Evening star., 1921-08-21
Known by His Lifetime Co1nrade, Antonio Scott

Caruso had great natural talent for
sculpture"
Mr.. Scotti raised from his table a
little bronze about eight inches high
and gazed at it with an expression in
which were mingled sorrow and
pose and its seraphically broad grin.
suggested the conventional "Billiken.'
But as one inspects 1t more closely
he realizes that the grotesquely grin
ming smile is a caricature of the smil-
ing features of Enrico Caruso himself
Gxaggerated to the nth degree.
There is a specimen of his handi-
craft" said the baritone. as he passed
the "Billiken" to- his guest. 1T was
wonderful to me to watch Enrico
when he modelled the clay image from
which were cast these bronzes, which
>he gave away as souvenirs to close
friends. He did this in the old Hotel
knickerbocker, where for twelve years
he lived in suite on the ninth f1oor.
and for thirteen years occupied one
on the eighth. First he made several
pencil sketches of the expression he
sought to catch. after distorting his
features to the required grin. while
gazing at his face in a mirror. Later.
when he was actually modelling the
clay, he did it while studying his own
features in the glass. his busy fingers
flying over the work while he never
which he had frozen the race that
peered into the mirror.
Again. his artistic nature, as well
as the thoroughness with which he
addressed himself to every task.
found illustration in his designing
cratic costumes. l think it is not
generally known that Caruso was a
master at this particular branch of
art Among others he designed his
costumes for his role of John Of
Levden in lie Prophete. and for
the opera of Samson ct Delilah.'
When he undertook this kind of work
scanned the authorities on the cos
tuning of the period depicted. He
delved into cotemporary history.
ITO Caruso's artistic nature an
anachronism in phrase or in outline
or coloring of costume would have
been as objectionable as to sing off
the key. Before he consented to essay
the role of the noble old Eleazur in
La Juiye' he insisted upon having
himself schooled in Jewish patri-
archal customs and manners by one
of the foremost Yiddish actors in
the city.
"Enrico was exceptional. too" the
faithful friend continued. "in. the rare
facility with which he could master
an operate part. / have known him
to achieve that within a period of
two days. 1t was not his custom to
take the book of the opera to bed
with him. as 1 hAve done often. His
habit was to go over the score once
or twice at the piano with his ac-
compa mist. Salvatore Fucito, usually
in the afternoon. After a good nights s
sleep he would run over the book and
the score again the next morning.
Sometimes for him that was suffi-
cient Enrico was what stage folk
call a Quick study AS is the case. /
think. with most of US. he found the
memorizing of the words came more
easily than that of the musical score.
His memory was marvelously quick
and tenacious. He was excelled in
that particular by only one other
human being whom l have known.
That was the conductor. Toscanini.
who frequently has conducted with
out having the score in front of him
not only at performances, but re-
hearsals of works by such widely di-
vergent composers as Wagner. Verdi,
Strauss, Donizetti. Bellini. Mozart.
Gounod, Charpentier and Massenet"
WHEN Mr. sc0tti was asked Did
Caruso have any operatic parts
which he particularly favored and
which he especially loved to portray
he replied: IF you had asked him
that question-and for publication
he would have told you. as he often
| told inquirers, I love them all; to me
| they are all very real when 1 am
singing them
"a diplomatic answer, that was -
commented Scotti. But now that one
may speak the very truth about II
l think his favorite parts included
| that of the clown Canio. in Pagli-
acct: Samson and Eleazur. in La
Juive.' 1 think he felt that in these
later parts, rather than in those iden.
| titled with his earlier years of fame,
he had found a vehicle more worthy
of his matured powers"
Caruso has been quoted since his
death as having once said. do you
| know that before each performance ]
spend a sleepless night and long hours
of indescribable mental anguish? ]
have never been able to get familiar
with the public: every time for me is
| debut. In my dressing room in the
Metropolitan Opera House when wait
| ing for my cali tremble Lire a child
| frightened by ghost. Only when