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Teresa Carreño, after her sensational début in Berlin, 18 November 1889, at the Singakademie, attained international fame in the 1890s as the world's supreme woman pianist. She was the second daughter of Manuel Antonio Carreño, author of the etiquette textbook adopted in 1855 as a government-imposed text in Venezuelan colegios and universidades, and Clorinda García de Sena y Toro, niece of Simón Bolívar's wife and of one of his generals, Rodriguez Marqués del Toro. With the aid of his superior family connections, Manuel Antonio Carreño rose from an appointed position as director of Crédito Público and the Ministro de Hacienda, to director of the Banco de Venezuela (26 October 1861). A change of the political régime made it imperative in 1862 for him to leave Venezuela with another thirteen family members and attendants. Their expenses for departure on 23 July 1862, and for some initial months in the northeastern United States, were covered by grandmother Gertrudis del Toro's sale of property and income from the Manual's sales. Grandmother went with them but not Teresa's elder sister, Emilia, aged fifteen, who insisted on staying behind to marry her first cousin, Manuel Lorenzo Carreño. The record of Teresa's fabulous triumphs in New York, beginning with her début 25 November 1862, in Irving Hall, where she played five concerts through 15 December, and her first performance 2 January 1863 in Boston, where she immediately continued with another twelve sold-out appearances, has been rehearsed to satiety by all her biographers. In Dwight's Journal of Music, Dwight began thus: Little Miss Teresa Carreño is indeed a wonder. We do not care much for "prodigies", but this one did indeed interest me. A child of nine years, with fine head and face full of intelligence, rather Spanish-looking (she is from [End Page 163] Caracas) runs upon the stage of the great Music Hall, has a funny deal of difficulty in getting herself upon the seat before the Grand Piano, runs her fingers over the keyboard like a virtuoso, and then plays you a difficult Nocturne by Doehler,1 with octave passages and all, not only clearly and correctly, but with true expression. After a Gottschalk little thing played as gracefully almost as he would . . . she plays a yet more formidable piece, Thalberg's fantasia on Norma, full of all kinds of difficulties, this too with brilliancy, with nice shading, with expressions, her chords struck square and clean, like a master. In Dwight's next review, published 31 January 1863, (pg. 350), he takes account of her appearance as soloist in Mendelssohn's Capriccio Brillante, op. 22, accompanied by Carl Zerrahn's philharmonic ensemble. Liszt's Les Préludes, beginning part 1, and Beethoven's Leonora no. 3, beginning part 2, gave Dwight an opportunity to expatiate on Liszt's inferiority. Teresa's solos in part 2 again paraded operatic transcriptions, Rosellen's2 Fantasia from I due Foscari and Prudent's-from Lucia.3 Dwight closed his review with the question: But how did charming little Miss Teresa play the difficult and classical "Capriccio", and play for the first time with orchestra? . . . [In answering, he agreed] Marvelously well for a child . . . she kept good time, and brought out the most of it clearly, firmly, and even gracefully. Indeed, whether from the excitement of the new and formidable position, or in consequence of the concert she had already given a few hours before, there were symptoms of fatigue in all her pieces. The presentation of a medal in the name of the Orchestra, though well deserved, was not the loser as a Philharmonic feature of the "enterprise". In reply to the bestowal of the Philharmonic Society's medal, her manager George Danskin wrote a testimonial of her gratitude, accompanied by Teresa's note translated into English. At her next...
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