Viardot-Garcia, Pauline

(pōlēn` vyärdō`-gärsēä`), 1821–1910, French mezzo-soprano; sister of Maria MalibranMalibran, Maria Felicità
, 1808–36, French-Spanish contralto. Malibran was the daughter of the tenor Manuel García and the sister of the mezzo Pauline Viardot-Garcia. She made her opera debut in 1825 as Rosina in the The Barber of Seville in London.
..... Click the link for more information. ; pupil of her father, Manuel GarcíaGarcía, Manuel del Popolo Vicente
, 1775–1832, Spanish tenor, teacher, impresario, and composer. He was the first to produce opera in Italian in New York (1825–26) and in Mexico (1827–28). Maria Malibran and Pauline Viardot-Garcia were his daughters.
..... Click the link for more information. . Following her concert debut in Brussels in 1837 and her opera debut in London in 1839, she became celebrated for her wide range, fine technique, and histrionic ability. She created the role of Fidès in Meyerbeer's Prophète (1849), developed a teaching method, and composed songs and an opera, Le dernier Sorcier (1869). She retired from the stage in 1863 and taught (1871–75) at the Paris Conservatory.

单词	viardot-garcia, pauline
释义	Viardot-Garcia, Pauline Viardot-Garcia, Pauline (pōlēn` vyärdō`-gärsēä`), 1821–1910, French mezzo-soprano; sister of Maria MalibranMalibran, Maria Felicità , 1808–36, French-Spanish contralto. Malibran was the daughter of the tenor Manuel García and the sister of the mezzo Pauline Viardot-Garcia. She made her opera debut in 1825 as Rosina in the The Barber of Seville in London. ..... Click the link for more information. ; pupil of her father, Manuel GarcíaGarcía, Manuel del Popolo Vicente , 1775–1832, Spanish tenor, teacher, impresario, and composer. He was the first to produce opera in Italian in New York (1825–26) and in Mexico (1827–28). Maria Malibran and Pauline Viardot-Garcia were his daughters. ..... Click the link for more information. . Following her concert debut in Brussels in 1837 and her opera debut in London in 1839, she became celebrated for her wide range, fine technique, and histrionic ability. She created the role of Fidès in Meyerbeer's Prophète (1849), developed a teaching method, and composed songs and an opera, Le dernier Sorcier (1869). She retired from the stage in 1863 and taught (1871–75) at the Paris Conservatory.
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