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Jenny Lind
In London she leaped at once to the pinnacle of fame, d he town, sacied
and profane, went wild about the Swedish Nightingale, says Chorley. Her
voice, with a compass from L) to D, with another note 01 two occasionally
available above the high D, was a soprano of a bright, thrilling and remark-
ably sympathetic quality. She was an unrivaled coloratura singer,and showed
exquisite taste in her caden-
za, which she usually in-
vented. Her wonderfully
developed length of breath
enabled her to perform long
and difficult passages with
ease, and to fine down her
tones to the softest pianis-
simo, while still maintaining
the quality unvaried. One
writer said about her: “What
shall I say of Jenny Lind?
I can find no words adequate
to give you an idea of the
impression she has made.
We have heard an artist who
makes a conscience of her
art.” Next to the great gift
of her wonderful voice, that
was undoubtedly the grand
thing about Jenny Lind, “she
made a conscience of her
art.” In the smallest town
she would put the same zeal,
JENNY LIND the same verve into her sing-
ing that she would if she were making her debut in Her Majesty’s Theatre
in London. She never concerned herself about what her critics, friends
or enemies, would say about her; she jout her whole soul into her ait,
and gave the best that was in her, in her best and most powerful manner, to
her audiences, whether made up of lords and princes or of people from the
humbler walks of life.
In 1850-52 she visited America under the management of Mr. Barnum.
She was married to Mr. Otto Goldschmidt, a German pianist from Hamburg,
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