The San Francisco call., 1910-12-18
Tetazzni Goddess Of MUSIC, Displays True Art
Edith r1ason's Repertoire Too Long for Memory
SOUS Simplicity Is
Shown in Love
For Child
By WALTER ANTHONY

Lacking IN the regal dlStncton OF
queen of song, Nine Tetrazzini yester-
day afternoon waved her handkerchief
at the audience and proved the democ-
racy of art. The policeman who stood
far out in the lobby OF preamland
rink. the multimillionaire who had
seat in the sixth row. the vocal teacher
whose meager savings went into the
ticket cost and the elubman who
didn't know whether he wanted seat
or a bottle of wine. were all there and
enthusiastic. The diva gave her
bouquet of violets to baby at the
conclusion of the program. Nine. Tet-
razZini hugged the child as eagerly as
YOU or l. and if she--I mean the
singer-were acting she is the greatest
actress, as well as the grea test singer,
in the world. ! prefer 10 believe that
she was not acting.
do not apologize for telling this
story in a musical criticism. Anybody
with command of Groves dictionary
can write musical CRITICS. sprinkled
nicely with terms which nobody un-.
derstands or wants to, but when
James Pilling's little daughter clam
bered over the stage at the end of the
program and Nine. Tetrazzini hugged
her tightly and gave her the violets
from the corsage of her beautiful
brown dress technical discussion re-
tired from the minds of the hired as
sassins of artistic regulations and. be-
came meek and happy. You see, Mr.
Pilling, who had no intention of spring
ing into prominence, is the mana ger
of the National theater, next door to
Dreamland rink, and promised Green
baum that there would be no riotous
noises next door nor crashes of the
bass drum nor loud falls" of acrobats.
The National put on moving pictures
instead of the usual bill and Pilling,
relieved of his regular troubles was
ready TO see and hear Tetrazzini next
door. He took his little daughter with
him and sat far down front.
TRUE ART Is SHOWN
The episode is recorded here. not as
my contribution to musical criticism.
but as a tribute to the Tolstoy theory
that art-real art-needs no explana-
tion. The child. the dilletante or the
backwoodsman should understand. and
so the pretty baby. clambering on the
stage to kiss the diva, the policeman
in the back of the house. kid gloved
and undoubtedly uncomfortable. were,
with millionaire, clubman. spinster and
music teacher, merely unit tributes to
Tetrazzini's marvellous art. The voice
of the people is the voice of God. That
may be true. The reception that was
accorded the triumphant Tetrazzini
yesterday by the uplifted voice of the
people would seem to prove that the
people" understand
The pavilion was crowded again.
There was not an empty seat in the
house and hundreds had to postpone
their enjoyment until next Tuesday A
flock of blue coated gentlemen and al
lies from the fire department refused
to permit more to enter. Even Morris
Meyerfeld and a party from the Or
pheum had to remain in the back and
distant regions of the rink for lack
of accommo odations closer to Paul Stein
dorff, who led the orchestra
TETRAZZINI THRILLS AUDIENCE
When Tetrazzini appeared the ova-
tion of last Mondav night was begun
over again. She followed an orchestral
number, Nicolaf's Merry Wives of
Windsor" nicely played and an ora :
torio selection by Frederick Hastings,
the. barytone. who picked, as though
with prophetic vision the excerpt from
Handels Messiah" the title OF which
was Why Do the Nations Rage?''
Well we ragged when Tetrazzini ap-
peared. She sang "A forse lui'' with
-Sempre Libra" to finish. Wise critics
! in the east and west have told us some
thing to the effect that Tetrazzinis
lower registers if there's such a
thing-is weak and pallid, and that she
is no match for Melba and others
Nevertheless the public which hung or
the trapeze of her tones were swayed
and thrilled. and, like the London audi
enee in Covent garden, discovered" hel
again. There is something of the
touch of celestial beauty in Tetrazzini's
! singing, which, like all good music
hits the hearts Of those who know
/ luckily, nothing of technic. She is like
Mabel in the song. She sings your hear
1 away. and she does it by an irreproach
able technic, a gift for mimicry anc
spirit of unconquerable splendor. Tc
| hear Tetrazzini sing as she did in th'
| pages song from Verdi's I'll Ballo IL
| Maschera," which was given as an en-
core after the finishing number yes
| terday afternoon. is to realize that th'
| greatest gifts are not to be discussed
or argued over. They just are, ant
! their existence, like the existence of
sunbeam, is not subject to discussion
| by the wise.
MARVELLOUS. HIGH TONES
The volume and beauty of the high
/ or rather acute-tones in Tetrazzini'
voice is marvellous. Slower soprano
sing lower than she does, no doubt. bu
| the fiat in all that Tetrazzini sing
in 'Sempra Libra is a brilliant SHIN
mering rocket of tone. But aside from
| her control of "bel canto" and he
ability to revive interest in Rossinf
"Semiramide," from which she san,
BEL Raggio." and the ancient beau
ties of Bellini, and Verdi in their ear
liest manifestations. Tetrazzini ha
something she did not get from teach
ers nor acquire at school-a wonderful
open throated voice and disposition
to sing.
Tuesday will be the last time in Sal
Francisco to hear this goddess of Latil
music.
Petite Arriola, the prodigy of
years. has been booked by Greenbaur
for a series of piano recitals in thi
city.