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We may now properly close the chapter, and bring this story of an artist life up to the present time by a brief sketch of a series of classical concerts given by Madam Urso in the Spring of 1874, in Boston. They were remarkable concerts; both in the character of the music given, and in the crowded and appreciative audiences that attended them.
One given as a complementary testimonial to Madam Urso by the musicians of Boston, in January 1869, brought out all her friends and packed the Music Hall with an audience such as it never saw before. About the same time she was elected an honorary life member of the Philharmonic Society of Philadelphia.
“Little Camilla Urso, the wonderful child violinist, divided honors with the prima donna. Of the same age and country as Paul Julian, whose masterly performance on the violin attracted so much attention here, this new candidate for public favor promises to be a powerful competitor with him.
As soon as they were comfortably settled Salvatore Urso went to the conservatory to ask if the little Camilla might be admitted as a pupil. The Director, Auber, received him politely and asked what he wanted. “Could Camilla enter the Conservatory?” The little shrivelled up gentleman opened his small eyes as wide as he could and said, in a squeaking voice, “Camilla! That’s a girl!” Yes.
Events are of small consequence except as illustrative of character and we must only select such as serve to show the woman and the artist in her true character. On returning from Europe Madam Urso at once resumed her concerts and appeared in New York and others cities.
Were she to undertake the tour now it could be done in two weeks. They had no active agent traveling ahead to hire the halls and secure the rooms at the hotels. There were no advertising facilities, and no telegraphs. M. Urso had to do everything himself. The ceremonious calls upon the great families took a great deal of time.
Each house pays for its one piece of music, and as many as five houses can be visited in one evening. It is a rather startling method of procedure, but it is the custom of the country. Madam Urso could not decline to do as all the other musicians did, however much she might stand on the simple dignity of her American name.
As mother and daughter had been separated for a long time Madam Urso traveled with Camilla a portion of this journey. Unfortunately Madam Urso was taken sick at Cincinnati and for a while Camilla traveled alone with Mrs. Macready. This tour was quite a successful one for Camilla and it finally ended in Nashville, Tenn., where the party separated. At the close of her tour with Mrs.
They called her Camilla—Camilla Urso. Who was she? Where did she come from? No one seemed to know. Madam Alboni was to bring her out. The child must have some talent to be patronized by such an artist as Madam Alboni. Only ten years of age. Certainly a marvelous child. And a girl. It must be a sight worth seeing. They would all go to the concert.
Greater tests and severer trials were in store for her. She must go to Paris. She must enter the Conservatory of Music. But how, and when? Long and earnestly they talked over the matter and laid their plans as best they could. M. Urso was a fine flute player. Of course, he could readily obtain a place in some theatre in Paris. Camilla’s mother was a charming singer and a good teacher.
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