The Life of Phineas T. Barnum Part 15

The reception of Jenny Lind, on her first appearance, in point of enthusiasm, was probably never before equalled. As Mr. Benedict led her towards the footlights, the entire audience rose to their feet and welcomed her with three cheers, accompanied by the waving of thousands of hats and handkerchiefs. This was perhaps the largest audience to which Jenny Lind had ever sung. She was evidently much agitated, but the orchestra commenced, and before she had sung a dozen notes of "Casta Diva," she began to recover her self-possession, and long before the scena was concluded she was as calm as if she was in her own drawing-room. Towards the last portion of the cavatina, the audience were so completely carried away by their feelings, that the remainder of the air was drowned in a perfect tempest of acclamation. Enthusiasm had been wrought to its highest pitch, but the musical powers of Jenny Lind exceeded all the brilliant antic.i.p.ations which had been formed, and her triumph was complete. At the conclusion of the concert Jenny Lind was loudly called for, and was obliged to appear three times before the audience could be satisfied. Then they called vociferously for "Barnum," and he "reluctantly"

responded to their demand.

On this first night Julius Benedict firmly established with the American people his European reputation as a most accomplished conductor and musical composer; while Signor Belletti inspired an admiration which grew warmer and deeper in the minds of the public, to the end of his career in this country.

"The Rubicon was pa.s.sed," says Barnum. "The successful issue of the Jenny Lind enterprise was established. I think there were a hundred men in New York, the day after her first concert, who would have willingly paid me $200,000 for my contract. I received repeated offers for an eighth, a tenth, or a sixteenth, equivalent to that price. But mine had been the risk, and I was determined mine should be the triumph."

The triumph of Jenny Lind is a legitimate part of Barnum's history, and it will be of interest to the present generation to read what the musical critics of that day thought of that wonderful singer. Here is the New York Tribune's account of her opening concerts in America:

"Jenny Lind's first concert is over, and all doubts are at an end. She is the greatest singer we have ever heard and her success is all that was antic.i.p.ated from her genius and her fame.

As this is something of an era in our history of art, we give a detailed account of all that took place on the occasion.

"All the preparatory arrangements for the concert were made with great care, and from the admirable system observed, none of the usual disagreeable features of such an event were experienced.

Outside of the gate there was a double row of policemen extending up the main avenue of the Battery grounds. Carriages only were permitted to drive up to the gate from the Whitehall side, and pa.s.s off into Battery-place. At one time the line of carriages extended to Whitehall and up State street into Broadway.

Everything was accomplished in a quiet and orderly manner. The chief of police, with about sixty men, came on the ground at 5 o'clock, and maintained the most complete order to the end.

"Mr. Barnum, according to promise, had put up a substantial frame-work, and thrown an immense awning over the bridge, which is some 200 feet in length. This was brilliantly lighted, and had almost the appearance of a triumphal avenue on entering the gate.

"There was an immense crowd on the Battery, cl.u.s.tering around the gates during the whole evening, but no acts of disorder occurred.

When Jenny Lind's carriage came, but very few persons knew it, and no great excitement followed. The princ.i.p.al annoyance was occasioned by a noisy crowd of boys in boats, who gathered around the outer wall of the castle, and being by their position secure from the police, tried to disturb those within by a hideous clamor of shouts and yells, accompanied by a discordant din of drums and fifes. There must have been more than 200 boats and a thousand persons on the water. They caused some annoyance to that portion of the audience in the back seats of the balcony, but the nuisance was felt by none in the parquet. By 10 o'clock they had either become tired or ashamed of the contemptible outrage they were attempting, and dispersed. We may here remark that if the river police asked for by Chief Matsell had been in existence this attempt could not have been made.

"On entering the castle, a company of ushers, distinguished by their badges, were in readiness to direct the visitors to that part of the hall where their seats were located. Colored lamps and hangings suspended to the pillars indicated at a glance the different divisions, and the task of seating the whole audience of near seven thousand persons was thus accomplished without the least inconvenience. The hall was brilliantly lighted, though from its vast extent the stage looked somewhat dim. The wooden part.i.tion which was built up in place of the drop-curtain, is covered with a painting representing the combined standards of America and Sweden, below which are arabesque ornaments in white and gold. Considering the short time allowed for these improvements, the change was remarkable. The only instance of bad taste which we noticed was a large motto, worked in flowers, suspended over the pillars of the balcony directly in front of the stage. 'Welcome, Sweet Warbler' (so ran the words), was not only tame and commonplace, but decidedly out of place.

"The sight of the grand hall, with its gay decoration, its glittering lamps, and its vast throng of expectant auditors, was in itself almost worth a $5 ticket. We were surprised to notice that not more than one-eighth of the audience were ladies. They must stay at home, it seems, when the tickets are high, but the gentlemen go, nevertheless. For its size, the audience was one of the most quiet, refined and appreciative we ever saw a.s.sembled in this city. Not more than one-third were seated before 7 o'clock, and when the eventful hour arrived they were still coming in. A few of the seats were not taken when the orchestra had a.s.sembled, and Mr. Benedict, who was greeted with loud cheers on his appearance, gave the first flourish of his baton.

"The musical performance commenced with Jules Benedict's overture to his opera, The Crusaders, himself conducting the orchestra of 60 instruments. It was an admirably balanced and effective orchestra, and notwithstanding that we had to listen as it were round a corner, we felt the unity and full force of its strong chords, and traced the precise and delicate outline of its melodies with a distinctness which proved that a clear musical idea was there, too clearly embodied to be lost even in that vast s.p.a.ce. We liked the first half of the composition best; it had the dark shading and wild vigor and pathos of Von Weber; the allegro which set in upon it was more in the light popular manner of Auber and the French. Yet Mr. Benedict has proved his mastery in this work, which the vast audience acknowledged with very hearty plaudits.

"Signor Belletti was the next mark of expectation. In one of Rossini's most ornate and florid bravura songs (from Maometto Secondo) he produced a barytone of such warm, rich, solid, resonant and feeling quality as we perhaps have never heard in this country (though without closer observation from the less remote position in which a barytone naturally requires to be heard, we hardly dare to place it above Badiali's); while in refinement of conception and of execution he left little to be desired.

"Now came a moment of breathless expectation. A moment more, and Jenny Lind, clad in a white dress, which well became the frank sincerity of her face, came forward through the orchestra. It is impossible to describe the spontaneous burst of welcome which greeted her. The vast a.s.sembly rose as one man, and for some minutes nothing could be seen but the waving of hands and handkerchiefs, nothing heard but a storm of tumultuous cheers.

The enthusiasm of the moment, for a time beyond all bounds, was at last subdued after prolonging itself by its own fruitless efforts to subdue itself, and the divine songstress, with that perfect bearing, that air of all dignity and sweetness, blending a child-like simplicity and half-trembling womanly modesty with the beautiful confidence of genius and serene wisdom of art, addressed herself to song, as the orchestral symphony prepared the way for the voice in Casta Diva. A better test-piece could not have been selected for her debut. Every soprano lady has sung it to us; but nearly every one has seemed only trying to make something of it, while Jenny Lind WAS the very music of it for the time being. We would say no less than that; for the wisest and honestest part of criticism on such a first hearing of a thing so perfect, was to give itself purely up to it, without question, and attempt no a.n.a.lysis of what too truly fills one to have yet begun to be an object of thought.

"If it were possible, we would describe the quality of that voice, so pure, so sweet, so fine, so whole and all-pervading, in its lowest breathings and minutest fioriture as well as in its strongest volume. We never heard tones which in their sweetness went so far. They brought the most distant and ill-seated auditor close to her. They WERE tones, every one of them, and the whole air had to take the law of their vibrations. The voice and the delivery had in them all the good qualities of all the good singers. Song in her has that integral beauty which at once proclaims it as a type for all, and is most naturally worshipped as such by the mult.i.tude.

"Of those who have been before her we were most frequently reminded of Madame Bishop's quality (not quant.i.ty) of voice.

Their voices are of metal somewhat akin. Jenny Lind's had incomparably more power and more at all times in reserve; but it had a shade of that same veiled quality in its lowest tones, consistently with the same (but much more) ripeness and sweetness, and perfect freedom from the crudeness often called clearness, as they rise. There is the same kind of versatile and subtile talent, too, in Jenny Lind, as appeared later in the equal inspiration and perfection of her various characters and styles of song. Her's is a genuine soprano, reaching the extra high notes with that ease and certainty which make each highest one a triumph of expression purely, and not a physical marvel.

The gradual growth and sostenuto of her tones; the light and shade, the rhythmic undulation and balance of her pa.s.sages; the bird-like ecstacy of her trill; the faultless precision and fluency of her chromatic scales; above all, the sure reservation of such volume of voice as to crown each protracted climax with glory, not needing a new effort to raise force for the final blow; and indeed all the points one looks for in a mistress of the vocal art were eminently her's in Casta Diva. But the charm lay not in any POINT, but rather in the inspired vitality, the hearty, genuine outpouring of the whole--the real and yet truly ideal humanity of all her singing. That is what has won the world to Jenny Lind; it is that her whole soul and being goes out in her song, and that her voice becomes the impersonation of that song's soul if it have any, that is, if it BE a song. There is plainly no vanity in her, no mere aim to effect; it is all frank and real and harmoniously earnest.

"She next bewitched all by the delicate naivete and sparkling espieglerie, interchanged with true love pathos, of her duet with Belletti, from Rossini's I Turchi in Italia, the music being in the same voice with that of his 'Barber of Seville.' The distinct rapidity, without hurry, of many pa.s.sages, was remarkable in both performers. But perhaps the most wonderful exhibition of her vocal skill and pliancy and of her active intimacy with nature was in the Trio Concertante, with two flutes, from Meyerbeer's 'Camp of Silesia.' Exquisitely her voice played in echo between the tasteful flute-warblings of Messrs. Kyle and Siede.

"But do not talk of her flute-like voice; the flute-tone is not one a real voice need cultivate; except where it silvers the edges of a dark ma.s.s of orchestral harmony, the flute's unmitigated sweetness must and should contrast with the more clarionet and reed-like quality of a voice as rich and human as that of Jenny Lind.

"Naturally the favorites of the evening were the two national songs. Her Swedish 'Herdsman's Song' was singularly quaint, wild and innocent. The odd musical interval (a sharp seventh) of the the echo, as if her singing had brought the very mountains there, were extremely characteristic. This was loudly encored and repeated; and when again encored was of course answered with her 'Greeting to America,' the National Prize Song, written by Bayard Taylor, and set to a vigorous and familiar style of music, well harmonizing with the words, by Benedict. The greeting had a soul in it coming from those lips.

"We have but now to acknowledge the fine style of Belletti's Largo al Factotum (though the gay barber's song always requires the stage) and the admirable orchestra performance of Weber's Overture to Oberon.

"We are now sure of Jenny Lind, the singer and the artist. Last night she was herself, and well accompanied, and gloriously responded to. But we have yet to hear her in the kind of music which seems to us most to need and to deserve such a singer--in the Agatha of Der Freyschutz, and in Mozart and the deep music of the great modern German operas.

"At the close the audience (who made no movement to leave till the last note had been uttered) broke out in a tempest of cheers, only less vehement than those which welcomed her in Casta Diva.

She came forward again, bowed with a bright, grateful face, and retired. The cheers were now mingled with shouts of 'Barnum!' who at last came forward, and with some difficulty obtained sufficient order to speak. 'My friends,' said he, 'you have often heard it asked, 'Where's Barnum?" Amid the cheers and laughter which followed, we only caught the words: 'Henceforth, you may say, 'Barnum's nowhere!' '

"Mr. Barnum, after expressing his gratification at the splendid welcome which had been given Mdlle. Lind, stated that he would disclose a piece of news which he could no longer keep secret, and which would show how well that welcome was deserved. Mdlle.

Lind on Monday morning informed him that it was her intention to give her share of the net proceeds of the present concert, amounting to considerable more than $10,000, to the various charities in the city.

"The announcement was a signal for another storm. We did not count the number of cheers given, but we never witnessed such a pitch of enthusiasm. Mr. Barnum then proceeded to read the list of her donations, interrupted at every name by a fresh burst of applause:

To the Fire Department Fund . . . . . . . . . $3,000

Musical Fund Society. . . . . . . . . . . .2,000

Home for the Friendless . . . . . . . . . . .500

Society for the Relief of Indigent Females. .500

Dramatic Fund a.s.sociation . . . . . . . . . .500

Home for Colored and Aged Persons . . . . . .500

Colored and Orphan a.s.sociation. . . . . . . .500

Lying-in Asylum for Dest.i.tute Females . . . .500

New York Orphan Asylum. . . . . . . . . . . .500

Protestant Half-Orphan Asylum . . . . . . . .500

Roman Catholic Half-Orphan Asylum . . . . . .500

Old Ladies' Asylum. . . . . . . . . . . . . .500

Total . . . . . . . . . . . . .$10,000

"In case the money coming to her shall exceed this sum, she will hereafter designate the charity to which it is to be appropriated. Mr. Barnum was then about retiring, when there was a universal call for Jenny Lind. The songstress, however, had already taken her departure, and the excited crowd, after giving a few more cheers, followed her example, and slowly surged out of the castle door, and down the canopied bridge, in a glow of good-humor and admiration. A few disorderly vagrants collected on the bridges leading to the Bath Houses, hooted at the throng as it pa.s.sed out, but everybody went home quietly, with a new joy at his heart, and a new thought in his brain.

"Jenny Lind's second concert was in every respect as complete a triumph as the first. The audience numbered upward of SEVEN THOUSAND, filling the vast amphitheatre to the topmost circles of the gallery. The sight of that dense sea of heads, from either extremity of the balcony, reminded us of one of Martin's grand, gloomy pictures, and the resemblance was further increased by the semi-oriental appearance of the hall, with its long, light pillars dropping from the centre, as well as by the dimness of its illumination, the lamps, many and bright as they were, being lost in the immense area of the building.

"The concert was a repet.i.tion of the first, with the only difference that the orchestra volunteered the "Wedding March,"

from Mendelssohn's "Midsummer Night's Dream," whose short, crackling blaze of harmony received full justice from the sure and well-tempered bra.s.s instruments. Weber's overture to "Oberon"

was finely rendered, and the composition is as fine a specimen of musical fairy-land as could be found before young Mendelssohn dreamed Shakspere's dream over in his own way.

"In Jenny Lind we still feel that it is not easy to separate the singer from the person. She sings herself. She does not, like many skilful vocalists, merely recite her musical studies, and dazzle you with splendid feats unnaturally acquired; her singing, through all her versatile range of parts and styles, is her own proper and spontaneous activity--integral, and whole. Her magnificent voice, always true and firm, and as far beyond any instrument as humanity is beyond nature, seems like the audible beauty of her nature and her character. That she is an artist in the highest sense is a question long since settled, and any little incidental variation from the bold and perfect outline of success in any special effort, as the faltering of her voice from natural embarra.s.sment in the commencing of Casta Diva that first night, could not to a true listener at all impede the recognition of the wonderful art which could afford a little to humanity on so trying an occasion. For she was as it were beginning her career anew; literally to her was this a new world; and she felt for a moment as if in her first blushing maidenhood of song. This second time the hesitation of the voice in that commencement was not felt. The note began soft and timid and scarce audible, as the prayer of Norma might have done; but how it gradually swelled with the influx of divine strength into the soul! The grand difficulty in the opening andante movement of Casta Diva lies in its broad, sustained phrasing, in the long, generous undulation of its rhythm, which with most singers drags or gets broken out of symmetry. Jenny Lind conceived and did it truly. The impa.s.sioned energy of the loud-pleading syncopated cries in which the pa.s.sage attains its climax; the celestial purity and penetrating sweetness of that highest note afterward; the exquisite cadenza to the andante; and the inspiring eloquence of the allegro: Ah! bello a me ritorna, were far beyond anything WE have had the fortune hitherto to hear.

"They that sat, or even stood, in Castle Garden, may mark down a white day in their calendar. In point of audience, programme, execution and inspiration, it was the greatest concert, so far.

If anything more had been needed to confirm the impression which Jenny Lind had previously made on an American public, and to place her continued success beyond the possibility of doubt, last night's experience certainly supplied it.

"It was foreseen in the morning that the attendance would be greater even than on Friday night. The American Museum and Hall's Music Store were besieged through the whole day and up to the very hour of commencement. At the former place the crowding for tickets was tremendous, the very sidewalk in front being blockaded most of the time. At seven o'clock, when we took up the line of march for Castle Garden, both sides of Broadway were thronged, and the main avenue of the Battery was filled with a steady stream of persons pressing into the Castle gate. As on the first night, a double line of policemen had been formed, which effectually prevented all disorder. A few more lamps were introduced into the hall, rendering its aspect much more light and cheerful. By eight o'clock the vast hall was crowded to overflowing. Scarcely a foot of s.p.a.ce was unoccupied; from the very edge of the ceiling to the orchestral platform in the centre, around the immense span of the building, there was but one dense ma.s.s of heads. We should, at a rough guess, estimate the number in the auditory at SEVEN THOUSAND. A much larger proportion than on former nights were ladies, and for the first time we caught glimpses of the fashionable society from above Bleecker. It is worthy of note, that the first and second concerts, immense as they were, were composed almost entirely of the intelligent and appreciative middle cla.s.s.

"Some disturbance was created by a rush to obtain seats, made by those who had promenade tickets for the balcony, the moment the orchestra began to collect. This proceeding, in violation of the specified arrangements, was most disgraceful. The ushers did all they could to prevent it, but in spite of all their efforts many persons who arrived before the hour of commencement were deprived of their seats. It would be a good plan to have a few policemen in the balcony on future occasions.