an operatic campaign in Dresden, in the highest degree pleasant to
herself and satisfactory to the public, in which she sang, in addition
to _Vielka_, the parts of _Norma, Amina_, and _Maria_ in "La Figlia
del Reggimento," Jenny Lind returned to Stockholm to take part in the
coronation of the King of Sweden. Her fame spread throughout the musical
world with signal swiftness, and offers came pouring in on her from
London, Paris, Florence, Milan, and Naples. This northern songstress was
becoming a world's wonder, not because people had heard, but because the
few carried far and wide such wonderful reports of her genius. Her tour
in the summer of 1844 through the cities of Scandinavia and Germany
was almost like the progress of a royal personage, to which events had
attached some special splendor. Costly gifts were lavished on her, her
journeys through the streets were besieged by thousands of admiring
followers, her society was sought by the most distinguished people in
the land. The Countess of Rossi (Henrietta Sontag) paid her the tribute
of calling her "the first singer of the world." After a five months'
engagement in Berlin, the Swedish singer made her _debut_ in "Norma," at
Vienna, on April 22, 1845. The Lind enthusiasm had been rising to
fever heat from the first announcement of her coming, and the prices of
admission had been doubled, much to the discomfort of poor Jenny Lind,
who feared that the over-wrought anticipation of the public would be
disappointed. But when she ascended the steps of the Druid altar and
began to sing, then the storm of applause which interrupted the opera
for several minutes decided the question unmistakably.

After a brief return to her native city, she reappeared in Berlin, which
had a special claim on her regard, for it was there that her genius
had been first fully recognized and trumpeted forth in tones which rang
through the civilized world. She again received a liberal offer from
England, this time from Mr. Bunn, of the Drury Lane Theatre, and an
agreement was signed, with the names of Lord Westmoreland, the British
minister, and Meyerbeer as witnesses. The singer, however, was not
altogether satisfied with the contract, a feeling which increased when
she again was approached by Mr. Lumley's agent. There were many strong
personal and professional reasons why she preferred to sing under Mr.
Lumley's management, and the result was that she wrote to Mr. Bunn,
asking to break the contra