Frizzo — Master Magician
BY HOUDINI
(Copyright 1921 by Houdini)
One of the most ingenious exponents of magical art was, perhaps, Enrico Longone, whom the world best knew as Frizzo—reputed to be the greatest Italian conjuror of modern times, linguist, author, friend of kings and pet of polite society. He was born in Milan, Italy, in 1852, "well" born in the European sense, of blue blooded lineage. Early in life he became imbued with a love for sleight of hand, and when he entered the University of Milan, at the age of 18 he had already acquired a number of tricks and had developed a manual dexterity which later won him the applause of Europe.
From The Houdini Collection
After completing his course in the University, obtaining the degree of Doctor of Laws, young Longone became a paleographer in the Royal Italian Archives. But musty parchments and curious old documents held no fascination for him and within a short time he tired of his eminently respectable, but ever unexciting post. As his interest in his work waned daily, so his belief that success awaited him as a magician strengthened, and adopting the name of Frizzo, he finally launched forth upon his stage career, with high hopes and golden visions of a glorious future.
It is to Antonio Molini, the great amateur magician of Vienna, that we are chiefly indebted for information concerning the incomparable Italian, who was his instructor. Molini, friend of all great magicians of his day and noted as the inventor of the enchanted organ pipes, declared that Frizzo surpassed even the celebrated Compars Herrmann, who taught the young Italian. He was a student of Chemistry, Physics, Optics and Mechanics; and the knowledge of these sciences which he applied to his illusionary feats added to the agile grace and dexterity of his prestidigitation. This alone would have made him famous, even if Frizzo had not been a master showman and rivalled only by Robert Heller in patter. In connection with the last named accomplishment, his ability to speak his principal European languages with fluency and speed put him on an equal footing with the native talent in almost every country he toured. His stage presence was well nigh perfect; Frizzo looked and was the magician on the stage, just as he looked and was the distinguished and scholarly gentleman in society. Nothing could disturb his poise, nor was he ever known to commit the fatal blunder of laughing at his own droll monologues, although his audience frequently were convulsed with laughter.
It was while giving one of his many society entertainments, this one at the palace of the Princess of Lusignano—an idyllic setting indeed, for the inception of a romance—that the wizard met the beautiful Signorita Maria Christina Vivarelli, a lady in waiting to the Princess. As he crossed that magnificent, grand old salon to address the guests, her romance-loving eyes recognized in him the Prince Charming of her dreams. Cupid's legs are depicted by the artists as short and dimpled; but upon occasion they can make strides as great as though shod with seven league boots, so it was but a short time after this fortunate meeting that Signorita Vivarelli became the wife of her country's foremost entertainer.
She proved a true helpmeet to her spouse and her musical talent inherited from her father, who was a music instructor at the Italian Court, added to the success of his entertainments. She was the first person in Italy to learn the verraphone and, accompained on the piano by her husband, she was a feature of his performances.
When not on tour the happy couple lived in a beautiful villa in San Martino D'Albano, paid for with the proceeds of their entertainments in Spain, where Frizzo caused a great sensation and made fabulous sums.
During his travels, Frizzo made the acquaintance of the Italian painter and silhouettist, Campi. From him the conjurer gained many valuable points in shadowgraphy and by adding this art, which he called "Animated Shadows" to his repertoire, he won great popularity and fame for versatility.
Among the "illustrious" who were ardent admirers of the magician, were King Umberto II and the Pope. The ruler of Italy honored his favorite by making him a knight of the Order of the Crown of Italy, while His Holiness presented him with a precious breast pin bearing the papal escutcheon.
But as numerous as were his admirers, so too, were his imitators and he lamented: "I am in despair! One steals my program, another my name, and in a word, they are stealing all they possibily can from me!" However, all attempts to mar Frizzo's reputation proved futile, as the name of Enrico Longone is the only one among magicians which can be found in "Celebrated Persons in the Kingdom of Italy," the Italian equivalent of "Who's Who."
Frizzo wrote two books on magic. The first was "Frizzo di Frizzo" (Talks by Frizzo) a humorous and entertaining description of twenty five of his tricks, and the second was "Memoria Transcendentale" (Transcendental Memory) an expose of second sight.
After touring Europe and Asia and meeting with great success at des Menus-Plaisirs and l'Athenée in Paris, he sailed for South America in 1888, the proud bearer of a letter of recommendation from Don Pedro II, Emperor of Brazil. He was accompanied by another Italian magician, Conte Patrizio. In a farewell letter to his faithful friend and pupil, Molini, Frizzo wrote: "I am going to America, the last dream of my life either to return a rich man or to die."
It was, alas, to die. He arrived in Brazil during the hottest part of the revolution, to find the Emperor dethroned, the theatres closed, and the entire country in a state of upheaval. From Brazil he went to Montevideo, only to find more chaos, more uproar. After the revolution was finally quelled he gave a number of performances in Brazil, but his rosy dreams of a golden future were shattered. It was in that country that Frizzo's health finally gave way beneath the strain of worry and cruel disappointment, and it became necessary to remove him to an insane asylum. Thus ended a career which had been so gloriously begun and thus was prevented the completion of Frizzo's third book, "Criticism of the Spanish Theatres." Tradition has it that he breathed his last in Brazil then again he is believed to have died in Buenos Aires.*
*If any of our readers in South America can give us any enlightenment on Frizzo, we would be greatly indebted to them for the facts.
Originally pubished in the M-U-M in Vol. 10, No. 9, (Whole No. 95) in New York, February 1921.
