Jenny Lind

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Lind, Jenny,

1820–87, Swedish soprano. She made her debut in 1838 as Agathe in Weber's Der Freischütz. She studied in Paris and sang in Germany, England, and Sweden. In 1849 she abandoned opera for concert and oratorio until 1870. Under the management of P. T. Barnum she toured (1850–52) the United States with great success. After her marriage to Otto Goldschmidt in 1852 she lived in Dresden and in London, where she taught at the Royal College of Music. Called "the Swedish nightingale," she was one of the greatest coloratura sopranos of her time, possessing a voice of remarkable range and quality.

Lind, Jenny


Born Oct. 6, 1820, in Stockholm; died Nov. 2, 1887, at Wynd’s Point, Malvern Hills, England. Swedish singer (lyric coloratura soprano).

Lind studied at the Royal Theater School in Stockholm, where she made her debut in 1838. From 1844 to 1849, she sang in opera theaters in Berlin and other German cities, London, and Vienna; then, until 1870, she gave concerts throughout the USA and Western Europe. Lind’s roles included Euryanthe in Eury-anthe by Weber, Amina in La Sonnambula by Bellini, Lucia in Lucia di Lammermoor by Donizetti, Amelia in I masnadieri by Verdi, and Alice in Robert le Diable by Meyerbeer.

Lind was one of the most outstanding singers of the 19th century. Her voice had an enormous range (from B flat to G”), a beautiful timbre, and crystal purity. Her contemporaries called her the Swedish Nightingale. Lind taught singing at the Royal College of Music in London (1883–86).


Bulman, J. Jenny Lind. London, 1956.
Shultz, G. D. Jenny Lind. Philadelphia-New York, 1962.
References in periodicals archive ?
The handles on the Jenny Lind are offset, allowing the operator to walk either on either side of the row being cultivated.
Hans Christian Andersen Kevin Cahoon Jenny Lind Lesley McKinneli The Boy Marisa Dinsmoor Shadow Erik Stein
Represented in four stellar tracks, Costello's unfinished commission for the Royal Danish Opera about the life of Hans Christian Andersen focuses on the beloved fairy tales writer's feelings for 19th century, world-renowned singer sensation Jenny Lind (who was apparently the Beyonce of her day), as well as Lind's 1850 U.
Jenny Lind Withycombe, University of Tennessee, Knoxville
Coates is referring to an incident in Manchester in the late 1840s when the renowned singer Jenny Lind (1820-1887) was invited to the home of the 'inventor' of hypnotism, Dr James Braid.
I also introduced Americans to opera singer Jenny Lind and her amazing soprano voice.
Whether it was trotting out an 80-year-old woman and telling everyone she was the 160-year-old former nurse of George Washington, touring the famed small person General Tom Thumb or promoting the first American tour of the singer Jenny Lind, Barnum knew how to get the buzz going.
Famous people have walked this path: Ralph Waldo Emerson, Jenny Lind, Elton John, and others whose names are written in soot on smooth, sandstone ceilings.
By 1844 Andersen had published Kan en Spillemand ('Only a Fiddler'), a largely personal Bildungsroman with a poor but highly gifted young musician as its central figure; he had also attended the Copenhagen debut of Jenny Lind, discreetly immortalized in The Nightingale (1843), and found in Grand Duke Carl Alexander of Weimar a patron who brought him into contact with Liszt.
Entries range from John Adams to Bach to Tchaikovsky; include terms such as festivals, harpsichord, mass, and meter; cover performers like Jenny Lind and Michael Tilson Thomas and pieces such as the Messiah and Porgy and Bess.
Even when Barnum falls into the arms of Jenny Lind, the ``Swedish Nightingale,'' at the close of the first act, we find he has returned to his senses and his forgiving wife by the opening of act two; any canoodling seems to be have been done during intermission.
1660), who created the prototype of the first operatic prima donna; Nancy Storace (1765-1817), Mozart's "Susanna" (in The Marriage of Figaro) who masterfully combined comedic talent and acting ability with singing; Giuditta Pasta (1797-1865), whose tremendous vocal and dramatic talents inspired Bellini's Norma and whose singing Chopin called "sublime"; Wilhelmine Schroder-Devrient (1804-1860), whose dramatic performance of Fidelio profoundly influenced Wagner's development of music dramas; Jenny Lind (1820-1887), the superstar who literally took America by storm; and Marian Anderson (1897-1993) whose determination and lovely contralto voice helped break down racial barriers.