New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-12-25
AT THE TOP OF THE LADDER OF SONG
C4RUSO TELLS HOW He GOT THERE AND OTHERS
RELATE HOW THEY IRE STILL CLIMBING

secreted themselves with more haste than dig
hlty- But Caruso was amply revenged for this.
as VIII appear later. In interview he gave
TINS account Of how he came to be a professional
singer
1 mad always been blessed with good voice.
ana as a boy I sang good deal in church
cholrs. My friends thought so we'll of nv voice
ana my prospects OF success with it that they
urged me to study for the operatic stage. Natu-
rally l was somewhat influenced by their advice.
and when, at the age of eighteen. my voice
changed from alto to tenor I followed their sug-
gestions and placed myself In the charge of
professor of music in Naples.
1 got anything but encouragement from my
relatives in my musical ambitions Ny whole
family. and my father in particular bitterly OPP
posed my decision 10 study for the stage and in
order TO carry out my plans I was obliged 10
leave home But i'm other respects I had no
serious obstacles to overcome. After due study
and practice / made my debut in Naples as the
hero Of an opera by a NearoIican amateur com
poser Of talent named Eobii. and was we'll re-
ceived- After that I was engaged for a large
provincial opera house where l vas not SO fort
innate. IN fact, I got anything but pleasant
reception. being roundiy Kissed by the house So
emphatic was the expressed dtsDIeasure Of the
audience that another tenor was promptly en-
gagged 10 take ny place. But he Jared worse
than I did In fact the public treated him so
cruelty that I was re-e1gagcd TO appear IN the
same part. l cannot explain it. but it is a fact
that this time I was applauded
Il have no favortte role 1t is my belief that
no true artist should swear by one part rather
than another. love all the parts 7 sing. Il they
are suited TO my voice and are good parts. But
only lyric parts suit my voice. and I sing only
these. for I am not a tenOre robusto. 1 an.
md of aYT rEa oI.F Ts-It
operas"
It would be curious. indeed If American audi
ences did not win Caruso's appreciation. since
he has won theirs TO such an exceptional extent.
And so it was not surprise TO hear him say:
American operate audiences seem TO me
fully as enthusiastic. when there & reason for
enthusiasm, and quite as discriminating as
European audiences" But all things American
do not please Caruso. He is particularly saw
age about the steam radiator.
The American climate does not trouble me at
all" he says, "desplte its variability. But I do
not admire the American method of heating
houses. It tends 10 drv I'D the throat and Is
very trying. I make a practice Of turning off
the steam heat in my rooms and always have
the windows open Cold is very much less dan
EsrOus. I ind. than heat
one of the best Representative among the
singers at the Metropolitan Opera House OF
those who have already made substantial prog
ress toward the TOD Of the ladder is Lloyd Rand.
This young tenor is an American. and for
wonder. a sure enough New-Yorker having
been born in Tventy-second-st. about twenty
seven years ago. lie has attracted some IA
vorabIe attention this season by his appear
ances as Volkgesang in Die Meistersinger"
and also in one OF the minor parts IN 'Lucrezia
Borgta.' the cheerful Italian opera which re-
Gently had what Mr.. Rand larnents will prob
ably be its only presentation he-e this winter.
Among the influences which have operated to
bring singers to the operate stage some one
element has usually predominated. Probably
few Of these Influences have partaken so deeply
Of the humorous element as the one which In
duced Mr.. Rand TO abandon business for an ar
tistic career. In his own words: