Chapter VI

Mr. Barnum, no mean adept himself in the science of advertising, took a lesson from the ingenious trickery of Mr. Lumley in whetting the appetite of the American public for the coming of the Swedish _diva_. He took good care that the newspapers should be flooded with the most exaggerated and sensational anecdotes of her life and career, and day after day the people were kept on the alert by columns of fulsome praise and exciting gossip. On her arrival in New York, in September, 1850, both the wharf and adjacent streets were packed with people eager to catch a glimpse of the great singer. Her hotel, the Irving House, was surrounded at midnight by not less than thirty thousand people, and she was serenaded by a band of one hundred and thirty musicians, who had marched up, led by several hundreds of red-shirted firemen. The American furore instantly took on the proportions of that which had crazed the English public. The newspapers published the names of those who had bought tickets, and printed a fac-simile of the card which admitted the owner to the concert building. The anxiety to see Mlle. Lind, when she was driving, was a serious embarrassment to her, and at the "public reception" days, arranged for her, throngs of ladies filled her drawing-rooms. Costly presents were sent to her anonymously, and in every way the public displayed similar extravagance. On the day of the first concert, in spite of the fierce downpour of rain, there were five thousand persons buying tickets; and the price paid for the first ticket to the first concert, six hundred dollars, constitutes the sole title to remembrance of the enterprising tradesman who thus sought to advertise his wares.

Nothing was talked of except Jenny Lind, and on the night of the first appearance, September 11th, seven thousand throats burst forth in frantic shouts of applause and welcome, as the Swedish Nightingale stepped on the Castle Garden stage in a simple dress of white, and as pallid with agitation as the gown she wore. She sang "Casta Diva," a duo with Belletti, from Rossini's "Il Turco in Italia," and the Trio Concertante, with two flutes, from Meyerbeer's "Feldlager in Schliesen," of which Moscheles had said that "it was, perhaps, the most astonishing piece of bravura singing which could possibly be heard." These pieces, with two Swedish national songs, were received with the loudest salvos of applause. The proceeds of this first concert were twenty-six thousand dollars, of which Jenny Lind gave her share to the charitable institutions of New York, and, on learning that some of the members of the New York orchestra were in indigent circumstances, she generously made them a substantial gift. Her beneficent actions during her entire stay in America are too numerous to detail. Frequently would she flit away from her house quietly, as if about to pay a visit, and then she might be seen disappearing down back lanes or into the cottages of the poor. She was warned to avoid so much liberality, as many unworthy persons took unfair advantage of her bounty; but she invariably replied, "Never mind; if I relieve ten, and one is worthy, I am satisfied." She had distributed thirty thousand florins in Germany; she gave away in England nearly sixty thousand pounds; and in America she scattered in charity no less than fifty thousand dollars.

To record the experiences of the Swedish Nightingale in the different cities of America would be to repeat the story of boundless enthusiasm on the part of the public, and lavish munificence on the part of the singer, which makes her record nobly monotonous. There seemed to be no bounds to the popular appreciation and interest, as was instanced one night in Baltimore. While standing on the balcony of her hotel bowing to the shouting multitude, her shawl dropped among them, and instantly it was torn into a thousand strips, to be preserved as precious souvenirs.

Jenny Lind did not remain under Mr. Barnum's management during the whole of the season. A difficulty having risen, she availed herself of a clause in the contract, and by paying thirty thousand dollars broke the engagement. The last sixty nights of the concert series she gave under her own management. In Boston, February 5, 1852, the charming singer married Mr. Otto Goldschmidt, the pianist, who had latterly been connected with her concert company. The son of a wealthy Hamburg merchant, Mr. Goldschmidt had taken an excellent rank as a pianist, and made some reputation as a minor composer. Mme. Goldschmidt and her husband returned to Europe in 1852, this great artist having made about one hundred and fifty thousand dollars in her American tour, aside from the large sums lavished in charity. After several years spent in Germany, M. and Mme. Goldschmidt settled permanently in London, where they are still residing. She has frequently appeared in concert and oratorio till within a year or two, and, as the mother of an interesting family and a woman of the most charming personal character, is warmly welcomed in the best London society. It must be recorded that the whole of her American earnings was devoted to founding and endowing art scholarships and other charities in her native Sweden; while in England, the country of her adoption, among other charities, she has given a whole hospital to Liverpool, and a wing of another to London. The scholarship founded by her friend Felix Mendelssohn has largely benefited by her help, and it may be truly said that her sympathy has never been appealed to in vain, by those who have any reasonable claim. Competent judges have estimated that the total amount given away by Jenny Lind in charity and to benevolent institutions will reach at least half a million of dollars.

SOPHIE CRUVELLI.

The Daughter of an Obscure German Pastor.--She studies Music in Paris.--Failure of her Voice.--Makes her _Début_ 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.--_Début_ 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.