Cast a Diva as Fidès: Pauline Viardot's Collaborative Role in Giacomo Meyerbeer's Le Prophète.

Histories of music often present composer-centric narratives, idolizing the role of a singular figure over all other contributors and undervaluing explorations of the collaborative aspects of the compositional process. However, studying performers like Pauline Viardot, who collaborated with composers on the roles created for her, can create a more inclusive narrative. This article explores Viardot's working relationship with Giacomo Meyerbeer in her preparation of the role of Fidès in Le prophète (1849). An examination of journal entries and correspondence, in consultation with the score, demonstrates Meyerbeer's willingness to incorporate her suggestions during the revisions process--from orchestration changes in her aria to changes in a scene that did not include her character. When the opera made its London debut, Meyerbeer chose Viardot to lead the musical direction of the production--a role that included her accompanying at the piano and articulating changes to the score to the other performers. Additionally, as a performer, Viardot's contributions to Le prophète's success were widely noted in contemporary accounts. In exploring Viardot and Meyerbeer's collaborative relationship through these documents, this essay recontextualizes Viardot as a musical co-author and artistic cocreator of Le prophète. [ABSTRACT FROM AUTHOR]