Who Will Succeed Caruso?
(By T. E. D.) and received some new ideas and con- path of Muratore that he will find he bolt upright, rub
The successor to Caruso! Who will ceptions. must overcome. He is erratic and his themselves what
he be? Is he in this country or has Martinelli is facing this different au- very' high notes are not good. On advent of these n
he not been discovered ydience and in the lack of that softer occasion he can do the best of work. When Beniami
theno een be dce wh wyet? Or will tone he may finid the stumbling block But there are other nights when he York he caused
to his general acceptance as the great- is far from being at his best, his voice Mario Chamlee
place of Caruso with the people of the est of operatic tenors. seems to lack its fullness and posi- longstruggle th
world? Those questions are occupying With McCormack it is an entirely dramatssindthe fals short-of his usuar'from oblivion tog
the center of musical thoight in different matter. McCormack missed dramatic intensity. This can he for- included the San
America and the rest of the world to- none of the advantages of study and given when it happens only occasion- company and oth
day has made the most of his voice. In Metropolitan Ope
contrast to Martinelli he does his best Muratore has had too many "off we cab now expe
They are hard questions to answer work on the concert stage and will nights" to suit his friends. His high in opera singers
and the wealth of material in the sing- probably never become as popular as- notes offer another difficulty. He
ing world today makes it even harder hartinei in opera. It Is hard to either uses a high falsetto which, when Coming from
to get at anything like a conclusion: point out in just what phase McCor- used properly, is entirely permissable, Europe, Gigli is
Such men as Martinelli; McCormack, mack falls'short of :Martinelli, but he or has a quality in his high notes decided success
Johnson, Lazaro, Muratore, and some does. His voice is not so big, nor has which does not shade down into his managers are alc
of the new singers have raised the it the brillance of his famous contem- +lower notes. For Muratore uses his as the leading t
plane of singing excellence to such a porary McCormack, however, must be high notes beautifully but when he tan Opera." He
porry M~orac, owver mstbehas to shaedw rdally into his voice, seeming to
position that to choose a "best" or accepted as a figure to be reckoned beseade down g'adu
"greatest" become's a matter of split- with, and an important factor in the middle voice the jump is quite notice- ties of .the .othe
ting hairs and treading on the toes of musical world. able. If it is a falsetto he uses, he and in addition,1
half the people in the country to please must learn to break it more easily and lacks. He has t
'the other half. . Last among the Metropolitan tenors if It s a natural he will ave i lacks, that
is Lazaro, and he can hardly be given to learn to place It more nearly where lacks, and a pas
Among the older singers Martinelli nore than a passing thought. His he dots his middle voice. For if he dramatic passag
seesto bi strongestansd best for work is fine, and in his debut a few doesn't h may find his greatness handling of the p
poiina h o f h it tlatyears ago he was hailed ast'one of the'rahnadeitlmnabeii, that, fascinate'ame
he has, apparently, the most vociferous future world's s no reaching a definite, lamentable limit. s
support. Possessing a tone almost as may be one of the several greatest, Johnson, the only other Chicago In Chamlee A
brilliant as that of Caruso, and an art but he' will hardly ever be ra fked tenor who is yet threatening to claim born and taught
mature in its understanding and suave among the first few, it would seem highest honors, is, like Muratore, a fine stand on his own
and convincing in its sureness, he from his present position, artist, and again like Muratore, the Europe that Am
reaches his greatest excellence in When we go to the Chicago Opera* possessor of a voice of the purest of Europe for he
opera, With the hot blood of Italy in we find Johnson and Muratore stand- quality. Johnson does not seem to was taught in thi
his veins and a naturally dramatic ing out as most promising. Muratore have the troubles Muratore has, but he utes his success
temperamentchis work often reaches has a bad habit or two which, it seems, also lacks an indefinable something teacher. Such a
not draw back in deference to Caruso's may keep him from the throne of in his singing, ance and boldne:
greatest. ack concert singer Chas Caruso, but he is in a position to de- In our new singers we find much influence of the
long been popular, although it is high- mand very careful consideration. In that is highly attractive and some ele- much credit on M
ly probable that were he merely a cin- the first place he has a quality of ments which- are making people sit (Continue
cert singer, he would attract much voice which is positively beautiful, and
cers in, f he ouldeatract mch he is equal if not superior to either
less attention, for the demands of con- McCormack or Martinelli. And Mura-
cert do not fit the equipment of Mar tore is a real artist. His singing has1I
n a breadth of experience back of it
But times are changing, and with and a dramatic intensity that is of the
them voice methods acid the fancies of best.
the music-loving public have grown Two obstacles offer a barrier in the

their eyes, and ask
is the meaning of the
ew men.
no Gigli came to New
sensation and when
came forthafter, a
trough all the steps
greatness, steps which
Carlo Grand Opera
er organizations, the
ra Co. showed us that
ct some-more things
'epeated successes in
now making such a
n New York that his
ready advertising him
nor of the Metropoli-
has a rich, flexible
possess all the quali-
r Metropolitan stars
omething which'each
hat soft tone Marti-
brilliance McCormack
sionate fervor in his
ges and a masterly 4
urely legato passages
diences every time he
merica has a tenor,
here, who can well
merits, and say to all
erica is 'independent
r training. Chamlee
s coutry and attrib-
to a San Francisco
display of indepen-
ss in disclaiming all
old world reflects
r. Chamlee and seems
d on Page 8)


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