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In July, 1872, Madam Urso returned to Boulogne, and after a short rest returned to New York, early in September. A concert tour through the Canadas was at once taken, and after a brief and most successful trip, she returned to New York. She afterwards made a journey to New Orleans, where she assisted at the opening of the new Exposition Hall.
M. Urso had used influence with the jury and done many wicked things to bring about this unheard of result. M. Urso threw up his hat in the air, behaved in a wild and happy manner and gave no heed to the taunts of the people. He gave Camilla a ten franc gold piece and conducted himself in a startling and peculiar fashion generally that would have astonished his friends had they seen him.
M. Urso replied that the contract had already been signed with the American and they must go with him. “Puisqu ’il en est ainsi, dépéchez vous
The front door opened into the shady arch-way, and the window balconies were filled with flowering plants in pots. Her name was Camilla. Her father Monsieur Salvatore Urso played the flute in the orchestra at the theatre, or opera house, and on Sundays played the organ at the Church of the Holy Cross that stood facing a little square not far from the river.
In 1852 the family crossed the Atlantic and settled in the United States, and almost immediately the little girl began to appear at concerts. Camilla Urso began to study the violin at the age of six years, and her choice of that instrument was determined by her hearing the violin and being fascinated by it during a celebration of the Mass of St. Cecilia.
There were two wealthy brothers in the neighborhood, Urso and Landulph. Urso died and Fridolin claimed his estates. Landulph asked for documents and papers. Fridolin had none to show. He said the bequest had been made to him by word of mouth. Landulph suggested that he produce a witness and said it in a way which he thought was very witty, very sarcastic.
Why had M. Urso been so foolish as to come to Paris when he might have known that they never took in girls. Besides, she was not old enough. Not even a boy could enter under ten. People of influence were consulted, and in vain. If the Directors of the Conservatory would not take the child it was no affair of theirs. They could do nothing about it.
Genius, indeed, shines in her music, but without these years of honest work the genius would only be a delusion and a mockery. With work it becomes almost divine. In June of 1871, Madam Urso returned to Paris and spent the summer there in comparative retirement.
The men in the orchestra laughed at Felix Simon and Salvatore Urso for their silly experiment with the child. The idea of a girl playing a violin! It was too absurd! And of all children, that mite of a Camilla; thin, pale, and too small for her age, she was the last one to think of such a thing.
The English press could here be largely quoted, to give some idea of the high position Madam Urso won in the musical world at that great art centre. It is needless to give it, as it is well known that her American reputation, great as it is, is not equal to that in England. The English are even more willing to give Camilla Urso her honors due than are we, and having said this we have said enough.
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