DEATH OF CARUSO

Dominion, Volume 14, Issue 266, 4 August 1921, Page 5

DEATH OF CARUSO

WORLD’S GREATEST TENOR END OF A REMARKABLE CAREER By Telegraph—Press Association—Copyright Naples, August 2. Enrico Caruso, the famous tenor, is dead. The cause of death was acute peritonitis.—Aus.-N.Z. Cable Assn. (Rec. August 3, 5.5 p.m.) London, August 2. The Rome correspondent of "The Times” states that Caruso’s relapse was entirely unexpected. He went a week ago to the famous sanctuary of Our Lady at Pompeii, giving a thank-offering of £250 for his recovery. He had beeu leading a most quiet life at Sorrento, convalescing. He sang a few weeks ago, showing that his voice was unaffected by his illness. —"The Times." The musical world will receive a thrill at the news of the death of Enrico Caruso, probably the greatest tenor that ever lived, and certainly ono whoso predominance over all others has lasted for a longer period than any of the other operatic tenors who could claim a place among tho truly great. Caruso, though his performances havo been confined to Europe and America, is of all the world. The gramophone has made his voice a treasured possession, just as much in the wilds of Central Africa or Northern Australia as it was m Milan or NewYork. Many critics have called it a freak voice; certainly no other tenor has ever been able to produce such powerful notes, whilst still preserving their musical beauty, as this sturdy son of Italy, who has reigned supreme at the peak of his profession for a quarter of a century. Not only was Caruso a very fine tenet, but he was a great artist to boot. Ku never shunned a part that called for "make-up," atfd always, carefully studied the character he portrayed, apart altogether from its musical import, and never did he fail to produce a good effect histrionically as well as from a vocal point of view purely. This enn bo illustrated through David. Bolasco’s interesting book, "Tho Theatre Through its Stage Door.” It will be remembered that Puccini was so taken with Beldsco's plav, "The Girl of tho Golden West,” that he wrote a grand opera, utilising the story exactly ns in the play. Belasco was asked to train the opera company In the acting part of the performance, a difficult thing to do knowing that he would have to smash through all sorts of grand opera traditions. All were foreigners In the cast, with Emmy Destinn, a Bohemian, and Caruso as the leaders. Belasco wrote: "I was wondering how Caruso would comply with my orders. In the first scene ho had to stride into the Polka Saloon, fling his saddle on the table, and call-for drinks, and with his back to the audience sing Ins opening song. He was entirely willing to edopt this method of malting his entrance, although he must have realised that it would prevent him acknowledging the applause that invariably greeted him. Later, when wounded after leaving the cabin of the Girl, he staggers back inside and climbs the eteep .ladder to the cabin lift, meanwhile singing all the time. Caruso seemed a little reluctant. • " ‘lt is difficult, for I must sing, h« said, shrugging his shoulders. " 'But if Puccini has given you a song to sing at just this point, you must suit the word to the action and the action to the word,’ I said. "'Let me see yon do it,' lie replied. "So I pretended I was Dick Johnson, staggered in with my wound, listened to the approach of the Sheriff’s posse, and then climbed up the ladder, singing in a voice that must have made the very walls of the Metropolitan groan with agony. Caruso saw the value of the realism in a flash. A dozen or more times at each rehearsal after that, in response to my directions, he would go through the scene, and end by climbing up the ladder, all the time pouring forth tenor notes that were worth bagfuls of goldHe was full of enthusiasm, and was not content until he eould play the aceno- as well ns could reasonably be expected of any accomplished actor or the dramatic stage.” Enrico Caruso was a Neapolitan, ’lhe absence of dampness or humidity makes for sound, healthy throats, and good voices, and as Naples is a city of song tho street cries become songs—a voice has to bo fairly good before it becomes outstanding. As with many others he got his first knowledge of musio through tho church as a mere youth, and, becoming fond of musio and singing, ho one day made up his mind to approach a maestro for advice and lessons. He was given both, and though his voice was not thou placed—it was not defined as a high baritone or a tenor —he made considerable progress. It was not until he had to do his service us a conscript that tho great moment of his life arrived unexpectedly. That was one day when the band-major happened to hear him carolling as he worked in comp. He stopped, listened, and wondered. He detected, the "gold" in tho voice, and, hailing the - youth, asked him if lie would like to bo an operatic singer. Caruso responded. The fates had intervened! Caruso was placed under proper tuition, and from that time he began his climb to such heights that not even tho great Tamagno or Mario had ascended. He mode his first appearance in opera in Naples in 1894 in "L’Amico Fitanceeca.” His voice was at once recognised as unusually good, and with his step on tho ladder of fame he never looked back. He played throughout the provinces, acquiring experience in acting, and finally was acclaimed in Milan —the real homo of grand opera in the land where grand opera is a religion. From Milan to Paris, London, New York is but a span, and everywhere the golden notes of tenor became his open sesame to ths finest engagements the operatic world could offer. Ho became noted in such roles as Canio in "Pagliacci" and Turridu in "Cavalieria,” Manrico in "Trovatore," Rhadames in "Aida," tho name part in "Otollo,” the tenor roles in "La Juive," *La Giacendo,” "Carmen," "Falstaff," "Don Carlos,” "L'Amico Fritz," the Puccini operas (which invariably star tho soprano), and many of the operas of Rossini, Meyerbeer, and Massenet. Caruso hod a grout range of parts, nnd such was his artistic ability that ho could cover charactors of widely dissimilar character, and make good. Caruso’s health had been far from satisfactory for some years past. When singing in New York •-•ollie four or five years ago he had trouble with his -throat and went to Italy to bo operated upon. It was thought that the weakness had been eliminated, but towards' the end of last year he broke a blood vessel in Jits throat, and though he continued to sing, his injury was n serious one. ' Caruso was twice married, nud had two adult sons. In the course of au interview, given as far back as 1914, he told the world that one of his sons was being trained as an English soldier, and such was his training that ho could not speak Italian. As lately as August, 1918, the tenor married a second time, a Miss Benjamin, daughter of a New York lawyer. He had a beautiful estate in Tuscany, where his peasant tenants idolised him, and ho them. Only a few days ago it was chronicled that the tenor and his family, secretaries, servants, etc., had left New York, occupying seven complete suites on tho liner at a cost of some £7OOO. He could have been in Naples—his native town—only a short time before doath ensued.