Pauline Viardot was one of the most influential women in nineteenth century European classical music. As a singer, her prodigious talent and charisma on the stage inspired dedications, premieres, and roles written specifically for her. Her music salon hosted many major composers of the time—including Berlioz, Liszt, Chopin, Saint-Saëns, Meyerbeer, Brahms, and Wagner—allowing them to showcase and perfect their works.
Throughout her career, Viardot also worked as a composer. She composed over 100 lieder and mélodies, many intended for use as teaching tools for her own students. She also composed five salon operettas mainly intended to be sung by her pupils and children. As word of her operettas spread, she followed with larger stage works, including the very successful Le dernier sorcier, with a libretto by Ivan Turgenev.
Viardot’s later songs often involved intricate piano writing and elaborate bel canto vocal cadenzas. Jamée Ard aptly described them as “dramatic and virtuosic, painting the musical atmosphere with the broad strokes of Bizet rather than the impressionism of Debussy.”
This according to “The life of Pauline Viardot: Her influence on the music and musicians of nineteenth century Europe” by Katherine LaPorta Jesensky (Journal of singing LXVII/3 [January-February 2011] 267–75; RILM Abstracts 2011-21).