December 2005 - January 2006

Encounters

Shane Maloney and Chris Grosz

Nellie Melba & Enrico Caruso

Words: Shane Maloney | Illustration: Chris Grosz

If Nellie Melba and Enrico Caruso were each major attractions, their double act was a sensation. Between them, the imperious Australian soprano and the effusive Italian tenor transformed La Boheme from a slow-burn sleeper into a blockbuster hit that is still putting bums on seats a century later. Theirs was the golden age of the warbler, a time when new technologies were turning opera singers into household names and high culture into big bucks. Melba knew exactly what she was worth and she made it her business to collect every plaudit and every penny of it. Woe betide anyone who tried to short-change, outshine or upstage her.

Nor was Caruso any slouch in the fame-and-fortune department. His velvet voice won him millions of fans, and his name on a phonograph record or a playbill was a licence to print money. But the puckish poor boy from backstreet Naples was generous to a fault and wore his celebrity a lot more lightly than the prima donna from Presbyterian Ladies College in Melbourne.

If Melba was the queen of the opera, London’s Covent Garden was her palace, one she guarded jealously from new and rival talent. Little wonder the up-and-coming Caruso could not stop himself from committing a diva-deflating act of lese-majeste. During the 1902 season of La Boheme, while singing the tender aria “Che gelida manina, se la lasci riscaldar” (Your tiny hand is frozen, let me warm it here in mine), he covertly pressed a hot Italian sausage into her captive hand. As the starvation-dazed seamstress Mimi, she should probably have snaffled it. Instead she gave a yelp and sent it skittering across the stage, to the puzzlement of the audience.

“You filthy dago,” she hissed.

“English lady no like sausage?” he asked, feigning hurt. Dry toast was more to Melba’s taste, of course, and a poached peach with ice-cream and raspberry sauce, although she did complain that she was being chiselled out of her royalties by Ritz and Escoffier. Caruso, when he wasn’t slipping the sausage to sopranos, enjoyed nothing more than a hearty feed of spaghetti with mushrooms and chicken livers, a dish that came to bear his name. His career was cut short at 48 when he succumbed to a fatal attack of pleurisy, a disease of the lungs.

Acutely image-conscious to the last, Melba died at 69 of septicemia resulting from a facelift. The face survived. It can be seen on the $100 note, a fact that would surely have pleased the original Material Girl.

Shane Maloney and Chris Grosz

Shane Maloney is a writer and the author of the award-winning Murray Whelan series of crime novels. His 'Encounters', illustrated by Chris Grosz, have been published in a collection, Australian Encounters.

Chris Grosz is a book illustrator, painter and political cartoonist. He has illustrated newspapers and magazines such as the Age, the Bulletin and Time.

Cover: December 2005 - January 2006

December 2005 - January 2006

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In This Issue

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Mr. Huge

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The sperm drought

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The extinction rebels

Direct action protest and the rise of a new resistance movement


More in Encounters

Words: Shane Maloney | Illustration: Chris Grosz

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Mark Oliphant & J Robert Oppenheimer

John Monash & King George V

John Howard & Uri Geller


Read on

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Making sense of CPAC

Why the Conservative Political Action Conference should not be dismissed lightly

Image from ‘Midsommar’

Pagan poetry: the studied strangeness of Ari Aster’s ‘Midsommar’

The ‘Hereditary’ director micro-manages the mania in his new film

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Quentin Tarantino’s Sisyphean task

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Heirs unapparent: ‘Succession’

The HBO comedy-drama returns for another gleefully toxic season


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