Word: caruso
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Dates: during 1930-1939
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...itself into a giant birthday cake, held up 25 candles. From his grandtier box Mr. Gatti gravely gave the Italian salute but no amount of persuasion would bring him to the stage from which he took his last bow in 1908, standing between Conductor Arturo Toscanini and Tenor Enrico Caruso...
...nervous. Everything was in order in the room he had left. Trunks were packed with costumes, photographs, stacks of letters bound with rubber bands brittle with age. There remained to distinguish the hotel room from hundreds of others ready to be abandoned only a photograph of big-chested Enrico Caruso in a white-piped vest and a little bronze head which Caruso had made of himself. The man who waited nervously for the elevator had the hardest afternoon of his life ahead of him. He was Baritone Antonio Scotti, one of the last of the old-time opera-singers. That...
...When Caruso sang in La Juive in December 1920, no one knew he was giving his farewell performance. He became fatally ill with pleurisy immediately afterward and Scotti nursed him. leaving him only when he had to sing at the Opera House, returning to him often with his make-up still on. When he sails for Naples Scotti will carry by hand Caruso's photograph and the little bronze head. In Naples, where Caruso is buried. Scotti will pass the rest of his life, simply, now that the stockmarket crash has taken most of his earnings. But he will...
...Simone Boccanegra last autumn Tibbett opened the Manhattan opera season (TIME, Nov. 28). an honor the Metropolitan has given to only one other male singer, the late great Tenor Caruso. Tenors are naturally the heroes of most operas just as pitchers are the heroes of ball games. Baritones, like catchers, have to knock homeruns to be noticed and their chances at conspicuous parts come less often than a catcher's turn at bat. Tibbett's homerun in Falstaff earned him a $1,500 bonus from the Metropolitan management and opportunities which, stretching out into four distinct musical fields...
...could have heard the opera through a wooden cylinder contraption attached to his desk, and took a chair in the wings. It was a battered, straight-backed office chair, squeezed into space twice too small for his massive frame, but there he had sat and seen great Enrico Caruso enact the bearded Jew in Halevy's La Juive, the last performance Caruso ever gave. There he sat the night plump little Marcella Sembrich sang her farewell; the night Geraldine Farrar first appeared as the ragged goosegirl in Die Königskinder, surrounded by a flock of live geese which...