# A Cyclopaedia of Female Biography/Lind, Jenny

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LIND, JENNY.
This incomparable singer, whose maiden name we have chosen to retain, as it is that under which she obtained her world-wide reputation, was born in the city of Stockholm, in the parish of St. Clara, October 21st., 1821. "Her parents," says Dr. Baird, in his "Sketch of the Life and Character" of this renowned songstress, "though not in affluent circumstances, are (for they still live to rejoice in the wonderful success of their beloved daughter) much respected by all who know them. Her father is a member of the legal profession. Her mother for many years kept a boarding-school for girls. By a former marriage, she had a daughter, who died before reaching adult age. Jenny Lind is her only child by second marriage. Both parents are Protestants, and are members of one of the churches in Stockholm. In the same church, the subject of this notice made her first communion, according to the practice of the Lutheran church, the National Church of Sweden, and of all other Scandinavian countries. Of the same church she has continued a member since her fifteenth or sixteenth year.
From childhood she displayed a remarkable talent for music, and was encouraged by her friends to cultivate her extraordinary powers. In her ninth or tenth year, she attracted the attention of an old teacher of music, named Croelius, who proved to be a true friend. He secured for her the friendship of Count Pucke, the administrator of the Royal theatre in Stockholm, who admitted her to the musical school attached to that theatre, where she made rapid progress. At the early age of fifteen, she commenced singing in public, and became a great favourite with the music-loving people of that city. But it was not long before her voice failed, and she had to give up the stage. Years of disappointment passed away, during which she aided her mother in her school. At length her voice began to return, and her hopes revived.
The good old Croelius now advocated her going to Paris, where she spent portions of 1841-2, enjoying the tuition of Garcia, the greatest musical teacher in that city. Her efforts were unceasing to master thoroughly the principles of the science, and to improve and perfect her voice.
Those who suppose she owes all to nature, know but little of the immense labour which she bestowed for many years upon the acquisition of the principles of music, and the perfecting of her voice, which recovered in time all its early sweetness and beauty, and acquired its present astonishing flexibility and strength.
In the winter of 1843–4, she commenced in Berlin her wonderful career as a public singer, and soon acquired great celebrity in Germany. In the summer of 1844, she returned to Stockholm, where she was received with unbounded demonstrations of affection and of ​honour. And without going into a minute account of her musical tours on the Continent, it is sufficient to say, that after haying repeatedly visited Vienna, Berlin, Copenhagen, Stockholm, and other cities in the Teutonic portions of the Continent, she appeared in England in the spring of 1847. During that summer and two succeeding ones, she sang in London, and most of the chief places in Great Britain and Ireland. Everywhere her triumph was complete. Each succeeding year her popularity became, if possible, greater.
At first, and for several years, Miss Lind sang in the theatres,—in the great operas of Meyerbeer, Donizetti, Verdi, Mozart, Mendlessohn, Rossini, etc.,—and was scarcely more distinguished for her singing than her acting. Since the year 1849, she has preferred to sing in concerts, avoiding theatrical performances—for which she has long had an increasing repugnance—and laying her strength upon the choice morceaux of the best operas, such as the Sonnambula, Korma, Der Freyschutz, Camp of Silesia, La Figlia del Regimento, Ernani, Don Giovanni, etc. This course enables her to introduce the beautiful national songs of Sweden, in which her inimitable powers appear to as great advantage as in the most scientific pieces; and also to control with more ease her own movements, and command with more certainty the company which she would prefer. It is probable that this course she will exclusively pursue, as long as she continues to sing in public. These concerts, regulated as she will have them regulated, together with some of the best Oratorios, evidently furnish what her purity of heart and of life prefers and demands; nor can she desire greater success than she has hitherto found.
Early in the year 1850, Miss Lind made an engagement with Mr. Barnum, to visit the New World, and allow the people of the great republic the enjoyment of listening to her voice. Miss Lind was to sing one hundred and fifty nights, under Mr. Barnum's direction, for which she was to receive one hundred and fifty thousand dollars, and half the actual profits of every concert, in addition to this stated salary of one thousand dollars per night Moreover, Miss Lind was accompanied by a female friend, a secretary, and two servants; a composer and pianist, M. Benedict, at a salary of twenty five thousand dollars, was provided to assist her, and the barytone Giovanni Belleti, was also engaged, at a salary of twelve thousand five hundred dollars: all expenses of the voyage from Europe, travelling and personal in America, of this whole party, were to be defrayed by Mr. Barnum.
Miss Lind reached New York, September 2nd., 1850. Her first appearance before an American audience was at Castle Garden, September 11th.; about five thousand persons were present; the receipts amounted to nearly thirty thousand dollars, of which about ten thousand belonged to Miss Lind, as her portion of the net profits. Of course, Mr. Barnum obtained an equal amount
It is not possible to give here a sketch of her artistic progress through the United States; she visited Boston, Philadelphia, Baltimore, Washington, Richmond, Charleston; thence went to Savannah; and returned in February, 1851, to New Orleans, where her triumphs of song exceeded, if possible, any she had before attained. One predominant trait in Miss Lind's character is her benevolence, and this, as some insinuate, has contributed greatly to her popularity. It is strange other great artists do not "affect this virtue if they ​have it not," if it would so surely lead to fortune. The truth is, the sweet singer has shown, from the opening of her career, the same thoughtfulness for the poor and unfortunate. Miss Bremer, in her brief notice of Miss Lind, says that on the return of this gifted and noble girl, from her first successful tour in Germany, she sent, through the papers of Stockholm, an address to the public, stating that, "as she once more had the happiness to be in her native land, she would be glad to sing again to her countrymen, and that the income of the opera, in which she was for the season to appear, would be devoted to raise a fund for a school where elèves for the theatre would be educated to virtue and knowledge." Christian Andersen, one of the most distinguished men in Sweden, in his reminiscences tells a similar tale of Jenny Lind. He says, "she is happy, belonging no longer to the world. Yet she loves art with her whole soul. She feels her vocation. Her noble and pious disposition cannot be spoiled by homage. On one occasion only, in my hearing, did she express joy and self-consciousness in bpi talent. It was during her last stay at Copenhagen. Every evening she appeared either at the concert or in opera. She beard of a society, the object of which was to take unfortunate children out of the hands of their parents by whom they were compelled to beg or steal, and place them in better circumstances. Benevolent people subscribed annually for their support, yet the means for this excellent purpose were but small. 'I have an evening disengaged,' said she, 'I will give a performance for these poor children, but we must have double prices.' Such a performance was given, and returned large proceeds. When she heard the amount, her countenance lit up, and tears filled her eyes. 'It is beautiful,' said she, 'that I can sing so.'"
It is stated that, while performing in Germany, she gave away no less a sum than thirty thousand florins; and the Rev. Dr. Baird, whom we has before quoted, says, "it is said, on what we believe to be good authority, that during Miss Lind's visits to England, nearly sixty thousand pounds sterling were secured for objects of charity in this country by her efforts."
While in America she distributed to charitable societies, in the various cities she has visited, probably not less than fifty thousand dollars; the whole profits of her first concert, namely ten thousand dollars, she gave to be thus distributed in the city of New York. Yet she has a nobler, because more necessary work of charity planned. Having already made a liberal, though not extravagant provision for her own future support, as well as for the support of her honoured parents, who reside in Sweden, she is now desirous of appropriating the avails of her visit to America, to promote education among the poor of her native land.
But let us complete our outline of the history of "the Swedish Nightingale," as she has been well called. In 1852, after her ninety-fifth concert, she prematurely concluded her engagement with Mr. Barnum, as an article in it enabled her to do, and sacrificing some thirty thousand dollars by this proceeding, continued the series of concerts on her own account; soon after rumours were heard of her marriage with Otto Goldschmidt, a German pianist of some European celebrity; and these rumours were confirmed when in 1852, she passed through England on her way to Germany. Since that period she has only made her public appearance at a few concerts at Vienna, ​Hamburg, etc., until 1866, when she again delighted the people of England, at a series of concerts given at Exeter Hall, by her admirable execution of the finest pieces of sacred and other standard music. Speaking of these performances, a recent writer says, "To define the qualities of her genius, in which each individual might perceive some different charm, would be a rash attempt. Apart from those attractions Which are purely vocal, her intensity of feeling, which displays itself in a simple earnestness, entirely removed from the passionate fervour of the south, is perhaps the key to her influence over the feelings of others. This is confirmed by the delicate refinement of her artistic taste, and a certain general charm which is all her own. These things combine to make up a great gift which has been nobly used, for the benefit as well as the pleasure of thousands."