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I shall see him tomorrow at Madame Viardot's and I shall beg him to go earlier, as I am beginning to be impatient. I am feeling the NEED of seeing you, of embracing you, and of talking with you. That is the truth. I am beginning to regain my equilibrium again. What is it that I have had for the past four months? What trouble was going on in the depths of my being? I don't know.
He is a man with a passion, so much the better for him! I missed you very much at Madame Viardot's a fortnight ago. She sang Iphigenie en Aulide. I can not tell you how beautiful it was, how transporting, in short how sublime. What an artist that woman is! What an artist! Such emotions console one for life. Well! and you, dear good master, that play that they talk about, is it finished?
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. This artist may be also included as belonging largely to the sphere of Pauline Viardot's art-life.
One of the most amazing characteristics of Madame Viardot's talent was her astonishing facility in assimilating all styles of music. She was trained in the old Italian music and she revealed its beauties as no one else has ever done. As for myself, I saw only its faults. Then she sang Schumann and Gluck and even Glinka whom she sang in Russian.
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.
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 excellent example. The great Jenny Lind, long after her voice had lost its quality, continued to sing in oratorio and concert. So did Adelina Patti. Muriel Starr once told me of a parrot she encountered in Australia. The poor bird had arrived at the noble age of 117 and was entirely bereft of feathers. Flapping his stumpy wings he cried incessantly, "I'll fly, by God, I'll fly!"
Viardot's triumphs is that of Ronconi, a name full of pleasant recollections, too, for many of the opera-goers of the last generation in the United States. There have been only a few lyric actors more versatile and gifted than he, or who have achieved their rank in the teeth of so many difficulties and disadvantages.
The music of "Le Prophète" had never been well fitted to Viardot's voice, and it was in this better adaptation of Alboni to the vocal score that it may be fancied her success, such as it was, found its root. It was significant that the critics refrained from enlarging on the dramatic quality of the performance. Mlle.
After Madame Viardot had sung some of Schumann's lieder with the great pianist playing the accompaniments, the two great artists played the illustrious author's duet for two pianos, which fairly bristles with difficulties, with equal virtuosity. When Madame Viardot's voice began to break, she was advised to devote herself to the piano.
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