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Browsing named entities in a specific section of James Parton, Horace Greeley, T. W. Higginson, J. S. C. Abbott, E. M. Hoppin, William Winter, Theodore Tilton, Fanny Fern, Grace Greenwood, Mrs. E. C. Stanton, Women of the age; being natives of the lives and deeds of the most prominent women of the present gentlemen. Search the whole document.

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Chicago (Illinois, United States) (search for this): chapter 22
in a velvet box, bearing upon the cover her initials in gold within a laurel wreath. Engagements now crowded upon her, and she visited in succession most of the cities that had known her as a child, spending much time in Boston, New York, and Chicago. In 1864 she went to Europe, sailing in the China, on the 26th of August. Reaching Liverpool she prepared at once to go to Paris,--her home for some years, and the scene of some of her earliest triumphs. She was wonderfully successful in th 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. In the spring of 1865, soon after her return from Europe, Madame Urso played at a concert in New Haven. The hall was crow
New England (United States) (search for this): chapter 22
the great masters. In her childlike devotion to the genius of Beethoven, Chopin, and Mendelssohn, she reminds one of Hilda, the girl-artist of Hawthorne's Marble Faun, whose life was spent in study of Raphael and Michael Angelo. It is better, thinks this earnest woman, to render vocal the great conceptions of the past, than to win a cheap reputation by fleeting musical mediocrities. Her remarkable memory retains all the music she plays, the orchestral parts as well as her own. Madame Urso's stay in this country is now uncertain. Her latest performances have been in the New England cities, and in New York. She has accepted an engagement in California, and will probably leave for San Francisco in July. Her ardent desire is to return to Paris, and make that city her home. If she leaves us, it will be with the possibility of coming again to America, at some time in the distant future. She will take with her a thousand good wishes, and leave behind her memories of delight.
San Francisco (California, United States) (search for this): chapter 22
the great masters. In her childlike devotion to the genius of Beethoven, Chopin, and Mendelssohn, she reminds one of Hilda, the girl-artist of Hawthorne's Marble Faun, whose life was spent in study of Raphael and Michael Angelo. It is better, thinks this earnest woman, to render vocal the great conceptions of the past, than to win a cheap reputation by fleeting musical mediocrities. Her remarkable memory retains all the music she plays, the orchestral parts as well as her own. Madame Urso's stay in this country is now uncertain. Her latest performances have been in the New England cities, and in New York. She has accepted an engagement in California, and will probably leave for San Francisco in July. Her ardent desire is to return to Paris, and make that city her home. If she leaves us, it will be with the possibility of coming again to America, at some time in the distant future. She will take with her a thousand good wishes, and leave behind her memories of delight.
Savannah (Georgia, United States) (search for this): chapter 22
of opera, in which Madame Sontag was the star. The two artists created a genuine furore, exciting their Southern audiences to the highest pitch of enthusiasm. Bouquets came in showers, and the applause was incessant. One night Madame Sontag carried eighty-six bouquets from the stage, and the fairy violinist often received fifteen or twenty. From New Orleans Madame Sontag went to Mexico, and Camilla never saw her again. They parted in March, 1854, and Signor Urso took his daughter to Savannah, and subsequently gave concerts in different cities of Georgia and some other Southern States. They then returned to New York, where, in May, they heard of the sudden death of Madame Sontag by cholera. The news of this loss prostrated the sensitive child with grief. She refused to appear at concerts, and seemed to lose all animation and vivacity. A change of scene was at last imperatively necessary, and she went with her father to Canada in 1856. This trip was very successful, thou
Boulogne (France) (search for this): chapter 22
-won crosses, rendered homage to the fair violinist, who saw with delight the faces of Alexander Dumas, Lord Cowley, and Professor Alard. Her finest morceau on this occasion was a Fantasie-Caprice of Vieuxtemps. From Paris she went to Arras, Boulogne, Valenciennes, and Cambray. At Boulogne she appeared at two successive concerts given by the Musical Society of that town,--a circumstance almost unknown in the records of the society. After spending fourteen months abroad, she returned to ABoulogne she appeared at two successive concerts given by the Musical Society of that town,--a circumstance almost unknown in the records of the society. After spending fourteen months abroad, she returned to America, where she has remained ever since. Her life since then has been the same story of travel, study, and concerts. She has become a great favorite both in the East and West. What Boston thinks of her may be understood from the fact that she has given more than one hundred concerts in that city. There she feels herself entirely at home, surrounded by sympathetic and appreciative friends. One of the sincerest and most highly prized of all tributes to her musical accomplishments is a let
Alida Topp (search for this): chapter 22
but seldom has such an airy spirit of humor expressed itself through the violin. A little story found its way into the Musical Gazette recently, which is so characteristic that it ought to be quoted entire. Ole Bull, Camilla Urso, and Miss Alida Topp met at a party, a few evenings since. You play beautifully, my child, said the Norwegian to Miss Topp, but you can't do the greatest music. No woman can; it takes the biceps of a man. My arm is strong enough, answered the brilliant yMiss Topp, but you can't do the greatest music. No woman can; it takes the biceps of a man. My arm is strong enough, answered the brilliant young pianist, laughing; I break my pianos as well as a man could, and Steinway has to send me a new one every week. You see, responded Ole Bull, turning to Madame Urso, you see how these people treat their pianos.--They bang them, they beat them, they kick them, they smash them to pieces; but our fiddles I how we love them I Oh, yes, indeed, was Camilla's earnest answer, with a flash of her most expressive eyes. Her fiddles are three, her favorite one being a Guiseppe Guamarius, made
Camelia Urso (search for this): chapter 22
ning 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. In the spring of 1865, soon after her return from Europe, Madame Urso played at a concert in New Haven. The hall was crowded with a noisy audience, composed mainly of students, irrepressible and critical, and young ladies who were deeply Madame Urso played at a concert in New Haven. The hall was crowded with a noisy audience, composed mainly of students, irrepressible and critical, and young ladies who were deeply occupied with them and their criticisms. The unhappy pianist of the occasion met with hearty contempt. The talking went on as gayly as ever. But when the violinist entered, with her simple, natural manner, and stood quietly a moment waiting, the house was hushed. First she played a brilliant Fantaisie of Vieuxtemps, displaying all her skill in the execution of musical difficulties. Every one followed her with the most eager attention. At the end came hearty applause, and an imperative rec
Camilla Urso (search for this): chapter 22
Camilla Urso Mary A. Betts. The violin is the violet, says the Chevalier Seraphael in that mon younger days. On the 13th of June, 1842, Camilla Urso was born,--the first child of a happy union growing tired, never weary of repetition. Madame Urso now declares that she heard more operas the talent and marvellous voice. Hearing of Camilla Urso's success, she proposed to add her to her o On one side of the watch was engraved,-- Camilla Urso. From her Boston friends. Nov. 8th, 1863. e extraordinary musical talent displayed by Camilla Urso, in her performances on the violin, deem it called a phenomenon in the womanly form of Camilla Urso. Signed by the whole orchestra, namely, it ought to be quoted entire. Ole Bull, Camilla Urso, and Miss Alida Topp met at a party, a few You see, responded Ole Bull, turning to Madame Urso, you see how these people treat their pianothe orchestral parts as well as her own. Madame Urso's stay in this country is now uncertain. H[1 more...]
Mademoiselle Camilla Urso (search for this): chapter 22
ffered her a salary of twenty thousand dollars a year; and, as the family was in need of the assistance the child's violin could give, the offer was gladly accepted. Preparations were made for an extensive tour, and a concert-troupe of eight was engaged. Auber, hearing of her intended departure, presented her with the following testimonial, which she justly regards as one of her dearest treasures-- National Conservatory of music and of declamation. Paris, August 12, 1852. Mademoiselle Camilla Urso is a young pupil of the National Conservatory of Music. Although still at a very tender age, she has obtained brilliant success in several concerts in Paris, and above all at the Conservatory, where the jury have decreed to her by election the first prize at the competition for the prizes of the year. Learning that she is soon to depart for the United States, I am delighted to state the happy qualities which ought to ensure her a noble artistic career. The Americans have alr
Salvator Urso (search for this): chapter 22
followed the violins in the orchestra, as their penetrating and aerial tones completed for us the harmonic pictures or the wordless songs! And in the hands of a genius whose thoughtful brain and ardent heart have comprehended and mastered its powers, what a magical shell is this crooked, stringed, sonorous thing of wood! The brain and heart of a true violinist came into the world one summer-day in the city of Nantes, France. This beautiful old Huguenot city was then the residence of Salvator Urso, a musician from Palermo, Sicily, and his Portuguese wife, whose maiden name was Emilie Girouard. Signor Urso was an organist and flutist of rare merit, educated thoroughly in all the principles of his art by his father, who had dane hearty service to music in younger days. On the 13th of June, 1842, Camilla Urso was born,--the first child of a happy union. Though four brothers followed her, the little daughter was most passionately beloved by her father, who gloried in her inheritan
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