One of the most highly regarded singers of the 19th century, she performed in soprano roles in opera in Sweden and across Europe, and undertook an extraordinarily popular concert tour of the United States beginning in 1850.

With her new husband, Otto Goldschmidt, she returned to Europe in 1852, where she had three children and gave occasional concerts over the next three decades, settling in England in 1855.

[2] The maid, astounded by Lind's extraordinary voice, returned the next day with Lundberg, who arranged an audition and helped her gain admission to the Royal Dramatic Training Academy, the acting school of the Royal Dramatic Theatre, where she studied with Carl Magnus Craelius, the singing master at the theatre.

[4] After Lind had been with García for a year, the composer Giacomo Meyerbeer, an early and faithful admirer of her talent, arranged an audition for her at the Opéra in Paris, but she was rejected.

The biographer Francis Rogers concludes that Lind strongly resented the rebuff: when she became an international star, she always refused invitations to sing at the Paris Opéra.

"[5] The biographer Carol Rosen believes that after Lind rejected Andersen as a suitor, he portrayed her as The Snow Queen with a heart of ice.

[4] That led to more engagements in opera houses throughout Germany and Austria, but such was her success in Berlin that she continued there for four months before she left for other cities.

[7] Ignaz Moscheles wrote: "Jenny Lind has fairly enchanted me... her song with two concertante flutes is perhaps the most incredible feat in the way of bravura singing that can possibly be heard".

In December 1845, the day after her debut at the Leipzig Gewandhaus under the baton of Mendelssohn, she sang without fee for a charity concert in aid of the Orchestra Widows' Fund.

[8] After a successful season in Vienna, where she was mobbed by admirers and feted by the Imperial Family,[3] Lind traveled to London and gave her first performance there on 4 May 1847, when she appeared in an Italian version of Meyerbeer's Robert le diable.

It was attended by Queen Victoria; the next day, The Times wrote: We have had frequent experience of the excitement appertaining to "first nights", but we may safely say, and our opinion will be backed by several hundreds of Her Majesty's subjects, that we never witnessed such a scene of enthusiasm as that displayed last night on the occasion of Mademoiselle Jenny Lind's début as Alice in an Italian version of Robert le diable.

[12] Lind's biographer Francis Rogers wrote, "The reasons for her early retirement have been much discussed for nearly a century, but remain today a matter of mystery.

[13] In 2013, George Biddlecombe confirmed in the Journal of the Royal Musical Association that "The Committee of the Mendelssohn Scholarship Foundation possesses material indicating that Mendelssohn wrote passionate love letters to Lind entreating her to join him in an adulterous relationship and threatening suicide as a means of exerting pressure upon her, and that these letters were destroyed on being discovered after her death".

She finally did so at a performance in London's Exeter Hall in late 1848, which raised £1,000 to fund a musical scholarship as a memorial to him; it was her first appearance in oratorio.

[2] In 1849, Lind was approached by the American showman P. T. Barnum with a proposal to tour throughout the United States, giving 150 concerts in eighteen months.

Realising that it would yield large sums for charity, particularly the endowment of free schools in her native Sweden, Lind demanded a fixed fee of $1,000 per concert, and in January 1850 Barnum agreed.

[4][18] Together with a supporting baritone, Giovanni Belletti, and her London colleague, Julius Benedict, as pianist, arranger and conductor, Lind sailed to America in September 1850.

[19] After her first two performances in New York in September 1850,[20] Lind's party toured the east coast of the United States, with continued success, and later took in Cuba, the Southern US and Canada.

By early 1851, Lind had become uncomfortable with Barnum's relentless marketing of the tour, and she invoked a contractual right to sever her ties with him; they parted amicably.

In 1856, at the invitation of the Philharmonic Society conducted by William Sterndale Bennett, she sang the chief soprano part in the first English performance of the cantata Paradise and the Peri by Robert Schumann.

She believed in an all-round musical training for her pupils, insisting that, in addition to their vocal studies, they were instructed in solfège, piano, harmony, diction, deportment and at least one foreign language.

[2] She died of cancer at age 67 at Wynds Point on 2 November 1887, and was buried in the Great Malvern Cemetery to the music of Chopin's Funeral March.

[34] The biographer Francis Rogers concludes that although Lind was much admired by Meyerbeer, Mendelssohn, the Schumanns, Berlioz and others, "In voice and in dramatic talent she was undoubtedly inferior to her predecessors, Malibran and Pasta, and to her contemporaries, Sontag and Grisi.

"[4] He notes that because of her expert promoters, including Barnum, "almost all that was written about her was undoubtedly biased by an almost overwhelming propaganda in her favor, bought and paid for".

[4] The critic H. F. Chorley, who admired Lind, described her voice as having "two octaves in compass – from D to D – having a higher possible note or two, available on rare occasions;[n 3] and that the lower half of the register and the upper one were of two distinct qualities.

"[35] Chorley praised her breath management, her use of pianissimo, her taste in ornament and her intelligent use of technique to conceal the differences between her upper and lower registers.

He thought her "execution was great" and that she was a "skilled and careful musician" but felt that "many of her effects on the stage appeared overcalculated" and that singing in foreign languages impeded her ability to give expression to the text.

Among those present at the memorial's unveiling ceremony on 20 April 1894 were Goldschmidt, members of the Royal Family, Sullivan, Sir George Grove and representatives of some of the charities supported by Lind.

[45] A bronze statue of a seated Jenny Lind by Erik Rafael-Rådberg, dedicated in 1924, sits in the Framnäs section of Djurgården island in Stockholm.

[66] The American Swedish Historical Museum's Jenny Lind Room is devoted to her and the lasting effects of her widespread popularity in America.