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Pauline Viardot, Fotografie von A. Stadtmuseum Baden-Baden. Mit freundlicher Genehmigung. Singer, composer, arranger, pianist, voice teacher, organist, cultural mediator, organiser, editor, folksong collector, illustrator. Some great artists owe the enthusiasm that they create to the reproduction of an inborn national element conferred to them in its most perfect, ideal form.

Pauline Viardot is capable of comprehending each ideal and of assimilating the secret meaning of whatever she has the opportunity to research, handling and mastering its forms. Pauline Viardot stood at odds with what is described as the necessary music-historical development in musicological representations of the 19th century, including the separation of high and popular culture, original work and adaptation, composition and improvisation as well as interpretation, or between public musical life, music in the salon and so-called domestic music-making.

As an internationally active musician, she also ran counter to the political and social developments in the second half of the 19th century. These required a definite national classification from artists as well as - even on the stage - a clear gender identity from women and men.

As a singer, pianist and composer, she performed in all the important musical centres of Europe during this period. Together with Hector Berlioz, she made a decisive contribution to the Gluck renaissance and made works of Georg Friedrich Händel known in France.

She sang in the English premieres of Verdi's "Macbeth" Lady Macbeth and "Il Trovatore" Acuzena. The main focus of her concert repertoire was on arias of the 17th and 18th centuries — she was considered an expert in "Early Music" — on her own vocal transcriptions, especially of the Mazurkas of Chopin VWV and on traditional songs of various nations.

This was the upbeat for an oeuvre comprising approximately compositions in various genres. She also composed chamber and piano works. A second important area of focus in her compositional work was adaptations of other composers' works and traditional songs of various national origins.

From to her compositions and adaptations were published in several countries and languages, in Copenhagen, Warsaw, Berlin, Leipzig, Weimar, Paris, London, St. Petersburg, New York and other cities.

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Most of the lieder of Pauline Viardot were published in lieder collections, often in multilingual editions. Pauline Viardot spoke fluently Spanish, French, Italian, English, German and Russian, and also composed in a number of languages and in different national styles.

With the international orientation of nearly all her activities, Pauline Viardot encouraged musical exchange, especially between Germany, France, Spain and Russia. She made an essential contribution towards of Schumann's reception in France and brought works of Russian composers, previously unknown in the West, to Germany and France.

Pauline Viardot was born in France as the third child of Spanish parents. As a child, she travelled to the USA and Mexico with her parents' theatre group. After her operatic debut in in London, she was engaged at various theatres in Paris. Engagements lasting several months and extended concert tours took her to Madrid , St.

In she settled with her family in Baden-Baden, where she remained until the outbreak of the Franco-Prussian War in In she returned to Paris — following a sojourn of several months in London — and lived there until her death. Pauline Viardot was born into a family of singers.

Pauline Viardot was originally trained as a pianist by Franz Liszt, amongst others. After the early death of her famous sister in, however, she was urged by her mother to continue the family tradition and become a singer. Her mother also trained her.