"It is, perhaps, too late to await the advent of a Queen of Song from the warm South. The South has had its turn; it has fulfilled its mission; the other end of the balance now comes up. The Northern Muse must sing her lesson to the world. Her fresher, chaster, more intellectual, and (as they only SEEM to some) her colder strains come in due season to recover our souls from the delicious languor of a Music which has been so wholly of the Feelings, that, for the want of some intellectual tonic and some spiritual temper, Feeling has degenerated into mere Sensibility and a very cheap kind of superficial, skin-deep excitability that usurps the name of Passion.
"We admire and feel and love the Melody of Italy. We reverence her native gift of song, her popular sensibility to it. We have been again and again transported by her best vocal artists who have visited these shores, and they are not THE best—the world-wide celebrities, we have to confess, are only traditions to us—traditions, however, to which we yield ourselves in full faith. From what we HAVE heard and experienced of Italian singing, we know, as well as if we had heard Grisi, Pasta and Rubini, that it is not IN the genius of the Italian School to produce or hardly to appreciate such a new revelation of song as this human nightingale or canary of Sweden.
"Is this underrating the Italian music? By no means. That is an established fact, and has its characteristic worth. Equally so, but in a contrasted way has the music of the North, which, till this Nightingale appeared, had found its utterance mainly through instruments and orchestras. Now it finds worthy utterance in song. But of its peculiar characteristic we must take another time to speak."
CHAPTER XVIII. CONTINUED TRIUMPH.
SUCCESSFUL ADVERTISING—THE RESPONSIBILITIES OF RICHES—VISIT TO IRANISTAN—OVATIONS AT BOSTON, PHILADELPHIA, BALTIMORE AND WASHINGTON—VISIT TO MT. VERNON—CHARLESTON—HAVANA—FREDERICKA BREMER.
All of Barnum's inventive powers were called into play effectually to advertise his song-bird. Biographies of Jenny Lind were circulated. "Foreign correspondence" raved over her talents, narratives of her benevolence filled the papers; her pictures and her name were seen everywhere. So when she made her first appearance, it was before an audience already wrought up to a high pitch of enthusiasm in her behalf. Never before, or after for that matter, was any singer so lauded by the press. The following editorial from the New York Herald of September 10th, 1850, is a fair sample:
"What ancient monarch was he, either in history or in fable, who offered half his kingdom (the price of box-tickets and choice seats in those days) for the invention of an original sensation, or the discovery of a fresh pleasure? That sensation—that pleasure which royal power in the Old World failed to discover—has been called into existence at a less price, by Mr. Barnum, a plain republican, and is now about to be enjoyed by the sovereigns of the New World.
"Jenny Lind, the most remarkable phenomenon in the musical art which has for the last century flashed across the horizon of the Old World, is now among us, and will make her debut to-morrow night to a house of nearly ten thousand listeners, yielding in proceeds by auction, a sum of forty or fifty thousand dollars. For the last ten days our musical reporters have furnished our readers with every matter connected with her arrival in this metropolis, and the steps adopted by Mr. Barnum in preparation for her first appearance. The proceedings of yesterday, consisting of the sale of the remainder of the tickets, and the astonishing, the wonderful sensation produced at her first rehearsal on the few persons, critics in musical art, who were admitted on the occasion, will be found elsewhere in our columns.
"We concur in everything that has been said by our musical reporter, describing her extraordinary genius—her unrivalled combination of power and art. Nothing has been exaggerated, not an iota. Three years ago, more or less, we heard Jenny Lind on many occasions, when she made the first great sensation in Europe, by her debut at the London Opera House. Then she was great in power—in art—in genius; now she is greater in all. We speak from experience and conviction. Then she astonished, and pleased, and fascinated the thousands of the British aristocracy; now she will fascinate, and please, and delight, and almost make mad with musical excitement, the millions of the American democracy. To-morrow night, this new sensation—this fresh movement—this excitement excelling all former excitements—will be called into existence, when she pours out the notes of Casta Diva, and exhibits her astonishing powers—her wonderful peculiarities, that seem more of heaven than of earth—more of a voice from eternity, than from the lips of a human being.
"We speak soberly—seriously—calmly. The public expectation has run very high for the last week—higher than at any former period of our past musical annals. But high as it has risen, the reality—the fact—the concert—the voice of Jenny Lind—will far surpass all past expectations. Jenny Lind is a wonder, and a prodigy in song—and no mistake."