The Childhood of the “Swedish Nightingale.”—Her First Musical Instruction.—The Loss and Return of her Voice.—Jenny Lind’s Pupilage in Paris under Manuel Garcia.—She makes the Acquaintance of Meyerbeer.—Great Sue-cess in Stockholm in “Robert le Diable.”—Fredrika Bremer and Hans Christian Andersen on the Young Singer.—Her Debut in Berlin.—Becomes Prima Donna at the Royal Theatre.—Beginning of the Lind Enthusiasm that overran Europe.—She appears in Dresden in Meyerbeer’s New Opera, “Feldlager in Schliesen.”—Offers throng in from all the Leading Theatres of Europe.—The Grand Furore in Every Part of Germany.—Description of Scenes in her Musical Progresses.—She makes her Debut in London.—Extraordinary Excitement of the English Public, such as had never before been known.—Descriptions of her Singing by Contemporary Critics.—Her Quality as an Actress.—Jenny Lind’s Personnel.—Scenes and Incidents of the “Lind” Mania.—Her Second London Season.—Her Place and Character as a Lyric Artist.—Mlle. Lind’s American Tour.—Extraordinary Enthusiasm in America.—Her Lavish Generosity.—She marries Herr Otto Goldschmidt.—Present Life of Retirement in London.—Jenny Lind as a Public Benefactor
The Daughter of an Obscure German Pastor.—She studies Music in Paris.—Failure of her Voice.—Makes her Debut at La Fenice.—She appears in London during the Lind Excitement.—Description of her Voice and Person.—A Great Excitement over her Second Appearance in Italy.—Debut in Paris.—Her Grand Impersonation in “Fidelio.”—Critical Estimates of her Genius.—Sophie Cruvelli’s Eccentricities.—Excitement in Paris over her Valentine in “Les Huguenots.”—Different Performances in London and Paris.—She retires from the Stage and marries Baron Vigier.—Her Professional Status.—One of the Most Gifted Women of any Age
Born at Hamburg of an Hungarian Family.—Her Early Musical Training.—First Appearance in Opera in “Lucrezia Borgia.”—Romance of her Youth.—Rapid Extension of her Fame.—Receives a Conge from Vienna to sing in England.—Description of Mlle. Titiens, her Voice, and Artistic Style.—The Characters in which she was specially eminent.—Opinions of the Critics.—Her Relative Standing in the Operatic Profession.—Her Performances of Semi-ramide and Medea.—Latter Years of her Career.—Her Artistic Tour in America.—Her Death, and Estimate placed on her Genius
MARIA FELICIA MALIBRAN.