Jenny lind was married to franz lizt8/31/2023 Other men closely linked to her included the composers Charles Gounod (she created the title role in his opera Sapho) and Hector Berlioz (who initially had her in mind for the role of Dido in Les Troyens, but changed his mind, which led to a cooling of his relations with the Viardots). The exact status of their relationship is a matter of debate. She, in turn, critiqued his work and through her connections and social abilities, presented him in the best light whenever they were in public. In 1845, he left Russia to follow Pauline and eventually installed himself in the Viardot household, treated her four children as his own, and adored her until he died. The Russian novelist Ivan Turgenev in particular fell passionately in love with her after hearing her rendition of The Barber of Seville in Russia in 1843. Her marriage did not stop the steady stream of infatuated men. Her son Paul became a concert violinist, her daughter Louise Héritte-Viardot became a composer and writer, and two other daughters became concert singers. Her children followed in her musical footsteps. He was devoted to her and became the manager of her career. The marriage took place on 18 April 1840. Viardot, an author and the director of the Théâtre Italien and twenty-one years Pauline's senior, was financially secure and would be able to provide Pauline with much more stability than de Musset. Her friend George Sand (who later based the heroine of her 1843 novel Consuelo on her) had a role in discouraging her from accepting de Musset's proposal, directing her instead to Louis Viardot (1800–1883). However, she remained on good terms with him for many years. Some sources say he asked for Pauline's hand in marriage, but she declined. Despite her flaws, she had an exquisite vocal technique combined with an astonishing degree of passion.Īt the age of 17, she met and was courted by Alfred de Musset, who had earlier been taken with her sister Maria Malibran. This proved to be the surprise of the season. She made her opera debut as Desdemona in Rossini's Otello in London in 1839. In 1837, 16-year-old Pauline García gave her first concert performance in Brussels. Royal Italian Opera (Covent Garden) (1848) (lithograph by John Brandard) Viardot as Valentina and Marietta Alboni as Urbano in Act 1 of Meyerbeer's Gli Ugonotti. However, her professional debut as a musician was as a pianist, accompanying her brother-in-law, the violinist Charles Auguste de Bériot. Liszt, Ignaz Moscheles, Adolphe Adam, Camille Saint-Saëns and others have left accounts of her excellent piano playing.Īfter Malibran's death in 1836, aged 28, Pauline became a professional singer, with a vocal range from C3 to F6. She remained an outstanding pianist all her life, and often played duets with her friend Frédéric Chopin, who approved of her arranging some of his mazurkas as songs, and even assisted her in this. It was with the greatest regret that she abandoned her strong vocation for the piano, which she did only because she did not dare to disobey her mother's wishes. She had taken piano lessons with the young Franz Liszt and counterpoint and harmony classes with Anton Reicha, the teacher of Liszt and Hector Berlioz and friend of Ludwig van Beethoven. She had wanted to become a professional concert pianist. After her father's death in 1832, her mother, soprano Joaquina Sitchez, took over her singing lessons, and forced her to focus her attention on her voice and away from the piano. Later in her career, she sang Russian arias so well that she was taken for a native speaker. As a little girl, she travelled with her family to London, New York City (where her father, mother, brother and sister gave the first full performance of Mozart's Don Giovanni in the United States, in the presence of the librettist, Lorenzo Da Ponte) and Mexico.īy the age of six she was fluent in Spanish, French, English, and Italian.
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