Caruso and the art of singing
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| Caruso and the art of singing - PDF by Salvatore Fucito |
including Caruso's vocal exercises and his practical advice to students and teachers of singing
From the introduction:
I Fee; that it was the greatest honour of my life when, in 1915, my distinguished friend Enrico Caruso called me to New York to be his coach and accompanist. I had previously served him in the same capacities during his frequent visits to Berlin, where our closer friendship began in the year 1909.
In those days I always eagerly awaited Caruso's arrival in Berlin, not only because it was an inspiration and a musical education to work with the great master of song, but also be- cause his very presence diffused sunshine and happiness.
In fact, it is difficult for me to say whom I loved more, Caruso the artist or Caruso the man — both were so great. During the years that I spent with Caruso, he often talked to me about his life, his struggles, and his triumphs, as well as about his art.
He always spoke very modestly of his phenomenal achievement, but he loved his art and often discussed its vexing problems. For he was much more than a magical voice: he was consciously an artist, an artist whose extraordinary vocal and dramatic powers were in great measure the fruits of a thorough comprehension of his art.
Whenever he wished to produce an effect, he could contrive a means to accomplish it. He devised exercises — which are included in the book — that reveal a remarkable insight into what is required to make the singing voice agile and flexible.
And the vowels he employed to blend and colour his tones demonstrate that even his tone mastery was conditioned by his directing intelligence. Two considerations have prompted me to write this book on Enrico Caruso's art: first, the desire to pay my tribute to the memory of a friend and a great artist ; and, second, the hope that I could pass on to all who are concerned with the art of singing
Caruso's methods in breathing and producing tones, his vocal exercises and his views on vocal technique, his ideals of singing as well as his practical advice to singers. I have dwelt on his life only in so far as it was closely related to his art, and I have essayed to set down some Preface vii of the recollections he was so fond of telling.
Whenever I have quoted Caruso, I have endeavoured to recall as nearly as possible the exact words he used. S. F.
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