Rose Caron by Benque (2)
Albert Saléza by Benque (1)
Albert Saléza by Benque (2)
Paola Marié and Victor Capoul by Mora
Pierre Grivot by Petit
Marguerite Ugalde by Chalot
Emma Calvé by Benque
Delphine Ugalde by Ken (6)
Delphine Ugalde by Ken (7)
Delphine Ugalde by Ken (8)
Antoine Renard's autograph at the back
Antoine Renard by Vitagliano & Terris
Antoine Renard by Carjat
Marc Bonnehée by Petit with autograph
Armand Castelmary's autograph at the back
Armand Castelmary by Niclas
Adele Isaac's autograph at the back
Adele Isaac by Reutlinger
Christine Nilsson by Reutlinger (7) with autograph
Mathieu-Émile Balanqué by Constantin
Edmond Duvernoy by Ken
Marie-Julie Baretti by Bureau
Italo Gardoni by Chancellor
Pauline Lucca by Krziwanek
Alois Pennarini by Mocsigay with autograph
Eugenia Mantelli by Ganzini with autograph
Victor Maurel by Ogerau
Virginia Ferni-Germano by Marcozzi
Letter from Leone Giraldoni to Virginia Ferni-Germ…
Letter from Leone Giraldoni to Virginia Ferni-Germ…
Blanche Deschamps-Jehin by Nadar
Marie van Zandt by Benque (3)
Sybil Sanderson by Benque
Alessandro Bonci by Esplugas
Enrico Caruso by Aimé Dupont
Fernando de Lucia by Brogi
Nikolai Figner by Bergamasco
Theodor Reichmann by Krziwanek
Theodor Reichmann's autograph at the back
Emilio Naudin by Bergamasco
Giovanni Mario by Bergamasco (2)
Giovanni Mario by Bergamasco (1)
Victor Capoul by Bergamasco
Angelo Masini by Bergamasco
Mariano Padilla y Ramos by Bergamasco
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Lucienne Bréval by Nadar
Lucienne Bréval, born Berthe Brennwald (1869-1935); Swiss soprano.
She studied singing at the Conservatoire National Paris with Victor Warot. In 1892 she made her debut at the Grand Opéra Paris as Selika in Meyerbeer's "L'Africaine". She became a principal soprano at the Paris Opéra and remained there until 1919. Her roles at the Grand Opéra included several world premières including Augusta Holmès' "La Montagne Noire" (1895), Erlanger's "Le fils de l'étoile" (1904), Massenet's "Bacchus" (1909) and the title roles in Massenet's "Ariane" (1906) and Henry Février’s "Monna Vanna" (1909). She also was Kundry in France's first performance of Wagner's "Parsifal" (1914). Her other notable roles at the Paris Opera included Brünnhilde in Wagner's "Die Walküre" (1893), Venus in Wagner's "Tannhäuser" (1895), Marguerite in Berlioz's "La damnation de Faust" (1897) and the title role in Rameau's "Hippolyte et Aricie" (1908). She also occasionally appeared in productions at the Opéra-Comique in Paris. Most notably she portrayed the title role in the world premiere of Massenet’s "Grisélidis" in 1901 and in 1910 she created the role of Lady Macbeth in the première of Bloch’s "Macbeth", which he dedicated to her. In 1913 at Monte Carlo she created the title role in the opera "Pénélope" by Gabriel Fauré. In 1899 and 1901 she made guest appearances at Covent Garden London. In 1900/02 she was engaged by the Metropolitan Opera Newe York. Guest performances and concerts brought her new successes in Italy, England, Holland, Belgium, Switzerland and France. After her retirement from the stage in 1919 she taught singing in Paris.
The only sound recording of Bréval singing was made on a Mapleson cylinder during a performance of L’Africaine at the Metropolitan Opera: www.youtube.com/watch?v=rlO09lOOPac
On the photo she is seen as Eva in Wagner's "Die Meistersinger von Nürnberg". On 10 November 1897 this opera was performed for the first time at the Grand Opéra Paris in a French version by Alfred Ernst as "Des Maîtres chanteurs de Nuremberg".
She studied singing at the Conservatoire National Paris with Victor Warot. In 1892 she made her debut at the Grand Opéra Paris as Selika in Meyerbeer's "L'Africaine". She became a principal soprano at the Paris Opéra and remained there until 1919. Her roles at the Grand Opéra included several world premières including Augusta Holmès' "La Montagne Noire" (1895), Erlanger's "Le fils de l'étoile" (1904), Massenet's "Bacchus" (1909) and the title roles in Massenet's "Ariane" (1906) and Henry Février’s "Monna Vanna" (1909). She also was Kundry in France's first performance of Wagner's "Parsifal" (1914). Her other notable roles at the Paris Opera included Brünnhilde in Wagner's "Die Walküre" (1893), Venus in Wagner's "Tannhäuser" (1895), Marguerite in Berlioz's "La damnation de Faust" (1897) and the title role in Rameau's "Hippolyte et Aricie" (1908). She also occasionally appeared in productions at the Opéra-Comique in Paris. Most notably she portrayed the title role in the world premiere of Massenet’s "Grisélidis" in 1901 and in 1910 she created the role of Lady Macbeth in the première of Bloch’s "Macbeth", which he dedicated to her. In 1913 at Monte Carlo she created the title role in the opera "Pénélope" by Gabriel Fauré. In 1899 and 1901 she made guest appearances at Covent Garden London. In 1900/02 she was engaged by the Metropolitan Opera Newe York. Guest performances and concerts brought her new successes in Italy, England, Holland, Belgium, Switzerland and France. After her retirement from the stage in 1919 she taught singing in Paris.
The only sound recording of Bréval singing was made on a Mapleson cylinder during a performance of L’Africaine at the Metropolitan Opera: www.youtube.com/watch?v=rlO09lOOPac
On the photo she is seen as Eva in Wagner's "Die Meistersinger von Nürnberg". On 10 November 1897 this opera was performed for the first time at the Grand Opéra Paris in a French version by Alfred Ernst as "Des Maîtres chanteurs de Nuremberg".
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