The New York herald., 1921-08-03
Continued from First Page.

q
can fill his place. There is no one whc
can be regarded as q satisfactory sub
stitute. This can be said with due re.
gard for the merits OF other tenors
known to Metropolitan audiences. These
singers would be first to declare thai
there was only one Caruso. In so ia,
as the company now under the direction
of Gatti Casazza is concerned, no one OF
its tenors can be expected to take III
any of Carusos more dramatic roles
with any hope Of high public favor
Some of the operas in the repertory will
undoubtedly have to be laid aside fol-
a time unless the impresario can f'no
a new and acceptable impersonator OF
Eleucsf' and John of Leyden. The lyric
roles can be acceptably sung by some
of the present members of the company
\ The effect of these probable changes
will surely not be as great as would at
FIRST be naturally expected. 1t has been
proved in former seasons when Caruso
had TO stop singing that as soon as
the public was convinced that he could
not be heard it ceased to wait for him
and returned In full force to the opera
house. Last season doubts fingered In
many minds and some believed almost
against hope that perhaps the great
tenor would be heard before the doors
closed in April, but now there can be
no waiting
II Is certain that the name Of Caruso
has gone into the Hall of Fame of
musical history. to be proudly inscribed
beside those which glorihed italian
opera in the eighteenth and nineteenth
centuries. The public, loves opera. and
it will go TO hear opera despite the fact
that for the last dozen OF years II has
been educated 10 believe that while
other singers might be stars. Caruso
alone was the Sun. The Metropolitan
is an institution OF an impregnable VI
tally Many thought 1t could not sur
vive the departure OF the great Jean de
ReszlSe. but II lived brilliantly through
the brief intervale between his farewell
and tho publics discovery OF the new
and different charms OF his successor.
The fact that with Caruso botted
from the lyric armament only stars
dimly light the darkness should not
make the outlook hopeless. His death
Is tragic loss. an untimely ending OF n
glorious career. reason for wide and
deep grief. But there will be opera at
the Metropolitan because there must be
and the genius % Gatti Casazza will find
a way to satisfy public demand.
Enrico Caruso was born In Naples
Italy. February 25. 1878, the son OF
Marceliius Caruso, mechanic who
detested music, but was persuaded to
permit his son when II years old to
sing In the churches OF his native city
An unpromising pupil. for three years
he studied under Guglielmo vergine,
pledging his teacher that when ready
for a professional career he should pay
him one-quarter OF his earnings for the
following five years.
He made his debut in 'L'Amico Fran
cesco' at the Nuovo Theatre, Naples In
1894, later toured italy and Sicily and
was engaged for four seasons at La
Scala. Milan. Subsequently he sang In
St Petersburg, Moscow, Warsaw, Rome,
Lisbon. Paris London and leading cities
Of Germany When he came to the Met
ropolitan Opera House IN New York on
November 23. 1903. the critics did not go
into ecstasies over him. One OF them
wrote on the opening night: "Signor
Caruso Gas The Duke in 'RigolettoO has
many of the tiresome Italian vocal af-
fectations, and when he neglects to
cover his tones. as he always does when
he becomes strenuous, his voice becomes
pallid"
II Is interesting to observe that when
Caruso made his Naples debut he sang
the title role four times, for which he
received 100 francs. a pair OF stage
shoes. a suit OF feshings and a necker-
chief. 1t was in 1902 Maurice Grau.
the impresario. negotiated with him to
sing In America for $500 a month. but
thought the salary excessive and the
deal fell through Grau was quick to
!.
finally engaged Caruso for fifty per-
formanccs at $1,000 a night. But Mr.
Grau became Ill and Caruso. when sing
ing In Lisbon. received word that again
he must abandon his hope OF singing In
America. Heinrich Conried, who fol-
lowed Mr.. Grau at the Metropolitan,
however. cabled Caruso an offer to cross
the Atlantic and his ambition at last
was realized.
Although no ofTiclal statement or his
earnings was ever made public. IL II
known that Caruso, nj the height Of his
Metropolitan career. was receiving an
average Of $4,000 for each performance.
on special occasions. such ms his 1920
season In Havana, he was paid $4,000
a right.
Among 5000 persons who appeared
before Collector William n, Edwards on
March l3. 1919, 10 pay their Income
tax In person was Mr. caruso. who
handed the collector his check for s3S.-
4S3.42. which was the tenof's first IN
stalment of his total tax OF sl5S,933.Tc
for that year lie scanned the return
blank carefully and when he came tc
the line which provides for an e..
emption Of $4,000 for married men said
with great gravity:
IF = man marries twice ne should
have $4,000 exemption"
The list ~ Italian and French operas
In which the noted tenor's name figures
since he FIRST sang In New York revealed
an amazing versatility Ir sixteen year,
he sang no less than $40 times and II
one season, i907-0S, made flfty-ons
appearances. q great test OF endurance
for any voice. lie was unsparing, II moi
reckless. OF his vocal powers.
Csruso after his strenuous opera sea
sons sometimes had trouble with hi'