Florence Foster Jenkins - Queen of the Night by Mozart.

Florence Foster Jenkins (July 19, 1868 – November 26, 1944) was an American socialite and amateur operatic soprano who was known and ridiculed for her lack of rhythm, pitch, and tone; her aberrant pronunciation; and her generally poor singing ability.

Born Nascina Florence Foster in Wilkes-Barre, Pennsylvania, the daughter of Mary Jane (née Hoagland 1851–1930) and Charles Dorrance Foster (1836–1909). She had one sibling, a sister named Lillian, who died at age 8 in 1883. She dropped her first name and went by her middle name, Florence, during her formative years. Her father was a lawyer, and his family was wealthy and owned land near Back Mountain, Pennsylvania.

Jenkins received piano lessons as a child and, after becoming a child prodigy pianist, performed all over the state of Pennsylvania, appearing in Sängerfests and even at the White House during the administration of President Rutherford B. Hayes.

Upon graduating from high school, she expressed a desire to go abroad to study music, but her wealthy father refused to pay the bill, so she retaliated and eloped with Dr. Frank Thornton Jenkins (1852–1917) and they moved to Philadelphia, Pennsylvania. They were married around 1885.
Shortly after their marriage, Jenkins contracted syphilis from her husband and Dr. Jenkins was never mentioned again. It is not known whether they obtained a divorce or separated, but she kept his family name as her own.

Jenkins earned a living in Philadelphia as a piano teacher, but after suffering an arm injury, she had no means to support herself and lived in near poverty. She was very close to her mother, Mary, who came to Foster's rescue and the two eventually moved to New York City around 1900. It is then that she decided to become a singer. In 1909, she met a British Shakespearean actor named St. Clair Bayfield (later her manager) and they later legalized the relationship in a common-law marriage that would last the rest of her life.

When her father died in 1909, Jenkins inherited sufficient funds to begin her long-delayed career in music. She took voice lessons and became involved in the musical social circles of New York City, where she founded and funded her own club, The Verdi Club. She became a member of dozens of women's clubs – literary, historical, etc. and she became Director of Music for many of these, as well as their producer of tableaux-vivants.

The best-known photograph of Jenkins shows her wearing angelic wings. This costume was designed for a tableau-vivant she produced, based on the painting Stephen Foster and the Angel of Inspiration by Howard Chandler Christy. It was also said that in every group of tableaux-vivants that she produced for the clubs, she would always be the main character in the final tableau of the group. She began giving recitals in 1912, when she was in her early 40s. Her mother Mary died in New York City at the Park Central Hotel in 1930, after which Jenkins inherited additional resources to continue her singing career.

From her recordings it is apparent that Jenkins had little sense of pitch or rhythm, and was barely capable of sustaining a note. Her accompanist, Cosmé McMoon, can be heard making adjustments to compensate for her tempo variations and rhythmic mistakes. Her dubious diction, especially in foreign languages, is also noteworthy. In retrospect, her difficulties have at least partially been attributed to her ongoing battle with syphilis, which caused progressive deterioration of her central nervous system. The ravages of her disease were compounded by side effects from poisonous mercury and arsenic treatments—the only therapy available for syphilis at the time. No effective treatment existed until the discovery of penicillin; by the time it became generally available, Jenkins' disease had progressed to the tertiary stage, which is unresponsive even to antibiotics.

Despite the vocal and musical inaccuracies of her performances, which took place mostly at small salons or recital halls, Jenkins became popular for the amusement she unwittingly provided. Audience members sometimes described her technique in an "intentionally ambiguous" way that may have served to pique public curiosity; for example, "Her singing at its finest suggests the untrammeled swoop of some great bird." Her audiences were by invitation only, and until her final performance at Carnegie Hall, no professional music critics ever reviewed her performances in the legitimate press. Favorable articles and bland reviews in musical publications, such as The Musical Courier, were most likely written by her friends, or herself.

Jenkins' lifelong need to perform began when she was seven years old, and she reportedly remained firmly convinced of her talent throughout her life. She compared herself favorably to the renowned sopranos Frieda Hempel and Luisa Tetrazzini, and dismissed the abundant audience laughter during her performances as "hoodlums ... planted by her rivals." She was aware of her detractors, but never let them stand in her way: "People may say I can't sing," she said, "but no one can ever say I didn't sing."

Her recitals featured a mixture of the standard operatic repertoire by Mozart, Verdi, and Johann Strauss (all well beyond her technical ability); Lieder by Brahms; Valverde's "Clavelitos" ("Little Carnations" – a favorite encore), and songs composed by herself or accompanist Cosmé McMoon.

Jenkins often wore elaborate costumes that she designed for herself, sometimes appearing in wings and tinsel, and, for "Clavelitos", throwing flowers into the audience from a basket (on one occasion, she hurled the basket as well) while fluttering a fan and sporting more flowers in her hair. After at least one "Clavelitos" performance the audience demanded that she sing it again, compelling McMoon to collect the flowers from the audience for the encore.

While riding in a taxi, it collided with another car and Jenkins let out a scream. She then discovered that she could sing "a higher F than ever before", and sent the cab driver a box of expensive cigars.

In spite of public demand, Jenkins restricted her rare performances to clubs and the Grand Ballroom of the Ritz-Carlton Hotel where she would give a recital annually in October. Attendance was limited to her loyal clubwomen and a select few others; she handled distribution of the coveted tickets herself, carefully excluding professional critics. At the age of 76 she finally yielded to public demand and performed at Carnegie Hall on October 25, 1944. Tickets for the event sold out weeks in advance and numerous celebrities attended, such as dancer and actress Marge Champion, song writer Cole Porter, composer Gian-Carlo Menotti, actress Kitty Carlisle and soprano Lily Pons with her husband, conductor André Kostelanetz (who composed a song for Jenkins to sing that night). Since this was her first "public" appearance, newspaper critics could not be prevented from attending. Their scathing, sarcastic reviews devastated Jenkins, according to Bayfield.

Two days following the Carnegie Hall concert, while shopping at G. Schirmer's Music Store, Jenkins suffered a heart attack. She died a month later, on November 26, 1944, at the age of 76 at her Manhattan residence, the Hotel Seymour in New York City.