It is sufficiently well known that she made her appearance there, threw every one into astonishment and delight, and won for herself in Germany a European name. Last autumn she came again to Copenhagen, and the enthusiasm was incredible; the glory of renown makes genius perceptible to every one. People bivouacked regularly before the theatre, to obtain a ticket. Jenny Lind appeared still greater than ever in her art, because they had an opportunity of seeing her in many and such extremely different parts. Her Norma is plastic; every attitude might serve as the most beautiful model to a sculptor, and yet people felt that these were the inspiration of the moment, and had not been studied before the glass; Norma is no raving Italian; she is the suffering, sorrowing woman--the woman possessed of a heart to sacrifice herself for an unfortunate rival--the woman to whom, in the violence of the moment, the thought may suggest itself of murdering the children of a faithless lover, but who is immediately disarmed when she gazes into the eyes of the innocent ones.
"Norma, thou holy priestess," sings the chorus, and Jenny Lind has comprehended and shows to us this holy priestess in the aria, _Casta diva_. In Copenhagen she sang all her parts in Swedish, and the other singers sang theirs in Danish, and the two kindred languages mingled very beautifully together; there was no jarring; even in the Daughter of the Regiment where there is a deal of dialogue, the Swedish had something agreeable--and what acting! nay, the word itself is a contradiction--it was nature; anything as true never before appeared on the stage. She shows us perfectly the true child of nature grown up in the camp, but an inborn nobility pervades every movement. The Daughter of the Regiment and the Somnambule are certainly Jenny Land's most unsurpassable parts; no second can take their places in these beside her. People laugh,--they cry; it does them as much good as going to church; they become better for it. People feel that God is in art; and where God stands before us face to face there is a holy church.
"There will not in a whole century," said Mendelssohn, speaking to me of Jenny Lind, "be born another being so gifted as she;" and his words expressed my full conviction; one feels as she makes her appearance on the stage, that she is a pure vessel, from which a holy draught will be presented to us.