In the mid-19th century, America was captivated by a Swedish soprano known as Jenny Lind, often referred to as the "Swedish Nightingale." Her tour of the United States, orchestrated by the renowned showman P. T. Barnum, began in September 1850 and extended into May 1852. This ambitious undertaking transformed Lind into a household name even before her arrival, thanks to Barnum's extensive advance publicity. The public's fervent excitement for her performances
was so intense that it was dubbed "Lind Mania" by the local press, marking a significant cultural moment in American history.
The Orchestration of a Sensation
P. T. Barnum, a master of promotion, played a pivotal role in cultivating Jenny Lind's celebrity status in America. His strategic publicity efforts ensured that by the time Lind's ship, the Atlantic, docked in New York on September 1, 1850, she was already a sensation. The New York Herald reported on the extraordinary scene, describing "some thirty or forty thousand persons" gathered on the piers, with crowds hurrying from all directions to catch a glimpse of the star. This immense public desire for her presence led to chaotic scenes, with several people injured in the rush, and a near-tragedy averted only by timely intervention.
Lind's initial interaction with the American public further cemented her appeal. Upon setting foot on American soil, she reportedly kissed her hand to the U.S. flag, exclaiming, "There is the beautiful standard of freedom, which is worshipped by the oppressed of all nations." She also endeared herself to the welcoming crowd by preventing Barnum's coachman from using his whip to clear a path through the throng. Barnum himself recognized that Lind's appeal extended beyond her vocal talent, stating that her fame rested as much on her "simple and virtuous personality and her generosity to good causes" as on her singing ability. He famously remarked that she "was a woman who would have been adored if she had had the voice of a crow," highlighting the power of her public image.
Commercial Success and Philanthropic Spirit
The demand for tickets to Lind's concerts was unprecedented, leading Barnum to sell them by auction. This commercial strategy, while highly profitable, also caused some distress for Lind. For her first two American performances, charity concerts held in New York City on September 11 and 13, 1850, at Castle Garden, tickets were sold at auction. For the inaugural concert, 4,476 tickets fetched a total of $24,753, filling the theater to its maximum capacity. A hatter named John Genin notably purchased the first ticket.
Lind's discomfort with the blatant commercialism of the ticket auctions led her to renegotiate her contract with Barnum. The new agreement, signed on September 3, 1850, stipulated that she would receive her original $1,000 per concert fee, plus the remaining profits after Barnum's $5,500 concert management fee was paid. Her motivation for increasing her earnings was reportedly driven by her commitment to accumulate funds for her chosen charities, particularly the endowment of free schools in her native Sweden. Following the first concert, Barnum announced to the audience that Lind was donating her entire $10,000 fee to twelve New York charities, an announcement that was met with "deafening shouts" and emotional responses from the crowd. For subsequent concerts, Lind ensured that a substantial number of tickets were made available at more affordable prices, such as two dollars for the cheapest seats and one dollar for the promenade, demonstrating her continued dedication to accessibility and philanthropy despite the commercial pressures.
The Tour's Evolution and Lasting Legacy
Lind's tour featured a consistent program, including pieces like "Casta diva" from Norma, a duet with baritone Giovanni Belletti, and the "echo song" "Dost thou hear?" composed by Meyerbeer, which showcased her remarkable vocal abilities. She also performed Swedish songs and, for her American debut, a special "Greeting to America" with words by local poet Bayard Taylor and music by Julius Benedict, her London colleague who served as pianist, arranger, and conductor. Benedict eventually returned to England in 1851, and Lind's friend Otto Goldschmidt joined the tour as her pianist and conductor. Lind and Goldschmidt married in February 1852 and completed the tour together.
Despite the immense financial success and public adoration, Lind found Barnum's relentless commercial promotion increasingly distasteful. She ultimately terminated her contract with him in 1851 under amicable circumstances, choosing to continue touring for nearly a year under her own management. The tour not only generated large sums of money for both Lind and Barnum but also left a lasting cultural imprint, with various products, from handkerchiefs and coats to hats and even sausages, being named after her. This widespread commercialization underscored the depth of "Lind Mania" and her pervasive influence on American popular culture during her time in the United States.
