New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-03-02
Mr.. Car1ss0 8 Adventures
heorsoI in a Small Italian City,; The Demon Rum
Plays Him Sorry Trick; He Earns amusing Title
By Granville Vernon

lnent or TACT, but ABOUT that TACT
how much inoperatic history gathers!
Alive and in the heYday Of his powers,
Caruso is already myth. Like all the
universally acknowledged great, he is
lifted above the petty jealousies of
those who otherwise might be his
rivals. AS tenor he stands quite
proudly without a peer. OF such as
the names of Jenny Lind and Grsi and
Maurel will be the name of Enrico
Caruso, one of the few names in oper-
attic history destined to remain, though
time will long have silenced his voice.
Whether or not the adulation
aroused by this one figure has had a
beneficial effect upon opera in New
York may be a mooted question, but if
it has not it is the fault of the public
has never proved false to the gifts
which are his; no has realized the re-
sponsibilty of his stewardship; he has
striven always to give the very best
that is in him. In an age of slipshod
declamatory singing he has retained
the graces of bel canto. At times the
public's insistence has forced him into
parts unworthy of his powers, where
upon he has raised those parts to levels
above those given to them by their
composers. Essentially a lyric tenor
and supreme in the music of the old
Italian school, he has essayed dramatic
roles so successfully that even in these
he has had no equal of recent years.
Puccini, that he has been unap-
preached, or perhaps napproachable
The oldest operagoers have assented
that in such music the golden mellow
ness of his voice has never been
equalled II the half baked tenors of
the day would forego their stentorian
outpourings, take few weeks off and
sit at the feet of his Nemorino, his
Rodolfo, or his Duke of Mantua they
would learn more than was ever
taught them by any maestro. En-
rico Caruso possesses the voice of the
century, but he possesses more than
that-he is a great and sincere
singer.
The Tenor's Debut
Mr.. Caruso made his debut in for
gotten opera by a forgotten composer,
"L'Amco Franceso," by one Moreli
The opera received four performances
in a theatre in Naples, and Caruso re-
ceved 90 lire, or $40. for the four per-
formances. Morelli was a young com
poser who hired the theatre and en-
gagged the company, so that his work
might receive q public hearing. A
friend approached Caruso and told him
that he could have the tenor part if
he would take the so lire. Nergine,
Caruso's teacher, who also had him
under contract, believed that it would
be an excellent opportunity for the
young tenor to gain public recognition,
and the bargain was closed. Both the
opera and the tenor made an excellent
impression, and on the strength of his
appearance Caruso was offered an en-
gagement at Caserta for 50 a night
The engagement was shortlived, but
during 1t he sang in Faust" "Caval-
leria Rusticana" and new opera,
"Camoens." Despite the fact that the
tenor was earning the sum of only 10
lire a performance, and the rest of the
company was paid likewise, the venture
collapsed and Caruso returned to
Naples with ~ cents in his pocket.
1t was, however, evident that tho
Neapolitan managers had heard him
sing at Caserta, for he was engaged
for the autumn season at the Teatro
Bellini, where he sang his repettory
with more or less success. Then came
the engagement at the municipal opera
In Trepano, Sicily, an engagement in
some respects the most extraordinary
of the great tenor's career. Let Mr..
Caruso tell It in his own words:
Youthful Poverty
"My moderate success at the BelIini
having become known, / accepted an
engagement as the lyric tenor at the
opera In Trepano. l was poor, but
young, strong and hopeful. On my ar
rival at Trepano | engaged room
with meals included at lire day
The chief barytone Of tho company
however, invited ms TO his house. say
ing that he could give me board and an
excellent room for only 3 lire. In an
evil moment accepted changed my
lodgings and my luck. At first things
went smoothly, the rehcarsals OF
Lucia, In which I WAS TO make my
debut. were soon In full swing. and
every one was satisfied. Then came tho
dsy Of thu dress rehsnrnsl, and my
trouble began.
"A dress rehearsal In the small
Italian elites 10 exactly like a per-
formanee, except that the audience In
invited. and a singer must do his best
or he will find himself protested by
the municipal board which controls
the theatre. II singer Is protested
II means. that his engagement Is ended
was. however, unafraid. ! knew my
voice. and l knew what | could do
only ] did not count upon the wine of
Trepano. was never a drinker,
though, Ike every Neapolitan, | always
had my glass al dinner. The wine of
Naples IL, however, light, and though