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Updated: June 12, 2025
There is little danger that Caruso ever will break his collar bone in producing high C, and his delivery of the romance, "Una furtiva lagrima," in L'Elisir d'Amore, is a most exquisite example of breath-control and of voice-management in cantabile; while Plançon's singing from a chest absolutely immobile, even in long and difficult phrases, is so effortless that his performances are a delight to every lover of the art of song, his voice flowing out in a broad, smooth stream of music.
Enrico Caruso! The very name itself calls up visions of the greatest operatic tenor of the present generation, to those who have both heard and seen him in some of his many rôles.
"She is my wife's sister," he said, holding the little dog close. His grey watery eyes looked appealing up to me. He wanted me to believe. "My wife was a sweet slim girl," he declared. "We lived together in a big house and in the morning walked about arm in arm. Now her sister has married Caruso the singer. He is of my family now."
Suppose, now, you are a society lady, or a society man, and you have accepted an invitation from a woman friend to motor out to her country place and dine and spend the night and suppose when the day arrives, you are offered a box at the opera, that night, to hear Caruso?
The conviction gradually grew upon me that if I studied and worked, I would be able one day to sing in such a way as to satisfy myself." Caruso believes in the necessity for work, and sends this message to all ambitious students: "To become a singer requires work, work, and again work!
There was a tractor now, of course; a phonograph with expensive records, so that Caruso and McCormack and Elman were household words; a sturdy, middle-class automobile, in which Bella lolled red-faced in a lacy and beribboned boudoir cap when they drove into town.
She told me afterwards that she would have come from South Africa or from Heaven, had she been there! I appreciated very much too, the kindness of Signor Caruso in singing for me. I did not know him at all, and the gift of his service was essentially the impersonal desire of an artist to honor another artist.
At any time any opera house would have been proud of two such tenors as Caruso and Bonci, or of two such sopranos as Melba and Tetrazzini, while there is no period in which a Sembrich would not have been a rara avis.
If any one came to call her to prayers, it would appear that she had shut herself in and was refusing to answer. "Car-l-i-s-l-e!" The Caruso voice of a gifted railway porter intoned the word in two swelling syllables, so alluring in their suggestion to passengers that it was strange the whole train did not empty itself upon the platform.
Obviously, the man who can sing tenor. You could not have deposed Caruso. Suppose some theory of musical democracy had consigned Caruso to the musical proletariat. Would that have reared another tenor to take his place? Or would Caruso's gifts have still remained his own? We are unless I do not read the signs aright in the midst of a change.
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