New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-08-03

ne agreed TO pay MS Ceacher 20 per
cent of his earnings for Ave years.
his first engagement at the Teatro
Nouvo in Naples, appearing in Mo-
lelli's "An,ico Francisco" an opera
that had only short life. But young
Csruso's gifts had become recognized,
especially after he had sung Alfredo in
La Traviata"
Vergine, who had been keeping a
watchful eye on lis old pupil, now be-
gan to demand his share of the profits,
and his eXtortions became so out Of all
reason that Caruse went to law, and
made whereby he paid Vergine 10000
lire, thereby settling all future ac-
counts. Shortly after this Caruso was
drafted for the army.
His Army Life
Many stories are told of the tenor's
military service, especially how he
often obtained from his officers remis-
sion of punishment both for himself
His officers took q great interest in his
gift, and it was through them that at
the expiration Of his service he OBJ
tanned a position in the opera house at
Caserta. After singing in Caserta for
season he went to Genoa, where he
sang in "Favorita" and "Traviata."
But Caruso's first real fame was
made in 1898, in Milan, where he sang
in Poncelli's 'La Gioconda" and in
Massenet's LA Navarraise." So great
was his success that he was engaged
for La Scala to create the tenor role
in the first Italian production of Mas
to Egypt, and from there to Russia,
where his success was immediate. He
was now winning for himself an inter-
national reputation, and he sang sue
cessively in Paris, Berlin, Buenos
Ayres and Rio de Janeiro.
Gets American Engagement
1t is interesting to observe that
when Caruso made his Naples debut
he sang the title role four times, for
which he received 100 francs, pair of
stage shoes, suit of fleshings and
a neckerchief. Some years later Mau-
rice Grau, the impresario, negotiated
with him TO sing in America TOR $500
a month, but thought the salary ex-
cessive, and the deal fell through. Mr..
Grau was quick to perceive the OPP
portunity he had lost and finally en-
gagged Caruso for fifty performances at
$1,000 q night But Mr.. Grau became
Ill and Caruso, when singing in Lisbon,
received word that again he must
abandon his hope of singing in Amer
lea. Heinrich Conried, who followed
Mr.. Grau at the Metropolitan, however,
cabled Caruso an offer to cross the
Atlantic, and his ambition at last was
realized.
He made his American debut at the
Metropolitan Opera House in Verdi's
"Rigoletto" November 23, 1908, the open
ing night of the opera season. In the
cast were Marcella Sembrieh, Louise
Homer and Antonio Scott Caruso's
success was instantaneous. He was
hailed by the critics as the possessor of
one of the great voices of the century,
and he took his place as the most pop
/, ular operate artist in America.
After his great success in America
Caruso sang little elsewhere. The few
times that he did appear in London or
on the Continent were always marked
by raise in the price Of admission.
At one time in Berlin seats were sold
for $40 each.
Although no official statement of his
earnings was ever made public, it is
known that Caruso, at the height of
his Metropolitan career, was receiving
an average of $1,000 for each perfor-
nance. On special occasions, such as
his 1920 season in Havana. he WAS paid
$4,000 night.
UnSparing or His Voice
The list of italian and French operas
in which the noted tenor's name figures
since he first sang in New York reveals
an amazing versatility. In sixteen years
he sang no less than 549 times, and in
one season, 1907-0S, he made tifty-one
appearances, a great test OF endurance
for any voice. He was unsparing, if not
reckless, of his vocal powers. No grand
opera tenor in America, from the days
of Brignoli, Campanini. Raveln, Tia
magno and Jean de Reszke, it is re-
corded, ever reigned so long in popular
favor.
1t was generally conceded that
Caruso possessed one of the greatest
voices of all time. In it's prime it was
at the same time powerful and mellow,
of silken texture that earned it the
title of the golden voice" He used it.,
too, with great skill, and there seemed
practically nothing that be was unable
to do with it, He sang at first mostly
lyric parts, such as the Duke in "Rigo-
letto," Alfredo in "Traviata" and Ro-
dolfo in "Boheme." In these parts he
was vocally supreme. Gradually, how
ever, he began to appear in more dra-
matte roles, such as Rhadames in
aida" and Canio in "Pagliacci."
Many operas in Repertoire
His repertoire in America included
the following: Gtalian) "Aida," "Rigo-
letto," "La Boheme," "L,Africaine.'
LA Favorita." LA Sonnambula," LA
Traviata," Lies Huguenots," Fedora"
"Adrifane Iecouvreurr "CayaIleria