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LIND, JENNY

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Originally appearing in Volume V16, Page 717 of the 1911 Encyclopedia Britannica.

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LIND, JENNY

LIND, JENNY 1182o-1887), the famous See also:

SWEDISH

Swedish See also:

SINGER, SIMEON (1846-1906)

singer, was See also:

BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

STOCKHOLM

Stockholm on the 6th of See also:

OCTOBER

October 182o, the daughter of a See also:

LACE (corresponding to Ital. merletto, trina; Genoese Pizzo; Ger. spitzen; Fr. dentelle; Dutch kanten; Span. encaje; the English word owes something to the Fr. lassis or laces, but both are connected with the earlier Lat. laqueus; early French laces were

lace manufacturer. Mlle Lundberg, an See also:

OPERA (Italian for " work ")

opera-dancer, first discovered her musical See also:

GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift, and induced the See also:

child's See also:

MOTHER

mother to have her educated for the See also:

STAGE (Fr. 6/age; from Lat. stare, to stand)

stage; during the six or seven years in which she was what was called an " actress See also:

PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil," -ihe occasionally appeared on the stage, but in plays, not operas, trail 1836, when she made a first See also:

ATTEMPT (Lat. adtemptare, attentare, to try)

attempt in an opera by A. F. Lindblad. She was regularly engaged at the opera-See also:

house in 1837. Her first See also:

GREAT

great success was as Agathe, in See also:

Weber's Der Freischittz, in 1838, and by 1841, when she started for See also:

Paris, she had already become identified with nearly all the parts in which she afterwards became famous. But her celebrity in See also:

Sweden was due in great See also:

PART

part to her histrionic ability, and there is comparatively little said about her wonderful vocal See also:

art, which was only attained after a See also:

YEAR

year's hard study under See also:

Manuel See also:

Garcia, who had to remedy many faults that had caused exhaustion in the vocal See also:

ORGANS

organs. On the completion of her studies she sang before G. See also:

MEYERBEER, GIACOMO (1791-1863)

Meyerbeer, in private, in the Paris Opera-house, and two years afterwards was engaged by him for See also:

Berlin., to sing in his Feldlager in Schlesien (afterwards remodelled as L'Etoile du nerd); but the part intended for her was taken by another singer, and her first See also:

APPEARANCE (from Lat. apparere, to appear)

appearance took See also:

PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in Norma on the 15th of See also:

DECEMBER (Lat. decent, ten)

December 1844. She appeared also in Weber's Euryanthe and See also:

Bellini's La Sonnambula, and while she was at Berlin the See also:

ENGLISH

English manager, See also:

ALFRED

Alfred See also:

BUNN, ALFRED (1796-186o)

Bunn, induced her to sign a See also:

contract (which she See also:

broke) to appear in See also:

LONDON

London in the following See also:

SEASON (0. Fr. seson, seison, mod. saison, Lat. satio, sowing time, the spring, from serere, to sow; in Late Lat. the word is found with its present meaning, the spring being considered as particularly the season of the year)

season. In December 1845 she appeared at a Gewandhaus See also:

CONCERT (through the French from Lat. con-, with, and certare, to strive)

concert at See also:

LEIPZIG

Leipzig, and made the acquaintance of Mendelssohn, as well as of See also:

JOACHIM, JOSEPH (1831—1907)

Joachim and many other distinguished See also:

German musicians. In her second Berlin season she added the parts of Donna See also:

Anna (See also:

MOZART, WOLFGANG AMADEUS1 (1756–1791)

Mozart's See also:

Don Giovanni), Julia (See also:

SPONTINI, GASPARO LUIGI PACIFICO (1774-1851)

Spontini's Vestalin) and See also:

VALENTINE, or VALENTINUS

Valentine (Meyerbeer's See also:

Les See also:

HUGUENOTS

Huguenots) to her repertory.

She sang in operas or concerts at See also:

Aix-la-Chapelle, See also:

Hanover, See also:

HAMBURG

Hamburg, See also:

Vienna, See also:

DARMSTADT

Darmstadt and See also:

MUNICH (Ger. Munchen)

Munich during the next year, and took up two See also:

DONIZETTI, GAETANO (1798-1848)

Donizetti roles, those of See also:

LUCIA (or LucY), ST

Lucia and " la Figlia del Reggimento," in which she was afterwards famous. At last Lumley, the manager of Her See also:

MAJESTY (Fr. majeste; Lat. majestas, grandeur, greatness, from the base mag-, as in magnus, great, major, greater, &c.)

Majesty's See also:

THEATRE (BEarpov, " a place for seeing," from OeacOae)

Theatre, succeeded in inducing Mlle Lind to visit See also:

England, in spite of her dread of the 'penalties threatened by Bunn on her See also:

BREACH (Mid. Eng. breche, derived from the common Teutonic root brec, which appears in " break," Ger. brechen, &c.)

breach of the contract with him, and she appeared on the 4th of May 1847 as Alice in Meyerbeer's See also:

Robert le Diable. Her debut had been so much discussed that the furore she created was a foregone conclusion. Nevertheless it exceeded everything of the See also:

KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind that had taken place in London or anywhere else; the sufferings and struggles of her well-dressed admirers, who had to stand for See also:

HOURS, CANONICAL

hours to get into the See also:

PIT (O. E. pytt, cognate with Du. put, Ger. Pfutze, &c., all ultimately adaptations of Lat. puteus, well, formed from root pu-, to cleanse, whence gurus, clean, pure)

pit, have become historic. She sang in several of her favourite characters, and in that of Susanna in Mozart's See also:

FIGARO

Figaro, besides creating the part of Amalia in See also:

VERDI, GIUSEPPE FORTUNINO FRANCESCO (1813-1901)

Verdi's I Masnadieri, written for England and performed on the 22nd of See also:

JULY

July. In the autumn she appeared in operas in See also:

Manchester and See also:

Liverpool, and in concerts at See also:

BRIGHTON

Brighton, See also:

BIRMINGHAM

Birmingham, See also:

Hull, See also:

EDINBURGH

Edinburgh, See also:

GLASGOW

Glasgow, See also:

Perth, See also:

Norwich, See also:

Bristol, See also:

Bath and See also:

Exeter. At Norwich began her acquaintance with the See also:

bishop, See also:

EDWARD

Edward See also:

Stanley (1779–1849), which was said to have led to her final determination to give up the stage as a career. After four more appearances in Berlin, and a See also:

SHORT, FRANCIS JOB (1857– )

short visit to Stockholm, she appeared in London in the season of 1848, when she sang in Donizetti's L'Elisire d'amore and Bellini's I Puritani, in addition to her older parts. In the same year she organized a memorable performance of See also:

ELIJAH (a Hebrew name meaning " Yah[weh] is God ")

Elijah, with the receipts of which the Mendelssohn scholarship was founded, and sang at a great number of charity and benefit concerts. At the beginning of the season of 1849 she intended to give up operatic singing, but a See also:

COMPROMISE (pronounced compromize; through Fr. from Lat. compromittere)

compromise was effected by which she was to sing the See also:

MUSIC

music of six operas, performed without See also:

ACTION

action, at Her Majesty's Theatre; but the first, a concert performance of Mozart's Il Flauto magico, was so coldly received that she See also:

FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt See also:

BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound, for the See also:

SAKE

sake of the manager and the public, to give f; ve more See also:

REGULAR

regular representations, and her last performance on the stage was on the Toth of May 1849, in Robert le Diable. Her decision was not even revoked when the See also:

king of Swedenurged her to reappear in opera at her old See also:

home. She paid visits to See also:

Germany and Sweden again before her departure for See also:

AMERICA

America in 1850.

Just before sailing she appeared at Liverpool, for the first See also:

time in England, in an See also:

ORATORIO

oratorio of See also:

HANDEL, GEORGE FREDERICK (1685–1759)

Handel, singing the See also:

SOPRANO (a variant of Ital. sovrano, supreme, sovereign, Late Lat. superanus, from super, above)

soprano music in The See also:

MESSIAH (Dan. x. 25, 26)

Messiah with superb art. She remained in America for nearly two years, being for a great part of the time engaged by P. T. See also:

BARNUM, PHINEAS TAYLOR (1810-1891)

Barnum. In See also:

Boston, on the 5th of See also:

FEBRUARY

February 1852, she married See also:

OTTO

Otto See also:

GOLDSCHMIDT, HERMANN (1802-1866)

Goldschmidt (1829-1907), whom she had met at See also:

LUBECK

Lubeck in 185o. For some years after her return to England, her home for the See also:

REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest of her See also:

LIFE

life, she appeared in oratorios and concerts, and her dramatic instincts were as strongly and perhaps as advantageously displayed in these surroundings as they had been on the stage, for the grandeur of her conceptions in such passages as the " Sanctus " of Elijah, the intensity of conviction which she threw into the See also:

SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene of the widow in the same See also:

WORK

work, or the religious fervour of " I know that my Redeemer liveth, " could not have found a place in opera. In her later years she took an active See also:

INTEREST

interest in the See also:

Bach See also:

CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

Choir, conducted by her See also:

HUSBAND

husband, and not only sang herself in the See also:

CHORUS (Gr. xopbs)Z

chorus, but gave the benefit of her training to the ladies of the society. For some years she was See also:

PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor of singing at the Royal See also:

COLLEGE (Collegium)

College of Music. Her last public appearance was at See also:

DUSSELDORF

Dusseldorf on the loth of See also:

JANUARY

January 187o when she sang in See also:

RUTH, BOOK OF

Ruth, an oratorio composed by her husband. She died at See also:

MALVERN

Malvern on the 2nd of See also:

NOVEMBER (Lat. novem, nine)

November 1887. The supreme position she held so See also:

long in the operatic See also:

WORLD

world was due not only to the See also:

GLORY (through the O. Fr. glorie, modern gloire, from Lat. gloria, cognate with Gr. KXebs, abets)

glory of her See also:

VOICE (Fr. voix, from Lat. vox)

voice, and the See also:

COMPLETE

complete musician-See also:

SHIP

ship which distinguished her above all her contemporaries, but also to the naive simplicity of her acting in her favourite parts, such as Amina, Alice or Agathe. In these and others she had the See also:

PRECIOUS (O. Fr. precios, mod. precieux, Lat. pretiosus, of high value or price, pretium)

precious quality of conviction, and identified herself with the characters she represented with a thoroughness rare in her See also:

day.

Unharmed by the perils of a stage career, she was a See also:

MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model of rectitude, generosity and straightforwardness, carrying the last quality into a certain See also:

blunt directness of manner that was sometimes rather startling. U. A. F.

End of Article: LIND, JENNY

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