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They might assert that she would play like an artist—she could not do it. And so they waited to see Salvatore Urso’s silly experiment come to a wretched end. How amiable in them! We can forgive them. There was nothing else to talk about in Nantes, and it was certainly a very bold thing to bring out the six year old girl in this public manner.
We have Madam Urso’s testimony that the singing of the children was fully equal to the singing heard in the schools of Boston and other Eastern cities. Madam Urso played a selection of popular airs, including “Home, Sweet Home,” and the national melodies, to the great delight of the young chorus, and the immense audience assembled to hear them.
However interesting the details of these events may seem it is impossible to dwell upon them all. We must take the more salient points in Madam Urso’s artist life, choosing such events as best illustrate her character and best explain the secret of her success that we may learn the true artistic lesson of her life and works. After traveling under Mr.
On the 18th of the following month she was once more in the quiet of her own home in Paris. It is not a matter of surprise to find that after Madam Urso’s seven months’ experience in California there came a severe physical reaction.
Her mother treated her request with laughter and put out the little Camilla’s hope with a flat refusal. It was the town talk. The women gathered round the fountain in the Place Royal and filled their water jars and gossiped about Salvatore Urso’s silly whim with his child. Madame Dubois settled her cap and gave it as her opinion that no good would come of such a foolish thing.
The concerts were not too classical to drive the people away nor were they wholly popular. In all Madam Urso’s art life it has always been her aim to lift up and instruct her hearers. First allure the people with simple music that they can understand and then give them something from the masters, something a little above their comprehension; a taste of classical music.
In the storm and excitement of the occasion the number of the house was forgotten and there was no name on the door. The family did not give their name and if it should so happen that they read this, they may know how pleasantly Madam Urso cherishes the memory of their kindness. Carl Rosa who was then in Boston took Madam Urso’s place at the Harvard Concert, and on the next morning Mr.
At last she did it right, played it over several times, went home and never played it wrong again in her life. Such was the child’s artist life for the first twelve months. Outside of it the gossips fairly raged and warred with their nimble tongues. Salvatore Urso’s experiment with his little girl was much talked about. Some could not say too hard things of him.
It was upon this trip that Camilla Urso’s face became familiar to the people of this country. She had visited nearly every important city and town in New England and now she played in every large city through the Northern and Western States. She went as far west as St. Louis and as far south as the Ohio. It was a stirring, eventful life.
The classical concerts that she gave in Boston three years later testify to the conscientious labor that was bestowed upon her instrument during this quiet winter in London. Here do we see the true artist-soul. We here catch the earnest meaning of Camilla Urso’s life—the intense love of music, the devotion to its highest aims, the eagerness to work, to study and to learn all that is best and true.
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