CARUSO’S VOICE.

Hauraki Plains Gazette, Volume XXXII, Issue 4309, 26 August 1921, Page 1

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—there 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 rem.ove- hi.s 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 a-t the ‘ Pops ” and the “ Prom's,” could seldom make a record without “ blasting,” .whereas the “ good recording voices ” knew all the tricks and dodges bf those early days. Not only did they use their vocal organ while singing, but their, footwork would have done credit to a flywejglut boxing champion, at the National Sporting Club.

. The gramaphone 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 rea’ched 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 the sight of a soprano with a strenuous attack. Our vault-

ing ambitions soared top C high, Ac that time came one of -those shocks which the 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 new 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 beeir 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 7 Caruso, and that he wou’d become a second J.ean de Reszke.. The message added that the services of other tenors could be obtained cheaper, and asked for a quick reply. The name of the young tenor was un-_ known to us, but'we cried hang to tne and agreed. It was aut 'Caruso aut nullus. At the moment i,t 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'Hotelimmediately . above the identical apartment in which -the great Verdi Had breathed his last just one year before.. ” Caruso Arrives. If Father Time had taken his toll in the room below, we moderns in the chamber above were staying the hand of the reaper in catching and chaining the fleeting sound-waves of immortal music so that they might re-verberate-'through the long years to come. It was a revivification when Caruso came to record and sang “Questa o Quella” and “La Donna e Mobile” from Verdi’s “Rigoletto,” in that room in the Grand Hotel, Mila :i> Then followed the surprise of the session, “Vesti la Giubba.” Leoncavallo’s inspiration of. ned-hqt passion and poignant grief was rendered by this young tenor with an intensity which thrilled and enraptured th? ears of those present, but the recording expert shook his head in despair at the panting sob and th.e bitter laughter. The other records might pass, but 'that one was spoilt, he felt sure. This recording was, however, milestone of vital importance on our onward, march. ''Not only wag* the “sob” record perfect, but so perfect that a year Later it secured Caruso his first engagement at the Metropolitan Opera House, New Yourk. The great singer has remained with that organisation ever since. - What ,the “Sob” Record Did.

.The’story as told in Caruso’s reminiscences is as follows :. A traveller returning .to. New York called on Mr Conried, the celebrated impresario of Broadway, and urged him 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 was promptly invited by cabie 'to come .to New York. Caruso had once before made a record. At a boy he was very fond Df playing a flute which he carried about with him. Entering a shop one day where .they sold phonographs he asked tp see one. The shopkeeper offered to let hinippake a cylinder record. Caruso tooted on his flute into the horn, and the man, changing the box to a reproducer, let the young musician hear the result.. “Does my playing really sound like that ?” asked Caruso. “Yes, indeed,” enthusiastically replied the shopkeeper, “Will you buy the phonograph “No,” said Caruso. “But I .will sell you the flute.” What Jean de Rieszke Said; Shortly after our recording session we were very gratified to hear of the first meeting between Jean de Reszka and Caruso. The young tenor hal called on the past master in order to sing privately to him. When Caruso finished his number Jean burned .to. his brother Edouard and “This?

boy* will, one day, turn the world upside do\yn with his voice.”

The writer states that Caruso was the most human of men, with a sunny smile and a delightful boyish personality. Alike and as man, he was generous to a degree. He was never heard to say an ill word of a fellow artist. For the young singer at thg foo,t of the ladder there was always the helping hand and the 'friendly word of advice.