By the mid-1860s, after her retirement from the stage and living at her villa (Villa Viardot) in Baden-Baden, Viardot's main activities centered around her teaching, including giving her students experience of performing in small-scale operas in a private setting.
Although married, Viardot had long had an intimate friendship with Ivan Turgenev whom she first met when singing in St. Petersburg in 1843.
The relationship had continued over the years with Turgenev having extensive stays in Paris, always living close to Viardot and her husband, Louis.
When the Viardots went to Baden-Baden in 1863, Turgenev followed shortly thereafter and built his own villa next to theirs.
Turgenev and Viardot's collaboration in Baden-Baden produced three operas designed to be performed by her students: Trop de femmes, Le dernier sorcier and L'ogre.

According to Turgenev scholar Nicholas Žekulin, Le dernier sorcier was already mentioned in correspondence in 1859, but does not appear to have been performed until it was revised for Baden-Baden.
The first performance of the opera was on September 20, 1867, at the completed but as yet unoccupied Villa Turgenev, where the first performance of Trop de femmes had also taken place.
Turgenev's friend, Louis Pomey, was Krakamiche for the initial performances.
The part was taken by Turgenev for a gala performance on October 20.
Marie Hasselmans played Stella.
Viardot's daughter, Louise Héritte played the role of Lelio.
Other Viardot children were Claudie as the Queen, Marianne as Verveine, and Paul as Perlimpinpin (most of these roles were spoken).
Viardot accompanied on piano, the sole instrument in the original score.
The audience consisted of invited guests who were primarily from Viardot's circle.
They included Giulia Grisi, Garcia, Clara Schumann, Charles-Wilfrid de Bériot, Hermann Levi, and singers Marianne Lüdecke and Albertina Ferlesi.
Pierre-Jules Hetzel (who reviewed the production of Trop de femmes for the Journal des débats, September 13, 1867), a few politicians, and the German Empress Augusta of Saxe-Weimar-Eisenach also attended.
The Empress's enthusiasm not only caused her to bring her husband Kaiser William I along for a subsequent performance, but also led to a special royal command performance on October 17 to celebrate the birthday of the Crown Prince, Friedrich Wilhelm.
By the mid-1860s, after her retirement from the stage and living at her villa (Villa Viardot) in Baden-Baden, Viardot's main activities centered around her teaching, including giving her students experience of performing in small-scale operas in a private setting. Although married, Viardot had long had an intimate friendship with Ivan Turgenev whom she first met when singing in St. Petersburg in 1843. The relationship had continued over the years with Turgenev having extensive stays in Paris, always living close to Viardot and her husband, Louis. When the Viardots went to Baden-Baden in 1863, Turgenev followed shortly thereafter and built his own villa next to theirs. Turgenev and Viardot's collaboration in Baden-Baden produced three operas designed to be performed by her students: Trop de femmes, Le dernier sorcier and L'ogre.
According to Turgenev scholar Nicholas Žekulin, Le dernier sorcier was already mentioned in correspondence in 1859, but does not appear to have been performed until it was revised for Baden-Baden. The first performance of the opera was on September 20, 1867, at the completed but as yet unoccupied Villa Turgenev, where the first performance of Trop de femmes had also taken place. Turgenev's friend, Louis Pomey, was Krakamiche for the initial performances. The part was taken by Turgenev for a gala performance on October 20. Marie Hasselmans played Stella. Viardot's daughter, Louise Héritte played the role of Lelio. Other Viardot children were Claudie as the Queen, Marianne as Verveine, and Paul as Perlimpinpin (most of these roles were spoken). Viardot accompanied on piano, the sole instrument in the original score. The audience consisted of invited guests who were primarily from Viardot's circle. They included Giulia Grisi, Garcia, Clara Schumann, Charles-Wilfrid de Bériot, Hermann Levi, and singers Marianne Lüdecke and Albertina Ferlesi. Pierre-Jules Hetzel (who reviewed the production of Trop de femmes for the Journal des débats, September 13, 1867), a few politicians, and the German Empress Augusta of Saxe-Weimar-Eisenach also attended. The Empress's enthusiasm not only caused her to bring her husband Kaiser William I along for a subsequent performance, but also led to a special royal command performance on October 17 to celebrate the birthday of the Crown Prince, Friedrich Wilhelm.
Le dernier sorcier