Jenny Lind, "the Swedish Nightingale," opened her American tour on September 11, 1850 in The Castle Garden in New York City. In addition to several performances there, she appeared in another eighteen cities. Invariably her concerts sold out. In some cities local citizens' committees raised tens of thousands of dollars to construct a suitable hall in which she could appear. Lind herself received the virtually unheard of sum of $187,500 (deposited in a London bank as a guarantee by P. T. Barnum who organized and promoted the tour). On October 18 and 19 she sang at the Musical Fund Hall, on Locust Street in Philadelphia. The two concerts netted $19,000. The Jenny Lind craze reached such heights, in Europe as well as the United States, that people began naming everything from locomotives to baby cribs after her.
In 1847, for example, the London & Brighton Railway ordered a new locomotive, which became known as the Jenny Lind, from the E. B. Wilson Railway Foundry at Leeds. The Jenny Lind was an immediate success and the Wilson Railway Foundry was soon producing one of these locomotives per week for railway companies all over Britain.
During the Gold Rush, the town of Jenny Lind was established in California.
In 1851 the clipper ship, Nightingale was built at Portsmouth, New Hampshire with a carved image of Jenny Lind as its masthead. You can read more, and find some useful links, at the Seacoast, N. H. site.
The "Mother Church" of the Augustana Lutheran Synod in the United States is the Jenny Lind Chapel. You can read about its early history here.
There is some helpful information at the Library of Congress.
Here is a photograph, shown at right, taken at Matthew Brady's Studio, in 1850 along with a reminiscence by the wife of the photographer who recalled that Lind gave them tickets for her next concert which concluded with her singing "Home, Sweet Home." There was scarcely "a dry eye in the hall."
There is a Samuel Walters oil painting, misdated in the caption, showing Jenny Lind's departure for New York in 1850.
Here is the Boston Daily Transcript for October 5, 1850 concerning Lind's "goings and doings" in that city.
Perhaps the most visually striking portrait of Lind was painted in 1846 by Eduard Magnus.
Even The Liberator, William Lloyd Garrison's abolitionist weekly, covered the "Jenny Rage" on November 8, 1850: The 'Jenny' Rage.--The New York Organ, in alluding to the present excitement in the Knickerbocker city, observes: 'New stores and saloons and hotels are christened 'Jenny Lind'; steamboats, locomotives, stages, and all vehicles are 'Jennys'; on 'Change they sell 'Jenny'-see wheat; the spinning 'Jenny' is eclipsed by the singing 'Jenny,' at least for this 'Jenny'-ration; people delight in tracing their 'Jenny' alogy back into Sweden; all men seem to be studying verbs in the 'Jenny'-tive case; 'Jenny'-rosity is a virtue no longer neglected; even our only military Major-Jenny-ral has surrendered to the queen; fond mothers call their babes, sportsmen their dogs and horses, farmers their cows and pigs, 'Jennys'; in short, 'Jenny' is the 'Jenny'-ric term for all these things, and for how many more, 'Jenny'-sais quoi.'
Some initial reflections:Jenny Lind was the great sensation of her age. No performer before or since achieved the breadth and depth of popularity she enjoyed. She was not simply a singer. Her voice was a great natural wonder. Listening to her was, for many, a religious experience. They felt uplifted, purified. Descriptions were uniformly touched with awe. As the dominant female icon of her generation, Lind became the "ideal woman." She combined artistic genius with sentiment, beauty with reserve.