In 1848, George Sand, one of the most influential writers at the time, gave the 17-year-old musician an order: “I expect you to set off a revolution in art, just like people are currently Politically, Pauline García (Pauline García) was born in Paris on July 18, 1821 in a family that really loves music. She is the third of Spanish singer couple Manuel García père and Maria-Joaquina Sitchez. The youngest of the children. Her brother Manuel Patricio Rodríguez Garcia later invented the laryngoscope as a singing teacher; her sister Maria Malibran became the lead female singer in Europe, thanks to With Cecilia Bartoli, she is back in the public eye today. Pauline García spent her childhood growing up “on the road” with her family, that is, in the so-called orderly middle-class conditions At the time, this meant that a girl had an unusually large leeway to exceed the expectations of a specific gender, and to improve all the musical abilities and skills required by an opera company, including making costumes and decorations.
At first, she was trained as a pianist and even Franz Liszt, And later gave it to the singer after her sister died young. Her career took her to the European music metropolis at that time. Germany, the United Kingdom, and Russia are the main countries where they appear. In France, she played Fidès in Giacomo Meyerbeer’s “Le prophète” (Le prophète) in 1849, and then in 1859, with Hector Berlioz (Hector Berlioz) co-developed Gluck (Gluck) opera version, playing Orphée. But at the age of 42, she withdrew from the stage and lived with her husband Louis Viardot and four children in Baden-Baden, the “summer capital of Europe”. Working closely with the Russian writer Iwan Sergejewitsch Turgenjew, she is now devoted to composition and teaching. Especially in her stage play, she closely linked the two together.
She made Goethe and Heine music, but also made Pushkin and Fett
Since the beginning of her career, she has not only appeared on stage as an outstanding singer and actress, but also as a pianist and composer in concerts and salons. She collected and sorted folk music from different countries and regions; she was soon recognized as a music expert in the past era. For an internationally active singer, it is not surprising that she speaks different languages. She has this kind of versatility in music. It is her-also in the sense of style-that her multilingual works and arrangements make her an extraordinary character.
Until today, her work has posed many challenges to the current discussion on the form of cultural transfer: how to classify and how to deal with it? Pauline Viardot created Spanish bolero, Italian canzoni, French romance, melodies and chants, set the poems of Morik, Goethe and Heine as German songs, and set the poems of Pushkin, Corzo and Fett as Russian romances. Your catalog raisonné is provided by Christin Heitmann and can be accessed on the Internet (https://www.pauline-viardot.de/Werkverzeichnis.htm) proved that their music is multilingual, including popular music, including promotional songs for exotic soaps.
