Chapter 8

Pauline Garcia's voice was a rebel which she had had to subdue, not a vassal to command, like the glorious organ of Mme. Grisi, but her harsh and unmanageable notes had been tutored by a despotic drill into great beauty and pliancy. Like that of her sister in quality, it combined the two registers of contralto and soprano from low F to C above the lines, but the upper part of an originally limited mezzo-soprano had been literally fabricated by an iron discipline, conducted by the girl herself with all the science of a master. Like Malibran, too, she had in her voice the soul-stirring tone, the sympathetic and touching character by which the heart is thrilled. Her singing was expressive, descriptive, thrilling, full, equal and just, brilliant and vibrating, especially in the medium and in the lower chords. Capable of every style of art, it was adapted to all the feelings of nature, but particularly to outbursts of grief, joy, or despair. "The dramatic coloring which her voice imparts to the slightest shades of feeling and passion is a real phenomenon of vocalization which can not be analyzed," says Escudier. "No singer we ever heard, with the exception of Malibran," says another critic, "could produce the same effect by means of a few simple notes. It is neither by the peculiar power, the peculiar depth, nor the peculiar sweetness of these tones that the sensation is created, but by something indescribable in the quality which moves you to tears in the very hearing."

Something of this impression moved the general mind of connoisseurs on her first dramatic appearance. Her style, execution, voice, expression, and manner so irresistibly reminded her fellow-performers of the lamented Malibran, that tears rolled down their cheeks, yet there was something radically different withal peculiar to the singer. This singular resemblance led to a curious incident afterward in Paris. A young lady was taking a music-lesson from Lablache, who had lodgings in the same house with Mlle. Garcia. The basso was explaining the manner in which Malibran gave the air they were practicing. Just then a voice was heard in the adjoining room singing the cavatina--the voice of Mdlle. Garcia. The young girl was struck with a fit of superstitious terror as if she had seen a phantom, and fainted away on her seat.

Yet in person there was but a slight resemblance between the two sisters. Pauline had a tall, slender figure in her youth, and her physiognomy, Jewish in its cast, though noble and expressive, was so far from being handsome that when at rest the features were almost harsh in their irregularity. But, as in the case of many plain women, emotion and sensibility would quickly transfigure her face into a marvelous beauty and fascination, far beyond the loveliness of line and tint. Her forehead was broad and intellectual, the hair jet-black, the complexion pale, the large, black eyes ardent and full of fire. Her carriage was singularly majestic and easy, and a conscious nobility gave her bearing a loftiness which impressed all beholders.

Her singing and acting in _Desdemona_ made a marked sensation. Though her powers were still immature, she flooded the house with a stream of clear, sweet, rich melody, with the apparent ease of a bird. Undismayed by the traditions of Mali-bran, Pasta, and Sontag in this character, she gave the part a new reading, in which she put something of her own intense individuality. "By the firmness of her step, and the general confidence of her deportment," said a contemporary writer, "we were at first induced to believe that she was not nervous; but the improvement of every succeeding song, and the warmth with which she gave the latter part of the opera, convinced us that her power must have been confined by something like apprehension." Kubini was the _Otello_, Tamburini, _Iago_, and Lablache, _Elmiro_. Her performance in "La Cenerentola" confirmed the good opinion of the public. Her pure taste and perfect facility of execution were splendidly exhibited. "She has," said a critic, "more feeling than Mme. Cinti Da-moreau in the part in which the greater portion of Europe has assigned to her the preeminence, and execution even now in nearly equal perfection."

M. Viardot, a well-known French _littérateur_, was then director of the Italian Opera in Paris, and he came to London to hear the new singer--in whom he naturally felt a warm interest, as he had been an intimate personal friend of Mme. Malibran. He was so delighted that he offered her the position of prima donna for the approaching season, but the timidity of the young girl of eighteen shrank from such a responsibility, and she would only bind herself to appear for a few nights. The French public felt a strong curiosity to hear the sister of Mali-bran, and it was richly rewarded, for the magnificent style in which she sang her parts in "Otello," "La Cenerentola," and "Il Barbiere" stamped her position as that not only of a great singer, but a woman of genius. The audacity and wealth of resource which she displayed on the first representation of the latter-named opera wore worthy of the daughter of Garcia and the sister of Malibran, Very imperfectly acquainted with the music, she forgot an important part of the score. Without any embarrassment, she instantly improvised not merely the ornament, but the melody, pouring out a flood of dazzling vocalization which elicited noisy enthusiasm. It was not Rossini's "Il Barbiere," but it was successful in arousing a most flattering approbation. It may be fancied, however, that, when she sang the _rôle_ of _Rosina_ a second time, she knew the music as Rossini wrote it.

III.

Mlle. Garcia was now fairly embarked on the hereditary profession of her family, and with every prospect of a brilliant career, for never had a singer at the very outset so signally impressed herself on the public judgment, not only as a thoroughly equipped artist, but as a woman of original genius. But she temporarily retired from the stage in consequence of her marriage with M. Viardot, who had fallen deeply in love with the fascinating cantatrice, shortly after his introduction to her. The bridegroom resigned his position as manager of the Opera, and the newly married couple, shortly after their nuptials in the spring of 1840, proceeded to Italy, M. Viardot being intrusted with an important mission relative to the fine arts. Mme. Viardot did not return to the stage till the spring of the following year. After a short season in London, in which she made a deep and abiding impression, in the part of _Orazia_ ("Gli Orazi ed i Curiazi"), and justified her right to wear the crown of Pasta and Malibran, she was obliged by considerations of health to return to the balmier climate of Southern Europe.

While traveling in Spain, the native land of her parents, she was induced to sing in Madrid, where she was welcomed with all the warmth of Spanish enthusiasm. Her amiability was displayed during her performance of _Desdemona_, the second opera presented. Pleased with the unrestrained expressions of delight by the audience, she voluntarily sang the _rondo finale_ from "Cenerentola." There was such a magic spell on the audience that they could not be prevailed upon to leave, though Mme. Viardot sang again and again for them. At last the curtain fell and the orchestra departed, but the crowd would not leave the theatre. The obliging cantatrice, though fatigued, directed a piano-forte to be wheeled to the front of the stage, and sang, to her own accompaniment, two Spanish airs and a French romance, a crowning act of grace which made her audience wild with admiration and pleasure. An immense throng escorted her carriage from the theatre to the hotel, with a tumult of _vivas_. During this Spanish tour she appeared in opera in several towns outside of the capital, in the important pieces of her répertoire, including "Il Barbiere" and "Norma," operas entirely opposed to each other in style, but in both of which she was favorably judged in comparison with the greatest representatives of these characters.

When this singer first appeared, every throne on the lyric stage seemed to be filled by those who sat firm, and wore their crowns right regally by the grace of divine gifts, as well as by the election of the people. There seemed to be no manifest place for a new aspirant, no niche unoccupied. But within three years' time Mme. Viardot's exalted rank among the great singers of the age was no less assured than if she had queened it over the public heart for a score of seasons, and in her endowment as an artist was recognized a bounteous wealth of gifts to which none of her rivals could aspire. Her resources appeared to be without limit; she knew every language to which music is sung, every style in which music can be written with equal fluency. All schools, whether ancient or modern, severe or florid, sacred or profane, severely composed or gayly fantastic, were easily within her grasp. Like Malibran, she was a profoundly scientific musician, and possessed creative genius. Several volumes of songs attest her inventive skill in composition, and the instances of her musical improvisation on the stage are alike curious and interesting. Such unique and lavish qualities as these placed the younger daughter of Garcia apart from all others, even as the other daughter had achieved a peculiarly original place in her time. Like Lablache, in his basso _rôles_, Mme. Viardot, by her genius completely revolutionized, both in dramatic conception and musical rendering, many parts which had almost become stage traditions in passing through the hands of a series of fine artists. But the fresher insight of a vital originating imagination breathed a more robust and subtile life into old forms, and the models thus set appear to be imperishable. It has been more than hinted by friends of the composer Meyerbeer, that, when his life is read between the lines, it will be known that he owes a great debt to Pauline Viardot for suggestions and criticism in one of his greatest operas, as it is well known that he does to the tenor, Adolphe Nourrit, for some of the finest features of "Robert le Diable" and "Les Huguenots."

In October, 1842, Mme. Viardot made her reappearance on the French stage at the Théâtre Italien as _Arsace_ in "Semiramide," supported by Mme. Grisi and Tamburini. There was at this time such a trio of singers as is rarely found at any one theatre, Pauline Viardot, Giulia Grisi, and Fanny Persiani, each one possessing voice and talent of the highest character in her own peculiar sphere. Not the smallest share of the honors gathered by these artists came to Mme. Viardot who had for intelligent and thoughtful connoisseurs a charm more subtile and binding than that exercised by any of her rivals. At the close of the Paris season she proceeded to Vienna, where her artistic gifts were highly appreciated, and thence to Berlin, where Meyerbeer was then engaged in composing his "Prophète." The dramatic conception of _Fides_, it may be said in passing, was expressly designed for Pauline Viardot by the composer, who had the most exalted esteem for her genius, both as a musician and tragedienne. She was always a great favorite in Germany, and Berlin and Vienna vied with each other in their admiration of this gifted woman. In 1844 she stirred the greatest enthusiasm by singing at Vienna with Ilonconi, a singer afterward frequently associated with her.

Perhaps at no period of her life, though, did Mme. Viardot create a stronger feeling than when she appeared in Berlin in the spring of 1847 as _Rachel_ in Halévy's "La Juive." It was a German version, but the singer was perfect mistress of the language, and though the music of the opera was by no means well suited to the character of her voice, its power as a dramatic performance and the passion of the singing established a complete supremacy over all classes of hearers. The exhibition on the part of this staid and phlegmatic German community was such as might only be predicated of the volcanic temperament of Rome or Naples. The roar of the multitude in front of her lodgings continued all night, and it was dawn before she was able to retire to rest. The versatility and kind heart of Mme. Viardot were illustrated in an occurrence during this Berlin engagement. She had been announced as _Alice_ in "Robert le Diable," when the _Isabella_ of the evening, Mlle. Tuezck, was taken ill. The _impressario_ tore his hair in despair, for there was no singer who could be substituted, and a change of opera seemed to be the only option. Mme. Viardot changed the gloom of the manager to joy. Rather than disappoint the audience, she would sing both characters. This she did, changing her costume with each change of scene, and representing in one opera the opposite _rôles_ of princess and peasant. One can imagine the effect of this great feat on that crowded Berlin audience, who had already so warmly taken Pauline Viardot to their hearts. Berlin, Vienna, Hamburg, Dresden, Frankfort, Leipsic, and other German cities were the scenes of a series of triumphs, and everywhere there was but one voice as to her greatness as an artist, an excellence not only great, but unique of its kind. Her répertoire at this time consisted of _Desdemona, Cenerentola, Rosina, Camilla (in "Gli Orazi"), Arsace, Norma, Ninetta, Amina, Romeo, Lucia, Maria di Rohan, Leonora ("La Favorita" ), Zerlina, Donna Anna, Iphigénie (Gluck), the Rachel of Halévy, and the Alice and Valentine of Meyerbeer_.

IV.

Mme. Viardot's high position on the operatic stage of course brought her into intimate association with the leading singers of her age, some of whom have been mentioned in previous sketches. But there was one great tenor of the French stage, Nourrit, who, though he died shortly after Mme. Viardot's entrance on her lyric career, yet bore such relation to the Garcia family as to make a brief account of this gifted artist appropriate under this caption. Adolphe Nourrit, of whom the French stage is deservedly proud, was the pupil of Manuel Garcia, the intimate friend of Maria Malibran, and the judicious adviser of Pauline Viardot in her earlier years. The son of a tenor singer, who united the business of a diamond broker with the profession of music, young Nourrit received a good classical education, and was then placed in the Conservatoire, where he received a most thorough training in the science of music, as well as in the art of singing. It was said of him in after-years that he was able to write a libretto, compose the music to it, lead the orchestra, and sing the tenor rôle in it, with equal facility. His first appearance was in Gluck's "Iphigenie en Tauride," in 1821, his age then being nineteen. Gifted with remarkable intelligence and ambition, he worked indefatigably to overcome his defects of voice, and perfect his equipment as an artist. Manuel Garcia, the most scientific and exacting of singing teachers, was the _maestro_ under whom Nourrit acquired that large and noble style for which he became eminent. He soon became principal tenor at the Académie, and created all of the leading tenor rôles of the operas produced in France for ten years. Among these may be mentioned _Néoclès_ in "La Siège de Corinthe," _Masaniello_ in "La Muette de Portici,"_Arnold_ in "Guillaume Tell," _Leonardo da Vinci_ in Ginestell's "François I," _Un Lnconnu_ in "Le Dieu et la Bayadere," _Robert le Diable, Edmond_ in "La Serment," _Nadir_ in Cherubini's "Ali Baba," _Eleazar_ in "La Juive," _Raoul_ in "Les Huguenots," _Phobus_ in Bertini's "La Esmeralda," and _Stradella_ in Niedermeyer's opera.

Nourrit gave a distinct stamp and a flavor to all the parts he created, and his comedy was no less refined and pleasing than his tragedy was pathetic and commanding. He was idolized by the public, and his influence with them and with his brother artists was great. He was consulted by managers, composers, and authors. He wrote the words for Eleazar's fine air in "La Juive," and furnished the suggestions on which Meyerbeer remodeled the second and third acts of "Robert le Diable" and the last act of "Les Huguenots." The libretti for the ballets of "La Sylphide," "La Tempête," "L'île des Pirates," "Le Diable Boiteux," etc., as danced by Taglioni and Fanny Elssler, were written by this versatile man, and he composed many charming songs, which are still favorites in French drawing-rooms. It was Nourrit who popularized the songs of Schubert, and otherwise softened the French prejudice against modern German music. In private life this great artist was so witty, genial, and refined, that he was a favorite guest in the most distinguished and exclusive _salons_. When Duprez was engaged at the opera it severely mortified Nourrit, and, rather than divide the honors with a new singer, he resigned his position as first tenor at the Académie, where he so long had been a brilliant light. His farewell to the French public, April 1, 1837, was the most flattering and enthusiastic ovation ever accorded to a French artist, but he could not be induced to reconsider his purpose. He was professor of lyric declamation at the Conservatoire, but this position, too, he resigned, and went away with the design of making a musical tour through France, Germany, and Italy. Nourrit, who was subject to alternate fits of excitement and depression, was maddened to such a degree by a series of articles praising Duprez at his expense, that his friends feared for his sanity, a dread which was ominously realized in Italy two years afterward, where Nourrit was then singing. Though he was very warmly welcomed by the Italians, his morbid sensibility took offense at Naples at what he fancied was an unfavorable opinion of his _Pollio_ in "Norma." His excitement resulted in delirium, and he threw himself from his bedroom window on the paved court-yard below, which resulted in instant death. Nourrit was the intimate friend of many of the most distinguished men of the age in music, literature, and art, and his sad death caused sincere national grief.

As a singer and actor, Nourrit had one of the most creative and originating minds of his age. He himself never visited the United States, but his younger brother, Auguste, was a favorite tenor in New York thirty years ago.

The part of _John of Leyden_ in "Le Prophète," whose gestation covered many years of growth and change, was originally written for and in consultation with Nourrit, just as that of Fides in the same opera was remolded for and by suggestion of Pauline Viardot. Yet the opera did not see the light until Nourrit's successor, Duprez, had vanished from the stage, and his successor again, Roger, who, though a brilliant singer, was far inferior to the other two in creative intellectuality, appeared on the scene. Chorley asserts that Du-prez was the only artist he had ever seen and heard whose peculiar qualities and excellences would have enabled him to do entire musical and dramatic justice to the arduous part of _John of Leyden_.... "I have never seen anything like a complete conception of the character, so wide in its range of emotions; and might have doubted its possibility, had I not remembered the admirable, subtile, and riveting dramatic treatment of _Eleazar_ in 'La Juive' (the _Shyloch_ of opera) by M. Duprez."

This artist may be also included as belonging largely to the sphere of Pauline Viardot's art-life. Albert Duprez, the son of a French performer, was born in 1806, and, like his predecessor Nourrit, was a student at the Conservatoire. At first he did not succeed in operatic singing, but, recognizing his own faults and studying the great models of the day, among them Nourrit, whom he was destined to supplant, he finally impressed himself on the public as the leading dramatic singer of France. According to Fetis and Castil-Blaze, he never had a superior in stage declamation, and the finest actors of the Comédie Française might well have taken a lesson from him. His first great success, which caused his engagement in grand opera, was the creation of _Edgardo_ in "Lucia di Lammermoor" at Naples in 1835.

Two years later he made his _début_ at the Académie in "Guillaume Tell," and his novel and striking reading of his part on this occasion contributed largely to his fame. He was a leading figure at this theatre for twelve years, and was the first representative of many important tenor rôles, among which may be mentioned those of "Benvenuto Cellini," "Les Martyrs," "La Favorita," "Dom Sebastien," "Otello," and "Lucia." Duprez was insignificant, even repellent in his appearance, but, in spite of these defects, his tragic passion and the splendid intelligence displayed in his vocal art gave him a deserved prominence. Duprez composed many songs and romances, chamber-music, two masses, and eight operas, and was the author of a highly esteemed musical method, which is still used at the Conservatoire, where he was a professor of singing.