Doubtless many people in Boston will remember that once when she [Jenny Lind] had reached the end of the last named song and made her bow to the audience, Daniel Webster, who was a listener, arose from his seat in the audience, and with great dignity returned her bow.

Her intonation was perfect. Benedict had written for her a very long cadenza to fit the end of a cavatina from Beatrice de Tenda. The cadenza was sung without accompaniment; it covered two pages of music paper, and was written in a style suited to an instrumental concerto. Towards the end there was a sequence of ascending and descending arpeggios of diminished sevenths which flowed into a scale of trills from a low note to one of her highest; then dwelling very long on that note and trilling on it, she gradually, tranquilly returned to the theme of the cavatina, when it was perceived that her wonderfully fine musical ear had unerringly guided her through the mazes of the long cadenza and brought her to the tonic note of the piece with surprising correctness of intonation.

I think she was not overrated when called a “ great singer.”