THE FIRST REAL CHANCE

"A better chance came before long. In 1896 the Opera House in Salerno
decided to produce _I Puritani_. At the last moment the tenor they had
engaged to sing the leading rôle became ill, and there was no one to
sing the part. Lombardi, conductor of the orchestra, told the directors
there was a young singer in Naples, about eighteen miles away, who he
knew could help them out and sing the part. When they heard the name
Caruso, they laughed scornfully. 'What, the Broken Tenor?' they asked.
But Lombardi pressed my claim, assured them I could be engaged, and no
doubt would be glad to sing for nothing.

"So I was sent for. Lombardi talked with me awhile first. He explained
by means of several illustrations, that I must not stand cold and stiff
in the middle of the stage, while I sang nice, sweet tones. No, I must
let out my voice, I must throw myself into the part, I must be alive to
it--must live it and in it. In short, I must act as well as sing.


A REVELATION

"It was all like a revelation to me. I had never realized before how
absolutely necessary it was to act out the character I attempted. So I
sang _I Puritani_, with as much success as could have been expected of a
young singer with so little experience. Something awoke in me at that
moment. From that night I was never called a 'Broken Tenor' again. I
made a regular engagement at two thousand lire a month. Out of this I
paid regularly to Vergine the twenty-five per cent which he always
demanded. He was somewhat reconciled to me when he saw that I had a real