Buzz
When imagining classical music performances, most people don’t picture fans hurling their undergarments or screaming in excitement, yet this is precisely where such behavior originated. Decades before the rise of Elvis, the Beatles, or Justin Bieber, one man captivated audiences with his piano mastery, drawing throngs of adoring, hysterical women: the legendary Franz Liszt.
This phenomenon was dubbed Lisztomania, and in the 1800s, it was far more than a playful term. The frenzy surrounding Franz Liszt’s performances was so intense that medical professionals of the era speculated his admirers were suffering from a widespread psychological disorder.
10. Fans Tossed Their Lingerie On Stage
Franz Liszt became a symbol of allure and charisma unlike anything the world had witnessed before. Prior to his era, classical musicians viewed excessive applause as a sign of an unruly audience. However, Liszt’s performances sparked a new level of fan devotion, with admirers tossing their undergarments onto the stage.
Not every woman carried spare unmentionables to fling at the celebrated Hungarian pianist. Some opted for more restrained gestures, such as throwing handkerchiefs, rose bouquets, or small pieces of clothing. Others chose to sit quietly in the front row, gazing at him through binoculars to catch every detail of his expression.
Some attendees were too overwhelmed to participate in the frenzy. At a particularly chaotic 1842 concert in Berlin, several women erupted into fits of uncontrollable laughter at the mere sight of Franz Liszt, while others fainted outright. However, those who remained composed witnessed a historic moment: the audience stormed the stage, marking what may have been the first instance of such behavior in concert history.
9. Fans Crafted Lockets From His Discarded Cigarettes
The conclusion of a Franz Liszt performance often marked the start of riots. Enthusiastic women would rush the stage, desperate to snatch any memento they could find. They battled over his handkerchiefs or, in moments of generosity, tore his velvet gloves into fragments, ensuring each admirer could take a small piece of Liszt home.
Some fans arrived well-prepared. Accounts exist of women bringing glass vials to Liszt’s concerts to collect the remnants of his coffee after he finished playing. This allowed them to carry a token that had touched his lips, keeping it close in a necklace wherever they went.
A writer once recounted witnessing a woman retrieve Liszt’s discarded cigar butt from the gutter. She didn’t merely keep it; she had it preserved in a locket adorned with the initials “F. L.” in diamonds. Despite the lingering odor, she wore it proudly at all times.
8. Men Were Equally Enthralled by Him
Franz Liszt’s appeal wasn’t limited to women; men were equally captivated by his charm. Many penned lengthy, adoring accounts of his striking appearance. Russian critic Yuri Arnold, after encountering Liszt in person, confessed: “Upon returning home, I tore off my coat, collapsed onto the sofa, and wept tears that were both bitter and sweet.”
Arnold wasn’t the only one. Two friends, Stasov and Serov, after witnessing Liszt, declared that they “made a solemn vow to forever cherish April 8, 1842, as a sacred day, vowing to remember every single moment of it until their last breath.”
Even Hans Christian Andersen, when not crafting tales like “The Little Mermaid,” attempted to encapsulate Liszt’s magnetism in writing. In his diary, after his first encounter with Liszt, he noted: “As Liszt entered the room, it felt as though an electric current surged through the air. It was as if a beam of sunlight had illuminated every face.”
7. People Were Often Left Speechless in His Presence
Franz Liszt had an uncanny ability to captivate anyone’s partner, regardless of their status. Even renowned figures like the famous French novelist Honore de Balzac weren’t immune. A single encounter with Liszt could leave their wives composing verses about his striking appearance.
This was precisely what befell Balzac. After inviting Liszt to his home, Balzac’s mistress and future wife, Eva Hanska, was utterly spellbound. Overwhelmed by the meeting, she was rendered speechless. However, once Liszt departed, she retreated to her bed and poured her admiration into her diary.
“His eyes, though glassy, ignite with brilliance under the influence of his wit, gleaming like the facets of a finely cut diamond,” Hanska wrote, likely when Balzac wasn’t watching. She gushed over every detail—his hair, his physique, and his lips, which she described as inspiring dreams of heaven.
6. He Was Revered as if He Surpassed Royalty
Liszt’s admirers weren’t limited to celebrities; even royalty fell under his spell. As one critic noted, Franz was treated “not merely like a king, but as a king,” a sentiment shared by actual monarchs.
This was no overstatement. Upon his departure from Germany for a European tour, the king and queen stepped onto their balcony to bid him farewell. They organized an elaborate send-off, with Liszt seated in a royal carriage drawn by six white horses, followed by a parade of 30 coaches and the royal honor guard.
When royalty failed to show him the respect he expected, Liszt insisted on it. During a performance for Tsar Nicholas I in Russia, Liszt grew irritated by the tsar’s chatter during his concert. In response, he stopped playing, glared at the tsar, and delivered a famously passive-aggressive remark: “Music herself should fall silent when Nicholas speaks!”
5. He Purchased a Dog to Meet the Demand for His Hair
Liszt’s popularity was partly fueled by his striking, untamed hair, a style that was unprecedented and mesmerizing. Many became fixated on it, with women sending countless letters pleading for a strand of his flowing locks to treasure in their diaries or lockets, keeping a piece of him close forever.
The demand eventually became overwhelming. To avoid disappointing his admirers, Liszt acquired a dog with similar-colored hair and began clipping its fur whenever he received such requests. The women who wrote to him would receive a lock of dog hair, often none the wiser and delighted with their keepsake.
The requests persisted even after his death. The woman who discovered Liszt’s body informed his daughter of his passing but only allowed her a brief moment to grieve. Seizing the opportunity, she then asked for permission to snip a lock of hair from his lifeless body.
4. A Woman Trashed a Hotel After He Abandoned Her
Liszt had numerous romantic entanglements, but none were as tumultuous as his affair with Lola Montez. She was a provocative dancer, renowned for her liaisons with figures ranging from The Three Musketeers author Alexandre Dumas to the king of Bavaria.
Amid her string of lovers, she also found time for Franz Liszt. However, Liszt’s attachment paled in comparison to hers. After spending the night with Lola Montez in a hotel room, he quietly slipped away before dawn.
Montez was enraged. In a fit of anger, she wrecked the room, smashing every piece of furniture she could find before storming out and leaving the space in shambles. Liszt, however, seemed to anticipate her reaction. Before leaving, he had already handed the hotel staff a stack of cash, warning them that the room would soon be in ruins.
3. It Remains a Subject of Study Today
Academia hasn’t evolved as much as one might think. Even today, researchers (and perhaps cartoonists) continue to explore how Franz Liszt could incite such frenzy. Some theories are rather far-fetched. For instance, one scholar proposed that Liszt’s rapid tempos might have triggered an electric neurological response in the audience’s brains, impairing their rational thought.
While this idea is likely absurd, it hasn’t deterred further investigation. Other studies suggest that Lisztomania highlights the significant role music plays in human sexual attraction. Some even argue it demonstrates our similarity to birds, who use songs to woo potential mates.
This theory holds some weight. “If you can master a skill like music and maintain your appearance,” one psychologist noted, “it signals your ability to care for a partner.” Liszt, with his exceptional piano skills and impeccable hair, was essentially a human peacock, showcasing his allure.
According to this logic, Liszt’s perfection overwhelmed his admirers. Their nervous systems, unable to process the intensity, would shift from overstimulation to a sudden attempt to calm down, resulting in women fainting on the spot.
2. Physicians Attempted to Develop a Cure for Lisztomania
Franz Liszt wasn’t merely popular—he was a societal issue. During his era, essays were written about his profound impact on people, and it wasn’t dismissed as mere fandom. Heinrich Heine, who coined the term “Lisztomania,” described it as “genuine madness” and classified it within “the realm of pathology.” In simpler terms: His fans were out of their minds.
Doctors penned essays attempting to explain the phenomenon, with some attributing Lisztomania to germs spreading in concert halls or even mass epileptic episodes. Others proposed methods to “immunize” the public against this frenzy.
However, no cure was ever discovered. In truth, many were likely just frightened. They were deeply concerned about how Liszt was disrupting societal norms, particularly among women.
This fear became evident when the Neuigkeits-Bote published numerous articles warning about the “contagion” of Lisztomania. Eventually, they celebrated Liszt’s departure from town, declaring, “The women have finally returned to tending to their children, kitchens, and husbands.”
1. His Manager Hired People to Toss Flowers During the Opening Act
When the singer Giovanni Battista Rubini toured with Liszt, Signor Belloni, Liszt’s manager, grew concerned about Rubini’s morale. Sharing the stage with Franz Liszt, a legendary charmer, Belloni feared Rubini’s ego might suffer.
Belloni took decisive action. To ensure Rubini felt as adored as Liszt, he hired individuals to throw flowers at Rubini during his performances. Belloni even commissioned poets to compose odes praising Rubini, which were then recited loudly to the audience mid-show.
Rubini basked in the attention—until the tour concluded and Belloni presented him with the bill. While Belloni was willing to protect Rubini’s self-esteem temporarily, he wasn’t footing the cost. Rubini received an itemized list of expenses, including flower throwers and poets, along with the harsh truth that his popularity wasn’t as genuine as he’d believed.
