, 1877-02-17
CAMILLA uRSo.
SOMETHING ABOUT A BUSY
LITTLE WOMAN.
HER STRUGGLES AND HER TaIumPns.

HER STRUGGLES AND HER TRIUmPHs.
The approaching advent Of first
class performer to our city, is something
to look forward to with more than Or
dinary avidity. Her coming here is not
SO much the result Of our city's growth
as the overcrowded condition of theat-
rical and musical affairs in San Fran
cisco. That city has such delightful
winters that the more successful artists
love to linger there. instead of tempt.
ing the SHOWS and ice-gorges of the
Eastern cities. Hence it is no subject
of special wonder that San Francisco
should be overcrowded with theatrical
and musical people who are glad to
take any ordinary journey for the sake
of clearing expenses-anything rather
than cross the continent at this season.
Hence it is that Madame Camilla Urso
sees fit to try Portland. Seattle and
Victoria, as well as the Valley towns of
Oregon.
HER EARLY LIFE.
Born in the city of Nantes, France,
of Italian parents. Camilla Urso was
taught the violin when but six years
old. and at seven began playing In con-
certs. Brought to Paris Immediately y
after. she entered the Conservatoire.
being the first of her sex who was award
ed that distinguished honor. Leaving
that institution when but ten years old.
with first honors. she came to America
under engagement to the famous singer,
Henrietta Sontag. and PLAYED with that
lady in nearly every city in the United
States. She retired to private life short
" after Madame Sontag's death, and
only appeared six years afterwards at
| the concerts of the Philharmonic Soci-
ETY.. in New York, meeting with such
success that engagements we're offered
her from every part. She engaged to
play in Boston. at a very large salary
for thirty consecutive nights. and the
large Music Hall of Boston w:s often
too small to accommodate the enthusi-
astic crowds that came to hear her.
After this season, she re-crossed the
" Western Ocean and went
BACK TO PARIS.
From that time to 1870, the little
woman studied hard and labored incess
antly. But it was the labor of dray-
horse or slave ut the tread mill. un-
accompanied by those intervals Of re-
pose that 40 strengthen the mind and
restore the weary brain. She played in
every large city Of France and Germany
uhe n she finally came back to America
| In 1870. On her arrival in San Fran
cisco in the fall of that year. she got up
the s.monster concert" in aid of the
funds of the Mel elcantile Library. There
| we're several hundred singers and over
three hundred instrumental performers,
over whom this industrious little woman
conducted all the rehearsals. 1t was a
cumplete success and the trustees of
the Library showed their gratitude by
rendering the lady the proceeds Of a
magnificent ball given in her honor.
and also an honorary life membership
to the library.
AFTER THIS TRIUMPH
Camilla Urso returned to Europe and
appeared at the London Philharmonic
Society concerts. The stern and unpur.
| chaseabls critics of the British metropo-
lis came to see whether the title Of
Queen of the Violin" bestowed on
her by the American press. was really
merited compliment or piece OF
gold. bought fattery. They came, they
saw and were conquered. A few Of the
elder recognized in her the style of q
great master whose violin has long been
silent. We allude to Camille Sivori
the favorite pupil of the unapproachabls
Paganini. The probabilities are that
Madam Urso has Sivori's method oi
execution more accurately than any
other living performer. In his day he
ives called an effeminate player. hence
what might be called weak in him
would be ranked very high-colored IN
the playing of a woman. Neither Of
them got the sound out of a violin that
Ole Bull does--nor did anybody else,
for that matter. But Ole Bull is a
ROUGH. RAsP1NG PLAYER.
Beside Madame Urso. Luigi Arditi,
author of the popular valse IL Bacio. '
has something of the Madame's smooth
and elegant style. though far below hel
a. solo performer. We heard good
story of Ole Bull and Madame Urso at 6
party given in New Yolk. where Alids
Topp, the pianist. was also present
The venerable Ole Bull was seated be.
tween the two ladies when Madame Ursc
asked Aida whose pianos she preferred
SWELL" replied Mile Topp, II like
Fischer's the best for durability. though
Steinway's have the best tone. car
generally hammer Steinway to pieces
in three weeks" Ole Bull looked at heI
with An air of profound pity and then
turned 10 Madame Urso. saying "You
hear that unfeeling creature, my deal
Camilla. She pounds and beats ard
thumps to pieces the very instrument
by which she earns her living. But my
Gcd, how we do love our dear fiddles,
don't We CamilIa?'
HER COLLECTION OF vIoLrNs
Consists of six, all made at Cremona
Italy, two being by Joseph Guarnerius,
one by Amati. another by Stradivarius,
a fifth by Guadanini and q sixth BY
Magini. One of the Guarnerius violins
bears date 1857 aud is consequently 14C
years old. Madame Urso paid 81. 500 fol
itRand would sooner sell all the rest ol
them for hundred dollars apiece thar
to part with it for the same price she