Anna de La Grange by Reutlinger with autograph
Florence Lancia by Disdéri with autograph
Autograph Clara Louise Kellogg (2)
Clara Louise Kellogg by Brady
Carl Rosa by Gurney
Autograph Euphrosyne Parepa-Rosa
Euphrosyne Parepa-Rosa by Stinson & Co
Euphrosyne Parepa Rosa by Stereoscopic (1)
Euphrosyne Parepa-Rosa by Gurney
Euphrosyne Parepa-Rosa by Stereoscopic (2)
Johann Nepomuk Beck by Bohr
Johann Nepomuk Beck by Mahlknecht (2)
Johann Nepomuk Beck by Mahlknecht (3)
Pauline Lucca by Lehmann (2)
Marie Renard by Graf
Marie Renard by Adèle (1)
Marie Renard by Adèle (2)
Marie Renard and Paula Mark by Adèle (3)
Marie Renard and Paula Mark by Adèle (4)
Marie Renard and Paula Mark by Adèle (5)
Marie Renard and Paula Mark by Adèle (6)
Marie Renard by Adèle (7)
Pauline Lucca by Loescher & Petsch (1)
Léon Melchissédec's autograph at the back
Marie Caroline Miolan-Carvalho by Erwin frères (1)
Marie Caroline Miolan-Carvalho's autograph at the…
Marie Caroline Miolan-Carvalho by Franck
Louis Barrielle by Millet with autograph
Victor Prilleux by Moulin
Victor Prilleux's autograph at the back
Marie Garnier by Dagron
Marie Sasse by Disdéri (1)
Marie Sasse by Charlet & Jacotin
Gabrielle Moisset by Reutlinger (3)
Marie Cabel by Bingham (2)
Emma Mauduit by Otto & Fière
Fidès Devriès by Reutlinger (3)
Fidès Devriès by Reutlinger (2)
Fidès Devriès by Reutlinger (1)
Célestine Galli-Marié by Unknown
Célestine Galli-Marié and Alexandre Gourdin by Maz…
Célestine Galli-Marié and Charles-Amable Battaille…
Célestine Galli-Marié by Maunoury (3)
Célestine Galli-Marié by Reutlinger (2)
Célestine Galli-Marié by Reutlinger (1)
See also...
Authorizations, license
-
Visible by: Everyone -
All rights reserved
-
262 visits
Léon Melchissédec by Reutlinger
Léon Melchissédec (1843-1925); French baritone.
In 1866 he made his debut at the Opéra Comique where he remained until 1876. Here he created the role of Duke the Mailly in Auber’s “Le premier jour de bonheur” (1868); Spark in Offenbach’s “Fantasio” (1872) and Raymond in Paladilhe’s “L’amour Africain” (1875). In 1876 he was engaged by the Théâtre-Lyrique. Here he created the role of Monsieur de Sainte-Croix in Massé’s “Paul et Virginie” (1876),Dr. Spiridion in Saint-Saëns’ “Le timbre d’argent” (1877) and Le Baron de Sigognac in Pessard’s “Le Capitaine Fracasse” (1878). In 1879 he was engaged by the Paris Grand-Opéra where he remained until 1891 and again from 1905-1912. Here he created Hadjar in Gounod’s “Le tribut de Zamora” (1881), Le Roi in Massenet’s “Le Cid” (1885) and the title role in Pessard’s “Tabarin” (1885).
At Monte Carlo he sang at the première of Isidore de Lara’s opera’s “Moïna” (1897) and “Messalina” (1899). Since 1894 he was a professor of déclamation lyrique at the Paris Conservatory.
On the photo he is seen as Blondel in André Grétry’s opera “Richard Coeur-de-Lion”.
Blondel is a tenor-role; in his youth, Melchissédec was noted for his ability to sing tenor as well as baritone roles and he was especially successful as Blondel.
In 1866 he made his debut at the Opéra Comique where he remained until 1876. Here he created the role of Duke the Mailly in Auber’s “Le premier jour de bonheur” (1868); Spark in Offenbach’s “Fantasio” (1872) and Raymond in Paladilhe’s “L’amour Africain” (1875). In 1876 he was engaged by the Théâtre-Lyrique. Here he created the role of Monsieur de Sainte-Croix in Massé’s “Paul et Virginie” (1876),Dr. Spiridion in Saint-Saëns’ “Le timbre d’argent” (1877) and Le Baron de Sigognac in Pessard’s “Le Capitaine Fracasse” (1878). In 1879 he was engaged by the Paris Grand-Opéra where he remained until 1891 and again from 1905-1912. Here he created Hadjar in Gounod’s “Le tribut de Zamora” (1881), Le Roi in Massenet’s “Le Cid” (1885) and the title role in Pessard’s “Tabarin” (1885).
At Monte Carlo he sang at the première of Isidore de Lara’s opera’s “Moïna” (1897) and “Messalina” (1899). Since 1894 he was a professor of déclamation lyrique at the Paris Conservatory.
On the photo he is seen as Blondel in André Grétry’s opera “Richard Coeur-de-Lion”.
Blondel is a tenor-role; in his youth, Melchissédec was noted for his ability to sing tenor as well as baritone roles and he was especially successful as Blondel.
- Keyboard shortcuts:
Jump to top
RSS feed- Latest comments - Subscribe to the comment feeds of this photo
- ipernity © 2007-2024
- Help & Contact
|
Club news
|
About ipernity
|
History |
ipernity Club & Prices |
Guide of good conduct
Donate | Group guidelines | Privacy policy | Terms of use | Statutes | In memoria -
Facebook
Twitter
Sign-in to write a comment.