JENNY LIND. The musical world has, during the month, been kept in a state of excitement bordering on enthusiasm, by the appearance among us of the celebrated Swedish songstress. Her appearance, and the manner of it, together with her merits as an artist, have given rise to much discussion, and to, probably, a greater variety of opinions than, perhaps, were ever elicited by any other artist. The cause of this is to be found in her eminent originality, acting upon the reluctance with which amateurs, connoisseurs, critics, and professional men, abandon the ideas to which they are accustomed, or assent to the innovations of genius upon the beaten track of mediocre science; and yet singular to relate, for the fact is, perhaps, beyond all precedent—not one of the myriad of critics that have mooted the subject, has uttered a syllable in disparagement, much less of sarcasm, as regards the estimate held of her surpassing talents. She appears to hold her supremacy of song by a totally different tenure from that of any other prima donna; and the current of musical criticism has not yet settled in the true direction. Before stating the effect of her appearance in New-York, we may here reproduce the sketch of her career, which appeared in this Review for June, 1847, at which time she made her appearance upon the London boards : " This most truly original artist was born in 1821, the 6th of October, at Stockholm, where her parents kept a school. There seems to have been nothing in the daily occurrences of her infancy to give an impulse to that love of music which was developed in her at a wonderfully early age. When she was yet only three years old, song was her ruling passion-every melody that struck her ear was retained with an accuracy which caused general admiration; no work was done without accompanying it with her clear voice, and no pain, during frequent illness, prevented her from finding consolation in song. Thus Jenny reached her ninth year, precocious in mind and feelings, but by no means in bodily strength or beauty, when it happened that Mrs. Lundberg, an actress, heard the child sing; and, struck with her pure voice and correct enunciation, strove to open the eyes of her parents to the treasure they possessed, and urged them to devote their child to the stage. Jenny's mother, feeling those prejudices against theatres common among the middle classes, was at first horrified by the idea ; Mrs. Lundberg ultimately conquered them, and the parents at last consented to leave the decision of the matter to their child. The quiet and retiring girl at once declared herself determined to devote herself to the stage. Jenny was conveyed by Mrs. Lundberg to Croelius, a music-master, well-known in Stockholm. The old inau soon became enthusiastic on the abilities of his new pupil: he introduced her to Count Pucke, the manager of the Court Theatre, requested him to hear her, and to take her under his protection. The Count, measuring the gentle, pale little creature with astonished eyes, angrily asked Croelius what he meant to do with such a child. for she surely had nothing to fit her for the stage. Croelius, nothing daunted, insisted upon the Count hearing hier, adding, if he should then not deem her worthy of his favor, he (Croelius) himself would undertake her education on his own account, for that he considered it a sip not to reach forth his hand to talent, where it was so manifestly revealing itself; and so the Count consented at last to listen. Already her voice possessed that heart-searching quality by which the now accomplished artist exercises so irresistible a spell ; Count Pucko was overcome ; for scarcely had he beard the infapt singer when he generously decided that she should participate in all the advantages of the Ecole, or musical school attached to the Theatre Royal of Stockholm. Shortly after, Jenny appeared in children's parts, and excited an enthusiasm similar to that with which Leontine Fay, in her early career, moved all Paris. Vaudevilles were written for the clever little girl, and by her quaint humor, and the lively originality of her performances, she soon became a perfect prodigy. In the following year old Croelius confided his protegée to a younger teacher, Herr Berg, a profound musician, who conducted her instruction with an equal zeal, and to whom she is indebted for that solid musical science which forms so sure a basis to her lofty dramatic delineations. "Pursuing her studies unremittingly, borne on by the impetus of applauseever welcome, from the shrinking modesty of her demeanor, to the most brilliant circles of society, Jenny attained her twelfth year, and here the rosy morning dream of her life became suddenly obscured. Jenny Lind had grown out of her famed children parts, and her youthful form was unfit for higher tasks; her charming high notes had vanished; her voice became soundless, and vainly did her worthy master essay to re-awaken the silver tones of his favorite scholar. The hope of forming her for the Grand Opera was banished. Jenny had appeared but rarely in the parts of soubrettes in dramas, and as is usual with precocious prodigies, the former impression was soon obliterated. . The child, whose greatest delight was music, bore her fate with resignation. Her musical studies were, however, pursued with the same assiduity as hitherto. Weber's Agathe, in Der Freischutz, was the ideal of her lyrical ambition. Four years had now elapsed since she had ventured on any new attempt in public. It happened, however, that in a concert, in which the fourth act of Meyerbeer's Robert le Diable was to be performed, a singer for Alice, who has a short solo in this act, was wanting. None could be found for the insignificant solo,' and Herr Berg, remembering his poor pupil, thought that so slight an attempt might be ventured upon. Jenny Lind received her solo with mingled joy and sadness, and commenced her task with a palpitating heart. But, as though by a miracle, on the evening of performance the long-missing voice re-appeared; the surprised public recognised at once the notes of their former favorite, and the most tumultuous and frantic applause followed. It is impossible to describe the delight, not unmixed with terror, of the young girl, when Herr Berg, overjoyed, informed her that now she must, without delay, sing the entire part of Agathe. The goal was reached at last; in this character Jenny Lind made her debut in the theatre of Stockholm, and with this, her first step, the maiden of sixteen summers placed herself forever on the pinnacle which she was henceforth to Occupy without a rival. "She had at this period never acted a tragic part, and had never received instructions for that purpose; at the rehearsals she appeared as though immovable -the actors trembled for the result. It came, and genius asserted its power and supremacy. Jenny Lind, by her fire, carried the lagging orchestra, which had taken the allegro too slow, to a quicker tempo, and the public, by her acting and singing, to the highest pitch of enthusiasm. Jenny Lind was at once engaged as prima donna. Yet, while singing opera after opera-and the public would listen to no other vocalist-Jenny Lind and her master were struggling hard to conquer the inflexibility of her voice. Who, while listening enraptured to her now pearly fioriture, would believe that at that period, she could scarcely, with the greatest exertions, achieve the slightest cadence? Her notes, though pure and full, were without elasticity, and failed altogether in the power of the crescendo; she was not to be intimidated, but exercised her voice with the patience of the sculptor shaping his marble. Whilst thus persevering in such arduous practice, she interpreted, during eighteen months, Euryanthe,' Alice,' the Vestal,' parts requiring exertions which were most violent for her youth. Still, the applause with which she was rewarded made but a deeper impression on her mind that she was not yet worthy of it; that her master had done for her everything in his power, but that the study of great examples and the finishing hand wer 4 required to conduct her to that elevation in art which she had ambitioned. Garcia was known to be the first vocal teacher in Europe; the wish of visiting him in Paris ripened to resolution. But how to accomplish it? Where were the means upon which to exist while giving up her engagement and passing one or two years in Paris! She had been accustomed to live in the first circles of society, beloved and honored by all who knew her; with the true pride of genius she shrunk from seeking assistance, and was resolved to trust to her own strength alone. During the vacation of the theatre she traveled with her father through the whole of Sweden and Norway, giving concerts at every town, everywhere creating a sensation; and she returned to Stockholm with abundant means to carry out her resolution. Declaring her intention to the directors of the theatre, and vindicating her act by unanswerable reasons, the courageous maiden obtained the wished-for leave of absence. Her parents attempted not to dissuade her-they knew their child; firm, decided, silent and earnest, she followed up her resolution steadfastly. Her parents knew her purity of mind, the futility of temptation; and so they left her to her fate. Occupied in their avocation, they could not afford to accompany her during this long absence; and so the girl of eighteen, alone, protected only by her firmness, her innocence, and her sacred love for art, journeyed to that capital which had already produced so much greatness, and destroyed so much of the noble and virtuous. "Arrived in Paris, her first visit was to Garcia, to whom she had been provided with introductory letters. It was with the most intense anxiety that she crossed his threshold. She stood now before the master on whose decision she had built her whole futurity. Garcia received her kindly; she sang-he listened to her without signs of approbation or disapprobation; and when she had concluded, he said calmly. My dear child, you have no voice. A dreadful word for Jenny. Or,' added he, correcting himself, you have had a voice and are just going to lose it. Probably you have been singing too much or too early, for your organ is worn and rugged; I cannot give you any instruction at present. Do not sing a note for three months, and then give me another call. Such was the comfortless answer of the man upon whom rested all her hopes. "Three months were spent by Jenny Lind in profound solitude; in that entire loneliness one only learns to feel rightly in such large capitals. I was living on my tears and the agony of the mal de pays,' she said once, speaking of her Parisian residence. Nevertheless, nothing could induce her to return without procuring from Garcia another trial. After the lapse of the stipulated time Garcia found that her voice had improved, and that her instructions might commence. At this time Garcia was teaching a countrywoman of Lind's, Madile. Nissen, who possessed a very powerful, full-toned voice, but no mental abilities. Jenny Lind confesses that it often brought her to despair to hear Garcia hold up that lady to her as an example, whilst she felt that she understood more, and pursuing loftier aims, than would ever be attained by her fellow student. Garcia was wont to say, If Jenny Lind had the voice of Nissen, or the latter Jenny's intelligence, one of them would become the greatest singer in Europe.' Although Jenny used to compose the cadenzi and fioriuri to the airs she was studying, and Garcia so much approved of them as to copy them, he could never believe that she would rise above mediocrity; and she often observes that, next to herself, nobody would be more astonished about her success than her old master, Garcia. The following year a Swedish composer was sent to Paris, in order to summon her home, she being painfully missed, both by the public and management at Stockholm. Through this gentleman she became acquainted with the celebrated Meyerbeer, and his well-practised eye soon recognised the pearl under the modest and unpretending shell. His single doubt was, whether the peculiar charm of the flute-like purity of her delicate voice would sufficiently tell in a large space. He, therefore, arranged a rehearsal with full orchestra in the salon of the Grand Opera, and Jenny Lind sang the three great scenes from Robert le Diable, Norma, and Freischutz, with such offect, that Meyerbeer made her at once offers for Berlin. Her love of home, however, and the word she had pledged, drew her back to Stockholm. Received with enthusiasm in her native town, the young girl gave proofs of her successful studies during her absence; she proved an excellent actress, a perfect mistress of delivery, and the possession of an organ which seemed when most exerted more pure and beautiful. As she had formerly been the favorite at Stockholm, she was now its pride-all participated in her triumphs. The subsequent spring brought Meyerbeer's invitation to assist at the opening of the Opera. It was with grief Jenny thought of again leaving her native place, but she was urged to obey the call of the great master. As deep as her loss was felt in Stockholm, it was, nevertheless, generally acknowledged that Jenny Lind had to attain a European reputation, and that it would be cruel to interrupt her in her glorious career. The invitation was accepted. In August, 1844, she went to Dresden, where Meyerbeer was then writing an opera, in order to arrive at a better understanding with the master, and to acquire the German language. At the request of the management at Stockholm she returned, however, after a month's absence, once more to Sweden, to assist at the coronation of the King. It being now decided at Stockholm that Jenny Lind was to pass the winter in Berlin, they began to fear her entire loss, and a number of the most wealthy bankers proposod to the young artiste to deposit annually a certain sum for ten years, so that at the expiration of that time she would be in possession of a considerable fortune, if she would consent to bind herself not to leave Stockholm. "Jenny Lind was touched to the heart by this generous proof of the deep interest of her countrymen; but she had given her word, which was sacred. The evening of Jenny's leave-taking was one of universal sorrow: the public wept more than they applauded; it was as though a beloved child was departing. The streets were crowded by thousands on the day of her departure. "She knew then scarcely twenty words of the German language; but after two months' application, all admired the correctness of her pronunciation : such is her quickness of comprehension and facility of retention. "Jenny Lind remained four months in Berlin, during which time the enthusiasm of the public was hourly increasing. Through all the districts of Germany. and far beyond its boundaries, her fame was extending, and soon the managers of London and Paris were outbidding each other to win the northern songstress; but she was obliged to return to Sweden by her previous engagement. She appeared at Berlin in Norma, Somnambula, Camp of Silesia, and Fille du Regiment. The night of her leave-taking was distinguished by marks of approbation, such as, perhaps, had never been shown to an artist on that stage. It was not that loud burst of tumultuous applause so frequently offered to musical talent; no, a deep silence evinced the intense interest. Scarcely had the curtain concealed her from the eyes of the excited public, than one rush was made upon the stage, to bring her forward amidst the most enthusiastic cheers. In "Previously to her return to Stockholm, she visited most of the other principal towns of northern Germany, gathering everywhere the same laurels. Hamburgh, a silver laurel wreath was presented to her on her departure. Her entire journey was a constant triumph. "During the following summer she was called to the festivals on the Rhine, which the King of Prussia was preparing for the sovereign of Great Britain. On this occasion she appeared in Frankfort and Cologne. The Countess Rossi (Henrietta Sontag,) pronounced her the first singer of her time. From November, 1845, till the end of March, 1346, she fulfilled her engagements for five months at the Theatre Royal at Berlin; she then proceeded to Vienna, where she made her debut as Norma, on the 22nd of April, in the Theatre An Der Wien, before that public to whom in Germany belongs the final adjudication in matters musical. She appeared and conquered! Her appearance took place in the presence of a crowded house, containing, probably, the whole musical public of Vienna, as well as the Imperial Court. The reports which had preceded her, the exaggerations of the so-called "Lindenthusiasts," the unprecedentedly high prices of admission, had raised to such a degree the anticipations of the public, that Jenny Lind expressed her doubts It was at this time, viz., at the close of 1846, that the affairs of the London opera had reached a crisis, which compelled extraordinary enterprise on the part of the manager. The whole operatic troupe, led on by Grisi, with the entire orchestra, headed by Costa, had abandoned her Majesty's Theatre, and established an opposition, to counteract which the manager had but one resource, viz., to engage the queen of song at any cost. She had formed engagements in Germany and London, the forfeits of which the manager of her Majesty's Theatre agreed to pay, and to give the lovely singer, in addition, $25,000 for three months. She made her debut in London, June 1st, 1847. Since that time, her success in Great Britain has been progressive, with a growing reputation throughout Europe. The great capital required to negotiate with the queen of song, at the zenith of her reputation, made it little likely, in the struggling state of the Italian Opera in this country, that the American public would soon be favored with the presence of this soul-absorbing artist. But events had raised up, in the person of P. T. Barnum, Esq., who possessed the requisite energy, enterprise and courage, in a degree which made him a full match for Mr. Lumley, or any other transatlantic manager, an instrument for the gratification of the American public; and, for the first time in our history, the United States appeared on the musical field of Europe, taking possession of, and leading off , the vocal queen in triumph. The arrival of Miss Lind in New York was marked by that wholesouled excitement so characteristic of our citizens, and the yet-unheard singer was taken upon trust, with generous enthusiasm. The Castle Garden of New-York, which had been occupied by the Havana Italian Opera troupe during the summer, and which will contain some 6,000 persons seated, was selected as the concert-room. The tickets, as is well known, were sold at a premium, and the first concert took place. The arrangements for receiving and seating such a concourse, were adniirably conducted. The vast crowd poured in, each to his proper place, with military precision, without confusion or delay, and their egress was equally facile. When the audience, wrought to the highest pitch of expectation, beheld the fair form advancing from the rear of the stage, a spontaneous burst of welcome re-echoed, long and loud, from the lofty ceiling, and was taken up and prolonged by the occupants of myriads of boats that floated without the castle, in expectation of catching the notes of the singer. Nor were they disappointed. There seemed to have been an error in the arrangement of the pieces. A song, as a “greeting to America." had been written for the occasion, in response to a reward offered by the manager. It was of no great pretension, and of but little musical merit. Its appropriate place, however, was first; a “greeting to America” should naturally have preceded other performances; moreover, she was coming before an audience, probably larger than ever before, of |