![]() ![]() Learning to speak German and eventually English (although the latter language gave her a great deal of trouble), Lind embarked on an international career. ![]() ![]() When she returned to Stockholm and sang in the operas La sonnambula (The Sleepwalker) and Norma, she had developed a large range, a luminous vocal quality that captivated even veteran music writers, and an uncanny ability to seem to hover gently while singing quiet passages. Ordered to take several months off, Lind came back stronger than before. (Lindblad became one of the many men who hoped to become romantically involved with Lind but were turned down.) After she moved to Paris in 1841, teacher Manuel Garcia told her that the way she had been taught to sing was ruining her voice. Moving into the home of one of Stockholm's leading composers, Adolf Fredrik Lindblad and his family, Lind made new contacts in the artistic community and gained a strong core of admirers in her native country. "I had found out what my strength consisted of." "I awoke this morning as one person and retired in the evening as another," Lind said (as quoted in a biography by musicologist Eva Öhrström appearing on the Official Gateway to Sweden website). Never classically attractive, lacking confidence in herself, and generally seeming shy and quiet to people she met, Lind was an entirely different person on stage. Lind made her formal operatic debut in a performance of Carl Maria von Weber's Der Freischütz (The Marksman) on March 7, 1838. Her mother, whose life was beginning to stabilize, gave her lessons on the piano and in the French language, and those around her began to realize that Lind's talent was something special. Lind was enrolled in the opera's training program, and even early in her years of singing lessons she showed a natural aptitude for being on stage-even if she suffered from what would develop into lifelong stage fright. The dancer in turn brought Lind to the director of Sweden's Royal Opera, who reacted incredulously when he was told Lind's age, but was equally surprised when he heard her sing. One day when she was nine, an attendant to a Stockholm ballet dancer heard Lind singing through a window and rushed to ask her mistress to come and listen. During what must have been very lonely days, she developed the habit of singing to herself or to a pet cat she had. Lind lived at various times with her mother in a shelter for indigent women, with a Lutheran church organist and clerk, and with neighbors her mother met in a Stockholm apartment building. Her parents, Niklas Johan Lind and Anna Maria Radberg, finally married when she was 15, but during her girlhood her father, from whom she inherited her musical gifts, was generally absent by reason of his considerable skills as a tavern musician. Johanna Maria Lind, born Octoin Stockholm, Sweden, grew up being shuttled from house to house as the daughter of a struggling single mother. Barnum profited handsomely, and Lind became perhaps the first person who could be described using the distinctly modern term "celebrity." Grew Up in Poverty He may never have had a greater triumph than his launch of Lind's tour: tickets for her concerts were auctioned and reached astronomical prices, and Lind's image soon adorned an incredible range of consumer items. Barnum, best remembered today for his association with the circus that bears his name, but the promoter of various kinds of public events during the middle decades of the nineteenth century. Her trip to the United States was organized by the great showman Phineas T. One of the most celebrated opera performers of the nineteenth century, Swedish-born Jenny Lind (1820–1887) dazzled European and American audiences with her radiant soprano voice and with an image that emphasized wholesomeness and purity.ĭuring the brief American phase of her career, between September of 1850 and May of 1852, Lind toured and gave vocal recitals yet she became something different from simply a vocal performer. ![]()
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