By Mia Serracino-Inglott
When we think of an inspirational woman, do we think of a ‘diva’? Certainly, the term diva has undergone quite the negative rebranding in recent years, often being used to describe women who are over-dramatic, bossy, or rude. But back in the opera houses of the nineteenth century, to be called a diva was to be recognised as one of the most talented artists in the opera-sphere, and Pauline Viardot-Garcia was surely that. Viardot grew up surrounded by music: both her parents were renowned singers and teachers, and her sister, Maria Malibran, was the most celebrated soprano of her day. Viardot was no exception to this and achieved great success throughout Europe, not only for her singing voice but also her fascinating mind! She was a polyglot, speaking four languages fluently by age four. She was also a skilful pianist and composed many songs that she would perform as encores in operas. Viardot dominated social culture in the mid-nineteenth century, hosting private soirées for the likes of Gounod, Fauré, and Saints-Saëns. She also had a close friendship with feminist author George Sand and was an avid supporter of Clara Wieck-Schumann and her compositional output. Viardot had an illustrious career travelling throughout Europe, all the while negotiating performance contracts and business deals herself to support her family. For me, Viardot is a perfect example of a woman in control of her artistic output and an inspirational, multifaceted mind in the classical world.
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