Only one review of this marvelous little book? Perhaps because it is out of print. If you are not overly familiar with the "Golden Age of Opera," as I wasn't when I first read the book, you will find the discovery of whodonnit challenging, but much delight is found just in the reading. The characters, from what I have since learned, appear to be very well drawn, and the writing is of the quality you would expect from Barbara Paul. Her second foray into this genre, "A Chorus of Detectives," follows Caruso with some additional characters as they solve another mystery. Just great fun. (And, if you are familiar with the opera world of the early 20th century, you may enjoy the story even more!) Try to track down a copy of either book.

The book deals with Enrico Caruso, yes the most famous opera tenor, looking for a murderer. Ok, it is not really the Caruso you think of, when you hear him singing or you read his biographies. May be it has even nothing to do with the real Caruso beside that he loved to play pranks. But it is hilarious and the story funny. Caruso actually looking for a murderer and finding him more by chance than by combination. It is not as thrilling as a 007 and also not as sophisicated as Sherlock Holmes - it's just a funny crime story set in the opera world. Enjoy....

Key's biography was written shortly after Caruso's death by someone who knew him and loved him as a singer and as a man. All subsequent bios owe much to this one (even Caruso errors, like the weird assertion that his mother bore 18 children).

I love the intimacy, the palpable sense of loss that permeates the book, as if the author would gladly burn his manuscript if only the great tenor would return.

Key made a lot of interviews with Caruso before he died at the age of 48, the interviews found their way into the book. The book is one of the most important about Caruso.

The book is gorgeous. Without doubt the best book ever written about Caruso(and there are thousands). And it is exiting to read too... Go and get it! You'll love it! It's just a pitty (and I mean a real pitty) that this is the abridged version - the full one is even better (just in case you love to read ghost stories of how Caruso appeared to his son or you want to know what happened to all the people, Carusos belongings and his body after he died.)

Enrico Caruso is the greatest tenor of this century. I say "is" because every tenor is still compared to Caruso (not to one of "The Three"); his records, all predating the microphone, still sell 76 years after his death; and there are more books about the life and art of Caruso than any other singer. The original version of this book appeared seven years or so ago and was regarded as one of the best Caruso biographies ever written. The book has now been streamlined to remove chapters that were more about the family after Caruso's death than about the great tenor. Not only did Caruso's son have access to family photos, letters, etc denied other biographers but he also has the unique first-hand perspective. Caruso Jr and his co-author, Andrew Farkas, produced a balanced, admirable biography with a smootly flowing narrative. This book belongs on the shelf of every opera lover beside copies of Robinson's collection of Caruso photos and a collection of Caruso's caricatures. Even though I have copies of numerous other biographies of Caruso, this one is the best and the others can be put aside

Paul had to do a lot of research to put this delightful story together and she has done a superb job of portraying historic opera stars in a fictional situation. Geraldine Ferrar is the heroine; Enrico Caruso and Arturo Toscanino share the action with fictional characters in this romp through murder at the Metropolitan Opera.

Phillippe Duchon is an annoying, egotistical personality and everyone at the Met has just about had all they can take of him. Suddenly someone replaces his throat spray with ammonia. His vocal chords and his life are finished.

"Rico" Caruso is hard on the trail of the killer but Police Lt. O'Halloran of the NYPD threatens to lock him up if he doesn't quit meddling. Geraldine Ferrar takes over for Rico and the fearless and gorgeous diva throws caution to the wind to find the killer.

This is lightweight entertainment, sheer delight with every turn of the page. Prepare to laugh out loud -- you'll dread finishing it.

This mystery is a follow on to the Cadenza for Caruso mystery. Caruso has been forbidden to interfere in a murder investigation by the police, so he convinces Geraldine Farrar, a soprano at the Met opera, to investigate for him. Narrated in the first person by Geraldine, the novel provides amusing portraits of many famous Met singers and the life they led in WWI New York City. Ms. Paul's portrait of Geraldine is apparently fairly close to the real thing -- a passionate, intelligent, witty, talented, and beautiful woman. Though not a big fan of opera (but a big fan of NYC), I enjoyed this humorous mystery tremendously. I liked it so much, that if I were not an honest woman, I'd have told the public library I lost the book and paid the fine. Hello, publishers! This is one of many vintage mystery novels that deserve to be back in print so a new generation can enjoy them!

Caruso was not only the most famous (and best) tenor who ever lived, he also could draw gorgeous caricatures. The book shows them really big in a good collection. Mostly with a funny touch they are also good to be hung on the wall. You'll find Toscanini, American presidents, famous people and - of course - Caruso himself.

The book is written by Carusos wife, who he married 3 years before he died . She describes therefore in great detail and citing many letters by him their life and what happened, how is character was etc. She carefully leaves his private life before their marriage out (get this in "my father and my family" by Enrico Caruso jr.:-), but nevertheless - the book is great to read. The first book she wrote about him, shortly after his death (wings of song) is good too and is may be a little bit closer to truth. But to read Carusos letters in this book here is already worth the while....

This biography about the best tenor of them all, Enrico Caruso,is very well written and - what is already much in the collection of the hundreds of Caruso biographies - the facts are well researched. The best is the discography at the end, if you are a collector or just a fan -that's the one to get! If you look for an even more comprehensive biography, get yourself "my father and my family" in the unabridged version by Enrico Caruso jr.

The book is really bad and has nothing to do with what Caruso did. Marafioti just knew him and abused his name. If you want to learn how Caruso sang, get yourself his recordings (best one is Complete recordings by RCA, the new Naxos series are said to be good or also Pearl). Than just sit back, relax and - hear!

This is indeed the most superb book on correct singing technique. I, myself, studied for many years under teachers who taught me vowel modification and other such nonsense. I was told by many teachers that, although beautiful, my voice was too small to fill an opera house. They suggested I find other venues for singing. Then, I began studying with a teacher who was a master at the technique outlined in this book. I have never, in my life, heard anyone whose voice came close to the clarity, resonance, and overall production of this man. In time, with the careful study of Marafioti's book and excellent instruction of my teacher, my voice too gained a resonance that fills a very large house (without a microphone). Any serious vocal student should view this book as the bible of proper vocal technique. There are many teachers out there, each with their own technique. Let me assure you, if it does follow what is outlined in this book...Run!

A story first: My voice teacher, when he was young, left the US to study with some of the great singers of the century. He ended up studying with such legends as Ferruccio Tagliavini, Gina Cigna and Gino Bechi, who was his primary teacher for 3 years. Being the student of such wonderfully incredible singers normally would have guaranteed him a fantastic voice. However, things did not fall into place for him until he read Marafioti's masterful book. After that he was able to turn a damaged voice (from trying to imitate his teachers, which NEVER works) into a gorgeous, clarion dramatic tenor with not only a high E flat but a B flat he could dimuendo down to a pianissimo and then swell it back up to an ear busting forte. All from reading this book. And it's no surprise why. What Marafioti discusses, with complete support and input from Caruso himself as citations from his many letters proves, is the simplest, easiest and most sensible vocal method out there. Moreover, it makes perfect sense to even a non-singer. Don't force. Measure the breath with the diaphragm, this being the support that so many singers today couldn't even begin to define. OPEN YOUR MOUTH. WHY is that not taught across the board?? I would challenge any reviewer who wants to attack this superb and hugely important work to actually say what they find wrong with the technique set forth by the author, rather than just some ad hominem nonsense that doesn't help anyone. Also, they should be a classical singer, which the one negative reviewer is not. There is no reason why there can't be some fundamental rules for teaching voice, despite the ridiculous claims that no one technique is better than the other. PLEASE read this book if you are interesting in the study of voice, as it may well be the only work on subject you'll ever need. Read it BEFORE finding a voice teacher, so you can better know what to look for in a teacher and how to select one. As Marafioti points out, there are many, many charlatans out there, ruining classical singing. With the knowledge gained from this book, you should be able to avoid them and find one who truly can help you develop your voice to its fullest potential.

I bought this book and I expected to learn singing from Caruso, but I was surprised to find out that more than half the book is actually a biography about his life. The book's aim isn't to teach singing, but to tell about Caruso's life, his career, and finally about how he practiced singing. No solid advice or technique is offered.

I thought the book is great - for everybody who wonders how to learn how Caruso succeeded in getting is throat so relaxed and his voice so perfectly soft - here is the book to at least catch a glimpse. Don't expect to "learn" singing from this book - but be happy to at least get an idea why most of the singers today sing so much worse than the singers in Carusos age (not to say Caruso himself). Fucito has actually helped Caruso studying - so he knows what Caruso actually did - forget the book from Marafioti...

Drummond and Freestone execute a well-written and comprehensive review of Caruso's recorded legacy, as it was known in 1961. The best portions of the little book are the one paragraph assessments of each record, fun to read for those familiar with the Caruso output of a bit under 300 78 RPM single sided records.

Two themes about which latter day connoisseurs will quibble are the authors' tedious drumbeat of disaffection for anything the tenor recorded after 1910, since they believed his voice deteriorated then, and their patent dislike of the fact that Caruso recorded songs as well as arias. Today, we cherish those Neopolitan and popular ditties and wish he had recorded more.