The "Black Swan"

Philadelphia, April 17th, 1855.

Mr. FREDERICK DOUGLASS: Dear Sir:—Below you will find a criticism, which I cut out from the columns of the Pennsylvania of, I think, the 9th Instant, (published in this city, a paper that makes no pretensions whatever to Anti-Slavery sentiments,) in regard to the which, if you think it worthy of a place in your valuable Journal. I would be pleased to have you give it an insertion.

I think it is calculated to advance our cause both with friends and foes. It gives encouragement and comfort to us who are down-trodden and oppressed in this, the land of our birth to press onward in pursuit of knowledge, and in the acquisition of the Arts and Sciences &c; and as "we have planted our trees in the United States, and expect to repose under their shade," not intending to emigrate any where out of the country, but to battle for our rights in this our native land—a conflict in which you and many of our brethren are so zealously engaged—it is necessary to do so, and it demonstrates to our foes that notwithstanding all the obstacles that are thrown across our path, our cause is upward and onward, and we shall not cease our efforts until we shall enjoy equal rights and privileges with other men. We have now a Black Swan, Black Marie, and last, though not least, the Black Siddons, a lady who shall make her first public appearance as a Shakespearean reader at the Assembly building on Thursday evening next. The critics and editors who were present at a private reading, speak of her performance in the highest terms. It does appear to me, that the good time that we heard so long is coming, and when it does arrive, like one of old, I shall exclaim "Now, Lord, let thy servant depart in peace."

I remain, Yours, respectfully,

THOS. C. BOWLES

"This extraordinary demands from us a more extended notice than the short paragraphs we have heretofore devoted her merits. The solid and substantial reputation she has so soon acquired, (for her first appearance in publish is but of recent date,) in spite of the universal prejudice against her distinctive race, is proof positive that she possesses qualities as a singer that rank her among the first in the profession.—That this prejudice was so entirely overcome as to ensure her cheerful and coveted admission into the upper circles of English society, (for to be even patronized by so distinguished a lady as the Duchess of Sutherland is a distinction for which thousands might crave in vain,) speaks loudly in favor of her remarkable talents. That the London in its most authoritative capacity should declare her vocalization not only equal, but superior to that of most who have of late held the foremost rank in the world of music, is enough, it seems to us, to stamp her artistical reputation beyond a question. In England she was regarded and dealt with as an . The individual was lost sight of in the Professors, connoiseurs, amateurs, and the musical world generally endorsed her as a woman of transcendent vocal abilities, and one whose rendition of the rarest musical gems left nothing to be desired. It is, therefore, as an that we wish now to speak of her.

"The most remarkable effect produced on those who listen to her for the first time, is of unqualified and almost bewildering astonishment. We have yet to see the first man or woman who did not thus lealve her concert room, in a state bordering upon amazement. They go, expecting to hear something 'pretty good,' because they do not exactly doubt all they have heard in her favor, but they retire with the consciousness that they have been listening to one who ranks professedly with the Malibrans, the Sontags, and the Jenny Linds of the age.—Lost in delight from the effects of her delicious vocalization, they forgot at first to criticise, and when they attempt to exercise this propensity, they are again astounded to find that she is less obnoxious, even to criticism, than any of those whom they have heretofore elevated to the position of goddesses in the temple of music. Consequently, wherever she is heard for several consecutive nights, her success is almost parallel.

"Of her voice itself, we may remark that it is the most wonderful on record. It embraces with perfect ease, thirty-one distinct notes, being within one of four full cotaves. Over these she has the most perfect command, and oscillates with infinite grace, and with no apparent effort, from the deep sonorous bass of Rosi or Beneventano to the exquisitely defined bird-warblings of Jenny Lind. And when it is known that this is the natural compass of her voice, and that her tones never degenerate into a falsetto, it will be seen at once that she possesses an organ unrivalled to its capacities. Added to this, her gestures are perfectly graceful, lady-like, and often thrillingly effective.—She is equally good in every department of the science. The plaintive ballade, the light love song, the Scotch melody or the Italian , and the sacred harmonies, all find in her rendition the best representation of their respective merits, and it may truly be said of her, that "whatever she touches she adorns.'

"We have said no more than we intended nor than she deserves. We are glad to learn that she is about commencing an extended tour through the Western cities, and we can assure our friends that they will find her all that we have represented her to be. She does not lay claim to the public patronage simply as a musical novelty, but as a superior , inheriting and capable of commanding the universal recognition of her extraordinary abilities."