The next morning the New York Herald gave her the first newspaper notice she ever received in this country. “Little Camilla Urso, the wonderful child violinist, divided honors with the prima donna. Of the same age and country as Paul Julian, whose masterly performance on the violin attracted so much attention here, this new candidate for public favor promises to be a powerful competitor with him. Her execution of the fantasia or Somnambula was most admirable and drew down vociferous calls for an encore which were honored. Several bouquets were thrown to her on the stage and the greatest enthusiasm was manifested in respect to the marvelous little artist.” Then some one suggested that they try Boston. That city was a musical centre and Camilla would be sure to meet with a good reception there. Accordingly under the guidance of the American the entire party went to Boston. Mr. Jonas Chickering, the piano-forte manufacturer kindly welcomed her and invited her to call at his residence on Boylston street, two doors from the building now occupied by the Art Club. So much pleased was he with her simple manners and her wonderful playing that he opened his elegant warerooms and invited a select company of musical people to hear her play. This private concert first brought Camilla before us. She had, as it were, come before us. Hitherto, it had been a strange story that had been told to us. We could now see and hear for ourselves. The Boston Transcript and Dwight’s Journal of Music, then our best authorities upon art matters thus spoke of this occasion:— “Her violin playing is not that of a child,—even a remarkable child—but that of an _artiste_ cultivated and accomplished. Her bowing is extremely graceful and free, her execution neat and clear, her intonation perfect.” Dwight’s Journal of Oct. 9th says:— “Little Camilla Urso, the violinist, but eleven years old, announced a concert at the Masonic Temple for last evening, just too late for notice in this paper. But we had the pleasure,—and a choice one it was—of hearing her the other evening in a company of some forty invited guests, in Mr. Chickering’s saloon. Her playing is not only truly wonderful, but wonderfully true;—true in style, expression, feeling, as it is true in intonation and all mechanical respects. She played Artot’s _Souvenirs de Bellini_, and never have we listened to a long fantasia of several themes, worked up in all manner of variations, with a purer pleasure. It was masterly; the firm and graceful bowing, the rich, pure, refined tone, the light and shade, the easy control of _arpeggio_, _staccato_, _double stops_, etc., were all such as we could only have expected from the maturest masters we have heard. We could scarcely credit our own eyes and ears.