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OTD in Music History: Legendary Russian virtuoso concert pianist, pedagogue, and composer Anton Rubinstein (1829 - 1894) dies in St. Petersburg. Rubinstein was undoubtedly one of the most important and consequential Russian musicians in history. The older brother of Nikolai Rubinstein (who founded the famed Moscow Conservatory), and himself the founder of the famed St. Petersburg Conservatory, Anton was one of the most celebrated virtuoso concert pianists of the 19th Century. He was also the primary piano teacher of Josef Hofmann (1876 - 1957), as well as the primary composition teacher of Pyotr Tchaikovsky (1840 - 1893). As a concert pianist, Rubinstein made his own name by putting together a series of seven enormous programs (some stretching to more than three hours in length) which comprehensively surveyed the entire history of piano music up to that time. Rubinstein programmed this groundbreaking series widely throughout Russia and Europe -- and even traveled as far afield as North America during the 1872-1873 concert season. Although he best remembered today for his efforts as an epochal concert pianist and an influential pedagogue, Rubinstein was also a prolific composer. He wrote more than twenty operas, the best known of which, "The Demon," still holds the stage in Russia. Rubinstein also composed six symphonies, five piano concertos, and a slew of solo piano works and chamber music… but aside from "The Demon," almost none of Rubinstein's works are programmed with any regularity today. PICTURED: A cabinet photograph of a bust portrait of Rubinstein (painted by "E. Felix"), which Rubinstein signed in Marseille in March 1884, also adding an unidentified autograph musical quotation. This is still contained in its original period frame.

Franz Liszt (1811 - 1886) dubbed Rubinstein "Van II" because of his perceived facial similarity with "Van I," aka Ludwig van Beethoven (1770 - 1827). In fact, when Rubinstein first broke upon the European music scene, rumors flew that he actually was Beethoven's illegitimate son. Although this was impossible (Beethoven died a full two years before Rubinstein was born), Rubinstein reportedly didn't work too hard to actively dispel them...

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November 21.1831 the Opera “Robert le diable” premiered in Paris. There this work was a very big success. Here we see the very rare original castlist from one of the only three performances at the The Metropolitan Opera until today in the first Season 1883/84 of this Operahouse. The postcard is from 1911.

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OTD in Music History: Historically important pianist, composer, and Polish diplomat Ignacy Jan Paderewski (1860 - 1941) is born in what is now Ukraine. Paderewski originally studied music at the Warsaw Conservatory in the 1870s, before relocating to Vienna to study under legendary piano pedagogue Theodor Leschetizky (1830 - 1915) from 1884 to 1887. This time spent under Leschetizsky fundamentally reshaped Paderewski as a pianist, and he began to make his first public appearances as a concert artist in Vienna, Paris, London, and New York. The critics found plenty to grumble about (Paderewski was never a "pianist's pianist"), but his success with the public was immediate, overwhelming, and enduring. Like Franz Liszt (1811 - 1886), Paderewski generated a borderline "mystical" devotion among his (mostly female) fanbase. (His famously luxurious mane of thick and wild hair couldn’t possibly have hurt in that department, either.) Paderewski remained a staunch Polish patriot throughout his long life: In 1910, he personally gifted the city of Krakow with a monument commemorating the 500th anniversary of the victory of the Poles over the Teutonic Order. During WWI, Paderewski also became a member of the Polish National Committee and was appointed its representative to America, where he successfully lobbied President Woodrow Wilson (1856 - 1924) to include the cause of Polish independence in his famous “Fourteen Points” document. Paderewski even briefly served as Poland’s 3rd Prime minister in 1919, during which time he actually signed the Treaty of Versailles (formally ending WWI) on behalf of his newly-formed nation. PICTURED: A formal photo portrait (c. 1920s) showing Paderewski pensively staring out at the camera, which he signed.

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Edith Walker (1968-1950) as Isolde

She sang at age 14 as a soloist in the Old Church of Hopewell, then in Utica (New York) and on Long Iceland. She worked for a while as a school teacher. She came to Europe in 1891 and was trained by Aglaia Orgeni in Dresden. Further studies with Marianne Brandt in Vienna. She made her debut in 1894 at the Berlin Court Opera as Fides in ‘’Prophet’’ by Meyerbeer. First major success in 1895 with a concert in Leipzig Gewandhaus under Carl Reinecke. In 1895 she was engaged by the Vienna Court Opera, where she sang the role of Fides in ‘’Prophet’’ by Meyerbeer and Azucena in ‘’Trovatore’’ and remained until 1903. In 1896 she sang in the Vienna premiere of the opera ‘’The Evangelimann’’ of Kienzl. At the Salzburg Mozart Festival in 1901 she created the role of Donna Elvira in ‘’Don Giovanni’’. In 1903, after a dispute with Gustav Mahler, she left the Vienna Opera House. In 1903 she was engaged by the Metropolitan Opera in New York, where she made her debut as Amneris in ‘’Aida’’. She appeared at the Metropolitan Opera in “Lohengrin”, “Tristan und Isolde”, ‘’Faust’’, “Gioconda”, ‘’Martha’’, ‘’Favorita’’, “ and ‘’Lucrezia Borgia’’ (1904). In 1905 she sang here in the premiere of Johann Strauss’s operetta ‘’Die Fledermaus’’. Then she joined in the 1906-07 season at the Court Opera in Berlin and from 1907 to 1912 was a celebrated artist of the Hamburg Opera. At the Covent Garden Opera in London she performed in 1900 as Amneris, Ortrud, Fricka and Waltraute, then in 1908 and 1910 as Isolde as well as Thirza “The Wreckers” by Mrs. Ethel Smith and Elektra on 10/19/1910 in the English premiere of Richard Strauss’s opera ‘’Elektra’’. She made guest appearances in Brussels, Leipzig, Frankfurt (1907-12), Cologne and Prague with great success, she was especially admired as an interpreter in R. Wagner’s operas. At the Bayreuth Festival in 1908, she sang the role of Kundry in ‘’Parsifal’’ and Ortrud in “Lohengrin”. In 1910 she sang with great triumph in the Strauss Festival in Holland as Salome and Elektra. In 1909 she sang at the Beethoven Festival in the Hague the role of Leonore in ‘’Fidelio’’ under Willem Mengelberg. In the 1912-1917 seasons she worked at the Court Opera in Munich. In 1918 she sang at the Municipal Theatre of Elberfeld her farewell performance in Nibelungenring. After her retirement from the stage, Walker resided in Scheveningen, Holland until 1919 when she moved to Paris. She worked there as a voice teacher where she taught out of a private studio. In 1933 she joined the faculty at the American Conservatory in Fontainebleau where she taught through 1936. She then moved back to New York City where she continued to teach until her death 14 years later. Among her notable pupils were Irene Dalis and Blanche Thebom. She died at her home in New York City in 1950 at the age of 79 after a brief illness.

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OTD in Music History: Historically consequential pianist-composer Carl Maria von Weber (1786 - 1826) is born in Germany. Weber was a crucial figure in the development of German Romantic opera. His best-known opera, “Der Freischutz” (“The Marksman”) (1821), was a smash hit when it first premiered and still ranks among the most significant German operas ever written. Weber’s other mature operas – “Die Drei Pintos” (“The Three Pintos”) (composed c. 1820/1821 but left incomplete at his death and only finished many years later by Gustav Mahler [1860 - 1911]), “Euryanthe” (1823), and “Oberon” (1826), also exerted a tremendous influence on later German opera composers including Giacomo Meyerbeer (1791 - 1864) and Richard Wagner (1813 - 1883) In addition to his important operatic output, Weber also produced a substantial body of instrumental music including two symphonies, a viola concerto, a bassoon concerto, and several popular virtuosic piano pieces including the famous “Invitation to the Dance” (1819) and the “Konzertstuck in F minor” (1821). Indeed, Weber's solo piano pieces were carefully studied by both Frederic Chopin (1810 - 1849) and Franz Liszt (1811 - 1886) in the next generation. In a remarkable twist of fate, Weber was actually a cousin-in-law to W.A. Mozart (1756 - 1791) through Mozart’s wife, Constanze. PICTURED: A handwritten "calling card" that Weber penned featuring the Anglicized version of his first name ("Charles") and a London address ("91 Portland Street"), which dates it to his final few months which he spent in London before tragically succumbing to tuberculosis at the age of just 39. This card has been framed with a mid-19th Century "carte de visite" copy of an etching of Weber, showing him in a rather stereotypically fanciful and dramatic "Romantic" pose.

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M'lle Christina Nilsson by S J Mason

"Here we heard for the first time Christine Nilsson, who made her debut in " Traviata," at the Theater Lyrique. The beautiful, slender form, the clear, bell like voice of the young artiste secured for her immediately the warmest sympathies of the public , which Adelina, among the first, encouraged by her liberal applause. Christine Nilsson achieved an overwhelming success with " The Queen of the Night, " which, after the execution of the great air, which she sang in the style of the original music , increased to an imposing triumph. Madame Carvalho, the wife of the director, was a Pamina of the very first rank. Accustomed herself to triumph, the situation imposed by the role of Pamina did not seem especially to please the artiste, as, during the entire delivery of the great air, she was obliged to stand stock still at the side of her dazzling Madame Mamma, and , in addition , be the witness of the countless outbreaks of applause on the part of the public. The full house , however, was for the Directress Carvalho balsam for the wounds which the salvos of applause for the " Queen of the Night " gave her; and so well did Christine Nilsson fill this so fatal pause for Pamina that Madame Carvalho smiled upon her in the most friendly manner."

From Fourteen Years with Adelina Patti (1884) by Louisa Lauw

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Miss Elizabeth Taylor Greenfield, or the "Black Swan," to adopt her musical agnomen, was born at Natchez, Mississippi. She was born in bondage. Her father was a full African; white and Indian blood flowed in her mother's veins.

Elizabeth had become distinguished in the limited circle in which she was known for her remarkable power of voice. Its tender and thrilling tones often lightened the weight of age in one who was to her beloved as a mother. How deeply slie grieved that she could receive no culture from art. Neither the remarkable compass of her voice, nor the wonder of her high and low notes, nor the proffer of thirty dollars per quarter, when the standard price was ten, could induce a Professor to include her among his pupils. The admission of a coloured pupil would have jeoparded his success.

She sang before the Buffalo Musical Association, and her performances were received with marks of approbation from the best musical talent in the city, that established her reputation as a songstress. Give the ''Black Swan," said they, the cultivation and experience of the fair Swede, or Md'lle Parodi, and she will rank favourably with those popular singers, who have carried the nation into captivity by their rare musical abilities. Her voice has a full round sound, and is of immense compass and depth. She strikes every note in a clear and well defined manner, and reaches the highest capacity of the human voice with wonderful ease, and apparently an entire want of exertion. Beginning with G in the bass clef she runs up the scale to E in the trehle clef, and gives each note its full power and tone. She commences at the highest note and runs down the scale with the same ease that she strikes any other lower note. The fact that she accomplishes this with no apparent exertion is surprising, and fixes at once the marvellous strength of her vocal organs. Her voice is wholly natural, and, as might be expected, lacks the training and exquisite cultivation that belongs to the skilful Italian singer. But the voice is there ; and as a famous maestro once said, "It takes a hundred things to make a complete singer, of which a good voice is ninety-nine." If this be so. Miss Greenfield is on the verge of excellence, and it remains for the public to decide whether she shall have the means to pursue her studies.

To several gentlemen in Buffalo belongs the credit of having first brousfht out Miss Greenfield in the concert-room. The Buffalo papers took the matter in hand, and assured the public they had much to expect from a concert from this vocalist. The deep interest her first public efforts elicited from them, gave occasion to the following certificate: —

Dear Sir :— At your suggestion, for the purpose of enabling Miss Elizabeth T. Greenfield to show to her Philadelphia friends the popularity she has acquired in this city, I cheerfully certify as follows :—

The concert got up for her was unsolicited on her part, and entirely the result of admiration of her vocal powers, by a number of our most respectable citizens, who had heard her at the residence of Gen. Potter, with whose family she had become somewhat familiar. The concert was attended by an audience not second in point of numbers, to any given here before, except by Jenny Lind ; and not second to any in point of respectability and fashion. The performance of Miss Greenfield was received with great applause, and the expression since, among our citizens generally, is a strong desire to hear her again.

Speaking of her concert in Buffalo, the "Express" says, "On Monday, Parodi in all her splendour, sustained by Patti and Strakosh, sung at Corinthian Hall to half a house. Last night Miss Greenfield sang at the same place to a crowded house of the respectable, cultivated, and fashionable people of the city. Jenny Lind has never drawn a better house, as to character, than that which listened with evident satisfaction to this unheralded, and almost unknown African Nightingale. Curiosity did something for her, but not all. She has merit, very great merit, and with cultivation (instruction) she will rank among the very first vocalists of the age. She has a voice of great sweetness and power, with a wider range from the lowest to the highest notes than we have ever listened to ; flexibility is not wanting, and her control of it is beyond example, for a new and untaught vocalist. Her performance was received with marked approbation and applause, from those who knew what to applaud.

It remains now for the citizens of Rochester to give her the commendation of their patronage, and then she is fully afloat. It will not be the first time that the verdict of this city in matters musical, has been responded to by the world. The price of tickets is one dollar ; and all must see the propriety of this charge, in a singer who has to combat the most crushing and the common contempt of another race — the race too, from whom she must receive her patronage and support. The Black Swan must contend for the highest prize, and sing for the best price, or she falls below even the second rank. It is first among the foremost wdth her, or a direct consignment to a low level. The consciousness of talent, moreover, will not allow her to put too low an estimate upon her qualifications, and she makes her appeal, therefore, to the generosity of a pubhc who cannot fail to appreciate the peculiar condition in which she is placed.

Another city Paper says,

Mucli has been said and written of this personage since she was introduced to the public as a musical prodigy. All sorts of surmises and conjectures have been indulged in, respecting the claim put forth of her merit, and generally the impression seemed to prevail that the novelty of "colour" and idle curiosity, accounted more for the excitement raised, than her musical powers. Well, she has visited our place, and given our citizens an opportunity of judging for themselves. We are ignorant of music, and unqualified to criticise, but a large audience were in attendance at Ringueberg Hall last evening — among those present were our musical amateurs — and we heard but one expression in regard to the new vocalist, and that was, wonder and astonishment at the extraordinary power and compass of her voice, and the ease vrith wdiich she passed from the highest to the lowest notes seemed without an effort. Her first notes of "Where are now the hopes?" startled the whole audience, and the interchange of glances succeeded by thunders of applause, at the end of the first verse, showed that her success was complete. She was loudly encored, and in response sung the barytone, "When stars are in the quiet sky," which took down the whole house.

We have neither time nor space to follow her through her different pieces. Suffice it to say, that there never was a concert given in this town, which appeared to give more general satisfaction, and every person we met on leaving the hall, expressed their entire approbation of her performance. No higher compliment could be paid to the "Swan," than the enthusiastic applause which successfully greeted her appearance, and the encore which followed her several pieces.

There was a very general expression among the audience, that the sable vocalist should give another concert, and, at the earnest solicitation of several of our citizens. Col. Wood, her gentlemanly manager, has consented to give another entertainment to-morrow evening, when the "Black Swan" will give a new programme, consisting of some of Jenny Lind's most popular songs.

The concert on Thursday evening, was what in other cases would have been called a triumph. The house was full — the audience a fashionable one — the applause decided, and the impression made by the singer highly favourable.

We can safely say that Miss Greenfield possesses a voice of remarkable qualities ; singular for its power, softness and depth. Of

all this she gave ample evidence in the twelve or more pieces she sang — a feat in itself giving evidence of great vocal resources. There is a lack of training perceptible, although the Swan sings with great correctness, and evident close regard of the notes upon the music sheet. No one can hear her without acknowledging her talents — if that is the right expression — but what is to come of this we are not advised. A couple of years' severe training is indispensable, before she can safely be put before the public on a sure footing. Again :

Rochester^ Corinthian Hall. This astonishing songstress has made her appearance in Rochester, and will sing this evening in Corinthian Hall, the most commodious building in western New York. She ought to have as large a house, and as brilliant, as any that thronged to hear the Swedish Nightingale. We heard the "Black Swan" more than two years ago, in Philadelphia and New York, in rooms little adapted to give effect to her performances ; but we were, even then, struck with the astonishing compass, power, and clearness of her voice. We understand that since that time, she has applied herself with praiseworthy perseverance and assiduity to the cultivation of her extraordinary powers, and has attained great proficiency in the art, which is evidently the bent of her genius. By her own energy, and unassisted, she has made herself mistress of the harp, guitar, and piano. We are informed that the proceeds of the entertainment this evening, are to be wholly appropriated to the completion of her musical education in Paris, under the world-famed Garcia. We predict for Miss Greenfield a successful and brilliant future.

The Rochester Aynerican writes : —

Corinthian Hall contained a large and fashionable audience on the occasion of the concert by this new candidate for popular favour, on Thursday evening. We have never seen an audience more curiously expectant than this was, for the debut of this new vocalist. Hardly had her first note fallen upon their ears, however, before their wonder and astonishment were manifest in an interchange of glances and words of approval, and the hearty applause that responded to the first verse she sung, was good evidence of the satisfaction she afforded. The aria "Oh Native Scenes," was loudly encored, and in response she gave the pretty ballad " When Stars are in the Quiet Sky."

Utica Daily Observer, January 13, 1852.

The Black Swan had a crowded house last evening, to enjoy her voice and criticise her musical powers. The songs she gave, were in the main very difficult of execution, and well calculated to test the qualities of the Swan. The manner in which she gave " The Last Rose of Summer," elicited an encore, when she gave a specimen of her notes, which were so supernatural for a feminine, as to excite belief that a male biped was usurping her prerogative. The deepest bass of the most wonderful barytone could not surpass it, and the greatest wonder was excited. Kathleen Mavourneen," and "0, Native Scenes," were remarkably well sung. The only failure we noticed was on some of the high notes, in pieces requiring very rapid execution, where she seemed to want that faculty of rapid and easy transition, so remarkable in Jenny Lind and Kate Hayes.

We doubt not, that with proper cultivation, the Black Swan will win the high reputation as a singer, which her remarkable powers should give her.

The concert of Miss E. T. Greenfield, nnder the dn^ection of the gentlemanly J. H. Wood, was one of the most successful that has been given to this city for a long time. From the great fame which had preceded the "Black Swan," had she not really proved herself what she is, a most remarkable vocalist, there would have been a strong feeling against all concerned; but there has' not, within our knowledge, an entertainment of the kind taken place in this city that received such general applause. Her compass of voice is probably greater than that of Parodi, Catharine Hayes, or Jenny Lind, even; but she lacks the artistic power of either. Notwithstanding this deficiency, we presume to say that the audience were better pleased with her singing than they would have been with either of those named above, though perhaps some few would not be willing to acknowledge it. The Black Swan sounds twenty-eight full notes, a qualification accorded to no one before her; and one which most successfully rivals the powers of ventriloquism wdiich Jenny Lind so successfully introduces in her echo song. Every piece she sung on Saturday evening was rapturously encored. The song in barytone was listened to with surprise and admiration, many of those present hardly believing it to proceed from her, so much did her deep, sonorous voice resemble that of a male. The second piece of the last part (sung instead of the first, which was loudly encored) and also the last piece, neither of which were on the programme, were enthusiastically applauded, and may be regarded as the best pieces sung: at least such is our impression. As we have already remarked, the concert may be pronounced the most successful ever given in this city. The instrumental part, by Professor Becht and Master Kook, was very able, but the effect was lost in the prevailing enthusiasm for the Swan.

The Globe, Toronto, May 12-15th, 1852.

Any one who went to the concert of Miss Greenfield on Thursday last, expecting to find that he had been deceived by the puffs of the American newspapers, must have found himself most agreeably disappointed.

Mr. Becht, the pianist of the party, commenced the evening with a very brilliant performance, which showed that his talents, if not of the very first rank, nearly approached to that point. He has a very considerable share of taste, but his forte passages were the finest, and were warmly applauded. After he had retired there was a general hush of expectation to see the entrance of the vocalist of the evening, and presently there appeared a lady of a decidedly dark colour, rather inclined to an embonpoint^ and with African formation of face. She advanced calmly to the front of the platform, and curtised very gracefully to the audience. There was a moment of pause, and the assembly anxiously listened for the first notes. They were quite sufiicient. The amazing power of the voice, the flexibility and the ease of execution took the hearers by surprise, and the singer was hardly allowed to finish the verse ere she was greeted with the most enthusiastic plaudits, which continued for some time. The higher passages of the air were given with clearness and fulness, indicating a soprano voice of great power. The song was encored, and Miss Greenfield came back, took her seat at the piano, and began, to the astonishment of the audience, a different air in a deep and very clear bass or barytone voice, which she maintained throughout, without any very great appearance of effort or without any breaking ! She can, in fact, go as low as Lablaclie, and as high as Jenny Lind, a power of voice perfectly astonishing. It is said she can strike thirty-one full clear notes, and we could readily believe it. After the surprise had subsided, there was time to find out the errors and defects. It must be confessed that Miss Greenfield has a very heedless way of throwing her beautiful notes about, has far from perfect command over them, and wants the knowledge of ornamental points, which can only be given by instruction from the best masters. There were plenty evidences that it was not from lack of ability to understand what was required, that these defects existed. The introduction of the deeper voice in the treble songs was a singularity, but was also an unpleasing offence against the ear.

Miss Greenfield is said to have great facility in acquiring the knowledge of music, and will certainly under proper tuition become distinguished.

The company to-night perform in Hamilton. Yf e hope on their return we may have another opportunity of listening to Miss Greenfield's wonderful strains, and Messrs. Becht and Schmittroth's excellent instrumentalization.

Her grace, from whom good acts seem constantly to emanate, permitted her to choose one valued at sixty guineas.

Arrangements being completed for a Concert at the Stafford House, the following announcement at the same time was made to the British public : —

27 Margaret Street, Cavendish Square.

The Black Swan, in appealing to the generosity of the British public, assures them that the primary object of her visit to Europe is, to accomplish herself in the science of music, which professional friends earnestly counsel her to pursue, and which she embraces aon amore^ with the confident hope that, by the exercise of her vocal faculties in a more cultured form, she may be able to achieve the great object of her life. She is sensible of the philanthropic spirit of the people of Great Britain, and feels confident that they will receive her appeal with that kindness and forbearance that ever characterizes them in the cause of true humanity.

The Black Swan, therefore, has the honour of informing the nobility, gentry, and public, that she will shortly appear at a grand concert (the particulars of which will be announced) under distinguished patronage. Elizabeth T. Greenfield.

London, May, 1853.

We cannot refrain from quoting Mrs. Stowe's description of the concert, after dinner at the Stafford house.

" The concert room was the brilliant and picturesque hall I have before described to you. It looked more picture like and dreamy than ever. The piano was on the flat stairway just below the broad central landing. It was a grand piano, standing end outward, and perfectly banked up among hot house flowers, so that only its gilded top was visible. Sir George Smart presided. The choicest of the elite were there. Ladies in demi-toilet and bonneted. Miss Greenfield stood among the singers on the staircase, and excited a pathetic murmur among the audience. She is not handsome, but looked very well. She has a pleasing dark face, wore a black velvet head-dress, and white cornelian ear-rings, a black moire antique silk, made high in the neck, with white lace falling sleeves, and white gloves. A certain gentleness of manner and self-possession, the result of the universal kindness shown her, sat well upon her. Chevalier Bunsen, the Prussian Ambassador, sat by me. He looked at her with much interest. "Are the race often as good looking? " he said. I said, " She is not handsome compared with many, though I confess she looks uncommonly well to-day." The singing was beautiful; six of the most cultivated glee singers of London sang,

among other tilings, "Spring's delights are now returning," and "Where the bee sucks, there lurk I." The Duchess said, "These glees are peculiarly English." Miss Greenfield's turn for singing now came, and there was profound attention. Her voice, with its keen, searching fire, its penetrating vibrant quality, its timbre/' as the French have it, cut its way like a Damascus blade to the heart. It was the more touching from the occasional rusticities and artistic defects, which showed that she had received no culture from art. She sung the ballad, "Old folks at home," giving one verse in the soprano, and another in the tenor voice. As she stood partially concealed by the piano. Chevalier Bunsen thought that the tenor part was performed by one of the gentlemen. He was perfectly astonished when he discovered that it was by her. This was rapturously encored. Between tlie parts. Sir George took her to the piano, and tried her voice by skips, striking notes here and there at random, without connexion, from D in alto to A first space in bass clef; she followed with unerring precision, striking the sound nearly at the same instant his finger touched the key. This brought out a burst of applause."

Lord Shaftsbury was there; he came and spoke to us after the concert. Speaking of Miss Greenfield, he said, "I consider the use of these halls for the encouragement of an outcast race, a consecration. This is the true use of wealth and splendour when they are employed to raise up and encourage the despised and forgotten."

When Mrs. Stowe's account of the concert was read to Miss Greenfield, she remarked — "I should have looked well to the lady — for the black moire antique silk in which I was clad was the gift of Mrs. Stowe, and made under her own direction. "It cost her seventy-five dollars." Mrs. Stowe's sympathy seemed ever to have followed her with a watchful care. We find this interesting letter among her papers of this date.

The London Morning Post says,— A large assemblage of fashionable and distinguished personages, assembled by invitation at Stafford House, to hear and decide upon the merits of a phenomenon, in the musical world. Miss Elizabeth Greenfield, better known in America as the "Black Swan," under which sobriquet she is also about to be presented to the British public. This lady is said to possess a voice embracing the extraordinary compass of nearly three octaves ; and her performances on this occasion elicited the unmistakable evidence of gratification. She is, without doubt, deficient in science and cultivation, but she displays remarkable inteliigence, and is gifted with feeling and the capacity of conveying it to her auditors.

In the hackneyed song of " Home, sweet home," she produced, by the pathos and expression she contrived to throw into the music, a very decided impression ; nor was she less successful in other music of a different character.

Again, the London Observer remarks — "A concert of vocal music was given in the past week, at Stafford House, the residence of the Duke and Duchess of Sutherland, to test and make known the powers and merits of the American vocalist, Elizabeth Greenfield. She is now about twenty-five years of age, and has come to England to perfect herself in singing, in the hope of elevating the popular estimate of her unfortunate race, by the development and display of any artistic talent she may possess. Her dehut was in the highest 448 of

degree favourable ; Her voice was at once declared to be one of extraordinary compass. Both her high and low notes were heard with wonder by the assembled amateurs, and her ear was pronounced to be excellent.

London Advertiser, of June 16th, contained the following comments. "A concert was given at Exeter Hall last evening by Miss Greenfield, the American vocalist, better known in this country under the sobriquet of the 'Black Swan.' Apart from the natural gifts with which this lady is endowed, the great musical skill which she has acquired both as a singer and an instrumentalist, are convincing arguments against the assertion so often made, that the negro race are incapable of intellectual culture of a high standard. Miss Greenfield, by birth as well as appearance, is decidedly a negress, her father having been a full African, and her mother of mixed extraction. She herself was born and brought up a slave in the United States, although freed at an early age. On the death of her mistress her vocal abilities, which were already known in a limited circle, were, by the judicious assistance of some kind-hearted friends, brought into public notice ; and she was enabled to receive the necessary training and instruction. She speedily became a proficient in the art of vocalization ; and, after giving a series of concerts in the United States, she felt sufiicient confidence in her abilities to resolve on standing the test of an English audience. Her voice is a contralto, of great clearness and mellow tone in the upper register, and full, resonant, and powerful in the lower, though slightly masculine in its timbre. It is peculiarly effective in ballad songs of the pathetic cast, several of which Miss Greenfield sang last night in a very expressive manner. She was encored in two, "The Cradle Song," a simple melody by Wallace, and ''Home, Sweet Home," which she gave in an exceedingly pleasing manner. The programme of the concert was bountifully drawn up; for, in addition to the attractions of the Black Swan, there was a host of first-rate artists. Herr Brandt, a German artist, with a remarkably sweet voice, sang Professor Longfellow's 'Slave's Dream,' set to very beautiful music by Hatton, in a way that elicited warm applause. Miss Rosina Bentley played a fantasia by Lutz, very brilliantly, and afterwards assisted by Miss Kate Loder, who, however, must now be known as Mrs. Henry Thompson, in a grand duet for two pianofortes, by Osborne. M. Yaladares executed a curious Indian air, "Hilli Milli Puniah," on the violin, and Mr. Henry Distin a solo on the sax tuba. The band was admirable, and performed a couple of overtures in the best manner. Altogether, the concert, which we understand was made under the distinguished patronage of the Duchess of Sutherland, was highly successful, and went off to the perfect gratification of a numerous and fashionable audience.

From The Black Swan at home and abroad; or, A biographical sketch of Miss Elizabeth Taylor Greenfield, the American vocalist

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The incomparable German operetta diva Emmy Wehlen (actually Emmy Louise Weckesser, 1886-1977) as star in the English version of Fritz Grünbaum and Leo Fall's "The Dollar Princess" at London's Daly's Theatre in 1909.

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ONCE UPON A TIME: “Elektra” by Richard Strauss, Munich premiere in the Prinzregententheater on February 14, 1909.

“Dein Mund ist schön, wenn er sich einmal auftut, um zu zürnen!“

On the left Zdenka Faßbender (1879-1954) in the title role, on the right Maude Fay (1878-1964) as Chrysothemis. The title role was double-cast. In the second performance, Marie Burk-Berger sang Agamemnon’s daughter.

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Other singers as accomplished, as graceful, as fascinating as Bosio may since her death have appeared ; but with her died a number of characters which, to the more ancient of opera-goers, will always be associated with her memory.

‘There is no such “ merciless invoker of the ghosts of the past”? as music; and there are certain melodies which will always recall more forcibly than any painting could do the girlish figure, the artless manner, and the exquisite voice of the well-named ** Angiolina’”’ Bosio. The happy, spontaneous strain which accompanies the entry of the jester’s daughter in Rigoletto suggests but one “Gilda;” and no one can ever please again in the Hliair of Love, those whose one ideal “Norina” is no more. The true ‘‘Zerlina,’ too, is dead—Auber’s no less than Mozart’s; and the opera of the Traviata again becomes unintelligible now that we have lost the only woman who knew how to invest the part of “ Violetta’”” with a grace and delicacy which, instead of improbable, made the passionate love of “ Alfred” appear the most natural in the world.

A mere enumeration of the qualities which distinguished Madame Bosio would not give those who are unfortunate enough never to have heard or seen her any fair idea of her grace or herbeauty. Literality kills as surely as the photograph, and one can give no better illustration of the impossibility of ‘ describing”? Madame Bosio than by mentioning the fact that all the photographic portraits of her are more unlike the original than such things usually are. A dog or a prize-fighter may be photographed to perfection. But portrait painting by machinery becomes more and more incorrect in proportion to the delicacy and refinement of the model ; and the photographs of Madame Bosio are the most inaccurate ever seen. Raphael’s “St. Cecilia” is like her, at least in expression ; because St. Cecilia is the true type of the class to which Angiolina Bosio belonged, and because there must necessarily be a family likeness between all women who are endowed with the most exquisite musical sensibility. Even for one who for several years never at any time or at any place missed an opportunity of hearing Madame Bosio it is difficult to tell what was the colour of her eyes or number of her years, at the time of her early death, or the compass of her voce. She always looked young and charming ; and whenever she sang she seemed never to have sung so well before. She poetized every part she undertook. No one ever saw her assume a theatrical pose, or play to the audience, or make any kind of “point.” But no one possessing the slightest appreciative power who had seen her as “Gilda” could for many years after her death have cared to hear Rigoletto again. To show what wonderful natural gifts Madame Bosio possessed I may mention a fact which will appear incredible, but which is nevertheless true. The most accomplished vocalist in Europe, who never sang more easily than when she was singing the most difficult passages, not only knew nothing of music as a science, but could not even read from notes.

I have mentioned the parts which Madame Bosio made specially her own. If asked to state generally what class of characters she represented with the greatest success, I should reply all that are essentially feminine; in which category one places neither “ Norma,” nor “Semiramide,” nor «‘Tucrezia Borgia.” She played “ Lucrezia” in Paris, and “‘Semiramide” in St. Petersburg; but she had too gentle and tender a nature to look like either of those personages. Fancy the aforesaid

St. Cecilia in the character of “‘ Lady Macbeth,” or a dove in the plumage of a hawk. The genius of Bosio was like that of an elegiac poet; she could be graceful, tender, touching, but not tragic.

In St. Petersburg, where Madame Bosio received more applause from the public and more distinguished attention from the Court than any vocalist who had ever visited the Russian capital before, the news of her death produced the saddest effect.

In less than two years the St. Petersburg Company had lost its two most distinguished members, who, in their respective lines, were the greatest artists in the world. On the occasion of Alexander the Second’s coronation at Moscow the incomparable duet in the second act of the Hliair was sung by Madame Bosio and Lablache (Una accompanied by the Lion), and to such perfection that notwithstanding the rule which forbids applause in the presence of the Hmperor, the audience were quite unable to restrain their enthusiasm. The names of these singers belong now to the history of Italian Opera ; and Angiolina Bosio takes rank in the annals of the past with the tender, sensitive Malibran, who, like her, was cut off in the prime of her life and in the fulness of her genius.

The first time I had the happiness of hearing Madame Bosio was at Moscow in the autumn of 1856, during the festivities in honour of the coronation of the Emperor Alexander II. She re the first prima donna who made any marked impression upon me; and I cannot but associate her with the occasion of my first becoming acquainted with her expressive beauty, her graceful talent.

As interesting, in a different way, though less fascinating than the singing of Angiolina Bosio, was the performance, during the co ronation festivities, of the national Russian opera, by Glinka, called Zisn Za Tsarya, or, Infe for the Tsar. Emperors succeed one another on the Russian throne; but Glinka’s opera still maintains its prestige, and when Alexander III. ascended the throne Zisn Za Tsarya was again laid under contribution, a highly dramatic scene being transferred from the stage to real life, and from the opera, to which it had belonged for nearly fifty years, to the public square on which it actually took place upwards of two centuries and a half ago. The last scene, or epilogue, of Glinka’s Infe for the Tsar represents the triumphal entry into Moscow of the Tsar Michael Fedorovitch, first of the Romanofts, after the defeat of the Poles, who, having occupied the Russian capital, were driven from it by a general rising of the inhabitants. But this theatrical picture was reproduced, less as a show than as a reality, when Alexander III. entered the Red Square, beneath the battlements of the Kremlin, even as in 1612 it was entered under auspicious circumstances by his ancestor, the founder of the reigning dynasty. Except that the uniform of the troops forming the Imperial escort was entirely different, the scene was in its external features not so much a reproduction as a repetition of the scene of 1612. The peasantry and workmen of Russia wear the same costumes now that they wore in the seventeenth century, and any number of centuries before. The half-picturesque, half-grotesque church of Basil the Blessed stands where it has stood since the days of Ivan the Terrible, a contemporary of Queen Hlizabeth ; and the denteated walls of the Kremlin are, in spite of the injuries they received during the fires and explosions of 1812, just what they were when first built as a protection against the Tartars.

The music to which the entry was made, the hymn sung in honour of the newly-crowned Tsar, was new, or at least little more than forty years old. But Glinka has given to his hymn, which is at the same time a march, a_ thoroughly Russian, and, moreover, a somewhat archaic, character; and but for the rich harmony and the elaborate, constantly varied instrumentation with which he has beautified and decorated the theme, as he presents it again and again, the theme itself—very simple, very quaint, and, as before said, quite Russian—might certainly belong to the early part of the seventeenth century. Those who have heard Glinka’s orchestral scherzo on a national Russian dance-tune called ‘ Kamarinskaia” will remember that the first phrase of that cunningly worked piece consists of only five notes. So also does the first phrase of the Hymn of Triumph in Life for the Tsar; and in the second phrase there are peculiarities which, apart from mere simplicity, are decidedly Russian in character. A far better authority on this subject than myself, the late Prince George Galitzin, pointed out some twenty years ago, in his notes to the programme of aconcert of Russian music given by him at St. James’s Hall, that Glinka’s Hymn of Triumph contains Slavonian elements, whereas the official National Anthem is cosmopolitan in character, suggesting now the Sicilian Mariners’ hymn, now that “God Save the Queen” which it served to replace.

According to Prince Galitzin—and the story, true or false, was not invented by him, but has somehow become legendary—the Emperor Nicholas determined one day that Russia must no longer employ on State occasions the ““God Save the Queen” of the English, which is also the “Heil dir im Sieger Kranz” of the Prussians, but that she must have a National Anthem of her own. The Sovereign who, in reply to an address from the Holy Synod pointing out that the Russians prayed for the dead but did not believe in Purgatory, and asking whether, according to the doctrine of the Russian Church, Purgatory did or did not exist, wrote on the margin of the document ata moment’s notice “ No Purgatory;”’ this Sovereign could not be expected to hesitate very long as to the choice of a National Anthem. He called upon Russian composers to furnish specimens of national and patriotic music; and from the various hymns, marches, and anthems sent in, selected two compositions, one by Glinka, the other by Lvoff, for performance in presence of a chosen assembly of courtiers and dilettanti. Glinka’s hymn and march produced a good effect, though the fact of its being characteristically Russian was not calculated to help it in those days, when to be Russian was, with most persons, and especially those of the Court, equivalent to being vulgar. Lvoff, however, in the orchestral accompaniments to his “* God Save the Emperor,” had introduced such a number of. trumpets and drums that Nicholas, touched in his military instincts by this excessive sonority, was quite carried away, and in a moment of enthusiasm awarded the victory to “‘General”’ Lvoff, who, it must be explained, owed hig title not to his love o. warlike instruments, but to the gerade held by him im the State service.

The opera of Zisn Za Tsarya, or, Life for the Tsar, in which Glinka’s Tsar-rejected composition now figures, and to the score of which it may possibly have belonged when presented for the great National Anthem competition as an independent piece, was produced at Moscow in 1843; and since that year it has been played so often that the melodies, for the most part of Russian type, in which it abounds are smiliar to all Russia. Luckily for the success of the work it is based on a story which appeals at _ once to the patriotism and the loyalty of the public. Nor is there anything in this loyalty which could _ shock even a Nihilist, unless, indeed, the Nihilism of the unhappy man were of so comprehensive a character as to leave him nothing in the way of heart. The plot of the piece, which was written by Count Rosen, turns upon the devotion of a peasant named Ivan Soussanin, who sacrificed his life to ensure the safety of the Tsar Michael. The action, as before mentioned, takes place at the time of the occupation of Moscow by the Poles, just two centuries and three-quarters ago. In the first act the miserable condition of Russia is set forth; also the affection of the peasant hero, the aforesaid ‘‘ Ivan Soussanin,”’ for his family, which yields only in intensity to his love for the Tsar. This particular T'sar is a worthy object of devotion, for he thinks only of the liberation of his country from the dominion of the hated Poles, and meanwhile is in a position of danger and distress. He is even a fugitive in the woods, and here the sturdy “ Ivan Soussanin” will, in the last act, be ordered by the Poles to find him.

The whole of the second act is occupied with an exhibition of Polish festivities at Moscow. To the Russians throughout the opera homeliness, combined with honesty, is attributed; while the Poles are represented as brilliant and warlike, but at the same time light-hearted and frivolous. 'T'o judge by their demeanour in Glinka’s work they do nothing when the battle is once at an end but drink, dance, and enjoy themselves. The whole, indeed, of the second or Polish act consists of ballet-music in the national Polish style. A lively, highly-rhythmical mazurka, with a great number of themes and constant contrasts of instrumentation, is followed by a stately but very brilliant polonaise, which in turn is succeeded by an animated krakoviak; and the suite of dances is, if I remember rightly, brought to a conclusion by some sort of coda. The mazurka is especially popular with the Russians, who trouble themselves no more about its Polish origin than we in England do about the possibly anti-Hnglish origin of an Irish ballad; and the opening phrase of the mazurka is used in “ leading motive ”’ fashion whenever in the third act there is any question of the Poles or their doings. Glinka, by the way, has made a more remarkable use of this device in his Ruslan and Ludmila, where the bad character, ‘“‘T'chernomor,” is persistently accompanied by a hideous descending scale consisting entirely of whole tones. In the third act of Zisn Za Tsarya we have to deal with a wood; a snowstorm; “ Ivan Soussanin,’ who has taken farewell of his much-loved ana that. he may devote himself to his — ~ country’ s liberation; and a band of Polish soldiers under one of their highly-military, mazurka-dancing _ Officers. The Poles are in pursuit of the unhappy _ Tsar, who has taken flight, and is supposed to be somewhere in the forest. “Ivan Soussanin” is seized, and, in accordance with the laws of war {though in disregard of those of humanity), is ordered to act as guide and lead the Polish troops to the Tsar’s place of concealment. ‘Ivan Soussanin” is, in his ordinary mood, light-hearted and jocular. He possesses, moreover, a taste for practical jokes. Instead, then, of making any objections to the task imposed upon him by his country’s oppressors, he declares himself quite ready to execute it, and, telling the Poles to follow him, leads them merrily into the thicket until at last, more and more involved in the hopeless labyrinth and halffrozen by the cold (for there is a pitiless wind and the snow is still falling), they adopt a stern tone towards Ivan and ask him whether he has been trifling with them. The patriotic peasant asks in return whether they really supposed him capable of betraying his Sovereign into the hands of his enemies, and then, exposing his breast to their swords, sings to them to do their worst, and singing dies.

The curtain falls on the group formed by “ Ivan Soussanin” defying the Poles and the Poles preparing to strike him. In the epilogue we see the Soussanin family regretting the heroic Ivan, but in no whining spirit. He has died for his country and his Tsar. A monument, seen on the stage, has been erected to his memory; and the Prince whose life he saved now enters Moscow amid the applause of his subjects and at the head of his troops.

From The Prima Donna: Her History And Surroundings From The Seventeenth To The Nineteenth Century by H Sutherland Edwards.

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UNFORGETTABLE: Maria Ivogün (1891-1987) as Rose Friquet in Aimé Maillarts „Les Dragons de Villars“ („Das Glöckchen des Eremiten“) at the Städtische Oper Berlin in 1927.

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OTD in Music History: Immortal composer Pyotr Ilyich Tchaikovsky (1840 - 1893) dies in St. Petersburg. Tchaikovsky is undoubtedly the most popular Russian composer of all time. Although he has sometimes drawn scorn from critics and academics, Tchaikovsky's music has always held great appeal for the general public because of its incredible melodic inspiration, lush (and often surprising) harmonies, and colorful orchestration. Although Tchaikovsky did not seriously begin studying music until his early 20s and died in his early 50s, he composed prolifically and still managed to produce 20 choral works, 11 overtures, 11 operas, 7 symphonies, 5 suites, 4 cantatas, 3 ballets, 3 piano concertos, 3 string quartets, a violin concerto, a string sextet, and more than 100 individual smaller songs and piano pieces. Tchaikovsky's work can admittedly be uneven in quality -- but as often as not, he achieved a remarkable unity of melodic and harmonic inspiration with dramatic content and appropriate form, and his finest masterpieces easily elevate him into the first rank of history's great "classical" composers. PICTURED: An 1890’s cabinet photograph of Tchaikovsky which he signed and dated on June 7, 1893, just five months before his untimely death. Per the date of the inscription, Tchaikovsky signed this photograph while he was visiting Britain (from May 25 to June 30, 1893) to receive an honorary Doctorate from Cambridge University. His distinguished musical colleagues Camille Saint-Saens (1835 - 1921), Max Bruch (1838 - 1920), Arrigo Boito (1842 - 1918), and Edvard Grieg (1843 - 1907) (who was not able to attend due to illness) were also awarded honorary Doctorates at the same ceremony, which took place on June 13th.

“Life is beautiful in spite of everything! There are many thorns, but the roses are there, too.” -- P. Tchaikovsky “To regret the past, hope in the future, and never to be satisfied with the present: that is what I spend my whole life doing.” -- P. Tchaikovsky “Truly there would be good reason to go mad, were it not for music!” -- P. Tchaikovsky

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REMEMBRANCE OF THINGS PAST: The American singer Lulu Glaser (1874-1954) in the Broadway premiere (1910) of the operetta “The Girl and the Kaiser”, an English version of “Försterchristel” by the Hungarian composer Georg Jarno (actually: György Cohner, 1868-1920).

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OTD in Music History: Legendary composer, conductor, organist, and pianist Felix Mendelssohn (1809 - 1847) tragically dies of a stroke, at the age of just 38, in Leipzig. A living legend in his own lifetime, Mendelssohn remains one of the most frequently-performed composers of the early Romantic Era. Mendelssohn's varied compositional output encompasses symphonies, concertos, piano music, organ music, art songs, and chamber music. His best-known works include the "String Octet" (written when he was just 16) the "Overture To A Midsummer Night's Dream" (written when he was just 17), the "Italian" (1834) and "Scottish" (1842) Symphonies, the "St. Paul" (1836) and "Elijah" (1846) Oratorios, and his 1st Piano Trio (1839) and Violin Concerto (1844). Mendelssohn's voluminous collection of "Songs Without Words" also remain perennial solo piano classics, and his Christmas carol "Hark! The Herald Angels Sing!" is always a popular favorite. Mendelssohn is also generally credited with having helped to spark revived widespread interest among the concert-going public in the music of Johann Sebastian Bach (1685 - 1750), thanks in large part to his landmark performance of (a highly-edited and completely-rescored version of) Bach's “St Matthew Passion” in 1829. One of the most influential and important conductors of his time, Mendelssohn’s ten visits to Britain exerted a particularly profound and lasting impact on the development of musical culture in that country. PICTURED: A modern plaster copy of the "death mask" that was made shortly after Mendelssohn passed away. The creation of death masks was a common practice throughout much of Europe until the early 20th Century, and particularly so before the advent and widespread popularization of commercial photography.

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Jenny Lind - THE "METHOD."

The voice was a brilliant and powerful Soprano, combining the volume and sonority of the true Soprano drammatico — to which class of voices it unquestionably belonged — with the lightness and flexibility peculiar to the more ductile and airy Soprano sfogato, with the characteristic tenuity of which it had, however, nothing in common.

Its compass extended from B below the stave, to G on the fourth line above it — in technical language, from b to G ; that is to say, a clear range of two octaves and a sixth.

The various registers of this extended compass were so skilfully blended into one, by the effect of art, that it was impossible for the most delicate or attentive ear to detect their points of junction. In fact, after the completion of its cultivation under the guidance of Signer Garcia, the entire voice became one homogeneous whole, so even in its calibre, that the notes were avowedly sung without a thought as to the best way of "placing" them.

Certain regions, however, possessed marked aesthetic qualities, very clearly distinguishable, though they could be modified, at will, in accordance with the demands of the passages into which they were introduced. For instance, three notes of the middle register, were invested, in piano passages, with a veiled tone of ravishing beauty — as in the long-drawn A, in the middle register, which forms the opening note of Casta diva. These three notes were more seriously iu jured than any other region of the voice, by the hard work and faulty method of production that had been forced upon Mdlle. Liud before her journey to Paris. It is well known to every experienced Maestro di Canto, that more voices are injured by the attempt to sing these three important notes in the lower instead of in the middle register, than by any other error of production whatever ; and there can be no doubt that it was this error that caused so much trouble to Mdlle. Lind, who, notwithstanding the beautiful tone by which the notes in question were afterwards characterised, assured Froken Signe Hebbe * that she believed that they " never became quite right."

Of the F# so much admired by Mendelssohn, the A above it, brought prominently forward in a syncopated passage in the same slow movement of Casta diva, and the same A, with the C above it, used as the first two notes in the Taitzlied aus Dalelcarlien, we have already spoken in former chapters.

It was remarkable that these exceptionally high notes, though brilliant beyond description, when used at their full power, could be reduced to a pianissimo as perfect as that of the veiled tones of the middle register. The pianissimo, indeed, was one of the most beautiful features of Mdlle. Lind's singing. It reached to the remotest corner of the largest theatre or concert-room in which she sang ; it was as rich and full as her mezzo forte ; yet it was so irnlj piano that it fell upon the ear with the charm of a whisper, only just strong- enough to be audible. The reader will not have forgotten that Her Majesty regarded this pianissimo as one of the most beautiful characteristics of Mdlle. Lind's singing, and that, in the letter , Chopin spoke of its " charm " as " indescribable."

A wholly different effect — though bearing a certain sort of analogy to this — was produced in the Koricef/ian Echo Song by a pecuhar tightening of the throat, which Madame Goldschmidt once tried to explain to the writer, though the process was so purely subjective that she said it was almost impossible to describe it in words. The effect produced so nearly resembled that of a natural echo, reverberated from the opposite wall, that it never failed to mystify an audience before which it was presented for the first time.

The notes, C, D, E, F, G, A, marked (g) in our diagram, were noticed by Mdlle. Lind, at a very early period, as the best notes of her voice. And judging, from their position in the scale, that her voice was intended by Nature to develope into a Soprano of exceptional height, she practised these notes, with the semitones between them, more diligently than any others, with the full determination to extend the process until the tone of the remaining portions of the voice became as rich, as pure, and as powerful, as that of the six notes which she regarded as forming the fundamental basis of the whole. How fully she succeeded in carrying out this intention we know already ; and it is scarcely too much to say, that it was to this firm resolve, and the clear foresight which prompted it, that her ultimate success is mainly to be attributed.

Mdlle. Lind's voice was not by nature a flexible one. The rich sustained tones of the soprano drammatico were far more congenial to it, than the rapid execution which usually characterises the lighter class of soprano voices. But this she attained also, by almost superhuman labour. Her perseverance was indefatigable. Among the Cadenze with which she was accustomed to embellish Jier favourite Airs was one adapted to a Movement from Beatrice di Tenda, introducing a scale passage ascending chromatically to the upper E flat, and then descending in the same manner. She once, while at the zenith of her career, told Froken

Signe Hebbe that she had practised this passage all her life, but that it was only quite lately that she had succeeded in satisfying herself with it ; adding, that she never allowed herself to indulge in singing such difficult passages before the public, until she had thoroughly mastered them, but preferred simplifying them to running the risk of an imperfect rendering of the notes.

Another remarkable feature in Mdlle. Lind's singing was the shake, which she delivered, at will, either with unapproachable brilliancy, or in the form of a whisper, more like the warbling of a bird than the utterance of a human voice.

Though it is necessary that a perfect shake should always begin with, and lay the metrical accent continuously upon, the written note, it is notorious that most shakes fail through want of attention on the part of the singer to the upper auxiliary or unwritten note. The general tendency is to let this note gradually flatten, until, in very bad cases, the distance between the two notes is diminished from a tone, to little more than a semitone. So well is this fact known, that the late Mr. Cipriani Potter once told the writer how he had been taught, in his youth, to separate the notes so widely that " a cocked hat could be thrown between them." Mdlle. Lind devised a cure for this corrupt delivery of the shake. In teaching, she legem by impressing the upjjer note upon the ear, as the most important, both as to strength and duration, at this early stage of the process ; leaning, as it were, upon it, and slurring up to it from the lower interval. She employed for this purpose, first, the leap of a fifth, then that of a fourth, and so on, until she reached the semitone, continuing the shake exercise between the two intervals, ivhatever their distance, for some time, before proceeding from the wider intervals to a lesser one ; always adhering to the upper note as the most important one ; and always making beginners practise it with extreme slowness.*

The following exemplification of this particular exercise, written, by herself, a few years ago, for the guidance of a young vocalist, has been found among her music : —

At a later period of instruction, the notes marked {a) and (b) were to be omitted, and the succession of intervals blended into one continuous exercise, thus : —

But it was not until after considerable advance had been made, that the exercise was allowed to be sung with any degree of quickness.

When, at last, after diligent practice, the perfect shake was attained, it was sung with the rhythmic accent on the real or written note, thus : —

not thus : —

The various effects we have here attempted to describe would have been impossible, but for that skilful management of the breath of which we have before had occasion to speak when treating of Mdlle. Lind's studies under the guidance of Signor Garcia. Her chest had not the natural capacity of Mdlle. Alboni's, or Signor Enbini's ; but she renewed her breath so rapidly, so quietly, so cleverly, that the closest observer could never detect the moment at which the lungs were replenished ; and, by the outside world, her extraordinary sustaining power was attributed to abnormal capacity of the lungs. The apparent ease with which she attained this difficult end was due to an artfully-studied combination of the processes technically termed "costal" and "clavicular" and " davicular * breathing " ; in the first of which — used only after the completion of a distinct phrase of the vocal melody — the lower part or " base " of the lungs, freed from the last remains of the previous breathy is refilled, to its utmost capacity, without undue precipitation, yet with sufficient rapidity to answer all practical purposes ; while in the second — used for the continuation of phrases too long for delivery within the limits of a single inspiration — the lungs are neither completely emjjtied, nor completely refilled^ but replenished only, by means of a gentle inhalation, confined to that portion of the organ which lies immediately beneath the davicuJce, or collar-bones. The skill wdth which these two widely different processes were interchanged, when circumstance demanded their alternate employment, was such as can only be acquired by long and unwearied practice, untrammelled by prejudice either for or against any special method W'hatever ; and it is not too much to say, that it was to the sustaining power, acquired by this careful management of the breath, that Mdlle. Lind owed her beautiful pianissimo, and that marvellous command of the messa di voce which enabled her to swell out a crescendo to its utmost limit, and follow it, without a break, by a diminuendo which died away to an imperceptible point, so completely covering the end of the note that no ear could detect the moment at which it faded into silence.

And no less complete was Mdlle. Lmd's command over the difficulties of articulation than over those of vocalisation pure and simple. Her delivery of the difficult — we had almost said, impossible — passage in the grand Scena from Der Freischiitz — Tduscht das Licht des Monds mich nicht ! f — though so clear and distinct that not a syllable lost its full meaning, was nevertheless so soft and smooth that it could scarcely have been surpassed in Italian. We do not hesitate to say that she was the only great singer by whom we have heard tliis famous crux surmounted without a trace of harshness in the delivery of the words. On one occasion Madame Birch-Pfeiffer left her, alone, practising the word zersplittre (" to shiver to pieces "), on a high B flat, in the opening Recitative in Norma; and, returning several hours afterwards, found her still practising the same word. And she continued to practise it, until she succeeded in pronouncing it quite perfectly on the high note, though few even of the best German vocalists attain a better pronunciation than zerspldttre. But she never erred in the delivery of even the most difficult word in any language whatsoever. So perfect was the mastery she exercised over larynx, throat, lips, tongue, teeth, soft palate, each and all, that never a syllable was stifled at its birth, never a vowel-sound corrupted in its passage through the longest groups of mingled leap, arpeggio, or scale. It was this high quality that lent so potent a charm to the complicated " divisions," the rapid passages of ftoritura of which Lablache, in describing them to Madame Grisi, said that " every note was a pearl." The purity of the vowel-sound, by which the pearls were strung together, secured their perfect equality of tone and timbre ; and, whether the most rapid notes were sung legato, or staccato, they either ran on velvet, or rang out sharply and clearly as the touch of a m.andolme. The tecJmique, in either case, was absolutely faultless, and its perfection was entirely the result of hard work, indefatigable practice, unwearying study. To the end of her career, she never sang in the evening without preparing for the performance by practising for . a long time, earlier in the day — generally, a mezza voce, to avoid fatiguing the voice unnecessarily, but, never sparing the time or trouble. And herein lay the secret of her victory over difficulties which tempt so many less courageous aspirants to despair.

Undoubtedly, the " method " thus diligently cultivated was, in many points, subjective. Mdlle. Lind felt, but could not always explain, the principles upon which she worked. We possess, however, a letter written by her to Fraulein von Jaeger, which enters into some particulars connected with our present subject of consideration, so curiously interesting, that we cannot refrain from publishing them, though the communication bears a date far later than that at which the purely narrative portion of our work comes to a close.

" Ems, June 8, 1855. " And what is my good Gusti doing ? Is she working as industriously as ever at her singing ? " The chief thing that I have to say, today, concerns that part of Friedrich Schmitt's ' Singing-school ' of which you wish for an explanation.*

" I do not think you have rightly understood the point. Eead the paragraph again, and it will surely become clearer to you.

" Naturally, he does not mean that you are to attack a note twice ; but that, before you sound the note, the larynx must be properly prepared in the position in which the forthcoming sound lies, whether high or low. The result of this is a firm attack ; and, as soon as you have sounded one note, you must spring so nimbly on all those above — or below it — that no rift can be detected between the sounds ; and, in this way, the completion of the phrase is accomplished without a break. For instance, the notes

must so hang together that they make one whole ; and this results from binding and striking them, at one and the same time — ^if I may so express myself — though it is almost impossible to explain this clearly in words. But I have often spoken to my Ousti about this, and shown it to her. It lies in the flexibility of the larynx, and must therefore be practised. Sing your exercise, then, so that this flexibility of the throat may be quickly developed. The attack of the single notes will thus be improved ; and the string of notes will follow."

Madame Goldschmidt is quite right, when she says that " it is almost impossible to explain this clearly, in words." No one knew, better than she did, that the best ' Singing-schools ' that ever were published are useless without the aid of a teacher ; for until she found a teacher in Signer Garcia, she wandered daily farther and farther from the true path, until, in the end, her voice but narrowly escaped from utter destruction. When once the truth was pointed out to her, her quick perception and unerring musical instinct enabled her to grasp it at a glance ; and, when once she began to practise upon true principles, the difficulties she had formerly experienced with regard to the method of voice-production were at an end.

On one point she always insisted very strongly. She had an innate hatred of the contortions with which so many vocalists of inferior order disfigure their features when delivering the passages they wish to render most impressive. She was never satisfied with a song, unless the singer " looked pleasant." She regarded singing as a beautiful gift of Nature ; a gift for which those who possess it should feel truly thanlvf ul, and proclaim their thankfulness by the expression of their features. She had a horror of careless articulation, even in speaking. And she felt firmly persuaded that the practice of singing, on the true " method," tended to the invigoration of the body, and especially of a weak chest. She even thought that the lives of many persons with a tendency to consumption might have been prolonged, if they had learned to breathe, and sing, in the right way — an opinion which is held by many medical authorities of highest reputation, and the correctness of which is undoubtedly proved by recorded facts.

So deeply penetrated was Madame Goldschmidt with love for her Art, and faith in its ennobling influence, that, to the end of her life, she took the keenest interest in promoting its instruction, upon the true and well-tried principles of the pure Italian School.

The following letter to the late Mr. H. C. Deacon, in whose method of instruction she felt great confidence, is one of the last she wrote upon the subject : —

" Wynd's Point, Colwall, Malvern, July 31st, 1885. " Dear Mr. Deacox, " It was very kind of you to let me know about the Examinations.* I am glad to hear that my sheep did not badly. If would put her mind into her work she might become a singer. " I can but do my best ; and, with my enormous experience, and a life's study, I ought to be able to bring out singers. " Singing is as much moral and mental as it is mechanical. It is the combination of those qualities which alone can form the master and pupil. " I hope you and Mrs. Deacon are better, and that you will now have some rest. " Yours sincerely, " J. L. GOLDSCHMIDT."

We can scarcely close our present chapter more profitably than by presenting our readers with a summary of the work performed by Mdlle. Lind, in connection with the Operatic Stage, between her first appearance in Der Freiscliutz, on the 7th of March, 1838, and her last, in Rolerto il Diavolo, on the 10th of May, 1849 — a period of little more than eleven years, during which she appeared in 30 Operas, 677 times.

Jenny Lind the artist, 1820-1851 : a memoir of Madame Jenny Lind Goldschmidt, her art-life and dramatic career, from original documents, letters, MS. diaries, &c., collected by Mr. Otto Goldschmidt by Holland, Henry Scott, 1847-1918; Rockstro, W. S. (William Smyth), 1823-1895

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OTD in Music History: Legendary 19th Century singer Jenny Lind (1820 - 1887) dies in England. Nicknamed "The Swedish Nightingale," Lind was one of the most fabulously successful musical superstars of her era. After making her big break in a performance of Carl Maria von Weber's (1786 - 1826) "Der Freischutz" in Stockholm in 1838, Lind embarked upon an extended European tour during the 1840's before turning her eyes to the ultimate financial prize: North America. In 1850, Lind traveled to America at the "invitation" of P.T. Barnum (1810 - 1891), who promised to "endlessly promote her" and make her "fabulously wealthy." He kept his word on both counts; indeed, his constant over-the-top marketing campaign eventually wore on Lind's nerves, and after performing 93 large-scale concerts for Barnum she actually invoked a termination clause in her contract and then continued the rest of the tour under own management, ultimately earning more than $350,000 (equivalent to ~$13,000,000 in 2024-adjusted dollars) for her efforts. (NB: This tour was a major plot point in the 2017 Hollywood movie "The Greatest Showman," which portrays Lind as a fame- and money-hungry seductress with romantic designs on Barnum. In reality, Lind was a devoutly-religious married woman who did not care for Barnum's larger-than-life personality, and she ultimately ended up donating the vast bulk of her income to a variety of charities.) After returning to Europe in 1852, Lind went into semi-retirement and focused most of her time on raising her three children, only occasionally emerging to give charity concerts. From 1855 onward she lived in Britain, where she was venerated by an adoring public. PICTURED: A relic from Lind's famous American tour — an original program that was handed out to attendees at one of her Boston appearances (c. 1850 - 1851). Featuring several hand-colored illustrations, printed lyrics to her various concert selections, and plenty of press reviews (including a glowing multi-page biography), this program itself was quite a production for its time! Also shown is a later-printed (c. 1890s/1900s) copy of a cabinet photo showing Lind (c. 1850s).

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This 150 years old poster show us a performance in Vienna with the great Diva Adelina Patti (1843-1919) in Donizetti‘s Opera „Linda di Chamounix“. In the cast you can also find the Tenor Ernesto Nicolini. He was later one of her husbands. The conductor was the Composer Luigi Arditi .