Online Encyclopedia
Search over 40,000 articles from the original, classic Encyclopedia Britannica, 11th Edition.
LIND, JENNY
Online EncyclopediaEncyclopedia Home :: LEO-LOB
del.icio.us it!
|
See also:LIND, JENNY 1182o-1887), the famous See also:Swedish See also:singer, was See also:born at See also:Stockholm on the 6th of See also:October 182o, the daughter of a See also:lace manufacturer. Mlle Lundberg, an See also:opera-dancer, first discovered her musical See also:gift, and induced the See also:child's See also:mother to have her educated for the See also:stage; during the six or seven years in which she was what was called an " actress See also:pupil," -ihe occasionally appeared on the stage, but in plays, not operas, trail 1836, when she made a first See also: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 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 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'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. On the completion of her studies she sang before G. See also: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 took See also:place in Norma on the 15th of See also: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 manager, See also:Alfred See also:Bunn, induced her to sign a See also:contract (which she See also:broke) to appear in See also:London in the following See also:season. In December 1845 she appeared at a Gewandhaus See also:concert at See also:Leipzig, and made the acquaintance of Mendelssohn, as well as of See also: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's See also:Don Giovanni), Julia (See also:Spontini's Vestalin) and See also:Valentine (Meyerbeer's See also:Les See also:Huguenots) to her repertory. She sang in operas or concerts at See also:Aix-la-Chapelle, See also:Hanover, See also:Hamburg, See also:Vienna, See also:Darmstadt and See also:Munich during the next year, and took up two See also:Donizetti roles, those of See also:Lucia and " la Figlia del Reggimento," in which she was afterwards famous. At last Lumley, the manager of Her See also:Majesty's See also: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 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 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 to get into the See also:pit, have become historic. She sang in several of her favourite characters, and in that of Susanna in Mozart's See also:Figaro, besides creating the part of Amalia in See also:Verdi's I Masnadieri, written for England and performed on the 22nd of See also:July. In the autumn she appeared in operas in See also:Manchester and See also:Liverpool, and in concerts at See also:Brighton, See also:Birmingham, See also:Hull, See also:Edinburgh, See also: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 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 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, 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 was effected by which she was to sing the See also:music of six operas, performed without See also: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 See also:bound, for the See also:sake of the manager and the public, to give f; ve more See also: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: Just before sailing she appeared at Liverpool, for the first See also:time in England, in an See also:oratorio of See also:Handel, singing the See also:soprano music in The See also: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. In See also:Boston, on the 5th of See also:February 1852, she married See also:Otto See also:Goldschmidt (1829-1907), whom she had met at See also:Lubeck in 185o. For some years after her return to England, her home for the See also:rest of her See also: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 of the widow in the same See also: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 in the See also:Bach See also:Choir, conducted by her See also:husband, and not only sang herself in the See also:chorus, but gave the benefit of her training to the ladies of the society. For some years she was See also:professor of singing at the Royal See also:College of Music. Her last public appearance was at See also:Dusseldorf on the loth of See also:January 187o when she sang in See also:Ruth, an oratorio composed by her husband. She died at See also:Malvern on the 2nd of See also:November 1887. The supreme position she held so See also:long in the operatic See also:world was due not only to the See also:glory of her See also:voice, and the See also:complete musician-See also: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 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 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. Additional information and CommentsThere are no comments yet for this article.
» Add information or comments to this article.
Please link directly to this article:
Highlight the code below, right click, and select "copy." Then paste it into your website, email, or other HTML. Site content, images, and layout Copyright © 2006 - Net Industries, worldwide. |
|
|
[back] LINCOLNSHIRE |
[next] LINDAU |