On that night, the Queen and the Prince Consort honoured the old historic Opera-House with a State visit; and, “by Royal command,” Mdlle. Lind appeared, for the first time in England, in the part of “Norma.”

Every conceivable care had been taken, by the management, to prepare a fitting reception for its august visitors. No expense had been spared, and no artistic detail neglected, which could add to the convenience of the Royal guests, or the magnificence of the entertainment.

As early as half-past three o’clock, several parties had assembled at the various entrances of the theatre; and the doors were opened half an hour earlier than usual. Crowds of Her Majesty’s loyal subjects thronged Pall Mall, and greeted the Queen en route to the theatre, where Her Majesty was received with a flourish of trumpets, by the band of the Guards, and with cheers, by those assembled at the doors.

Precisely at eight o’clock, the Queen entered the Royal box, with His Royal Highness, Prince Albert, accompanied by their suite; when, instantaneously, the band struck up “God save the Queen,” which was sung by the leading members of the troupe mélodieuse, Madame Castellan singing the last verse. The applause at the conclusion was genuine, and enthusiastic. Her Majesty, having gracefully acknowledged the cheers and plaudits of her loyal subjects inside the house, sat down: and the performance began.

Mdlle. Lind’s interpretation of the part of the “Druid Priestess,” was as remarkable for its superb vocalisation, as its beautifully 285impressive reading of the rôle. On her entrée, she was received with the same marks of genuine approbation as on other occasions, and these were renewed, at every pause in the music, until, at the close of the Opera, the applause became absolutely deafening.

Immediately after the Divertissement which followed, the National Anthem was again sung, when Her Majesty, her Royal Consort, and their suite, left the theatre.

The performance was, in every way, a brilliant and successful one. But, the London newspapers were divided in their opinion of the respective merits of Mdlle. Lind’s conception of the part, and that with which Madame Grisi had so long made them familiar. The fairest critiques gave high meed of praise to both; but, though Mdlle. Lind’s “Norma” was one of her most successful rôles on the Continent, it is incontestable that it was less popular in England than either that of “Amina” or “Alice.” The Times, and The Illustrated London News, analysed the new ideal of the character with keenest perception of its beauties, and just discrimination between the merits of the two possible interpretations of the rôle. The Athenæum, and The Musical World, characterised the entire performance as an ignoble failure, and enforced their own views in the strongest terms they could command.

Which of the two opposing verdicts may we venture to accept as the true one?

Mons. Roger, the famous French tenor, in an autobiographical sketch, published some years ago, in Paris,^[96] leads us to believe that his view of this particular case coincided with that of the critics of The Athenæum and The Musical World; though, with regard to other equally important rôles, he finds no words too strong to express his unbounded admiration for Mdlle. Lind’s genius and personality.

On the other hand, since the issue of our earlier Editions, we have received a confirmation of the opposite opinion as gratifying as it was unexpected, emanating from a very high authority indeed—the highest, perhaps, that it would be possible to quote.

At an evening party given by Signor Mario, at S. Petersburg, in the year 1849, Madame Grisi, in the course of a conversation with His Excellency, the Count de Bylandt, who was then attached as first Secretary to the Netherlands Legation at S. 286Petersburg, expressed her opinion of Mdlle. Lind’s impersonation of the rôle of “Norma,” in the following remarkable words:—

“I long thought there was only one ‘Norma’ in the world, and that was myself! But, since I heard Jenny Lind sing the same part, I must confess that there are two ‘Normas,’ quite different in conception, but, equally true, equally genuine, equally perfect; and I now very much hesitate to say which of the two I believe to be the best.”

It gives us unfeigned pleasure to be able to record these generous words, uttered in self-evident artistic enthusiasm, by the great prima donna, while her European reputation was still at its zenith, and at the very time when, by a certain section of the press, she was made to pose as Mdlle. Lind’s proudest and most implacable rival; and we owe our best thanks to the Count de Bylandt for permitting us to reproduce them, exactly as they were addressed to him by Madame Grisi herself.

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Notes in this chapter

Note 1 · Le Carnet d’un Tenor. Gustav Roger. (Paris, 1880.)