Jenny Lind’s repertoire during her American tour was the " Casta Diva,” from Norma ; “ With Verdure Clad ” and “ On Mighty Pens,” from the Creation; a cavatina from Beatrice de Tenda, by Bellini; the great song with two flutes from the Star of the North, by Meyerbeer ; and “ Non mi Dor,” from Don Giovanni, by Mozart. She also sang in the trio from II Barbier, and, with Belletti, the duo from L'Elisire d'Amore, and a great variety of the Swedish folk-songs. With the latter she nearly always ended her concerts.

She used to introduce imitations of mountain echoes in the Swedish songs, and people said she did it ventriloquially, but I have always maintained that it was done by very refined pianissimo singing.

I have often been asked, “ How much of a singer was Jenny Lind?” I can say she deserved all that was claimed for her, unmusical, nonsensical stories excepted. Her voice was of extensive range, reaching easily to D in alt,—a voice of veiled quality with something of the essence of a tear in it. She had almost unlimited execution, sang with great earnestness, and did everything in a highly finished, broad style. Such pieces as the “ Casta Diva ” and I Know that my Redeemer Liveth she sang with so devotional a sentiment that she really seemed like some inspired priestess proclaiming her faith.