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Updated: July 2, 2025
She took up her studies in solfeggio and harmony and settled down into the routine of hard, persistent study with renewed vigor. Those boys were far ahead of her. Never mind. She would catch them presently. When we see Madam Urso play to-day we think her steadiness of posture and grace of playing very easy.
M. Urso went everywhere among his countrymen and told his story and endeavored to find a chance for Camilla to play. He could not give a concert on his own responsibility. Some artist must be found to bring Camilla out before the American public. Fortunately, Madam Alboni was in New York about this time and through her kindness an opportunity was found for Camilla.
While we have such artists as Madam Urso among us we have much to be thankful for, and may press on till we reach the high standard of excellence she ever keeps before herself. We may here offer a short sketch of Madam Urso’s personal appearance and manners, when free from the restraint of public life.
Urso has been claimed as an American violinist, though she was born in Europe and was a good violinist before she reached these shores, but in 1864, in New York, Anna Senkrah was born, who for a few years rivalled Teresina Tua. The real name of Arma Senkrah was Harkness, which for professional purposes she "turned end for end," as the sailors would say, and dropped an "s."
Ten years since they would crowd the hall to hear the “Carnival.” Had Madam Urso presented the Beethoven Spohr, or the Mendelssohn Concertos, the people would not have listened in patience through a single performance. If they heard it at all, it would be under a sort of silent protest, and the next time the piece was offered there would be nobody there.
The Director Auber was also very sorry to part with her and kindly wrote a letter of introduction for her. The following is a copy:— PARIS, August 12th, 1852. “Mademoiselle Camilla Urso is a young pupil of the National Conservatory of Music.
By introducing into the lightest and most popular programmes some short selection from the great masters of violin music, Madam Urso has gradually taught her audiences what they should admire, and, by persistent and gentle urging, she has led them to a knowledge of the best and highest in art. In this Madam Urso is not alone.
There were murmurs of disappointment from the crowd. Half the names gone. Poor Camilla was ready to cry with disappointment. Just here Allard, one of the jury passed through the room and stopping a moment said to Camilla’s father: “The little Urso is admitted.” Nobody could believe it! There was some mistake! That mite of a girl taken in?
Whether we look at the child, gazing in large-eyed wonder at the festival in the Church of the Holy Cross, the patient girl, trudging day by day through the quiet streets of Nantes to take her lessons, the pale student in the conservatory, the sober-faced maiden who so won all our hearts so long ago in Boston, the brilliant young woman who flashed out so suddenly into the highest walks of art, the great artist born of a wonder child, or the simple American woman, Camilla Urso, in whatever station we view her, we see the dignity and reward of honest work.
Here is an extract from one of the newspapers of Nantes, that only says the same thing: ——“Never had violinist a pose more exact, firmer, and, at the same time, perfectly easy; never was bow guided with greater precision, than by this little Urso, whose delivery made all the mothers smile.
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