CARUSO’S VOICE

Dominion, Volume 14, Issue 281, 22 August 1921, Page 9

CARUSO’S VOICE

REPRODUCED IN RECORDS HOW A GREAT ENGAGEMENT WAS SECURED Once upon a time, as the fairy stories begin—-and this sounds like a fairy story -tffere were singers who importuned us to make records for half a sovereign (writes S.W.W. in “The Voice"). A guinea was sufficient to tempt a superior tenor. For two guineas a famous comic would remove his collar and give us of his best. In those days vocal art was divided into two classes —“good recording voices” and “others.” The “others," however warmly acclaimed at the "Pops" and the "Proms." could seldom make a record without "blasting," whereas the “good recording voices" knew all the tricks and dodges of those •arly days. Not only did they use their vocal organ while singing, but their footwork would have done credit to a fly-weight boxing champion at tbe*National Sporting Club. The gramophone business had not travelled very far on the great high road to perfection, but we always kept our best foot forward and breasted the steepest hills with determination. Soon milestones were reached and left behind. Our experimenters kept their noses to the revolving waxes, and improvements evolved themselves, hot foot, one upon the. other. The time even came when we 'ceased to shudder at tho sight of a soprano with a strenuous attack. Our vaulting ambitions soared top C high. At that .time camo one of those shocks which tho. management of such a. business as ours is heir to. It was in the form of a telegram -from our representative in Italy, and read: "Have discovered pew tenor with extraordinary voice. May I pay him ?” Blank was compiled of three figures. What was the business coming to? But a voice whispered in our ears. It must have been the harbinger of the wonderful song birds who were to flock to us later. When a second telegram was received in answer to an inquiry from us, it told us that the name of the new tenor was Enrico Caruso, and that he would become a second Jean de Reszke. Tho message added that the services of other tenors could be obtained cheaper, and asked for a quick reply. The name of tho young tenor was unknown to us, but we cried hang to the expense, and agreed. It was aut Caruso aut nullus. At the moment it so happened, that one of our recording experts was in Milan. Providence was perhaps, in pursuance of a preconcerted policy, or else it was by some strange coincidence that our recording machine should have 'been erected in a room at the Grand Hotel immediately above the identical apartment in which tho great Verdi had breathed his last jtisr one year before. Caruso Arrives. If Father Timo had taken his toll in the room below, we moderns in the chamber above were staying the hand of tho reaper in catching and chaining tho fleeting sound-waves of immortal music so that they might reverberate through the long years to come. It was a revivification when Caruso came to record, and sang "Questa o Quella" and “La Donna o Mobile” from Verdi’s “Rigoletto," in that room in the Grand Hotel, Milan. Thon followed the surprise of the session, "Vesti la Giubba.’’ Leoncavallo’s inspiration of red hot passion and poignant grief was rendered by this young tenor with an intensity which thrilled and enraptured the ears of those present, but the recording expert shook his head in despair at the panting sob and the bitter laughter. The other records might pass, ’but that on« was spoilt he felt sure; This recording was, however, a milestone of vital importance on our onward march. Not only was the “sob" record perfect, but so perfect that a year later it secured Caruso his first engagement at the Metropolitan Opera House, New York. 'The great.singer has remained with that organisation ever since. What the “Sob” Record Did, Tho story as told in Caruso’s reminiscences is as follows:—A traveller returning to New York called on Mr. Conned, the celebrated impresario of Broadway, and urged hm to engage Caruso. "I never heard of him. Who is Caruso? replied Mr. Conried. The friend explained that Caruso was a young tenor who lived in Italy, but if the impresario would permit he could bring the tenor to him in a machine. So a gramophone was sent for and our record played, sob and all. Caruso wns promptly invited by cable to nome-to New York. Caruso had once before made a record. As a boy he was very fond of playing a fluto which he carried about with him. Entering a shop on* day where they sold phonographs, he asked to see one. The shopkeeper offered to let him make a cylinder record. Caruso tooted on his fluto into the horn, and the ' man, changing the box to a reproducer, let tho young musician hear the result. "Does mv playing really sound like that?" asked Caruso. "Yes, indeed,” enthustically replied tho shopkeeper. "Will you buy the phonograph?” "No,” said Caruso, “But I will sell you the flute."

What Jean de Reszko Said. Shortly after our recording session we were very gratified to hear of the first meeting between Jean de Reszke and Caruso. The young tenor had called on the past master in order to sing privately to him. When Caruso finished his number Jean turnoff to his brother Edouard and said: "This boy will, one day, turn the world upside down with his voice.” The writer states that Caruso was the most* human of men, with a sunny smile and a delightful boyish personality. Alike as artist and as man, he was generous to a degree. He was never heard to say an ill word of a fellow artist. For tho young singer at tho foot of the ladder there was always the helping hand and the friendly word of advice. ’