Francesco Tamagno heard on the stages of London and New York during the late-Victorian Era. Tamagno, however, refused to perform Wagnerian works, even in Italian translation; he believed that the tessitura of the music written for Wagner's tenor heroes lay too low to suit his vocal range. Tamagno lived long enough to witness the rise to fame of the young Enrico Caruso (1873–1921). He admired Caruso's ability, predicting as far back as 1898 that Caruso would go on to become the number-one Italian tenor of the 20th century. As M. J. Phillips-Matz observes in her 2002 Puccini biography, Tamagno and Caruso actually
Girolamo Caruso 1923. On 12 November 1925, in the lecture room of Agronomy of "Istituto superiore agrario of Pisa", they placed a marble bust of Girolamo Caruso, carved by Giuseppe Michelotti, similar to those of Cosimo Ridolfi and Pietro Cuppari, wanted by Caruso himself. Alcamo, his native town, has remembered him by entitling him a street and the homonymous Technical Institute (now ITET). In 1873, in one of his introductory reports, Caruso put in evidence the social, economic, and productive implications of the "mezzadria" (called metayage in English): first of all it had to exist, from the economic point of view, for