Kingsbury County independent. (DeSmet, Kingsbury County, S.D.) 1894-1929, 1908-03-06
TETRAZzIhl A
SECOND TpiLbY? ALL
NEW YORK ASKS
Twenty Years She Sang in
Public Without Exciting
Great Applause.
NOW HER VOICE THRILLS
Ewes Aiways Seek Those OF Her Man.
aqer When on Stase--He Even
Answers Her Phone and
Opens Mail.

New Yorls. Special; Is retraz2ini an
other Trilby, and is her manage Sig.
Bazelli. another ~Svengali, who nypno-
ties her as she sings"
These questions all OF musical New
York is asking.
For 90 years his singer, who as
brought the music lovers OF the world $
two greatest capitals to her feet, sang
in obscurity, one night here and n
night there in different cities IN diner
ent countries. She was not a great
singer then. she attracted no attention.
And then her manager secured Tor her
ain engagement to sing IN Covent Gar
den. London.
For eight months she rested. And
then she walked upon the stage as
one in "A dream. and, looking straight
ar Sig. Bazelli, she sang as never Wom-
an sans before. Such applause! Such
rapture. H. one day her fame had
spread throughout Ioldon.
She came TO New York for the pres
ent season, under contract with Oscar
Hammerstein TO sing with the Man
haitian Opera company. She burst in
brilliance on wondering New York.
Men of experience and gravity pro-
claimed her greater than Patti, and
they asked each other:
w lO toNlu lldNt "lbISII
miracles in the voice of a woman who
sang 10 o~bscurity for 20 years? Why
did she never sing until she met
BaZelli? Does she only sing her best
now when under his control? And
why is it hat only since his reign
ove. Tetrazzini has she startled the
Worid?'
Eyes of a Svenqali.
The mysterious Bazelli. With Eyes
hIaaly IrsIlfnnF Y,iAtai,y ~ with
mystery lying deep in them and cum
ning cleaning through them like fire
through ~glaSs-faCes her ZACH night as
she sings. she is nervous and i'll at
ease as she stands in the wings await
ing her call. If anyone speaks 10 her
IN the way from her dressing room TO
the wings she is thrown into a state of
distress. She seems afraid that
her voice will fail her. She walks out
timidly n as she stops her eyes
search the faces in front of her for
that of Bazelli, and then she begins to
sing, looking straight into the eyes of
Bazelli the while.
At first her voice is like The thin,
peeEisn trebleS of a cross child, and
the lower notes nave an automatic
quality like the first asthmatic wheeling
OF a monograph before II break into
the full swing of the record. It is as
If she has not yet come under the
hypnotic spell of her master. But she
watches him and his eyes, with the
strange hypnotic power, peer into hers.
And the there flows those amazing
high notes which one has described
MS the coIoratura fireworks that fill
the listeners mind with visions of fall
ing blossoms, rockets breaking softly in
a dark sky, silverthroated ni~ghtingales
thrilling r~apturously in dark woods,
and meadow larks rising ecstatically to
greet the sun.
A Listeners Impressions.
Another tells of her performance as fol-
lows:
When she comes on the stage in
'Rigoletto' or La Traviata' she babbles
on in the prattle and cooling of infancy.
She suggests the vaudeville stage more
than the dignified land OF grand opera.
Then OF a sudden comes the change, and
she pours forth tones golden, ringing. OF
intoxicating beauty.
LOOK at me in the white OF the eyes,
Svengali used to say to Trilby. And
Tetrazzini looks into the whites of Ba-
Zellis eyes as she sings. She leaves the
stage exhausted and Bazelli goes to her.
assists, almost carries her into a car.
riage, and takes her home. One can read
lily picture Bazelli saying to her after one
of these triumphs, as Sveagali said TO
Trilby.
sleep my pretty one. and the next she
knows she Is in bed, tired unto death.
quite unconscious of the fact that she.
who's voice had once been laughed at
had just sung at a concert where flowers
and jewels had been flung at her feet
in her hearers mad enthusiasm.
Sig. Bazelli receives all the callers OF
La Tetrazzini, even though they be her
relatives or intimate friends. He opens
all her letters and answers those that
in his estimation are worthy of response
He answers her telephone and speaks i'm
patient, authoritative English to all in
quirers for the well guarded, hedged about
diva. who six months ago was only known
as a plump and prattling prima donna in
second class musical centers.
In the early days of his aseendancy
over the prima donna the man whom
many insist Is a Svengali always sang
with her. He sang Romeo and Alfredo.
Faust and all the other parts which fur
nish tenors. love songs and opportunities
to stand close by and gaze into the So
prano's eyes.
Du Maurier, describing Svengalis in
nuence over Triiby, wrote:
"And then he turned his attention IN
Trilby and told her-the tone deaf. whose
singing at that time was too funny for
laughter as some things are too sad and
too deep for tears-and you shall see
nothing, hear nothing. think of nothing
but Svengali. Svengali. %Svengali.'
And Tribly shuddered and said:
He reminds me of a big, hungry spider,
and makes me feel like a fly"
A Wife in Bondage.