Thank you Ms. Paul for replying so quickly. I am sorry that you will not be getting back to the opera mystery series. I realize that even books that are quick and interesting reads take a lot longer from idea to fruition. That is why children of all ages anxiously await the next Harry Potter book, as I anticipate reading the other books in your series. From what I have read, I agree with you about Caruso having aborted Lohengrin after having sung it during one run in Italian before he got to the Met (Beniamino Gigli had a similar experience with Lohengrin and also did not attempt other Wagner). However, I must respectfully disagree with you about Melchior. Shirlee Emmons, in her (perhaps definitive) authorized biography of Melchior, Tristanissimo! details at length how much Melchior was lauded for his Otellos by those who saw him (and heard his recordings of excerpts) and also how much Melchior wanted to sing Otello, especially at the Met. Giulio Gatti-Casazza and Edward Johnson followed the tradition of separation of German and Italian wings and refused to let him sing Otello over the course of his 24 year Met career (1926-1950), and then Bing basically fired/retired him. He was deprived of the opportunity, but did sing Otello at the San Francisco Opera; whereas, Caruso and Gigli abandoned Lohengrin. giovanni Martinelli had the same problem as Melchior: he had to go elswhere to sing Wagner.
After I have the change to read the Montero novel about Caruso, I would love to discuss it with you if you have the chance to read it. Thank you again for your kindness. I will let you all know about Schicchi in a week's time.