The Black Swan at Home and Abroad: or, A Biographical Sketch of Miss Elizabeth Taylor Greenfield, the American VocalistAnonymous
General
The Black Swan at Home and Abroad: or, A Biographical Sketch of Miss Elizabeth Taylor Greenfield, the American Vocalist
Anonymous
Greenfield, Elizabeth Taylor, approximately 1819-1876
At the close of her first song, the enthusiasm of the highly respectable
and very numerous assemblage seemed to know no bounds. It burst forth
with an unappeasable _furor_, resulting in the reappearance of the
songstress, who seated herself at the piano forte, and sang, to her own
somewhat simple accompaniment, a slow air, in a full, round bass voice,
that would have been envied by old Meredith himself--who used to sit
under London bridge of a foggy morning, that he might catch a cold, and
sing "deeper and deeper still." Her tones probably reached down to G. as
represented by the open third string of the violoncello. No male voice
could have given utterance to sounds more clearly and strikingly
masculine; and people gazed in wonder, as though dubious of the sex of
the performer--a doubt that was soon dispelled by the smooth sweetness
of the next vocal piece from Norma, and by the astonishing height to
which the "Swan" ascended, in surmounting and mastering the brilliant
and beautiful cantata, "Like the Gloom of Night retiring."--The Swan is
of good figure and form, with a full bust, containing organs more
completely adapted to the development of the vocal powers and qualities,
than those of any other human being, whose voice we ever listened to, or
tested. Her age is apparently about twenty-five; her complexion not
exactly ebony, but approaching it as nearly as the brownest black can
possibly do; her features, but slightly modified from the pure African
lineaments--retaining the low forehead, the depressed nose, and the
expansive mouth, without the bulbous labia. As the lady reader is
anxious on the subject of dress, we will say that her principal exterior
garment enclosed the whole person excepting the caput; whether composed
of printed de laine, or French chintz, we could not examine--but the
colour of its ground, as near as the gas-lights allowed us to determine,
was either light blue, or green-cerulean or emerald, rather profusely
covered with large white flowery figures; her gloves were of white kid,
from which depended a fine nine shilling linen handkerchief. She wore
what appeared to be heavy gold ear-rings; and her hair, jet black, with
the natural wiry curl, was arranged _a la_ Jenny Lind. Her manner and
carriage were exceedingly easy, and even graceful.
The voice of this sable phenomenon possesses most extraordinary
properties. Its compass and elasticity are immense, and its tone will
bear favourable comparison with that of most, if not all the public
vocalists of the day. She has evidently cultivated but little of the
ornamental portion of the art--giving us few or no shakes, nor any
chromatic flights, though occasionally a respectable cadenza.
Public-domain text, read in full here on John Shaqi.
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