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[562] capable of recognizing skill in this department of the art) to offer some fitting testimonial to her. In no way, perhaps, can we express our regard so beneficially as by giving to the public a professional estimate of her ability.

We would especially record her performance of the violin concerto by Mendelssohn,--one of the most difficult works for that instrument; her playing of which was so marvellously fine and near perfection itself as to excite our highest admiration. It is not enough to say that it was a wonderful performance for a woman; it was a consummate rendering, which probably few men living could improve upon.

It may seem needless to characterize her playing, but a few traits may be pointed out, namely, her complete repose of manner; largeness of style; broad, full, and vigorous attacking of difficulties; utmost delicacy of sentiment and feeling; wonderful staccato; remarkable finish in trills, with an intonation as nearly perfect as the human ear will allow. When to these are added a comprehensive mind, with a warm musical soul vibrating to its work, we have an artist who may be nearly called a phenomenon in the womanly form of Camilla Urso.

The outside world of mere lovers of music sometimes give their opinions of Camilla's playing in remarks equally earnest, though hardly scientific. One auditor, after listening to her in wide-mouthed amazement, declared with a most emphatic gesture, that she was “woman enough to vote.” At a concert in Chicago, an admirer, who was asked whether there had been any flowers on the stage that night, answered, “None but Camelia Urso.”

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