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She knew what she could do, she had her piece by heart; she meant to break into that Conservatory, it was her only hope and she would try hard to do her very, very best. M. Urso was excited and nervous. How would it all end? Would Camilla be admitted. It was doubtful, still, her genius might win the day in spite of the determined opposition that was raised against her.
Zerrahn wields the baton, but Madam Urso is the real director. Her spirit guides the music and inspires the orchestra with unusual animation. The rather listless manner in the symphony is exchanged for painstaking care and attention.
There was the Urso party and the anti-Urso party. They talked and quarrelled over it for a long time in a fashion that was quite as narrow minded and petty as could be imagined and it was more than a year before the excitement subsided. In the meantime the little Camilla was perfectly happy over her new violin. The first refusal had not discouraged her.
In all this she met with obstacles and difficulties. She could not have instruction from others. There were none in the country who could teach her anything and her concerts broke in upon her time seriously. She was studying for public appearance and appearing in public at the same time. On the opening of the musical season in the fall of 1863 Madam Urso was engaged by Mr.
Teresina Tua, who was well known in the United States about 1887, was born at Turin in 1867. As in the case of Wilhelmina Neruda and of Camilla Urso, her father was a musician, and she received her early musical instruction from him. Her first appearance in public was made at the age of seven, and up to that time she had received no instruction, except that given her by her father.
M. Urso arranged a temporary shed on the balcony for a kitchen and here in the bright sunshine high up in the air above the noisy street Camilla used to watch the birds and the clouds and peep through the geranium leaves down into the street so far below. This change of scene was a great advantage to her. It brightened her spirits and gave her thin cheeks a bit of color.
Her mother Madame Emelie Urso was a young and very handsome woman, and a fine singer. She also helped her husband in his music lessons. She was born in Lisbon in Portugal, but as she had come to France when quite young, she had forgotten her mother tongue and now spoke French and Italian. This last may have been owing to the fact that her husband was from Palermo, Sicily.
The year 1873, though it was a disastrous one to art interests generally, by reason of the panic, was one of uninterrupted success for Madam Urso. She took a brief rest during the summer near New York, but during the remainder of the time gave an uninterrupted succession of concerts in all the Northern States, so that it seems as if the sound of her violin still rang in our ears.
Many’s the poor brakeman’s fingers I’ve saved by rubbin ’em in some one’s thick head o’ hair.” Whatever the philosophy of this wonderful method of treatment, Madam Urso can give her testimony to its perfect success, and within an hour she was so far recovered that she could laugh as heartily as any over the adventure.
Her black felt hat and long dark green plume that was at once so singular and so very becoming, her big blue eyes with the sly twinkle in them, the smiling mouth and sweet tempered expression of her face won unusual attention and admiration. Children in the streets said “there goes Camilla Urso,” and ran after her to see the pretty French girl who had come to live among us.
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