nce, although his
powers have long since passed away.

Enrico Tamberlik, who flourished during the middle of the century, was a
tenor of high rank. He belonged to the class of "tenore di forza," and
used to make a tremendous effect with his high C, which he produced with
immense power. His voice was one of great richness of tone and volume,
but his singing was marred by the persistent use of the vibrato, a fault
all too common.

Tamberlik, like Sims Reeves and Jean de Reszke, sang originally as a
baritone, and developed later into a tenor. His delivery was grand and
noble, his phrasing perfect, and he sang with a great depth of
expression. His elocution was so fine that every word was delivered with
full effect, and his dramatic power was unusually great. He was seen to
best advantage in heroic parts, in which his fine figure and majestic
bearing, together with the power and resonance of his voice, were
displayed.

[Illustration: _Jean de Reszke as Romeo._]

Tamberlik was born at Rome in 1820, made his debut at Naples in 1841,
and soon built up a great reputation. In 1850 he appeared in London,
and became so great a favorite that he was engaged there every season
until 1864. In 1874 he made a tour of the United States, and he is said
to have been the first tenor of importance who visited South America,
singing at Rio Janeiro, Buenos Ayres, and Montevideo.

One of his most notable performances was in 1871, when he took the part
of Otello, in Rossini's opera of that name, with Faure as Iago, and
Nilsson as Desdemona.

Tamberlik was a shrewd man of business, but an excellent companion. His
conversational powers were immense, and as he had come in contact with,
and known intimately, many men and women famous in the world of fashion,
art, and literature, he had an endless fund of interesting anecdotes. In
1877 he retired from the stage, having the good sense to seek private
life before his powers had faded. He settled in Madrid, and became a
manufacturer of arms. While in retirement he had the rare experience of
reading his own obituary notices, for, in 1882, a rumor of his death
went forth into Italy and France. Though it was entirely without
foundation, the press at once teemed with eulogistic biographies of the
great tenor, which were copied throughout Europe. As they were highly
complimentary, the subject was much pleased, and made a collection of
them which he pasted into an album and enjoyed for seven years. He