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
In the Name of the Italian People contrasts between the two men in any social, political and philosophical. Everyone hates each other and would like to delete it, but just because of the bad example that the two men give power to the people, many Italians are adversely affected because of cheating and rudeness of the fascist manufacturer and the communist magistrate. The director Dino Risi underlines the misdeeds and the weakness of the Italian people to react accordingly, by focusing on the story of these two men who are each other's opposite of the net. In the Name of the Italian People In the Name of