Jenny Lind

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Jenny Lind, portrait by Eduard Magnus (1861, based on an original from 1846)

Jenny Lind (born October 6, 1820 in Stockholm as Johanna Maria Lind ; † November 2, 1887 in Malvern , Worcestershire ) was a Swedish opera singer ( soprano ) who, because of her high technical level and her meteoric, cross-continental career, also known as the "Swedish nightingale “Went down in music history.

Life

Jenny Lind , painting by Louis Asher , 1845

Jenny Lind was born as the illegitimate daughter of Anne-Marie Fellborg (1793-1856) and Nils Johan Lind (1798-1858); The father's name and occupation differ depending on the source, sometimes he is referred to as an accountant , sometimes as a manufacturer . Jenny grew up in complicated circumstances: her parents did not marry until 1835 after a legal dispute over who would be taking the child. As a one-year-old toddler until 1824, she grew up with a foster family in the country; For the next four years she lived with her mother in Stockholm, together with her half-sister Amalie (from the mother's first marriage) and her grandmother. Her mother kept her head above water by teaching and renting rooms. From 1828 to 1830 Jenny was again with a married couple as a foster child. The relationship with her mother was later clouded by tension.

From 1830 the musical girl received singing and acting lessons as a student of the Royal Theater . Her first singing teachers were Carl Magnus Crælius and Isaak Berg (both tenor).
In January 1837 she received a contract at the Royal Theater, initially as an actress. After she sang the role of Alice in a concert performance of the fourth act of Meyerbeer's Robert le diable in December 1837 , Jenny Lind made her debut on March 7, 1838 as Agathe in Weber's Der Freischütz . Fredrika Bremer was present at one of these performances :

“Back then it was in the spring of life - fresh, bright and cheerful as a morning in May; in perfect shape; ... She seemed to move, speak and sing with no effort or art. Everything was nature and harmony. Her singing was especially remarkable for its purity and the power of the soul that seemed to swell in her tones. Your ' mezza voce ' was delightful. "

Jenny Lind as Alice in Robert le Diable

In the first years of her engagement Jenny Lind appeared in speaking roles as well as in roles such as Pamina in Mozart's Magic Flute , the title role in Weber's Euryanthe and, with particular success, in Robert le diable . In 1840, at the age of 20, she became a member of the Royal Swedish Academy of Music in Stockholm and was appointed court singer.

Due to voice problems, she went to Paris in 1841 to the famous singing teacher Manuel García the Elder. J. , who said that she was on the verge of losing her voice completely, and gave her a 3-month break from singing to recover. Then he built up her voice again and trained her breathing technique, which taught her the art of messa di voce and her perfect trill .

In 1842 she returned to Stockholm, where she was celebrated as the prima donna assoluta and, in addition to operas from the German, Italian and French repertoires, also appeared in works by Swedish composers such as Johan Fredrik Berwald , Franz Berwald and Johan van Boom .
In the following year she made her first foreign tour through Scandinavia, during which she met the Danish poet Hans Christian Andersen , who admired her and fell in love with her, which she only replied on a friendly basis. According to a biographical note by Andersen , his fairy tale The Nightingale , created at this time, refers to Jenny Lind, who herself was referred to as "the Swedish nightingale".

Jenny Lind in Bellini's La sonnambula

Giacomo Meyerbeer, to whom she had already sung in Paris, brought her to Berlin in 1844 , where she sang the part of Vielka in his opera Ein Feldlager in Schlesien (January 5, 1845). She also sang the leading female roles in Bellini's operas Norma and La sonnambula and has now finally become the internationally celebrated and revered prima donna. Henriette Sontag (married Countess Rossi) is said to have called Jenny Lind the "first female singer in the world". At this time she also met Felix Mendelssohn Bartholdy , with whom she had a long- standing friendship - or an unhappy love affair (?).
Clara Schumann , who she experienced as Marie in Donizetti's regimental daughter, reported:

“I have never seen playing in the way that she did, there is a charm of its own in all her movements, a grace, naivety, and her face - every single part considered - cannot be called beautiful, but she has a grace, her eye so poetic that one is involuntarily moved. "

Jenny Lind enchanted the audience not only with her singing, but also with her personal charm, her girlish naturalness and innocent charisma - she corresponded perfectly to the ideal of women in Biedermeier and Romanticism . According to Andersen "she loved her art with all her soul" and he said that "a noble, pious disposition like hers cannot be spoiled by homage". Fredrika Bremer reported that Jenny Lind was so pious that tears welled in her eyes when you talked to her about God , and that she was "great as an artist, but even greater in her pure human existence". This corresponds to the fact that Jenny Lind donated a lot of money from the fortune that she earned (admission prices to her performances were often increased) for charitable purposes, for example to support neglected children, poor musicians or girls studying music. Her charity was well known and added to her legendary reputation, and she was almost venerated like a saint.

During a tour in Vienna in 1846, Johann Strauss (son) dedicated the waltz Lind-Gesänge op.21 to her , and the poet Franz Grillparzer raved about her singing skills with romantic rapture:

"And give the reward for the applause.
The wonders of your throat.
There is no body, space, nor sound.
I hear your soul."

After a stay in her native Sweden, she followed an engagement to London in 1847 . She was so popular with her compatriots that before she left for England, military bands serenaded her and thousands of people gathered to see her off.

She stayed in England until 1849 and was celebrated as everywhere. An anecdote relates that the famous bassist Luigi Lablache - one of the first to hear her in London - said of her singing that "every note ... is like a perfect pearl"; then the Lind took the liberty of joking with him, allegedly sang into his hat and gave him back "a hat full of pearls".

Jenny Lind as Marie in La Figlia del Reggimento

Giuseppe Verdi composed the part of Amalia in his opera I masnadieri for Jenny Lind , which was premiered on July 22nd, 1847 at Her Majesty's Theater . However, the opera was not particularly popular and Lind's singing style did not correspond to Verdi's ideal, who is said to have found her voice too weak in depth and her art of ornamentation as old-fashioned, but for precisely that reason, contrary to his habit, left her cadences for her own improvisation .
Her brilliant roles included Amina in La Sonnambula , the title role in Donizetti's Lucia di Lammermoor and Marie in La figlia del reggimento, as well as Norma , but her interpretation of this last role is said to have been far weaker in dramatic terms than that of Giulia Grisi , probably the most important Norma of her time. In general, Jenny Lind is said to have liked the expression of gentle, loving and touching feelings most of all, while "her violent and stormy passions" were not.
Other important roles by Jenny Lind were Elvira in I puritani , Adina in L'elisir d'amore , the title role in Anna Bolena , and the leading female roles in Rossini's La gazza ladra , Semiramide and Il turco in Italia . She also sang in Mozart's Don Giovanni and Le nozze di Figaro (Susanna), and in Gaspare Spontini 's La vestale and Meyerbeer's Les Huguenots .

In England she also gave concerts in Manchester , Liverpool , Edinburgh and Dundee . In London she met Frédéric Chopin . Despite mutual affection, which became known from letters to her family, and hard efforts on her part - including a trip to Paris in May 1849 - she did not succeed in persuading him to marry (Chopin died in October 1849).

After she had to struggle with great self-doubt and "with the idea of ​​leaving the opera stage" from the beginning, Jenny Lind withdrew from the opera stage in 1849, at the age of only 29 and surprisingly for the public.

Jenny Lind on a photograph from 1850

Nevertheless, she went on a major tour organized by PT Barnum through the USA from 1850 to 1852 , where she was to appear in 150 concerts, at a fee of $ 1,000 per performance; However, she broke her contract after a while, paid Barnum $ 30,000 in compensation and gave the last 60 concerts on her own - which means that she no longer had to share the proceeds with Barnum and could donate more money to charity (in the USA, but also later in Sweden and Great Britain). In America she was the subject of a hype of hype of hitherto unknown proportions. There are contemporary illustrations that depict an audience that has gone mad (see illustration below). Her accompanist at the piano was the pianist Julius Benedict .
In Boston she married the German composer Otto Goldschmidt (1829–1907), who was also her pianist, on February 5, 1852 , and returned to Europe with him in the same year, where she seldom performed, often at charity events . She turned down a later offer from Barnum for a second American tour.

From 1852 to 1855 she lived in Dresden , where she gave birth to her eldest son Walter Otto (1853–1884) in September 1853 and her daughter Jenny Maria Catherine in March 1857. During these years they performed concert tours through Germany, Austria , Holland and Great Britain. In 1856 she was photographed by Hermann Krone .

From the summer of 1858 she lived in London, where her younger son Ernest was born in January 1861.

In her later days, Jenny Lind loved to sing in oratorios , especially in Haydn's The Creation , Mendelssohn's Elias and Handel's Messiah . In her concerts she had particular success with Scandinavian songs, Scottish folk tunes or with Henry Bishop's "Home sweet home". Wilhelm Taubert composed the song “I must now sing” for her.

In 1870 she performed at the Niederrheinischer Musikfest in Düsseldorf, where she sang the soprano solo in the oratorio Ruth of her husband Otto Goldschmidt.

Jenny Lind's grave

Her last public appearance was a charity concert at Malvern Spa , which she gave in 1883 for the benefit of the railroad workers.

From the founding of the Royal College of Music in London in 1883, she led the master class in singing until 1886, a year before her death .

Jenny Lind died on November 2, 1887 in Malvern and was buried in the local cemetery. Under the name “Jenny Lind-Goldschmidt”, her will be remembered in Westminster Abbey at Poet's Corner in London .

Voice, singing, acting

Jenny Lind, marble bust by Joseph Durham, 1850

A whole series of contemporary descriptions of Jenny Lind's singing and voice have come down to us. According to George T. Ferris :

"Her voice ... of brilliant, gorgeous and personable quality, with greater strength and purity in the upper register, but a little weak in the other (ie in the lower). However, she combined these two parts of her voice with great artistic skill, so that the power of the upper notes could not outshine the lower notes. Her technique was great, albeit less than that of Persiani or the older and even greater singer, Catalani . ... Her taste in ornamentation was original and brilliant, but always sensible, a moderation that is not often found among technically great singers. She composed all of her own cadences , and many of them were of such character and execution that they found the strongest admiration for their creative science from such musical authorities as Meyerbeer , Mendelssohn and Moscheles . Their pianissimo tones were so delicate that they almost had the effect of ventriloquism, they were of such exquisite delicacy; ...
As an actress, Jenny Lind had no particularly spectacular skills, and little versatility, as evidenced by her very limited operatic repertoire; but in everything she did she put a grace, empathy and tenderness, which in combination with the size of her singing and some indescribable quality in the voice itself exerted an effect on the audience that has few parallels has the annals of the opera. "

Another vocal connoisseur described Jenny Lind's voice and singing skills as follows (after Ferris):

“Her voice is a pure soprano , of the fullest range of the voices of this class, and of such tonal balance that the finest ear cannot perceive any difference in quality between the depth and the height of the tessitura. In the large span between the a below the line and the high d '' 'she executes every kind of passages with equal ease and perfection, regardless of whether they consist of notes that are "spun out in sweetness" or of the fastest soaring and fioritures . Their lowest notes come out as clear and resounding as their highest, and their highest are as gentle and sweet as the lowest. Their tones are never muffled or indistinct, nor do they ever hurt the ear with the slightest hint of shrillness ; round softness characterizes every sound it produces. ... The same clarity can be observed in her pianissimo . When it lengthens a tone, and gradually weakens it, and falls gently on the last note, the sound, although as ethereal as the sigh of a breeze, reaches ... every corner of the vast theater. Much of the effect of this incomparable voice comes from the physical beauty of its sound, but even more from the exquisite skill and taste with which it is used, and the intelligence and sensitivity of which it is the organ. Mademoiselle Lind's lecture is that of a complete musician. Each passage is so highly accomplished, so perfect in sound, intonation and articulation , as if it came from the violin of a Paganini or a Sivori , with the added charm of the divine human voice. Their decorations show the richest imagination and limitless lightness, but even more remarkable they show a well-balanced judgment and taste. "

effect

Contemporary caricature: Jenny Lind starring in the USA
Jenny Lind Token undated on her USA tour, front side.
Jenny Lind token for her USA tour with wrong (?) Year of birth 1821, back.

Jenny Lind was not only able to impress the large audience with her singing and her likable nature, but also apparently cast a spell over various musicians and poets. Her admirers included Hans Christian Andersen, Mendelssohn, Robert and Clara Schumann , and Hector Berlioz . She was courted by the royal houses of Europe and invited to performances, so u. a. of King Oskar I of Sweden and Norway , Frederick William IV of Prussia and Queen Victoria of Great Britain.

Jenny Lind never forgot her simple background and donated large parts of her fortune to poor musicians, hospitals and orphanages. According to contemporary estimates, she is said to have given away at least half a million dollars (based on its value at the time). Therefore still today institutions v. a. in the UK, USA and Sweden, their names. In the United States, you can often find streets named after her. An island off the coast of New England is named after her, as is an island in the Nunavut Territory in northern Canada . San Francisco's first opera house was named Jenny Lind Opera House .

In 1862 Jenny Lind donated a prize for young Swedish musicians, which was linked to a three-year sponsorship. Today the Jenny Lind Prize is awarded annually to a young Swedish singer and is linked to two monthly tours in the USA and Sweden as well as a scholarship .

Jenny Lind is one of the most famous children of Sweden - even across the centuries. Her name is still familiar to opera experts and those who know the country, the Swedes are proud of this artist and cherish her memory. Her portrait adorned the 50-kroner note of the Swedish Reichsbank until 2015 .

In his novel Der Stechlin, Theodor Fontane describes an invitation to the London house of the Swedish nightingale. Her life has also been filmed. Ilse Werner played the role of the singer in the canvas strip The Swedish Nightingale (1941) . Erna Berger sang the songs that Franz Grothe had written for the leading actress.

In the American television film Barnum (1986) by Lee Philips , Jenny Lind was played by Hanna Schygulla , alongside Burt Lancaster as PT Barnum.

In the 2001 American Hallmark Entertainment film production Hans Christian Andersen - My life as a fairytale (director: Philip Saville ), her relationship with Hans Christian Andersen occupies a large space. Jenny is portrayed by the Northern Irish actress Flora Montgomery . In the 2017 US film Greatest Showman , Jenny Lind is played by Rebecca Ferguson .

Honors

Jenny Lind (in La Sonnambula  ?), Portrait by Alfred d'Orsay
  • In the winter of 1849/50 in Göttingen , Jenny Lind was the only woman to date to receive the Hanovera fraternity's ribbon of honor .
  • It was featured on the Swedish 50 kroner banknote from 1996 to 2016 .
  • Jenny Lind Island in the Arctic is named after her.
  • Various streets bear her name.
  • Fire Queen and Jenny Lind were the first locomotives on the Padarn Railway in the Dinorwic slate quarry in Wales.
  • Norwegian Air Boeing 737-800 Jenny Lind with picture on the tail fin

Letters

  • The Lost Letters / Jenny Lind . Translated from the German and Edited with Commentaries by W. Porter Ware. Gollanz, London 1966.

literature

  • Joan Bulman: Jenny Lind. A biography . Barrie, London 1956.
  • Herbert Eulenberg : Jenny Lind . In: Ders .: Happy women. Biographical sketches . Avalun Verlag, Hellerau 1929.
  • George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181–218, online in the Internet archive (English; accessed on August 18, 2020)
  • Nils-Olof Franzén : Jenny Lind, en biografi . Bonnier, Stockholm 1982, ISBN 91-0-045629-2 .
  • Nils-Olof Franzén (Ed.): Jenny Lind, den svenska Näktergalen. Anteckningar kring en världsstjärna . Musikmuseet, Stockholm 1987 (catalog of the exhibition of the same name, Musik- & Teatermuseet Stockholm, June 11, 1987 to August 1, 1989).
  • Sonja Gesse-Harm: Jenny Lind , Lexical article at MUGI - "Music and Gender on the Internet" , University of Music and Theater, Hamburg (accessed on August 18, 2020)
  • Henry Scott Holland, William Smith Rockstro: Memoir of Madame Jenny Lind-Goldschmidt. Her early art-life and dramatic career 1820–1851. From Original Documents, Letters, Ms. Diaries & C., Collected By Mr. Otto Goldschmidt . Murray, London 1891 (2 vols.).
  • Jenny M. Maude: The life of Jenny Lind. Told by Mrs. Raymond Maude . Cassell, London 1926.
  • Henry Scott Holland, WS Rockstro: Jenny Lind. Your career as an artist. 1820 to 1851. Translated by Hedwig J. Schoell. Band IFA Brockhaus, Leipzig 1891
  • Jenny Lind. Your career as an artist. 1820 to 1851. Second volume (1891)
  • Life and Genius of Jenny Lind . WF Burgess, 1850
  • Joachim Reiber : Duet for three. Composers in the relationship triangle . Kremayr & Scheriau, Vienna 2014 (essay on Felix Mendelssohn Bartholdy and Jenny Lind).

Web links

Commons : Jenny Lind  - album with pictures, videos and audio files

Individual evidence

  1. ↑ a b c d e Clive Unger-Hamilton, Neil Fairbairn, Derek Walters; German arrangement: Christian Barth, Holger Fliessbach, Horst Leuchtmann, et al .: The music - 1000 years of illustrated music history . Unipart-Verlag, Stuttgart 1983, ISBN 3-8122-0132-1 , p. 124 .
  2. ↑ a b c d e f g h i j k l m n o p q r s t u v Sonja Gesse-Harm: Jenny Lind , Lexical article at MUGI - "Music and Gender on the Internet" , University of Music and Theater, Hamburg (accessed on August 18, 2020)
  3. ^ " She was then in the spring of life - fresh, bright and serene as a morning in May; perfect in form ... She seemed to move, speak and sing without effort or art. All was nature and harmony. Her singing was distinguished especially by its purity and the power of soul which seemed to swell in her tones. Her 'mezzo voice' was delightful. ". Here after: George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181–218, here: 186, online in the Internet archive (English; Accessed August 18, 2020)
  4. ↑ George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181-218, here: 188, online in the Internet archive (English; retrieved on August 18, 2020)
  5. ↑ a b c d e See section Rebertoire in: Sonja Gesse-Harm: Jenny Lind , Lexical article at MUGI - "Music and Gender on the Internet" , University of Music and Theater, Hamburg (accessed on August 18, 2020)
  6. ↑ George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181-218, here: 196, online in the Internet archive (English; retrieved on August 18, 2020)
  7. ^ Berthold Litzmann: Clara Schumann. An artist life. After diaries and letters , Vol. 2, Leipzig: Breitkopf und Härtel, 1905, p. 148. Here after: Section Appreciation , in: Sonja Gesse-Harm: Jenny Lind , Lexical article at MUGI - "Music and Gender on the Internet" , University of Music and Theater, Hamburg (accessed on August 18, 2020)
  8. ↑ "She loves Art with her hole soul ... a noble, pious disposition like hers cannot be spoiled by homage." Here after: George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181–218, here: 192, online in the Internet archive (English; accessed on August 18, 2020)
  9. ↑ "Converse then with her of God, and of the holiness of religion, and you will see tears in those innocent eyes: she is great as an artist, but she is still greater in her pure human existence." Here after: George T Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181-218, here: 192, online in the Internet archive (English; accessed on August 18 2020)
  10. ↑ George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181-218, here: 192-193 and 211 f, online in the Internet archive (English; accessed on August 18, 2020)
  11. ↑ a b George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181–218, here: 200, online in the Internet archive (English; Accessed August 18, 2020)
  12. ↑ Julian Budden: Verdi's “London” opera , booklet text for the CD: Verdi I Masnadieri , with Montserrat Caballé , Carlo Bergonzi a . a., New Philharmonia Orchestra, Lamberto Gardelli. Philips, 1975/1989. Pp. 29-30
  13. ↑ Anselm Gerhard, Uwe Schweikert (ed.): Verdi Handbuch , Metzler / Bärenreiter, Stuttgart, 2001, pp. 359, 361, 363
  14. ↑ Anselm Gerhard, Uwe Schweikert (ed.): Verdi Handbuch , Metzler / Bärenreiter, Stuttgart, 2001, p. 361
  15. ^ "Her performance of Norma was afterwards held by judicious critics to be far inferior to that of Grisi in its dramatic aspect". George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181-218, here: 210, online in the Internet archive (English; accessed on 18 August 2020).
  16. ↑ "... her vocal powers seem best adapted to demonstrate the more gentle and touching emotions". Quotation of a not named critic in: George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181-218, here: 204-205, online in the Internet archive (English; accessed on August 18, 2020)
  17. ^ "But, as she never attempted the delineation of the more stormy and vehement passions ...". George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181–218, here: 207, online in the Internet archive (English; accessed on 18 August 2020)
  18. ↑ George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181-218, here: 211, online in the Internet archive (English; retrieved on August 18, 2020)
  19. ↑ George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181–218, here: 209, online in the Internet archive (English; accessed on August 18, 2020)
  20. ↑ George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181–218, here: 214, online in the Internet archive (English; accessed on August 18, 2020)
  21. ↑ George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181–218, here: 217, online in the Internet archive (English; accessed on August 18, 2020)
  22. ↑ http://www.costumecocktail.com/2016/10/19/jenny-lind-son-walter-otto-goldschmidt-ca-1856/
  23. ↑ http://www.oxforddnb.com/view/10.1093/ref:odnb/9780198614128.001.0001/odnb-9780198614128-e-16671
  24. ^ "Her voice was of bright, thrilling and sympathetic quality, with greater strength and purity in the upper register, but somewhat defective in the other. These two portions of her voice she united, however, with great artistic dexterity, so that the power of the upper notes was not allowed to outshine the lower. Her execution was great though inferior to that of Persiani or the older and still greater singer, Catalani. ... Her taste in ornamentation was original and brilliant, but always judicious, a moderation not often found among great executive singers. She composed all her own cadenzas, and many of them were of a character and performance such as to have evoked the strongest admiration of such musical authorities as Meyerbeer, Mendelssohn and Moscheles for their creative science. Her pianissimo tones were so fined down that they had almost the effect of ventriloquism, so exquisitely were they attenuated; and yet they never lost their particularly musical quality.
    As an actress Jenny Lind had no very startling power, and but little versatility, as her very limited opera repertoire proved; but into what she did, she infused a grace, sympathy, and tenderness, which, combined with the greatness of her singing and some indescribable quality in the voice itself, produced an effect on audiences with but few parallels in the annals of the opera. "
  25. ↑ George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181-218, here: 212-213, online in the Internet archive (English; Accessed August 18, 2020)
  26. ↑ "Her voice is a pure soprano, of the fullest compass belonging to voices of this class, and of such evenness of tone that the nicest ear can discover no difference of quality from the bottom to the summit of the scale. In the great extent between A below the lines and D in alt, she executes every description of passage, consisting of notes "in linked sweetness long drawn out", or of the most rapid flights and fioriture, with equal facility and perfection. Her lowest notes come out as clear and ringing as the highest, and her highest are as soft and sweet as the lowest. Her tones are never muffled or indistinct, nor do they ever offend the ear by the slightest ting of shrillness; mellow roundness distinguiches every sound she utters. … The same clearness was observed in her pianissimo. When ... she prolonged a tone, attenuated it by degrees, and falling gently upon the final note, the sound, though as ethereal as the sighing of a breeze, reaches ... every part of the immense theater. Much of the effect of this unrivaled voice is derived from the physical beauty of its sound, but still more from the exquisite skill and taste with which it is used, and the intelligence and sensibility of which it is the organ. Mlle. Lind's execution is that of a complete musician. Every passage is as highly finished, as perfect in tone, tune and articulation, as if it proceeded from the violin of a Paganini or a Sivori, with the additional charm which lies in the human voice divine. Her embellishments show the richest fancy and boundless facility, but they show still more remarkably a well regulated judgment and taste. ”
  27. ↑ Text of a critic not named, here after: George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181-218, here: 205- 207, online in the Internet archive (English; accessed on August 18, 2020)
  28. ↑ George T. Ferris: Jenny Lind , in: Great Singers , Vol. 2, D. Appleton & Comp., New York, 1879, pp. 181-218, here: 218, online in the Internet archive (English; accessed on August 18, 2020)
  29. ↑ Illustration of the old 50-crown note with Jenny Lind
  30. ↑ Information on the new 50-crown note without Jenny Lind
  31. ↑ Barnum (TV Movie 1986) on IMDb (English; accessed on August 20, 2020)
  32. ↑ CA Wilkens: Jenny Lind. Gütersloh 1913, p. 175 ff.
  33. ^ Henry Scott Holland, WS Rockstro: Jenny Lind. Your career as an artist. 1820 to 1851 . Translated by Hedwig J. Schoell. Volume 1. FA Brockhaus, Leipzig 1891, pp. 331/332
  34. ↑ a b Acta Studentica, volume 169, Sept. 2009, p. 14.
  35. ↑ "A Burschenschafterin" in: Burschenschaftliche Blätter No. 10/11 summer semester 1895
  36. ^ Helge Dvorak: Biographical Lexicon of the German Burschenschaft. Volume II: Artists. Winter, Heidelberg 2018, ISBN 978-3-8253-6813-5 , pp. 456–458.
  37. ↑ planespotters.net
personal data
SURNAME Lind, Jenny
ALTERNATIVE NAMES Lind, Johanna Maria (maiden name); Lind Goldschmidt, Jenny
BRIEF DESCRIPTION Swedish singer
DATE OF BIRTH October 6, 1820
PLACE OF BIRTH Stockholm
DATE OF DEATH November 2, 1887
Place of death Malvern (Worcestershire)