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Happy World Opera Day!
During the winter of 1868-69 Tchaikowsky had what he liked to refer to as a “love affair” with the singer, Desire'e Artot, who came toMoscow for a few weeks with an Italian opera company. Peter wrote glowing letters to his brothers about this goddess, and then quite suddenly found himself engaged to marry her. He seems to have floated into the entanglement quite lightheartedly—and floated out again long before there was danger of complete submersion. From first to last the affair was shaped by events rather than by Tchaikowsky himself. This was characteristic of the man. He had heard Artot sing and admired her intensely as an artist; later he met her at a musical party.“She expressed surprise,” he wrote his father, “that I had not called.'I promised to do so, but I should never have gone (because of my shyness with new acquaintances) if Anton Rubinstein, in passing through Moscow, had not dragged me there. Since then I have had numerous invitations from her and drifted into the habit of going to her house every day.” Tchaikowsky’s friends, he went on to tell his father, tried their best to prevent a marriage. […] “Artists have no country; they belong to the world. Surely you know this. What difference where you live; live where living is profitable. Even if your wife should have a long operatic contract in Moscow or Petersburg, it would not mean you need carry the train of her gown onto the stage. . . . No, my friend; be a servant, but an independent servant, so that when your wife sings your songs, the applause will belong to both of you. “I question only one thing: Are you both quite sure of your love? To marry is not to cross a field ; would it not be wise to try your love not, for heaven ssake, by jealousy, but by time? Wait a little longer and then decide, having asked God’s help. Meanwhile describe your loved one to me truly, my darling.” Tchaikowsky had barely time to digest this affectionate advice when the question was taken out of his hands: in Warsaw, whither she had gone to sing, Artot, without a word of warning to anyone, married a Polish baritone. When he saw Artot a year later singing in the theatre he was, according to Kashkin who sat next him, deeply moved. “When the singer came on the stage Peter Ilyich put his opera glasses to his eyes and kept them there till the end of the performance, although it is doubtful how much he could see, because the tears ran unheeded down his cheeks.” This, however, was small proof of grief. Tears came easily to Tchaikowsky; they were a tribute he often paid to good music. Twenty years later, he met the lady again in Berlin at a dinner. “Whom should I sit next to but Artot,” he wrote his brother. “She was in evening dress, and fat as a bubble. We were friends instantly, as though the past had never been. I was inexpressibly glad to see her and found her as fascinating as ever.” So much for Desiree Artot, a lady who in all probability knew when she was well out of a bad bargain. Peter Tchaikowsky was not the material of which husbands are made. For ten years after she jilted him Tchaikowsky was, happily, to be free of ladies until that dreadful spring when Antonina Miliukoff, lovesick and determined, would appear upon a horizon already fraught with storm. . . Artot jilted him that winter of ’68; his opera Voyevoda was a failure; the libretto was insipid; Tchaikowsky had managed to cut from it every scene that might have proved good musical material.
From Beloved Friend. The Story of Tchaikowsky and Nadejda von Meck by Catherin Drinker Bowen; Barbara von Meck.
#classical music#opera#music history#bel canto#composer#classical composer#aria#classical studies#maestro#chest voice#Désirée Artôt#soprano#Pyotr Ilyich Tchaikovsky#mezzo-soprano#classical musician#classical musicians#classical history#opera history#historian of music#musician#musicians#diva#prima dnna
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