Pauline Viardot, Travelling Virtuosa

Poriss, Hilary

doi:10.1093/ml/gcv013

Music and Letters

2015

DOI: 10.1093/ml/gcv013

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Pauline Viardot, Travelling Virtuosa

Hilary Poriss¹

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Cited by 5 publications

References 8 publications

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An Earnest Meyerbeer:Le Prophèteat London’s Royal Italian Opera, 1849

Protano-Biggs¹

2017

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When the grands opéras of Giacomo Meyerbeer were introduced to London audiences as a cluster in the mid-1800s, critics identified moments of understated musical and dramatic expression, and made little mention of more sensational dimensions, such as their impressive staging. With a focus on the 1849 staging of Le Prophète at the brand-new Royal Italian Opera in London, this article demonstrates that numerous critics were keen to endorse this new opera house, where most of the composer’s works were mounted, and that, to this end, they zeroed in on the most bare and restrained elements in his works so as to invest them with moral and intellectual relevance for Victorian audiences. Approaching Le Prophète as various London critics did is to see it anew and to consider alternatives to recent narratives which have taken material excess as a starting point for understanding the success of Meyerbeer’s grands opéras on the continent.

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An Earnest Meyerbeer:Le Prophèteat London’s Royal Italian Opera, 1849

Protano-Biggs¹

2017

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Deferent Daisies: Caroline Miolan Carvalho, Christine Nilsson and Marguerite, 1869

Rowden¹

2018

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This article explores a slice of the careers of two ‘rival’ coloratura singers – the Swedish soprano Christine Nilsson and the French soprano Caroline Miolan Carvalho – during the period 1867 to 1870, and considers the internationalisation of singing careers, women's choices and negotiation of their career paths, and fortunes made and lost. With both singers employed at the Paris Opéra from November 1868 onwards as Gounod's Faust went into rehearsal, the focus falls on the ‘Battle of the Marguerites’ in the Parisian press in spring 1869, which raised heated questions of dramatic and vocal interpretation and style, often linked to cultural stereotypes, as well as artistic legitimacy and stature. Through examination of previously overlooked archival financial and legal records, this article also reveals for the first time that Miolan Carvalho was indentured to the director of the Opéra Emile Perrin during this period.

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A Project of Her Own: Emma Carelli's Enactment of Femininity in Early Twentieth-Century Italy

Gentili

2024

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The story of soprano and opera impresaria Emma Carelli (1877–1928) has often been recounted as the tale of a successful prima donna who rather abruptly turned to opera management in order to assist her husband, Walter Mocchi, in his entrepreneurial ventures. Drawing on a wealth of unpublished primary sources – including Carelli's scrapbooks, critics’ reviews and a set of letters she wrote to the impresario, critic and agent Adolfo Re Riccardi – my article demonstrates that Carelli's choice was entirely self-motivated and the product of her unique set of individual attributes. The significance of Carelli's journey can best be understood by situating the singer and impresaria within her contemporary social landscape and by examining her personal story through the lens of women's history. Such a perspective unveils the strategies that she adopted to enact a stirring ideal of femininity in opposition to the values of the liberal state in early twentieth-century Italy.

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Pauline Viardot, Travelling Virtuosa

Cited by 5 publications

References 8 publications

An Earnest Meyerbeer:Le Prophèteat London’s Royal Italian Opera, 1849

An Earnest Meyerbeer:Le Prophèteat London’s Royal Italian Opera, 1849

Deferent Daisies: Caroline Miolan Carvalho, Christine Nilsson and Marguerite, 1869

A Project of Her Own: Emma Carelli's Enactment of Femininity in Early Twentieth-Century Italy

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