium 

April  25 

Atlanta 

Audito- 

Pagliacci 

rium 

April  27 

Atlanta 

Audito- 

Rigoletto 

rium 

April  29 

New 

Metropol- 

Concert 

Benefit  "  Titanic"  vic- 

York 

itan 

tims 

Vlay  16  to 

Paris 

Opera 

Fanciuila 

3 

June  II 

del  West 

Rigoletto 

3 

September 

Muen- 

Staats- 

Tosca 

26 

chen 

oper 

September 

Muen- 

Staats- 

Rigoletto 

28 

chen 

oper 

October 

Stutt- 

Staats- 

Pagliacci 

I 

gart 

oper 

October 

Stutt- 

Staats- 

La  Boh  erne 

3 

gart 

oper 

November 

New 

Metropol- 

Manon 

5 

Management  of 

it 

York 

itan 

Lescaut 

G.  Gatti-Casazza 

November 

New 

Metropol- 

Gioconda 

3 

H 

York 

itan 

November 

New 

Metropol- 

Pagliacci 

6 

20 

York 

itan 

November 

New 

Metropol- 

Fanciuila 

4 

25 

York 

itan 

del  West 

November 

New 

Metropol- 

La Boheme 

3 

28 

York 

itan 

December 

Phila- 

Metropol- 

La Boheme 

3 

del- 

itan 

phia 

December 

New 

Metropol- 

Aida 

4 

9 

York 

itan 

December 

Brook- 

Academy 

Pagliacci 

24 

lyn 

of  Music 

426 


ENRICO    CARUSO 


DATE  or  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM-  1  1 
ANCES  GIVEN  1 

RKMABKS 

1912 

December 

New 

Metropol- 

Les Hugue- 

5 

27 

York 

itan 

nots 

1913 

January 

New 

Metropol- 

Tosca 

4 

4 

York 

itan 

January 

Phila- 

Metropol- 

Gioconda 

7 

del- 

itan 

phia 

January 

New 

Metropol- 

Manon 

5 

22 

York 

itan 

January 

New 

Waldorf 

Concert 

Vlr.  Bagby  Musicale 

27 

York 

Astoria 

January 

Phila- 

Metropol- 

Manon 

28 

del- 

itan 

phia 

February 

New 

Metropol- 

Cavalleria 

17 

York 

itan 

March  4 

Brook- 

Academy 

Tosca 

i 

lyn 

of 

Music 

March  18 

Boston 

Boston 

Pagliacci 

Opera 

House 

March  25 

Phila- 

Metropol- 

Les Hugue- 

del- 

itan 

nots 

phia 

April  18 

New 

Metropol- 

farewell appearance  with 

York 

itan 

Tosca 

April  1  8 

Atlanta 

Audito- 

Manon 

rium 

Lescaut 

April  24 

Atlanta 

Audito- 

Gioconda 

rium 

April  26 

Atlanta 

Audito- 

Tosca 

rium 

May  20 

London 

Covent 

Pagliacci 

2 

Garden 

May  24 

London 

Covent 

Aida 

5 

Garden 

Junes 

London 

Covent 

Tosca 

3 

Garden 

June  1  8 

London 

Covent 

La  Boheme 

3 

Garden 

June  28 

London 

Covent 

7arewell  with  La  Boheme 

Garden 

APPENDICES 


427 


DATE  or  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM-  1  1 
ANCES  GIVEN  1 

REMARKS 

1913 

September 

Wien 

Staats- 

Rigoletto 

2 

27 

oper 

September 

Wien 

Staats- 

Carmen 

I 

29 

oper 

October  i, 

Muen- 

Staats- 

Pagliacci 

3  and  5 

chen 

oper 

Carmen 

La  Boh  erne 

October  8, 

Stutt- 

Staats- 

Carmen 

10  and  12 

gart 

oper 

Tosca 

Rigoletto 

November 

New 

Metropol- 

Gioconda 

4 

Management  of  G.  Gatti- 

17 

York 

itan 

Casazza 

November 

New 

Metropol- 

Hallo in 

5 

22 

York 

itan 

Maschera 

November 

Phila- 

Metropol- 

Aid a 

25 

del- 

itan 

phia 

November 

New 

Metropol- 

Manon 

4 

27 

York 

itan 

Lescaut 

December 

New 

Metropol- 

Pagliacci 

7 

5 

York 

itan 

December 

New 

Metropol- 

Aida 

3 

8 

York 

itan 

December 

New 

Metropol- 

Tosca 

4 

19 

York 

itan 

December 

Phila- 

Metropol- 

La Boheme 

23 

del- 

itan 

phia 

December 

New 

Metropol- 

Manon 

4 

3i 

York 

itan 

1914 

January 

Brook- 

Academy 

Pagliacci 

27 

lyn 

of  Music 

January 

New 

Metropol- 

La Boheme 

2 

30 

York 

itan 

February 

New 

Metropol- 

La Fanciulla 

3 

4 

York 

itan 

del  West 

February 

Phila- 

Metropol- 

Tosca 

10 

del- 

itan 

phia 

February 

New 

Metropol- 

Julien 

5 

New  Opera 

26 

York 

itan 

March  3 

Phila- 

Metropol- 

Pagliacci 

delphia 

itan 

428 


ENRICO    CARUSO 


DATE  OF  FIRST 
PERFORMANCE 

Cmr 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM-  II 
ANCES  GIVEN 

REMMJKS 

1914 

March  24 

Brook- 

Academy 

Gioconda 

lyn 

of  Music 

April  22 

New 

Metropol- 

Farewell appearance  with 

York 

itan 

Tosca 

April  27 

Atlanta 

Audito- 

Manon 

rium 

April  30 

Atlanta 

Audito- 

Hallo in 

rium 

Maschera 

May  2 

Atlanta 

Audito- 

Pagliacci 

rium 

May  14 

London 

Covent 

Aida 

3 

Garden 

May  16 

London 

Covent 

Tosca 

4 

Garden 

May  25 

London 

Covent 

Madama 

4 

Garden 

Butterfly 

May  28 

London 

Covent 

Ballo  in 

2 

Garden 

Maschera 

June  6 

London 

Covent 

La  Boh  erne 

2 

Garden 

June  29 

London 

Covent 

Farewell  appearance  with 

Garden 

Tosca.     His  last  in 

England 

October 

Roma 

Costanzi 

Pagliacci 

Benefit  arranged  by 

19 

Comm.  Ricceri 

November 

New 

Metropol- 

Ballo in 

2 

Management  of  G.  Gatti- 

16 

York 

itan 

Maschera 

Casazza 

November 

New 

Metropol- 

Carmen 

7 

19 

York 

itan 

November 

New 

Metropol- 

Gioconda 

2 

25 

York 

itan 

December 

Phila- 

Metropol- 

Gioconda 

I 

del- 

itan 

phia 

December 

New 

Metropol- 

Pagliacci 

4 

5 

York 

itan 

December 

New 

Metropol- 

Aida 

2 

12 

York 

itan 

December 

Phila- 

Metropol- 

Aida 

IS 

del- 

itan 

phia 

December 

New 

Metropol- 

Manon 

3 

24 

York 

itan 

APPENDICES 


429 


DATE  OF  FIRST 
PERFORMANCE 

.Cmr; 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN 

REMARKS 

1914 

December 

New 

Metropol- 

^es Hugue- 

3 

30 

York 

itan 

nots 

I9IS 

January 

New 

Metropol- 

Manon 

I 

I 

York 

itan 

Lescaut 

January 

Phila- 

Metropol- 

Pagliacci 

IS 

delphia 

itan 

February 

Brook- 

Academy 

Carmen 

2 

lyn 

of  Music 

February 

Mew 

Metropol- 

Farewell appearance  with 

17 

York 

itan 

Pagliacci 

March  14 

Monte 

Casino 

Aida 

[mpresa  of  R.  Gunsbourg 

to  April 

Carlo 

Pagliacci 

IS 

Lucia 

May  20 

Buenos 

Colon 

Aida 

I 

[mpresa  of  Walter  Mocchi 

Aires 

and  Da  Rosa 

May  30 

Buenos 

Colon 

Pagliacci 

4 

Aires 

June  7 

Buenos 

Coliseo 

Songs 

Italian  Benefit 

Aires 

June  10 

Buenos 

Colon 

Manon 

3 

Aires 

Lescaut 

June  20 

Buenos 

Colon 

Manon 

8 

Aires 

June  27 

Buenos 

Colon 

Lucia 

2 

Aires 

Julys 

Buenos 

Coliseo 

Songs 

French  Benefit 

Aires 

July  9 

Rosario 

Pagliacci 

July  II 

Tu- 

Pagliacci 

cuma 

July  14 

Cor- 

Pagliacci 

and  16 

doba 

August  4 

Buenos 

Colon 

Pagliacci 

Benefit  Critic  Association 

Aires 

August  10 

Buenos 

Colon 

Farewell  appearance  with 

Aires 

Manon 

August  II 

Buenos 

Colon 

Lamento 

Benefit  Italian  and 

Aires 

from 

French  Red  Crosses 

Pagliacci 

August  12 

Monte- 

Solis 

Manon 

3 

to 

video 

Pagliacci 

3 

August  30 

Manon 

3 

Lescaut 

430 


ENRICO    CARUSO 


DATE  or  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM-  1  1 
ANCES  GIVEN 

REMARKS 

1915 

September 

Milano 

Dal 

Pagliacci 

2 

Benefit  arranged  by 

23  and 

Verme 

Toscanini.     His  last 

25 

appearance  in  Italy 

November 

New 

Metropol- 

Samson et 

5 

Revival 

15 

York 

itan 

Dalila 

Management  of  G.  Gatti- 

November 

New 

Metropol- 

La Boheme 

4 

Casazza 

J9 

York 

itan 

November 

New 

Metropol- 

Tosca 

i 

27 

York 

itan 

November 

Phila- 

Metropol- 

Manon 

30 

del- 

itan 

phia 

December 

New 

Metropol- 

Pagliacci 

4 

2 

York 

itan 

December 

New 

Metropol- 

Marta 

4 

IS 

York 

itan 

December 

New 

Metropol- 

Manon 

2 

IS 

York 

itan 

1916 

January 

New 

Metropol- 

Ballo in 

2 

I 

York 

itan 

Maschera 

January  4 

Brook- 

Academy 

Aida 

lyn 

of  Music 

January  5 

New 

Waldorf 

Concert 

Mr.  Bagby  Musicale 

York 

Astoria 

January  6 

New 

Metropol- 

Manon 

3 

York 

itan 

Lescaut 

January 

Phila- 

Metropol- 

La Boheme 

25 

del- 

itan 

phia 

February 

Mew 

Biltmore 

Concert 

Friday  Morning 

9 

York 

Hotel 

Musicales 

February 

New 

Metropol- 

Rigoletto 

5 

ii 

York 

itan 

February 

New 

Metropol- 

Carmen 

4 

17 

York 

itan 

March  14 

Phila- 

Metropol- 

Pagliacci 

del- 

itan 

phia 

March  24 

New 

Metropol- 

Aida 

i 

York 

itan 

April  I 

New 

Metropol- 

Farewell appearance  with 

York 

itan 

Carmen 

APPENDICES 


DATE  OF  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  on 
CONCERT 

TOTAL  PERFORM-  II 
ANCES  GIVEN  1 

REMARKS 

1916 

April  4 

Boston 

Boston 

La  Boh  erne 

With  Metropolitan  Opera 

Opera 

Company 

House 

April  7 

Boston 

Boston 

Aid  a 

Opera 

House 

April  12 

Boston 

Boston 

Rigoletto 

Opera 

House 

April  15 

Boston 

Boston 

Pagliacci 

Opera 

House 

April  1  8 

Boston 

Boston 

Ballo  in 

Opera 

Maschera 

House 

April  21 

Boston 

Boston 

Marta 

Opera 

House 

April  24 

Atlanta 

Audito- 

Samson et 

rium 

Dalila 

April  28 

Atlanta 

Audito- 

Marta 

rium 

April  29 

Atlanta 

Audito- 

La Boh  erne 

rium 

November 

New 

Metropol- 

Pecheurs de 

3 

Revival 

13 

York 

itan 

Perles 

Management  of 

November 

New 

Metropol- 

Manon 

3 

G.  Gatti-Casazza 

16 

York 

itan 

Lescaut 

November 

New 

Metropol- 

Samson et 

5 

24 

York 

itan 

Dalila 

November 

Phila- 

Metropol- 

Samson et 

28 

del- 

itan 

Dalila 

phia 

December 

New 

Metropol- 

Tosca 

I 

4 

York 

itan 

December 

New 

Metropol- 

Pagliacci 

4 

15 

York 

itan 

December 

Phila- 

Metropol- 

Marta 

19 

del- 

itan 

phia 

December 

New 

Metropol- 

Marta 

3 

25 

York 

itan 

432 


ENRICO    CARUSO 


DATE  or  FIRST 

PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN  | 

REMARKS 

1916 

December 

New 

Metropol- 

Elisir 

5 

30 

York 

itan 

d'amore 

1917 

January 

Brook- 

Academy 

Alda 

2 

lyn 

of 

Music 

January 

New 

Metropol- 

Carmen 

S 

5 

York 

itan 

January 

Phila- 

Metropol- 

La Boheme 

23 

del- 

itan 

, 

phia 

February 

New 

Metropol- 

Rigoletto 

5 

7 

York 

itan 

February 

New 

Metropol- 

Alda 

4 

12 

York 

itan 

February 

Brook- 

Academy 

Marta 

27 

lyn 

of  Music 

1 

March  6 

Phila- 

Metropol- 

Rigoletto 

del- 

itan 

phia 

March  18 

New 

Metropol- 

Concert 

Italian  War  Benefit 

York 

itan 

March  23 

New 

Metropol- 

La Boheme 

i 

York 

itan 

April  10 

Phila- 

Metropol- 

Pagliacci 

del- 

itan 

phia 

April  20 

New 

Metropol- 

Farewell appearance  with 

York 

itan 

Rigoletto 

April  23 

Atlanta 

Audito- 

Elisir 

rium 

d'amore 

April  26 

Atlanta 

Audito- 

Tosca 

rium 

April  28 

Atlanta 

Audito- 

Rigoletto 

rium 

May  i 

Cincin- 

Music 

Concert 

Management  of  Metro- 

nati 

Hall 

politan  Musical  Bureau 

May  3 

Toledo 

Terminal 

Concert 

Audi- 

torium 

May  5 

Pitts- 

Syria 

Concert 

burgh 

Mosque 

May  8 

New 

Astor 

Concert 

With  Mozart  Society 

York 

Hotel 

APPENDICES 


433 


DATE  or  FIRST 

PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

1  TOTAL  PERFORM- 
|  ANCES  GIVEN 

REMARKS 

1917 

June  17 

Buenos 

I^olon 

llisir 

3 

[mpresa  of  W.  Mocchi  and 

Aires 

d'amore 

Da  Rosa 

June  20 

Buenos 

^olon 

Pagliacci 

4 

Aires 

June  26 

Buenos 

Colon 

Vlanon 

3 

Aires 

July  2 

Buenos 

Colon 

Songs 

Benefit  "Caja  Dotal" 

Aires 

July  4 

Buenos 

oolon 

Songs 

Fourth  of  July  Celebration 

Aires 

for  benefit  U.  S.  Red 

Cross 

July  6 

Buenos 

Colon 

Songs 

Benefit  Charing  Cross 

Aires 

Hospital  of  London 

July  12 

Buenos 

Colon 

Tosca 

2 

First  performance  given 

Aires 

for  benefit  Italian  Red 

Cross 

July  15 

Buenos 

Colon 

La  Boheme 

2 

Aires 

July  20 

Buenos 

Colon 

La  Boheme 

Extra  performance  for 

Aires 

benefit  Belgian  Chari- 

ties 

July  27 

Buenos 

Colon 

Elisir 

Extra  performance  for 

Aires 

d'amore 

benefit  Press  Club  of 

Buenos  Aires 

July  29 

Buenos 

Colon 

Lodoletta 

2 

New  Opera 

Aires 

July  30 

Buenos 

Colon 

Act  III  from 

Benefit  "  Cantine  Mater- 

Aires 

Lucia 

nali  " 

August  6 

Buenos 

San 

Songs 

Benefit  "  Pantheon  In- 

Aires 

Martin 

ternational  Artists  " 

August  12 

Buenos 

Coliseo 

Pagliacci 

Extra  performance. 

Aires 

Last  appearance  in  opera 

in  Buenos  Aires 

August  13 

Buenos 

Colon 

Songs 

Benefit  Italian  War  Com- 

Aires 

mittee 

August  16 

Monte- 

Solis 

Manon 

2 

Impresa  of  W.  Mocchi  and 

to 

video 

Lescaut 

Da  Rosa 

August  25 

Pagliacci 

3 

Manon 

3 

Carmen 

3 

September 

Riode 

Lirico 

Pagliacci 

Impresa  of  W.  Mocchi  and 

3  to  18 

Janeiro 

Carmen 

Da  Rosa 

434 


ENRICO    CARUSO 


DATE  OF  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERIORM-  1 
ANCES  GIVEN  1 

REMARKS 

1917 

September 

Elisir 

3  to  18 

Lodoletta 

continued 

La  Boheme 

Manon 

September 

Rio  dc 

Lirico 

Act  I  Elisir 

Benefit  Italian  Red  Cross 

19 

Janeiro 

September 

San 

Munici- 

Elisir 

25  to 

Paulo 

pale 

d'amore 

October 

Carmen 

ii 

Tosca 

La  Boheme 

Manon 

Pagliacci 

Lodoletta 

October  8 

San 

Munici- 

Act  I 

Benefit  Italian  Red  Cross 

Paulo 

pale 

Pagliacci 

Act  III 

Elisir 

October 

Rio  de 

Lirico 

Carmen 

13 

Janeiro 

October 

Riode 

Lirico 

Manon 

His  last  appearance  in 

16 

Janeiro 

Lescaut 

South  America 

November 

New 

Metropol- 

Aid a 

3 

Management  of  G.  Gatti- 

12 

York 

itan 

Casazza 

November 

New 

Metropol- 

Elisir 

5 

IS 

York 

itan 

d'amore 

November 

New 

Metropol- 

Marta 

5 

21 

York 

itan 

November 

New 

Metropol- 

Samson et 

4 

23 

York 

itan 

Dalila 

November 

Phila- 

Metropol- 

Manon 

27 

del- 

itan 

Lescaut 

phia 

December 

New 

Metropol- 

Manon 

3 

5 

York 

itan 

Lescaut 

December 

New 

Metropol- 

Pagliacci 

3 

7 

York 

itan 

December 

New 

Metropol- 

Carmen 

2 

10 

York 

itan 

December 

New 

Metropol- 

Tosca 

I 

IS 

York 

itan 

December 

Phila- 

Metropol- 

Pagliacci 

18 

delphia 

itan 

APPENDICES 


435 


DATE  OF  FIRST 
PERFORMANCE 

Cmr 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN 

REMARKS 

1917 

December 

New 

Metropol- 

Rigoletto 

I 

29 

York 

itan 

1918 

January 

New 

Metropol- 

Lodoletta 

5 

First  time  in  America 

12 

York 

itan 

January 

Brook- 

Academy 

Rigoletto 

IS 

lyn 

of  Mu- 

sic 

February 

New 

Metropol- 

Le Prophete 

5 

Revival 

7 

York 

itan 

February 

New 

Biltmore 

Concert 

Friday  Morning  Musicale 

18 

York 

Hotel 

February 

Phila- 

Metropol- 

Lodoletta 

19 

del- 

itan 

phia 

March  14 

New 

Metropol- 

L'Amore dei 

4 

York 

itan 

TreRe 

March  19 

Phila- 

Metropol- 

L'Amore dei 

del- 

itan 

TreRe 

phia 

April  9 

Phila- 

Metropol- 

Samson et 

del- 

itan 

Dalila 

phia 

April  14 

New 

Metropol- 

Concert 

Benefit  Italian  Reservists 

York 

itan 

April  19 

New 

Metropol- 

Farewell appearance  with 

York 

itan 

Elisir  d'amore 

April  22 

Boston 

Boston 

Le  Prophete 

Opera 

House 

April  25 

Boston 

Boston 

Pagliacci 

Opera 

House 

April  27 

Boston 

Boston 

Samson  et 

Opera 

Dalila 

House 

May  i 

New 

Carnegie 

Concert 

Third  Liberty  Loan  Rally 

York 

Hall 

May  20 

Wash- 

Poli's 

Concert 

Benefit  under  auspices 

ington 

Italian  Embassy 

May  24 

New 

Metropol- 

Concert 

Benefit  Italian  Red  Cross 

York 

itan 

May  27 

Mew 

Metropol- 

Concert 

Benefit  American  Red 

York 

itan 

Cross 

436 


ENRICO    CARUSO 


DATE  OF  FIRST 

PERFORMANCE 

Crnr 

HOUSE 

OPERA  OK 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN 

REMARKS 

1918 

une  10 

''Jew 

Metropol- 

Concert 

benefit  Women  Naval 

York 

itan 

Services 

July  27 

)cean 

Audito- 

Concert 

Management  of  R.  E. 

Grove 

rium 

Johnston 

August  17 

Sara- 

Conven- 

Concert 

Management  of  Metro- 

toga 

tion 

politan  Musical  Bureau 

Springs 

Hall 

August  3  1 

Sheeps- 

Open  air 

Songs 

Benefit  Police  Reserve  of 

head 

New  York 

Bay 

September 

New 

Waldorf 

rlymns  of 

[Commemoration  Lafa- 

6 

York 

Astoria 

Allied 

yette  Day 

Nations 

September 

New 

Central 

Songs 

People's  concerts  arranged 

12 

York 

Park 

by  Mayor  Hylan. 

Mall 

First  time  he  sang 

where  was  no  charge  for 

admission 

September 

New 

Century 

Songs 

Benefit  Tank  Corps 

IS 

York 

Theatre 

September 

New 

Carnegie 

Concert 

Liberty  Loan  Rally  pro- 

3° 

York 

Hall 

moted  by  Allied  Musical 

Arts 

October  5 

New 

Madison 

Songs 

Liberty  Loan  Rally  pro- 

York 

Square 

moted  by  United  Mov- 

Garden 

ing  Picture  Producers 

of  America 

October  9 

Buffalo 

Iroquois 

Songs 

IV  Liberty  Loan  Rally 

Hotel 

October  12 

New 

Metropol- 

Concert 

Benefit  Italian  Blind 

York 

itan 

Soldiers 

October  15 

Detroit 

Arcadia 

Pagliacci 

Management  Central 

Concert  Company 

November 

New 

Madison 

Songs 

Benefit  United  War 

3  after- 

York 

Square 

Works 

noon 

Garden 

Novembe 

New 

Hippo- 

Songs 

Benefit  Navy  Relief 

3  eve- 

York 

drome 

Fund 

ning 

Novembe 

New 

Biltmore 

Concert 

Friday  Morning  Musi- 

7 

York 

Hotel 

cale 

Novembe 

New 

Metropol- 

Samson et 

5 

Management  of  G.  Gatti- 

II 

York 

itan 

Dalila 

Casazza 

APPENDICES 


437 


DATE  or  FIRST 

PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN  1 

REMARKS 

1918 

November 

New 

Metropol- 

Forza del 

6 

Revival 

IS 

York 

itan 

Destino 

November 

New 

Metropol- 

Elisir 

5 

20 

York 

itan 

d'amore 

November 

New 

Metropol- 

Le Prophete 

6 

23 

York 

itan 

November 

Phila- 

Metropol- 

Elisir 

26 

delphia 

itan 

d'amore 

December 

New 

Metropol- 

Marta 

5 

7 

York 

itan 

December 

New 

Metropol- 

Lodoletta 

3 

18 

York 

itan 

December 

New 

Waldorf 

Concert 

Mr.  Bagby  Musicale 

23 

York 

Astoria 

December 

New 

Metropol- 

Pagliacci 

4 

25 

York 

itan 

1919 

January 

New 

Metropol- 

La Boheme 

2 

8 

York 

itan 

January 

Phila- 

Metropol- 

Samson et 

21 

del- 

itan 

Dalila 

phia 

February 

New 

Metropol- 

Aida 

2 

12 

York 

itan 

March  2 

Ann 

Hill 

Concert 

Management  Metro- 

Arbor 

Audi- 

politan Musical  Bureau 

torium 

March  3 

New 

Metropol- 

The Star 

League  of  Nations  Rally 

York 

itan 

Spangled 

Banner 

March  3 

Phila- 

Metropol- 

La Boheme 

del- 

itan 

phia 

March  22 

New 

Metropol- 

Act III 

To  celebrate  the  25th 

York 

itan 

Elisir 

year  of  his  operatic 

Act  I 

career 

Pagliacci 

Act  III 

Prophete 

March  25 

Phila- 

Metropol- 

Forza del 

delphia 

itan 

Destino 

April  2 

New 

Commo- 

Concert 

Commodore  Hotel  Musi- 

York 

dore 

cales 

Hotel 

438 


ENRICO    CARUSO 


DATE  OF  FIRST 
PERFORMANCE 

Cmr 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM- 
ANCES GIVEN 

REMARKS 

1919 

April  6 

Buffalo 

Broadway 

Concert 

Management  Metro- 

Audi- 

politan Musical  Bureau 

torium 

April  14 

New 

Metropol- 

barmen 

I 

York 

itan 

April  17 

^ew 

Metropol- 

?arewell appearance  with 

York 

itan 

Aid  a 

April  21 

Atlanta 

Audito- 

"orza del 

rium 

Destine 

April  24 

Atlanta 

Audito- 

Marta 

rium 

April  26 

Atlanta 

Audito- 

Pagliacci 

rium 

April  29 

Nash- 

ilyman 

Concert 

Management  of  Metro- 

ville 

Audi- 

politan Musical  Bureau 

torium 

May  2 

St. 

Coliseum 

Concert 

Louis 

M  ay  5 

Kansas 

Conven- 

Concert 

City 

tion 

Hall 

May8 

St. 

Audito- 

Concert 

Paul 

rium 

May  n 

Chicago 

Medinah 

Concert 

Temple 

May  13 

Mil- 

Audito- 

Concert 

wau- 

rium 

kee 

May  16 

Canton 

Audito- 

Concert 

Ohio 

rium 

May  19 

Newark 

ist  Regi- 

Concert 

ment 

Armory 

May  22 

Spring- 

Audito- 

Management of  Edward 

field, 

rium 

Marsh 

Mass 

Septembe 

Mexico 

Esperanza 

Elisir 

Management  of  Jose  del 

29 

City 

Iris 

d'amore 

River 

October  2 

Mexico 

Esperanza 

Ballo  in 

City 

Iris 

Maschera 

October  5 

Mexico 

El  Toreo 

Carmen 

City 

APPENDICES 


439 


DATE  OF  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

i| 

iO 

si 

3  •< 

H 

REMARKS 

1919 

October  9 

Mexico 

Esperanza 

Samson  et 

City 

Iris 

Dalila 

Dctober  12 

Mexico 

El  Toreo 

Salic  in 

City 

Maschera 

October  17 

Mexico 

Esperanza 

Marta 

City 

Iris 

October  19 

Mexico 

El  Toreo 

Samson  et 

City 

Dalila 

October  23 

Mexico 

Esperanza 

Pagliacci 

City 

Iris 

October  26 

Mexico 

El  Toreo 

Alda 

City 

October  28 

Mexico 

Esperanza 

Songs 

Benefit  Educational  Fund 

City 

Iris 

of  the  City  of  Mexico 

October  30 

Mexico 

Esperanza 

Manon 

Serata  d'onore 

City 

Iris 

Lescaut 

November 

Mexico 

El  Toreo 

Act  III  Elisir 

Farewell  appearance 

2 

City 

Act  III 

Marta 

Act  I 

Pagliacci 

November 

New 

Metropol- 

Tosca 

I 

Management  G.  Gatti- 

17 

York 

itan 

Casazza 

November 

New 

Metropol- 

La Juive 

7 

Revival 

22 

York 

itan 

November 

New 

Metropol- 

Pagliacci 

5 

26 

York 

itan 

November 

New 

Metropol- 

Forza del 

5 

28 

York 

itan 

Destino 

December 

Phila- 

Metropol- 

Elisir 

2 

del- 

itan 

d'amore 

phia 

December 

New 

Metropol- 

Samson et 

5 

10 

York 

itan 

Dalila 

December 

New 

Metropol- 

Marta 

4 

13 

York 

itan 

December 

New 

Metropol- 

Elisir 

5 

19 

York 

itan 

d'amore 

December 

Brook- 

Academy 

Marta 

23 

lyn 

of  Music 

1920 

January  6 

Phila- 

Metropol- 

La Juive 

delphia 

itan 

440 


ENRICO    CARUSO 


DATE  OP  FIRST 
PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

TOTAL  PERFORM-  1  1 
ANCES  GIVEN 

REMARKS 

1920 

January 

New 

Metropol- 

Manon 

I 

IS 

York 

itan 

Lescaut 

January 

New 

Waldorf 

Concert 

Mr.  Bagby  Musicale 

19 

York 

Astoria 

February 

New 

Metropol- 

Le Prophete 

s 

4 

York 

itan 

February 

Brook- 

Academy 

La  Juive 

24 

lyn 

of  Mu- 

sic 

February 

Pitts- 

Syria 

Concert 

Management  of  Metro- 

28 

burgh 

Mosque 

politan  Musical  Bureau 

March  2 

Phila- 

Metropol- 

Marta 

del- 

itan 

phia 

March  14 

Water- 

Audito- 

Concert 

Management  Metro- 

bury 

rium 

politan  Musical  Bureau 

March  28 

New 

Lexington 

Songs 

Italian  Loan  Rally 

York 

Opera 

House 

March  30 

Phila- 

Metropol- 

Forza del 

del- 

itan 

Destino 

phia 

April  5 

Scran- 

Armory 

Concert 

Management  Metro- 

ton 

politan  Musical  Bureau 

April  1  8 

Detroit 

Arcadia 

Concert 

Management  Central 

Concert  Company 

April  23 

Mew 

Metropol- 

Farewell appearance  with 

York 

itan 

La  Juive 

April  26 

Atlanta 

Audito- 

Samson et 

rium 

Dalila 

April  29 

Atlanta 

Audito- 

La Juive 

rium 

May  i 

Atlanta 

Audito- 

Elisir 

rium 

d'amore 

May  12 

Habana 

Nacional 

Marta 

Impresa  of  Adolfo 

Bracale 

May  1  6 

Habana 

Nacional 

Marta 

May  18 

Habana 

Nacional 

Elisir 

d'amore 

May  21 

Habana 

Nacional 

Ballo  in 

Maschera 

May  25 

Habana 

Nacional 

Pagliacci 

May  28 

Habana 

Nacional 

Tosca 

APPENDICES 


441 


DATE  OF  FIRST 
PERFORMANCE 

Cmr 

HOUSE 

OPERA  OR 
CONCERT 

1OTAL  PERFORM- 
ANCES GIVEN 

REMARKS 

1920 

Vlay  30 

labana 

STacional 

Jagliacci 

[une  2 

iabana 

^acional 

Carmen 

[une  5 

-Jabana 

^Jacional 

Carmen 

[une  8 

iabana 

^acional 

Aida 

[une  II 

iabana 

Sfacional 

Act  III  Elisir 

Serata  d'onore 

Act  I 

Pagliacci 

[une  13 

iabana 

^acional 

Aida 

>ast  appearance.     Per- 

formance suspended 

after  scene  I  of  Act  II 

because  of  explosion 

of  a  bomb 

[une  17 

Santa 

La  Cari- 

Act  III  Elisir 

'mpresa  of  Adolfo  Bra- 

Clara 

dad 

Act  I 

cale 

Pagliacci 

[une  19 

Cien- 

Terry 

Aida 

'mpresa  of  Adolfo  Bra- 

fuegos 

cale 

fune  26 

New 

Athe- 

Concert 

Management  Metropoli- 

Or- 

naeum 

tan  Musical  Bureau 

leans 

June  30 

Atlan- 

Ambassa- 

Concert 

Promoted  by  Victor 

tic 

dor 

Talking  Machine 

City 

Hotel 

Dealers  Association 

August  14 

Ocean 

Audito- 

Concert 

Management  Metropoli- 

Grove 

rium 

tan  Musical  Bureau 

September 

Mont- 

Mt. Roya 

Concert 

27 

real 

Arena 

September 

To- 

Massey 

Concert 

30 

ronto 

Hall 

October  3 

Chicago 

Medinah 

Concert 

Temple 

October  6 

St. 

Audito- 

Concert 

Paul 

rium 

October  9 

Denver 

Audito- 

Concert 

rium 

October 

Omaha 

Audito- 

Concert 

12 

rium 

October 

Tulsa 

Conven- 

Concert 

16 

tion  Hal 

October  19 

Fort 

Coliseum 

Concert 

Worth 

October  22 

Hous- 

City Audi 

Concert 

ton 

torium 

442 


ENRICO    CARUSO 


DATE  OF  FIRST 

PERFORMANCE 

CITY 

HOUSE 

OPERA  OR 
CONCERT 

I  TOTAL  PERFORM-  1  1 
1  ANCES  GIVEN 

REMARKS 

1920 

October  25 

Char- 

City Audi- 

Concert 

lotte 

torium 

October  28 

Nor- 

Taber- 

Concert 

folk 

nacle 

November 

New 

Metropol- 

La Juive 

Management  of  G.  Gatti- 

IS 

York 

itan 

Casazza 

November 

New 

Metropol- 

Elisir 

18 

York 

itan 

d'amore 

November 

New 

Metropol- 

Samson et 

24 

York 

itan 

Dalila 

November 

New 

Metropol- 

Forza del 

27 

York 

itan 

Destino 

November 

Phila- 

Academy 

La  Juive 

3° 

del- 

of Mu- 

phia 

sic 

December 

New 

Metropol- 

Samson et 

3 

York 

itan 

Dalila 

December 

New 

Metropol- 

Pagliacci 

Stricken  with  acute  pain 

8 

York 

itan 

on  side  during  aria. 

Performance  continues 

after  twenty  minutes 

rest 

December 

Brook- 

Academy 

Elisir 

Hemorrhage  attacks  him. 

II 

lyn 

of  Mu- 

d'amore 

Audience  dismissed 

sic 

after  Act  I 

December 

New 

Metropol- 

Forza del 

13 

York 

itan 

Destine 

December 

New 

Metropol- 

Samson et 

16 

York 

itan 

Dalila 

December 

New 

Metropol- 

Elisir 

Performance  canceled  at 

22 

York 

itan 

d'amore 

the  last  moment  on 

account  of  illness 

December 

New 

Metropol- 

La Juive 

Last  appearance  in  his 

24 

York 

itan 

life. 

INDEX 


INDEX 


ABARBANELL,  LINA,  225. 

Abbot,  Miss,  225. 

"Adriana  de  Lecouvreur ",  Caruso 
creates  role  in,  165, 166;  in  America, 
252. 

"Alda",  Caruso  sings  at  Petrograd 
in,  118,  119;  in  New  York,  185; 
in  Monte  Carlo,  190,  307;  in  Ger- 
many, 246;  in  Paris,  271. 

Alda,  Frances,  272,  280. 

Allen,  Julia,  254. 

Alten,  Bella,  207,  236,  272. 

Althouse,  Paul,  experience  with  Caruso 
in  regard  to  costume,  373. 

Amato,  Pasquale,  in  various  operas, 
201,  266,  271-273,  280,  284,  306, 
327;  Caruso  plays  trick  on,  202; 
friendship  for  Caruso,  283. 

"Amico  Francesco",  L',  46-48. 

"  Amore  dei  tre  Re  ",  L',  321. 

Angelini,  Signor,  95,  126. 

Annunzio,  Gabriele  d',  311. 

Arachite,  Sergeant  Angelo,  41. 

Arcangeli,  Alessandro,  130,  135,  142, 
167. 

Argenti,  Signor,  theatrical  agent,  79. 

Arimondi,  Vittorio,  in  various  operas, 
118,  122,  176,  190,  196,  197,  201; 
helpful  of  advice  to  Caruso,  103  ;  his 
account  of  experiences  at  Petrograd, 
1 19 ;  tells  of  Caruso  at  Monte  Carlo, 
191 ;  Caruso  plays  trick  on,  202. 

"Arlesiana  ",  L',  94,  100. 

"Armide",  283. 

Arnoldson,  Sigrid,  103,  118. 

Astruc,  Gabriel,  Paris  representative  of 
Caruso,  196, 209 ;  on  the  Caruso  furore 
in  Paris,  196,  197 ;  letter  to  Caruso, 
258»  259 ;  lays  plans  for  engagement 
of  Metropolitan  in  Paris,  270;  Caruso 
writes  to,  on  Paris  engagement,  274. 


BADA,  ANGELO,  312. 
Bagby  Musicales,  207,  225. 
"Ballo  in  Maschera,  II",  119. 
Barcelona,  engagement  at,  193-196. 
Baretti,  Rosa,  Caruso's  nurse,  10. 
Barnhill,  Rev.  Oliver  Paul,  325. 
Baroni,  Alice,  101. 
Baroni,  Giuseppe,  194. 
Barthelemy,  Richard,  314,  316,  317. 
Bastianelli    brothers     (Giuseppe    and 

Raffaele),  390. 
Bathori,  Jane,  158. 
Battistini,  Mattia,  in   various  operas, 

103,  118,  119,  122,  232. 
Beck,  James  M.,  332. 
Bellezza,  Vincenzo,  314,  318. 
Bellincioni,    Gemma,    43,     101,    107, 

108;    her  judgment  of  Caruso,  99. 
Belmont,  Mr.  and  Mrs.  Perry,  225. 
Bel  Sorel,  Signora,  101. 
Benjamin,  Dorothy,  marriage  to  Caruso, 

321,  323-326.     See  CARUSO,  MRS. 

ENRICO. 

Benjamin,  Mrs.  Park,  355. 
Benjamin,  Mrs.  Walter  R.,  331. 
Bensaude,  Maurizio,  169. 
Bensberg,  Kate,  57. 
Benvenuti,  Signora,  167. 
Berlin,    engagements     in,    200,     234, 

265,  300. 
Bernis,     Doctor     Albert,     impresario 

of  Liceo  Theater,  Barcelona,  193- 

195- 

Beronne,  Mr.,  219. 
Berriel,  Enrico,  194. 
Berutti,  Arturo,  108. 
Bevignani,  Vincenzo,  161,  162. 
Bianchini-Cappelli,  Elena,  50,  54. 
"  Black  Hand  ",  the,  attempts  blackmail 

on  Caruso,  268,  269. 
Bodanzky,  Arturo,  348. 


446 


INDEX 


"Boheme,  La",  story  of  Caruso's 
first  appearance  in,  84—88 ;  said  to 
be  too  strong  for  Caruso's  voice, 
91 ;  at  Genoa,  95 ;  at  Milan,  100, 
130-134;  in  Russia,  103;  at  Monte 
Carlo,  156;  in  New  York,  236,  253; 
in  Germany,  298. 

Boito,  Arrigo,  commends  Caruso,  116; 
invites  Caruso  to  create  role  in 
"Nerone",  297. 

Bonci,  Alessandro,  128,  129. 

Bonetti,  Camillo,  his  first  impression 
of  Caruso's  singing,  74,  75 ;  takes 
place  of  Mme.  Ferrari,  143. 

Bonini,  Signer,  59. 

Borelli,  Nedea,  82. 

Borelli,  Signer,  147,  152. 

Borgatti,  Signor,  143 ;  rivals  Caruso 
at  Bologna,  128,  129. 

Bori,  Lucrezia,  272,  298. 

Borlinetto,  Signora,  82. 

Borucchia,  Signor,  114,  168. 

Boston,  Caruso  severely  criticized  in, 
322. 

Bracale,  Adolfo,  352,  358. 

Brambilla,  Linda,  135,  142. 

Brancaleone,  Signor,  74. 

Breeskin,  Elias,  331,  335. 

Bressler-Gianoli,  Mme.,  201. 

Brombera,  Signor,  103. 

Bronzetti,  Giuseppe,  his  school,  13-18. 

Brozia,  Mme.,  271. 

Bruno,  Elisa,  169. 

Bucalo,  Emanuele,  152,  153. 

Buenos  Aires,  engagements  at,  107, 
108,  124-127,  142-146,  I74-I77. 
309-311,317,  318. 

Burke,  Thomas,  his  description  of 
Caruso's  singing,  212-216. 


CABRERA,  RICARDO,  his  account  of 
Caruso's  singing  in  Mexico  City, 
336-340. 

Calmetti,  Gaston,  letter  to  Caruso,  258. 

Calve,  Emma,  160. 

Cambon,  Paul,  letter  to  Caruso,  232, 

233- 
Campanari,  Giuseppe,  189. 


Campanelli,  Alfredo,  16. 

Campanini,  Cleofonte,  165,  169,  201 ; 
makes  offer  to  Caruso  in  behalf  of 
Chicago  Grand  Opera  Company, 
330. 

Candida,  Federico,  57,  100. 

Canessa,  Achille,  his  bust  of  Caruso, 

97- 

Cappelli,  Elena  Bianchini,  335. 

Cappelli,  Marchesa  Orazio,  349. 

Carbonetti,  Federico,  in  "L'Elisir 
d'Amore  ",  136-139. 

Carelli,  Emma,  in  various  operas, 
59,  114,  124,  126,  130,  135,  142. 

"Carmen",  Caruso  experiences  dif- 
ficulty in  Flower  song,  70;  in  Ber- 
lin, 234,  282. 

Carobbi,  Silla,  114. 

Carotini,  Signora,  118,  122. 

Carozzi,  Signor,  95. 

Carrera,  Signora,  126. 

Carrier,  E.  de,  239. 

Caruso,  Anna  Baldini,  mother  of 
Enrico,  10-13,  18,  19,  23. 

Caruso,  Assunta,  sister  of  Enrico,  to; 
death,  311. 

Caruso,  Enrico,  his  farewell  to  America, 
1-6;  the  telling  of  his  life,  6-9; 
birth,  10;  schooling,  n;  compan- 
ionship with  mother,  II,  12;  early 
capriciousness  of,  13 ;  in  Father 
Bronzetti's  school,  13-16;  his  first 
training  in  singing  and  music,  14; 
how  he  learned  the  words  and  notes 
of  his  opera  roles,  16,  76,  122; 
further  instruction  in  music  received 
by,  17;  influence  of  his  mother,  18, 
19;  end  of  his  schooling,  20 ;  enters 
Meuricoffre  plant,  21;  his  first 
operatic  venture,  21 ;  his  disposition, 
22;  death  of  mother,  23  ;  his  singing 
of  church  music,  23,  24;  love  for  his 
stepmother,  25,  26;  advancement 
in  business,  26;  sings  at  cafes  and 
baths,  27,  28 ;  first  meeting  with 
Edoardo  Missiano,  28;  comes 
under  the  instruction  of  Vergine, 
28;  Vergine's  method  with,  29-31; 
not  a  musician,  3 1 ;  incident  of  his 


INDEX 


447 


Majori  engagement  and  Baron 
Zezza's  overcoat,  32-34 ;  his  military 
experiences,  34-40;  celebrates  re- 
lease from  military  service,  41 ;  in 
amateur  representation  of  "Caval- 
leria  Rusticana",  42;  fails  in  trial 
for  the  Mercadante  Theater,  43-45  ; 
his  debut  in  "  L'Amico  Francesco  ", 
46-48;  his  appearance  at  Caserta, 
50,  51;  substitutes  in  "Faust"  at 
the  Bellini  Theater,  51,  52;  sings 
in  Cairo,  52-55 ;  sings  in  "  Rigoletto  " 
at  the  Bellini  Theater,  56;  at  the 
Mercadante,  57-59;  sings  twice  a 
day,  58;  failure  at  Caserta,  59; 
his  Sicilian  tour,  60-65 ;  sings  at 
Salerno,  65-73 ;  commended  by 
de  Lucia,  68  ;  and  Josephine  Grassi, 
68,  69,  79,  80;  the  breaking  of  his 
voice,  70-72;  his  vocal  endurance 
and  dependableness,  72,  73 ;  prog- 
ress of,  74;  acquires  greater  poise, 
75»  76;  second  Salerno  season, 
76-80;  at  the  Massimo  Theater, 
Palermo,  81,  82;  engaged  for  the 
Lirico,  Milan,  82,  83 ;  four  periods 
of  his  career,  84;  visits  Puccini 
and  is  chosen  to  sing  in  "La  Bo- 
heme",  84-88;  alliance  with  Ada 
Giachetti,  89;  difficulties  with 
Sonzogno  repertoire,  90-94;  his 
Genoa  engagement,  95-97;  more 
serious  work,  98 ;  his  success  in 
"La  Fedora",  99-101 ;  son  born  to, 
100;  Russian  engagement  of,  102- 
104;  sings  before  the  Czar,  104; 
South  American  engagement,  104— 
108;  at  home,  109-112;  engagement 
at  Costanzi  Theater,  Rome,  112- 
1 17 ;  contract  with  Vergine  annulled, 
115;  charmed  by  smoothness  and 
purity  of  singing,  115;  second 
Russian  engagement,  118—123;  ar~ 
rangement  of  his  day,  121,  122; 
further  study,  123;  second  South 
American  engagement,  124-127; 
Treviso  engagement,  127;  Bologna 
engagement,  128,  129;  his  first  pro- 
duction of  "La  Boheme"  at  La 


Scala,  129-134;  his  singing  of 
"L'Elisir  d'Amore",  135-140;  hos- 
tility toward,  141;  third  South 
American  engagement,  142-146; 
never  read  books,  145 ;  sings  in 
charity  performances  at  Trieste, 
147;  his  experiences  at  the  San 
Carlo,  Naples,  145-153;  at  Monte 
Carlo,  154-157;  creates  tenor  role 
in  "Germania",  156-158;  at  Co- 
vent  Garden,  158-161 ;  engages 
for  Metropolitan  Opera  House, 
161-165 ;  reluctance  to  do  business 
through  agent,  163,  164;  loath  to 
concede  that  others  had  helped  him, 
166,  167;  at  Trieste  and  Rome, 
167;  Metropolitan  engagement  can- 
celed owing  to  retirement  of  Grau, 
168;  at  Lisbon,  169;  makes  new 
engagement  with  Metropolitan,  170- 
172;  purchases  Villa  alia  Panche, 
near  Florence,  173  ;  in  South  America 
again,  174-177;  arrival  in  New 
York,  177-180;  first  meeting  with 
Conried,  181,  182;  his  first  appear- 
ance at  the  Metropolitan,  183 ; 
newspaper  comments  on,  184-187; 
sets  up  his  own  establishment,  187; 
regards  America  as  possible  future 
home,  188;  proposal  of  Conried  to, 
188;  sings  in  private  musicales, 
189;  at  Monte  Carlo  again,  190, 
191 ;  his  liking  for  pranks,  191,  202, 
207 ;  asked  by  Leoncavallo  to 
create  role  in  "Rolando",  191-193; 
his  experience  at  Barcelona,  193- 
196;  sings  at  Paris,  Prague,  and 
Dresden,  197;  purchases  Villa 
Campi,  198;  again  at  Covent 
Garden,  199;  birth  of  second  son, 
200;  sings  at  Berlin,  200;  sings 
with  San  Carlo  Company  at  Co- 
vent  Garden,  201 ;  tour  of  the  United 
States  with  the  Metropolitan,  203, 
204;  his  conscientious  thoroughness 
in  the  details  of  his  characters,  205, 
206;  his  generosity,  206,  207,  232, 
233>  259>  322»  323  >  enthusiasm  for, 
207,  208 ;  successes  at  Paris,  208- 


448 


INDEX 


21 1 ;  at  Covent  Garden,  212-218; 
his  singing  described  by  Thomas 
Burke,  212-216;  sings  at  Court  and 
receives  gift  from  King  and  Queen, 
216;  at  Ostende,  218-220;  not 
quite  happy  when  at  leisure,  221 ; 
beginning  of  his  third  season  at  the 
Metropolitan,  221 ;  his  receipts,  221, 
222;  featured  by  the  press,  223, 
224;  humorous  experiences  of, 
223,  224;  sings  at  concerts,  225; 
in  the  San  Francisco  earthquake, 
227-229 ;  guilty  of  certain  exagger- 
ations of  public  conduct,  230;  at 
the  height  of  powers  as  singer,  231 ; 
letter  to  his  brother,  Giovanni,  232; 
in  Vienna  and  Berlin,  233,  234;  re- 
ceives title  from  Kaiser  Wilhelm, 
234;  decorated  by  France,  235; 
fourth  season  with  the  Metropolitan, 
235-238;  receipts,  236;  in  London 
and  Paris,  238,  239;  decorated  by 
Belgium,  239;  letters  to,  239-244; 
pleasure  in  his  children,  239-242 ; 
decorated  by  the  King  of  England, 
243 ;  life  beginning  to  be  domi- 
nated by  orderly  procedure,  245  ;  in 
Germany,  246 ;  his  collection  of  ob- 
jects of  art,  247-251 ;  receipts,  251 ; 
his  endurance,  251;  as  fitted  for 
heroic  and  lyric  roles,  252,  299,  302, 
313,  321,  360,  379;  compared  to  De 
Reszke,  253  ;  disliked  to  appear  in 
concerts,  254;  why  he  used  music 
in  concerts,  254;  learns  of  the  death 
of  his  father,  255-257;  deserted  by 
Ada  Giachetti,  257 ;  letter  of  Gaston 
Calmette  to,  258 ;  letter  of  Coquelin 
to,  260,  261;  illness  of,  261-264; 
receipts,  263  ;  makes  concert  tour 
of  England,  Scotland,  and  Ire- 
land, 265 ;  in  Germany,  265 ;  re- 
ceipts, 266;  interview  with  Ada 
Giachetti,  267;  his  feeling  for  Ada 
Giachetti,  267,  274;  threatened  by 
the  "  Black  Hand  ",  268,  269 ;  and  the 
Paris  trip  of  the  Metropolitan,  269- 
274;  Otto  Gutekunst's  reminiscences 
of,  275-280;  his  "different  voices", 


281,282,  366;  friendship  for  Amato, 
283  ;  unable  to  complete  1911  engage- 
ment with  Metropolitan,  284,  285 ; 
sings  for  records,  285-292;  income 
from  records,  291 ;  rumors  concern- 
ing, 292,  293  ;  at  fancy-dress  charity 
ball  in  London,  294;  adjudged 
resident  of  London,  294;  his  im- 
proved art  in  1911-1912  engagement 
at  Metropolitan,  295,  296;  sings  in 
benefit  performance  for  families 
of  victims  of  Titanic,  297 ;  growing 
cynicism  of,  297;  invited  to  create 
tenor  role  in  "Nerone",  297;  first 
appearance  at  Paris  Opera,  298 ; 
enthusiasm  for,  in  Germany,  298, 
300;  his  diet,  301 ;  final  London  ap- 
pearance, 303  ;  suffers  from  nervous 
breakdown,  303 ;  sings  for  Italian 
workingmen  in  Germany,  304;  his 
feelings  opposed  to  the  Austrians 
in  the  War,  305 ;  at  Monte  Carlo, 
306-309;  terms  of  picture  engage- 
ments with  the  Metropolitan,  306; 
his  views  on  the  uncertainty  of  his 
profession,  307-309;  in  Buenos 
Aires  again,  309-311;  his  anger  at 
being  accused  of  pro-Germanism, 
311;  sings  in  Milan,  for  last  time 
in  Italy,  312;  hard  study  put  upon 
his  parts,  313-315;  letter  of  Otto 
Kahn  to,  315;  suffered  from  head- 
aches, 316;  the  1916-1917  season  in 
New  York,  316,  317;  his  final 
engagement  in  South  America,  317, 
318;  his  secretaries,  318,  319; 
buys  Liberty  Bonds,  320;  gives 
lessons,  320;  meets  Dorothy  Ben- 
jamin, 321;  sings  in  "Lodoletta", 
"Le  Prophete",  and  "L'Amore  dei 
tre  Re",  321,  322 ;  criticised  severely 
in  Boston,  322;  income,  322;  courts 
Miss  Benjamin,  323,  324;  in  motion 
pictures,  324,  326;  sings  at  Saratoga 
Springs,  324;  married  to  Miss 
Benjamin,  325;  sings  at  various 
concerts,  326,  327;  contributes 
sketches  to  La  Follia,  328;  refuses 
offer  of  Chicago  Grand  Opera  Com- 


INDEX 


449 


pany,  329-331;  remarried  to  Mrs. 
Caruso  with  Catholic  rites,  331 ;  his 
jubilee  celebration,  332-334;  con- 
cert tour,  335;  in  Mexico,  336-342; 
beginning  of  the  twilight  of  his 
career,  343 ;  kept  his  own  accounts, 
344;  the  estimated  value  of  his  es- 
tate, 344;  his  daily  habits,  345  ;  his 
part  in  "La  Juive",  345-348;  per- 
fect in  his  operas,  346;  daughter 
born  to,  349;  asked  to  subscribe  for 
Minnie  Hauk,  350;  concerts,  351; 
sings  in  Cuba,  352-356;  in  New  Or- 
leans, 356;  spends  summer  at  Long 
Island  home,  357, 358 ;  moves  to  Van- 
derbilt  Hotel,  358;  season  of  con- 
certs, 359;  makes  final  phonograph 
records,  3  59;  tribute  of  Otto  Kahn 
to>  359>  360;  criticism  of,  in  New 
York  papers,  360,  361 ;  sensitive  to 
criticism,  360,  363  ;  superstition  of, 
361;  a  religious  man,  362;  lived 
largely  according  to  the  golden  rule, 
362,  363 ;  informs  Gatti-Casazza 
that  he  wishes  to  resign  from  the 
Metropolitan,  364;  makes  final 
trial  and  remains,  365  ;  his  technique, 
365-371,  374;  had  vocal  resources 
of  phenomenal  order,  366;  never 
forced  his  voice,  368 ;  his  brilliancy 
and  resonance,  how  secured,  369; 
made  no  pronounced  physical  effort 
in  singing,  369 ;  his  nervousness  before 
and  after  the  beginning  of  a  perform- 
ance, 371-373 ;  how  he  prepared 
for  singing,  372,  375;  particular  in 
regard  to  costumes,  372,  373  ;  how  he 
coaxed  his  voice,  374,  375 ;  his  in- 
sistence for  detail,  376;  gave,  in 
singing,  all  he  had,  376;  considered 
by  Gatti-Casazza  in  a  class  by  him- 
self, 377-379;  illness  and  final 
performances,  379-387;  last  days 
and  death,  388-391;  list  of  decora- 
tions tendered  to,  395  ;  list  of  operas 
in  repertoire  of,  396 ;  list  of  operas 
sung  rarely  or  simply  studied  by, 
397;  list  of  appearances  of,  398. 
Caruso,  Mrs.  Enrico,  marriage,  321, 


323-326;  remarried  with  Catholic 
rites,  331;  her  account  of  how 
Caruso  studied  the  role  of  Eleazar, 
347;  robbed  of  jewels,  355,  357; 
in  Caruso's  last  illness,  379-391. 

Caruso,  Enrico,  Jr.,  birth,  200;  his 
father's  delight,  239-242;  letter  to 
his  father,  328,  329;  put  to  school 
in  America,  336. 

Caruso,  Giovanni,  brother  of  Enrico, 
10;  birth  of  son,  232;  present  at 
Enrico's  last  illness,  390. 

Caruso,  Marcellino,  father  of  Enrico, 
10,  24,  25. 

Caruso,  Maria  Castaldi,  stepmother  of 
Enrico,  25. 

Caruso,  Rodolfo  (Fofo),  100,  390. 

Caruso,   Gloria,   daughter  of  Enrico, 

349- 

Caruson,  G.,  147. 
Caserta,  Caruso  sings  at,  50,  59. 
Castagneto,  Prince  Adolfo  di,  149-153. 
Castaldi,  Maria,  25. 
Cavalieri,  Lina,  196,  211,  252. 
"Cavalleria  Rusticana",  Caruso's  first 

appearance  in,  50;    in  Salerno,  68; 

in  South  America,  108,  126. 
Chaliapin,  Feodor,  142,  298. 
Chicago  Grand  Opera  Company,  makes 

offer  to  Caruso,  330. 
Child,  Calvin  G.,  his  reminiscences  of 

Caruso,  285-292. 

Cincinnati  Symphony  Orchestra,  317. 
Cincotta,    Antonio,    of    the    "  Black 

Hand",  269. 

Clasenti,  Signer,  176,  194. 
Cochran,  W.  Bourke,  297. 
Connaught,  Duke  and  Duchess  of,  297. 
Conried,    Heinrich,    engages    Caruso 

for     the     Metropolitan,     170-172; 

Caruso's    first    meeting   with,    181, 

182;   decorated,  207;   succeeded  by 

Gatti-Casazza  and  Dippel,  262. 
Coquelin,  Constant,  letter  to  Caruso, 

260,  261. 
Corsi,  Emilia,  95. 
Corti,  Enrico,  127. 
Costanzi  Theater,  Rome,  engagement 

of  Caruso  at,  112-117. 


450 


INDEX 


Couzinou,  Alfred,  327. 

Covent  Garden,  engagements  of  Ca- 
ruso at,  158-161,  199,  201,  212,  232, 
238,  239,  299,  303 ;  opera  in,  as 
described  by  Thomas  Burke,  212- 
216. 

Cuba,  engagement  of  Caruso  in,  352- 
356. 

Cucini,  Signora,  118,  119,  143. 


DADDJ,  FRANCESCO,  201,  327. 

Dalmaro,  Mary,  114. 

Danesi,  Mile.,  43. 

Danise,  Giuseppe,  310. 

Darclee,  Ericlea,  143,  169. 

Daspuro,  Nicola,  Caruso  sings  to, 
43—45  ;  engages  Caruso  for  season  at 
Lirico  Theater,  Milan,  77,  78,  82, 
83  ;  insists  that  Caruso's  accomplish- 
ment was  due  to  his  own  instinct, 
1 66;  on  Caruso's  appearance  in 
"Fedora",  210. 

Decorations  tendered  to  Caruso,  395. 

Delia  Riza,  Gilda,  310. 

DelP  Orefice,  Maestro,  314. 

Depuis,  Maestro,  280. 

De  Simone,  Doctor,  319. 

Destinn,  Mme.,  in  various  operas, 
199,  212,  217,  232,  238,  266,  271, 
283,  284,  295,  299,  303,  306. 

Dippel,  Andreas,  administrative  mana- 
ger of  the  Metropolitan,  262; 
withdraws,  266. 

Di  San  Giuliano,  243. 

Domprowitch,  Mme.,  74. 

Donalda,  Mme.,  212,  232,  238. 

"Don  Giovanni",  232. 


EAMES,  EMMA,  252. 

Edgerton,  Hon.  Wilfred,  294. 

Edvina,  Mme.,  299. 

"Elisir  d'Amore,  L'",  revived  at  La 
Scala,  135-140;  at  Naples,  151, 
152;  at  Buenos  Aires,  317;  in  Mex- 
ico, 337734°- 

Elman,  Mischa,  335. 

Enright,  Police  Commissioner,  332. 


Ercolani,    Signer,    in    various    operas, 

124,  126,  143,  174. 
Erdmann,  Dr.  John  F.,  386. 
Evans,  Dr.  Evan  M.,  386. 


FALCO,  SIGNOR  DE,  77. 

"Fanciulla  del  West,  La",  283. 

Farneti,  Maria,  176. 

Farquhar,  Lord,  217,  243. 

Farrar,  Geraldine,  joins  Metropolitan 
Company,  225 ;  sings  with  Caruso, 
2S3>  273»  3O1 5  at  Caruso's  jubilee 
celebration,  334;  seeks  aid  for 
Minnie  Hauk,  350. 

Fasanaro,  Alessandro,  14. 

"Faust",  Caruso's  first  appearance 
in,  51,  52;  in  Naples,  59;  in  Ca- 
serta,  59,  60;  in  Russia,  122;  with- 
out chorus,  223,  224. 

"Fedora,  La",  Caruso's  first  appear- 
ance in,  99-101,  106,  107;  in  Paris, 
203-211 ;  in  New  York,  237. 

Ferraguti,  Vittorio,  54,  59. 

Ferrante,  Gherardo,  349. 

Ferrara,  Carlo,  impresario,  48. 

Ferrari,  Signora,  impresaria,  105-107, 
124. 

Ferraris,  Teresa,  158. 

Figueras,  Luis  Piera,  193—196. 

Florexo,  Mr.,  271. 

Florio,  Ignazio,  82. 

Fornari,  Vincenzo,  74. 

Fornia,  Rita,  254. 

"Forza  del  Destino,  La",  327. 

Franco,  Annina,  59,  69. 

Franko,  Nahan,  225. 

Fremstad,  Olive,  273. 

Fucito,  Salvatore,  315,  324. 


GADSKI,  JOHANNA,  185. 

Galante,  Filippo,  124,  145. 

Galassi,  Maestro,  59. 

Ganelli,  Elisa,  295,  296. 

Garden,  Mary,  335. 

Gatti-Casazza,  Giulio,  director  of 
La  Scala,  129;  at  rehearsal  of  "La 
Boheme",  133,  134;  produces 


INDEX 


"L'Elisir  d'Amore",  135,  136;  be- 
comes general  manager  of  the 
Metropolitan,  262 ;  writes  in  Gloria's 
book,  349;  urges  Caruso  to  remain 
in  the  Metropolitan,  364,  365 ;  his 
estimate  of  Caruso,  377-379;  in 
Caruso's  last  illness,  385,  386,  389. 

Gatto,  Amelia,  16. 

Gatto,  Giovanni,  13-16. 

Geniat,  Mile.,  271. 

Genoa,    engagement    of    Caruso    in, 

95-97- 

Gerardy,  Jean,  225. 

"Germania",  Caruso  creates  role  in, 
156-158. 

Germany,  197,  234,  246,  265,  298,  304. 

Ghibaudo,  Signora,  142. 

Giachetti,  Ada,  in  role  of  Mimi,  85 ; 
lives  with  Caruso,  89,  94;  sails  for 
South  America,  102;  joins  Caruso 
in  Petrograd,  119-121;  in  "Tosca", 
127,  128;  goes  with  Caruso  to  New 
York,  179,  187;  abandons  Caruso, 
257;  final  interview  of  Caruso  with, 
267. 

Giachetti,  Rina,  201,  232,  239. 

Giacomo,  Salvatore  di,  69,  73. 

Gilbert,  Charles,  238,  239. 

Gilly,  Mme.  Dinh,  303. 

"Gioconda,  La",  success  of  Caruso  in, 
74,  78,  81,  207,  222,  226. 

Giordano,  Signor,  secretary  of  Caruso, 
191. 

Giordano,  Umberto,  Caruso  in  his 
"La  Fedora",  99-101;  letters  to 
Caruso,  211,  237. 

Giorgio,  Cavalier  C.  di,  82. 

Giraldini,  Giraldino,  147,  167. 

Giraldoni,  Eugenio,  126,  128,  143,  169, 
174,  207. 

Giraud,  Fiorello,  169. 

Grassi,  Josephine,  68,  79,  80. 

Grass!,  Peppo,  68—73. 

Grau,  Maurice,  Caruso's  first  arrange- 
ment with,  161-164;  retires  from 
Metropolitan,  168. 

Greffulhe,  Countess,  196,  238,  271. 

Guard,  William  J.,  382. 

Guarini,  Signor,  74. 


Guarnieri,  Antonio,  127. 
Guerrini,  Virginia,  169,  176,  190. 
Gunsbourg,  Raoul,  156,  329. 
Gutekunst,    Otto,    294;    his    reminis- 
cences of  Caruso,  275-280. 


HAMMERSTEIN,  OSCAR,  proposes  to 
give  operas  in  Manhattan  Opera 
House,  226. 

Harowitz,  Dr.  Philip,  380-386. 

Harrold,  Orville,  348. 

Havana,  Caruso  sings  in,  352-356. 

Hempel,  Frieda,  316. 

Herbert,  Victor,  225. 

Higgins,  Henry  V.,  154,  155. 

Homer,  Mme.,  in  various  operas, 
207,  222,  254,  271,  327. 

"Huguenots,  Les",  299. 

Hylan,  Mayor,  332. 


"Iris",  114,  115,  125,  126,  129,  252. 


JADLOWKER,  HERMAN,  273. 
Journet,    Marcel,    in    various    operas, 
159,  160,    199,   212,  232,  239,  307, 

3°9- 

"Julien",  301. 
"Juive,  La",  345-348. 


KAHN,  OTTO  H.,  suggests  that  Caruso 
sing  in  "L'Elisir  d'Amore",  140; 
favors  having  the  Metropolitan 
Opera  Company  sing  in  Europe, 
269;  letter  to  Caruso,  315;  his 
address  at  Caruso's  jubilee  cele- 
bration, 333, 334;  tribute  to  Caruso, 

359,  360- 

Keith,  Mrs.  John  S.,  325. 
Kessler,  George  A.,  218. 
Keyes,  Margaret,  254. 
Kirkby-Lunn,   Mme.,    199,   239,   303. 
Kotlarsky,  "Sammy",  254. 
Krusheniska,  Salomea,  118,  119. 
Kubelik,  Jan,  220. 
Kurz,  Selma,  199,  212,  233,  239. 


452 


INDEX 


LABIA,  FAUSTA,  168,  169. 

La  Cote  d'Or,  43. 

Lambert,  Dr.  Samuel  W.,  386. 

Landi,  Alberto,  74. 

Lapeyerette,  Mme.,  271. 

La  Puma,  Signer,  143. 

Lasciarelli,      Arturo,      and      Caruso, 

84-88. 

Lasky,  Jesse  L.,  324. 
Lavelle,  Monsignor,  349. 
Leary,  Miss,  207. 
Lejeune,  Mme.,  212. 
Leonardi,  Signer,  108. 
Leoncavallo,  Ruggero,  asks  Caruso  to 

create  role  in  "Rolando",  191-193. 
Lerma,  Maria  de,  108,  122. 
Le   Volpi  della  Scozia,  62-65. 
Lisbon,  engagement  of  Caruso  at,  169. 
Litvinne,  Feha,  307. 
Livorno,    engagement   of  Caruso    at, 

84-89. 

"Lodoletta",  Caruso  sings  in,  318,321. 
"Lohengrin",  Caruso  in,  145,  146. 
Lombard!,  Vincenzo,  30,  66-73,  77- 
London,  Covent  Garden.     See  Covent 

Garden. 
Lorello,  Enrico,  66;   becomes  Caruso's 

secretary,  112. 
Lorini,  Elvira,  108. 
Luca,  Giuseppe  de,  95,  165,  174,  176, 

316. 

Luca,  Salvatore  de,  laboratory  of,  17. 
Lucchese,  Josephine,  381. 
Lucente,  Signor,  167. 
Lucia,  Fernando  de,  praises  Caruso,  68. 
"Lucia     di     Lammermoor",    Caruso 

in,  61-65. 

Luppi,  Oreste,  130,  135. 
Lutio,  Raffaele  de,  17. 
Luzzatto,  Attilio,  117. 


"MADAMA  BUTTERFLY",  212-217. 
Magini-Coletti,     Antonio,     127,     137, 

138. 

Magni,  Ludovico,  57. 
Maguenat,  Alfred,  307,  309. 
Majori,  engagement  of  Caruso  at,  32, 

33- 


Mancinelli,  Luigi,  199. 

Manhattan  Opera  Company,  266. 

"Manon",  126,  153. 

"Manon  Lescaut",  53-55,  79,  176. 

Mansueto,  Gaudio,  169. 

Marafioti,  Doctor  P.  Mario,  320,  321, 

381. 

Marchi,  Emilio  de,  114. 
Marconi,  Francesco  (Checco),  118. 
Mariacher,  Signor,  143. 
"Mariedda",  60. 
Marinuzzi,  Gino,  310. 
"Marta",  175,  353,  376. 
"Maschere,  Le",  Caruso  creates  role 

in,  135,  141. 

Mascheroni,  Edoardo,  107,  151. 
Mascia,  Baron,  74. 
Masini,  Angelo,  43,  118,  2x1. 
Masola,  Signora,  69,  77. 
Massa,  Giovanni,  95,  97,  98. 
Massiano,   Edoardo,   first   meeting  of 

Caruso  with,  28. 
Matzenauer,  Margarete,  295. 
'Mefistofele",  116,  119,  120,  124,  125, 

142. 
Melba,  Nellie,  at  Covent  Garden,  155, 

159,  160,  199,  212,  232,  239,    299; 

at   Monte   Carlo,    156,    157;    sings 

before   King   of  England,   217;    in 

Paris,  259. 

Melis,  Carmen,  298,  299. 
Mendiorez,  Signor,  126. 
Menotti,  Delfino,  101,  107. 
Mercadante  Theater,   Naples,   43-45, 

57- 

Metropolitan  Opera  Company,  Caruso 
makes  engagement  with,  161-165 ; 
engagement  canceled  owing  to  re- 
tirement of  Grau,  168 ;  Caruso  con- 
cludes new  engagement  with,  170- 
172;  Caruso's  first  appearance  with, 
182;  first  season  with,  182-189; 
other  seasons  with,  203—208,  221- 
229,  236-238,  246,  251-254,  262-264, 
266-269,  282-284,  295-301,  305, 

306,    313-315.    3l8~323»    327»    344- 
351;  travels   to  Pacific  Coast,  226— 
229;    gives  opera  in  Paris,  269-274. 
Mexico,  Caruso  sings  in,  336-342. 


INDEX 


453 


"Mignon",  45. 

Milan.     See  SCALA,  LA. 

Mingardi,  V.,  124. 

Miranda,  Lalla,  219. 

Misiani,     Antonio,     of     the     "Black 

Hand",  269. 

Mocchi,  Walter,  309,  311. 
Mod  rone,  Duke  of,  133,  138. 
Monaco,  Cavalier  Alfredo  (Monaciello), 

H9-IS3. 
Monte  Carlo,  Caruso  sings  at,  154-157, 

306-309. 

Montesanto,  Luigi,  312. 
Monteux,  Pierre,  327. 
Montevideo,  127,  176,  318. 
Monti-Baldini,  114. 
Morgana,  Nina,  324,  331,  335. 
Morichini,  Vincenzo,  111-114. 
Moscate-Ferrara,  Mme.,  50. 
Moscow,  122,  123. 
Mugnone,  Leopoldo,  79,  81,  82,  114, 

117,  129. 

Murray,  Dr.  Francis  J.,  385,  386. 
Muzio,  Claudia,  312,  327. 


NAGLIATI,  MAJOR,  36-40. 

Naples,  Caruso  sings  in,  57~59,  147- 

153. 

Napolitano,  Daniele,  77. 
Navarette,  Senorita,  376. 
"Navarraise,  La,"  92-94. 
Nawisky,  Eduard,  200. 
"Nerone",  297. 
Neumann,  Angelo,  197. 
New  Orleans,  Caruso  sings  in,  356. 
Nielsen,  Alice,  201. 
Niola,  Amelia  Tibaldi,  20. 
Niola,  Doctor  Raffaele,  20. 
Nordica,  Lillian,  160,  207,  222. 
Nuovina,  Signora  de,  93,  94. 


ODDO,  SIGNOR,  64. 
O'Hagan,  Lady,  294. 
Operas,  in  repertoire  of  Caruso,  396; 
rarely  sung  or  simply  studied  by,  397. 
Ormeville,  Carlo  d',  105. 
Ostende,  Caruso  sings  at,  218,  219. 


PACINI,  REGINA,  160,  169. 
Pacini,  Signor,  126,  167. 
Padovani,  Adelina,  147. 
Pagani,  Signor,  69,  72,  73. 
"Pagliacci,  I",  Caruso  in,  72,  73,  246, 

304,  312,  326,  327;   effectiveness  of 

Caruso's    singing   in,    258;    energy 

required  by,  376. 
Palermo,    Massimo    Theater,    Caruso 

sings  at,  81,  82. 

Palmieri,  Giuseppe,  establishment  of,  17. 
Pandolfini,  Angelica,  165,  169. 
Paolicchi-Mugnone,  82. 
Pareto,  Signorina,  309. 
Paris,  Caruso  sings  at,  196,  197,  208- 

211. 

Parkina,  Mme.,  217. 
Pasini-Vitale,  Lina,  168. 
Patiti,  at  the  San  Carlo,  148-153. 
Patti,  Adelina,  218. 
"Pearl  Fishers,  The",  95,  97. 
Penchi,  Signora,  74. 
Petri,  Elisa,  108. 
Petrograd,  Caruso  sings  in,   102-104, 

118-122. 

Pignataro,  Enrico,  50,  69,  77,  197. 
Pini-Corsi,  Antonio,  85,  95,  169. 
Pinkert,    Regina,    in    various    operas, 

95,  137,  138,  151,  152,  197. 
Pinto,  Amelia,  142-144,  158. 
Plan^on,  Pol,  160,  185,  199,  222. 
Podesti,  Vittorio,  118,  119,  272. 
Polacco,  Giorgio,  298,  316,  346. 
Pome,  Maestro,  298. 
Ponselle,  Rosa,  327,  348. 
Potenza,  Signor,  57. 
Prague,  Caruso  at,  197. 
Procida,  Baron  Saverio,  152. 
"Prophete,  Le",  321. 
Puccini,   Giacomo,   selects   Caruso  to 

sing  in  "La  Boheme",  84-88;  gives 

role  of  Cavaradossi  to  de   Marchi, 

114. 
"Puritani,  I",  66,  67. 


RAPPOLD,  MME.,  225. 

Rapponi,  Ida,  126. 

Rejane,  Mme.,  writes  to  Caruso,  274. 


454 


INDEX 


Renaud,  Maurice,  in  various  operas, 
157,  159.  i6o»  190,  196,  199,  259. 

Reszke,  Edouard  and  Jean  de,  243, 
244,  258. 

Ricceri,  Temistocle,  304. 

Ricordi,  Giulio,  298. 

Ricordi,  Tito,  letter  to  Caruso,  205. 

"Rigoletto",  Caruso  in,  in  Naples, 
56,  59;  in  Salerno,  65,  66;  at 
Buenos  Aires,  144;  at  Monte  Carlo, 
157;  in  London,  159;  in  Rome, 
167;  in  Spain,  194-196;  in  Paris, 
196,  259;  in  London,  199,  231;  in 
Berlin,  200;  in  Belgium,  218-220; 
in  Vienna,  233. 

Rinskopf,  Maestro,  220. 

Rio  de  Janeiro,  177. 

Riso,  Signora,  59. 

Robinne,  Mile.,  271. 

Roggeri,  Mme.,  310. 

"Rolando",  192,  193. 

Rome,  engagement  of  Caruso  at,  112- 
117. 

Rossato,  Signer,  59. 

Rossi,  Giulio,  169. 

Rosslyn,  Lady,  294. 

Roth,  Maestro,  200. 

Rothier,  Leon,  316,  348. 

Roversi,  Luigi,  319. 

Royer,  Mary,  156. 

Rubinstein,  Arthur,  335. 

Ruffo,  Titta,  211,  233,  298. 

Russ,  Giannina,  190. 

Russia,  102-104,  118-123. 

SAER,  LOUISE,  governess  of  Caruso's 

children,  239-242. 
Salerno,    Caruso  sings    in,  65-73,  7°~ 

80. 
Sammarco,  Mario,  143,  158,  201,  239, 

299,  310. 

"Samson  et  Dalila",  313,  365. 
San   Carlo,   Naples,   Caruso  sings  at, 

I47-I53- 

San  Francisco  earthquake,  227-229. 
Santarelli,  Signora,  101. 
Santini,  Maestro,  55. 
Saratoga  Springs,  Caruso  sings  at,  324. 


Sarmiento,  Alfredo,  53,  314. 

Scala,  La,  Milan,  Caruso's  first  ap- 
pearance at,  129-142. 

Scalise,  Maestro,  74. 

Scalzi,  Count,  319. 

Scandiani,  Signor,  239. 

Schafer,  Fraiilein,  197. 

Scheff,  Fritzi,  160. 

Schirardi,  Ernesto,  17. 

Scognamiglio,  Gaetano,  314. 

Scognamillo,  Enrico,  319. 

Scotney,  Evelyn,  348. 

Scott,  Henri,  254. 

Scotti,  Antonio,  in  various  operas, 
74,  75,  154,  160,  161,  168,  183,  185, 

199,    2O7,    212,    217,    227,    232,    236, 

238,  239,  252,  272,  298,  299. 

Sebastiani,  Maestro,  57,  59,  69. 

Segurola,  Andreas  de,  143,  195,  272, 
346. 

Sembrich,  Marcella,  183,  189,  236. 

Serafin,  Tullio,  259. 

Severina,  Mme.,  239. 

Shrewsbury,  Earl  of,  294. 

Sicily,  tour  of,  60-65. 

Sicofanti,  at  the  San  Carlo,  148-153. 

Simonelli,  Giovanni,  168. 

Simonelli,  Pasquale,  170-172,  179,  181. 

Siracusa,  Maestro,  60. 

Slezak,  Leo,  272. 

Smith,  James  H.,  207,  225. 

Sonzogno,  Edoardo,  publishing  house 
of,  43  ;  Caruso  member  of  his  com- 
pany, 82,  83,  90-94,  98;  letters  to 
Caruso,  1 06,  208,  209;  generous  offer 
of  Caruso  to,  165. 

Sormani,  Maestro,  136,  137. 

South  America,  engagements  of  Caruso 
in,  104-108,  124-127,  142-146,  173- 
177,  309-3ii»3i7»3i8. 

Spain,  Caruso  sings  in,  193-196. 

Spasiano,  Giuseppe,  15,  16. 

Sperco,  Constant  J.,  319. 

Spoto,  Signor,  169. 

StafFelli,  Giulio,  60. 

Stagno,  Roberto,  43,  99. 

Stefanini,  Giro,  336. 

Stehle,  Adelina,  43. 

Stella,  Dr.  Antonio,  386. 


INDEX 


455 


Stoller,  Mary,  200. 
Storchio,  Rosina,  95. 
Stracciari,  Riccardo,  169,  254,  351. 
Sturani,  Giuseppe,  310. 


TABOGO,  SIGNOR,  108. 

Taft,  President,  297. 

Tanara,  Fernando,  321. 

Tango,  Egisto,  127. 

Terzi,  Signer,  82. 

Tetrazzini,  Eva,  169. 

Tetrazzini,  Luisa,   103,  Il8,  351. 

Thevenet,  Mme.,  196. 

Thos,  Constantino,  153. 

Tomagno,  Francesco,  43. 

Tonello,  Father,  his  account  of  how 
Caruso  received  the  news  of  his 
father's  death,  254-258 ;  on  Caruso's 
religion,  362. 

Torresella,  Fanny,  167. 

"Tosca",  the  tenor  role  in,  112-114; 
Caruso's  success  in,  129;  in  South 
America,  143,  144,  174;  in  New 
York,  1 86,  223. 

Toscanini,  Arturo,  298,  312;  con- 
ductor at  La  Scala,  129-138,  158; 
in  Buenos  Aires,  174,  176;  principal 
conductor  of  the  Metropolitan,  262- 
271. 

Traversi,  Camillo  Antona,  reports 
interview  with  Caruso,  307-309; 
letter  of  Caruso  to,  311,  312. 

"Traviata,  La",  57,  58,  84,  188. 

Trentini,  Emma,  147,  201. 

Trieste,  147,  167. 


VALLIN-PARDO,  MME.,  317. 
Vanderbilt,  Mrs.  Cornelius,  284. 


Vedova,  Professor  della,  264,  265,  293. 

Vendome,  Duke  and  Duchess  of,  239, 
240. 

Vergine,  Guglielmo,  his  methods  with 
the  young  Caruso,  28-3 1 ;  recom- 
mends Caruso  to  Daspuro,  44;  ad- 
vises Caruso  to  sing  in  "L'Amico 
Francesco",  46;  his  faith  in  Caruso, 
77,  78;  and  Milan  engagement  of 
Caruso,  83 ;  annuls  contract  with 
Caruso  by  adjustment,  115. 

Viafora,  Gina,  187. 

Vienna,  233. 

Vigna,  Arturo,  156,  183,  190,  196,  222. 

Villani,  Peppino,  21. 

Visciani,  Impresario,  67. 

Vitale,  Edoardo,  167,  169. 

Viviani,  Ludovico,  372. 

Vix,  Genevieve,  310. 

Voghera,  Tullio,  254,  314. 


WADLER,  MAYO,  324. 
Whitehill,  Clarence,  212,  217. 
Whitney,  Mrs.  W.  Payne,  189. 
Wilkinson,  Everett,  387. 
Wilson,  President,  331. 
Wilson,  Mrs.  Orme,  189,  226. 


ZANOLINI,  MR.,  206,  207. 

Zeppelli,  Alice,  309. 

Zezza,  Baron,  33,  34. 

Ziegler,  Edward,  382,  386. 

Zirato,    Bruno,    Secretary   to   Caruso, 

318,319,325,331. 
Zuccani,  Giovanni,  44,  45. 
Zucchi-Ferregni,  Signora,  77. 
Zucchi,    Francesco,    theatrical    agent, 

48,  49,  59,  65. 


ML     Key,  Pierre  Van  Rensselaer 

420      Enrico  Caruso 

C38K3 


husic 


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