rs had found an El Dorado for nearly a
quarter of a century. There he was at once proclaimed the greatest of
all tenors and from that time his success was undeviating. Indeed his
voice was so wonderful and so individual that it is difficult to compare
him with any of his great predecessors; Tamagno, Campanini, de Reszke
and others. In Europe and in America he was welcomed with acclaim and
the records of his voice are to be found in thousands of homes of music
lovers who have never come in touch with him in any other way. Signor
Caruso had a remarkable talent for drawing and for sculpture. His death,
August 2d, 1921, ended the career of the greatest male singer of
history.

[Illustration: ENRICO CARUSO.]

ITALY, THE HOME OF SONG

ENRICO CARUSO

OPERA AND THE PUBLIC IN ITALY

Anyone who has traveled in Italy must have noticed the interest that is
manifested at the opening of the opera season. This does not apply only
to the people with means and advanced culture but also to what might be
called the general public. In addition to the upper classes, the same
class of people in America who would show the wildest enthusiasm over
your popular sport, base-ball, would be similarly eager to attend the
leading operatic performances in Italy. The opening of the opera is
accompanied by an indescribable fervor. It is "in the air." The whole
community seems to breathe opera. The children know the leading
melodies, and often discuss the features of the performances as they
hear their parents tell about them, just as the American small boy
retails his father's opinions upon the political struggles of the day or
upon the last ball game.

It should not be thought that this does not mean a sacrifice to the
masses, for opera is, in a sense, more expensive in Italy than in
America; that is, it is more expensive by comparison in most parts of
the country. It should be remembered that monetary values in Italy are
entirely different from those in America. The average Italian of
moderate means looks upon a lira as a coin far more valuable than its
equivalent of twenty cents in United States currency. His income is
likely to be limited, and he must spend it with care and wisdom. Again,
in the great operatic centers, such as Milan, Naples or Rome, the prices
are invariably adjusted to the importance of the production. In
first-class productions the prices are often very high from the Italian
standpoint. For instance, at La Scala in