Relevant bibliographies by topics / Paulina Viardot

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Paulina Viardot'

Author: Grafiati
Published: 4 June 2025
Last updated: 1 August 2025

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Journal articles on the topic "Paulina Viardot"

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Bechtel, Lydia. "Pay It Forward Pedagogy: How Anna Schoen-René Brought the Garcia-Viardot Method to the United States." Journal of Singing 79, no. 5 (2022): 671–78. http://dx.doi.org/10.53830/wljs9294.

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In the nineteenth and twentieth centuries, mezzo-soprano Pauline Viardot (1821–1910) built a devoted studio of young performers and future teachers. Her students dedicated themselves to her teaching method, and continued to praise what they learned from her when they began their own singing and teaching careers. One of her most loyal students, Anna Schoen-René (1864–1942), brought Viardot’s pedagogical fame to the United States and continued Viardot’s legacy through her promotion of music, teaching of healthy vocal technique through the Garcia method, expectation of loyalty, and charitable per
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Редепеннинг, Доротея. "Music and Poetry in Dialogue: Pauline Viardot and Ivan Turgenev." Музыкальная академия, no. 3(779) (September 26, 2022): 76–97. http://dx.doi.org/10.34690/254.

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В статье рассматриваются песни Полины Виардо, имеющие несколько вариантов текста на разных языках; определяется роль, которую сыграл Иван Тургенев в композиторском творчестве певицы, а также обосновывается гипотеза о влиянии музыки Виардо на выполненные для нее Тургеневым поэтические переводы. В качестве необходимого контекста излагается информация о художественном кружке, сложившемся в Баден-Бадене в 1860-е годы вокруг семьи Виардо и Тургенева, а также об изданиях песен Виардо в России, Германии и Франции. Специфические требования Тургенева к переводу текстов песен выясняются путем анализа ег
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Poriss, H. "Pauline Viardot, Travelling Virtuosa." Music and Letters 96, no. 2 (2015): 185–208. http://dx.doi.org/10.1093/ml/gcv013.

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Willson, Flora. "Classic staging: Pauline Viardot and the 1859 Orphée revival." Cambridge Opera Journal 22, no. 3 (2010): 301–26. http://dx.doi.org/10.1017/s0954586711000267.

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AbstractThe 1859 revival of Gluck's Orphée, reworked for the occasion by Berlioz, was one of a series of operatic résurrections staged at the Théâtre-Lyrique in Paris during the Second Empire. Starring Pauline Viardot (1821–1910) in the title role, it was the first major revival of Gluck's opera since the 1820s and attracted considerable attention in the press and elsewhere. Critics and others were fascinated by Viardot's dramatic presence on stage, producing images (both in pictures and words) of her Orpheus that are often striking in their awareness of time past. Indeed, ambivalence about th
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Sieffert-Rigaud, Yvette. "Pauline Viardot, femme et artiste." Romantisme 17, no. 57 (1987): 17–32. http://dx.doi.org/10.3406/roman.1987.4878.

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Koschmal, Walter. "Iwan Turgenjew und Pauline Viardot." Zeitschrift für Slawistik 64, no. 3 (2019): 493–97. http://dx.doi.org/10.1515/slaw-2019-0026.

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Teruel, Medina Ana. "Potencia Viardot. Descubriendo una leyenda." Música Oral del Sur, no. 19 (December 30, 2022): 186–202. https://doi.org/10.5281/zenodo.7602461.

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The piece Potencia Viardot was a musical commission by the Nineteenth Cádiz Spanish Music Festival and by the National Centre of Musical Diffusion. It was premiered in the puppet Theatre La Tía Norica, in the concert of the female composers Workgroup, De paseo con Pauline, performed by Zukan Trio. This article shows the compositional process of the work which led me to the discovery of the figure of Pauline García de Viardot and the second lived experience in the Workgroup. It also gives us an analytical approach to the score.
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Domansky, Valery A., and Dorothea Redepenning. "I. S. Turgenev’s Late Vocal Translations for Music Albums of Pauline Viardot." Two centuries of the Russian classics 7, no. 1 (2025): 372–425. https://doi.org/10.22455/2686-7494-2025-7-1-372-425.

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The article examines I. S. Turgenev’s late translations for the music albums of Pauline Viardot. The authors analyse the vocal album of Pauline Viardot from 1874. For the first time, the article provides a linguacultural analysis of the translations of poems from this album (from German into Russian and from Russian into German), and attributes the authorship of the translations belonging to Turgenev. The authors of the article consider another aspect of the co-creation of Turgenev with Pauline Viardot, which remained virtually unexplored until now, i. e., the creation of the music albums of “
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Zviguilsky, Alexandre. "Ernest Renan, Tourguéniev et Pauline Viardot." Études Renaniennes 93, no. 1 (1993): 3–19. http://dx.doi.org/10.3406/renan.1993.1457.

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Schillemeit, Rosemarie. "Wilhelm Raabe und Pauline Viardot-García." Jahrbuch der Raabe-Gesellschaft 31, no. 1 (1990): 130–37. http://dx.doi.org/10.1515/9783110243796.130.

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Dissertations / Theses on the topic "Paulina Viardot"

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Sieffert-Rigaud, Yvette. "Pauline Viardot : Mythe et réalité." Rouen, 1991. http://www.theses.fr/1991ROUEL124.

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Pauline Viardot, cantatrice du dix-neuvième siècle, sœur de la diva romantique Maria Malibran, est contrainte de lutter pour s'imposer face à un public qui ne voit en elle que l'héritière d'un mythe. Elle fait connaitre l'opéra italien à Saint-Petersbourg, parcourt l'Europe, interprète les grands rôles du répertoire lyrique. Elle inspire peintres, écrivains et musiciens. Elle est l'amie de George Sand qui la transforme en personnage de roman : Consuelo. Pendant quarante ans, elle est l'interlocutrice, la correspondante privilégiée de Tourgueniev. Personnalité originale, artiste et femme de réf
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McCormack, Jessica. "The influence of national styles on the compositions of Pauline Viardot." Thesis, connect to online resource. Recital, recorded Mar. 1, 2007, in digital collections. Access restricted to the University of North Texas campus, 2009. http://digital.library.unt.edu/permalink/meta-dc-9923.

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Fairbank, Rebecca Bennett. "Devastating Diva: Pauline Viardot and Rewriting the Image of Women in Nineteenth-Century French Opera Culture." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3788.

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Historically vilified, the vocalizing woman developed a stereotyped image with the emergence of the prima donna in eighteenth-century opera. By the nineteenth century, the prima donna became the focal point for socio-cultural polemics: women sought financial and social independence through a career on the operatic stage while society attempted to maintain through various means the socio-cultural stability now threatened by women's mobility. The prima donna represented both a positive ideal for women as well as a great threat to western patriarchy. A discourse emerged in which the symbol of fem
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Kao, Ya-Fang, and 高雅芳. "The Analysis and Interpretation of Pauline Viardot-Garcia’s Art Songs." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/72210377267467500933.

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碩士<br>國立臺北教育大學<br>音樂學系碩士班<br>104<br>Pauline Viardot-Garcia was a French singer and composer with Spanish descent in the nineteenth-century, who published almost two hundred pieces of work. The thesis focuses on the analysis and interpretation of some of Pauline’s art songs. The thesis provides a discourse on her compositions through her life, family and relationships with other composers. The thesis is comprised by four parts. The first chapter is the preface which talks about the motivation and scope of research. The second chapter is the introduction of Pauline Viardot-Garcia and description
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Chang, Szu-Ting, and 張思婷. "The Analysis and Interpretation of Pauline Viardot’s Four Songs." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/37350156263950980152.

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碩士<br>臺北市立大學<br>音樂學系<br>104<br>Abstract Pauline Viardot-García (1821–1910), a celebrated French mezzo-soprano of Spanish descent, with a career that spanned over almost 24 years, devoted every effort to vocal music education. Daughter of Manuel del Pópulo Vicente Rodriguez García (1775-1832), founder of the García school, Pauline inherited and fine-tuned her parents’ teaching methods to promote the art of singing and reached the peak of her career. In this paper, we used the following four art songs by Pauline Viardot-García, a nineteenth century composer, to analyze the interpretation of thes
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"Pauline Viardot’s Cendrillon and its Relevancy for the Developing Opera Singer." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.44042.

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abstract: Aspiring opera singers receive training in many different areas including vocal technique, acting, foreign languages, and role preparation to help them prepare for the demands of the standard operatic repertoire. Many of the operatic roles within the standard repertoire are too demanding in their entirety for young singers who are still developing physically and intellectually. Vocal health is a great concern for young voice students and their teachers. An operatic role which demands more stamina or control than a student is currently capable of executing in a healthy way can result
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Synofzik, Thomas. "»Würde Sie’s zu sehr ermüden zu begleiten?« – Clara Schumann als Lied- und Kammermusikpartnerin." 2020. https://slub.qucosa.de/id/qucosa%3A72643.

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80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conduct
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Books on the topic "Paulina Viardot"

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Barry, Nicole. Pauline Viardot. Flammarion, 1990.

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Barbier, Patrick. Pauline Viardot. Grasset, 2009.

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Zviguilsky, Alexandre. Pauline Viardot, cent ans après. L'Harmattan, 2018.

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1821-1910, Viardot-García Pauline, Goldbeck Melanie von, and Jardin Étienne, eds. Lettres de Charles Gounod à Pauline Viardot. Actes sud, 2015.

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Butaux, Arièle. La vestale: Le roman de Pauline Viardot. M. de Maule, 2001.

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6

Ute, Lange-Brachmann, and Draheim Joachim, eds. Pauline Viardot in Baden-Baden und Karlsruhe. Nomos, 1999.

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1821-1910, Viardot-García Pauline, ed. Pauline Viardot: Au miroir de sa correspondance. Hermann, 2008.

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Grevs, I. M. Istorii︠a︡ odnoĭ li︠u︡bvi: I.S. Turgenev i Polina Viardo. "Universitetskoe", 1993.

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Kendall-Davies, Barbara. The life and work of Pauline Viardot Garcia. Cambridge Scholars Press, 2003.

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Sharandak, N. P. (Natalʹi︠a︡ Pavlovna), author, ed. Iwan Turgenjew und Pauline Viardot: Eine außergewöhnliche Liebe. Insel Verlag, 2018.

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Book chapters on the topic "Paulina Viardot"

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Borchard, Beatrix. "Pauline Viardot-Garcia." In Musik in Baden-Württemberg. Jahrbuch 2021/22. Springer Berlin Heidelberg, 2022. http://dx.doi.org/10.1007/978-3-662-66099-7_24.

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Wenzel, Silke. "Pauline Viardot und „Le savon du Congo“." In Musikgeschichten - Vermittlungsformen. Böhlau Verlag, 2010. http://dx.doi.org/10.7788/boehlau.9783412213275.247.

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Stier, Melanie. "Pauline Viardot Garcia und die Oper Le Prophète von Giacomo Meyerbeer." In Musikgeschichten - Vermittlungsformen. Böhlau Verlag, 2010. http://dx.doi.org/10.7788/boehlau.9783412213275.107.

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Nichols, Roger. "Pauline Viardot." In Camille Saint-Saëns. Oxford University Press, 2008. http://dx.doi.org/10.1093/acprof:oso/9780195320169.003.0026.

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Binder, Benjamin. "Performance Matters in Heine: The Case of Pauline Viardot’s ‘Das ist ein schlechtes Wetter’." In Song Beyond the Nation. British Academy, 2021. http://dx.doi.org/10.5871/bacad/9780197267196.003.0006.

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Heinrich Heine’s poem ‘Das ist ein schlechtes Wetter’ (Die Heimkehr 29) can be read as a meta-poem about the ambivalence of his ironic art. The poet looks through his window into the stormy darkness, and we cannot tell if his perceptions of a mother carrying groceries and her daughter sitting at home are real or imagined. Reception of the poem has been similarly divided, with some critics likening the poem to a genre painting in a realist vein, and others citing it as another manifestation of Heine’s love-hate relationship with Romantic idealism. Literary translations and musical settings of t
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"Vorwort der Herausgeberinnen." In Pauline Viardot-Garcia. Böhlau Verlag, 2016. http://dx.doi.org/10.7788/9783412502683-001.

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"Vorbemerkung." In Pauline Viardot-Garcia. Böhlau Verlag, 2016. http://dx.doi.org/10.7788/9783412502683-002.

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"Freiheit und Bindung – Pauline Viardot-Garcia." In Pauline Viardot-Garcia. Böhlau Verlag, 2016. http://dx.doi.org/10.7788/9783412502683-003.

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"Montage I: Die Schönheit der Genialität." In Pauline Viardot-Garcia. Böhlau Verlag, 2016. http://dx.doi.org/10.7788/9783412502683-004.

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"Montage II: Ein Genius, der alles Material vergessen macht." In Pauline Viardot-Garcia. Böhlau Verlag, 2016. http://dx.doi.org/10.7788/9783412502683-005.

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Conference papers on the topic "Paulina Viardot"

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Prelovšek, Anita. "Music in the life and works of Ivan Sergeyevich Turgenev." In Socratic Lectures 7. University of Lubljana Press, 2022. http://dx.doi.org/10.55295/psl.2022.d22.

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The article deals with the role of music in the life and literary works of Ivan Sergeyevich Turgenev. Music played an important part in his life, partly owing to his friendship with the mezzo-soprano Pauline García Viardot, who remained his muse for forty years, until his death. Turgenev was familiar with several musical genres, especially classical music, and knew personally many lead-ing musicians and composers of the time, such as Liszt, Berlioz, Gounod and Saint-Saëns. Different musical impressions found an important place in the works of the writer, and some of the musical fragments of Tu
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