The entanglement of genre and gender in the theories and practice of French art song shaped women’s creative engagement with the mélodie. They were active as composers and poets, as well as performers, hostesses, singing teachers, and muse; yet they faced gendered prejudice. Closer examination of songs by Pauline Viardot and Augusta Holmès reveals markedly different strategies by female composers when addressing gender in their settings. Some female poets (such as Marceline Desbordes-Valmore, Anna de Noailles, and Renée Vivien) gained visibility in French art song. One poet is particularly notable: Cécile Sauvage whose poetry was set both by her son, Olivier Messiaen, and by his wife, Claire Delbos. Patrons like Marguerite de Saint-Marceaux, Winnaretta Singer, Princesse de Polignac, and Marie Vasnier proved equally as important to the genre as such professional musicians as Jane Bathori and Claire Croiza. In effect, salon and concert hall overlapped in repertoire and audience.