Bialystok-Stavenuiter's photos

Marc Bonnehée (1828-1886); French baritone who created the role of Guy de Montfort in Verdi's "Les Vêpres Siciliennes" in 1855 at the Grand Opéra Paris. He started his vocal studies at the Toulouse Conservatory and finished them at the Conservatoire National de Paris. In 1853 he made his debut at the Grand Opera Paris as Alphonse in Donizetti's "La Favorita". Until the end of his career in 1873 he was engaged by the Grand Opéra. In 1855 he created the role Of Guy de Montfort at the première of Verdi's "Les Vêpres Siciliennes". In 1858 he created Stello de Nici in Halévy's "La Magicienne" and in 1860 Julien de Médicis in Poniatowski's opera "Pierre de Médicis". In 1865 he made very successful guest appearances in Spain. His most memorable roles were William Tell in Rossini's "Guillaume Tell", Count Luna in Verdi's "Il Trovatore", Enrico in Donizetti's "Lucia di Lammermoor", Cinna in Spontini's "La Vestale" and Lusignan in Halévy's "La Reine de Chypre". Later in his career he was a vocal teacher in Paris and in 1879 he was appointed as a professor at the Conservatoire National de Paris.

Marc Bonnehée (1828-1886); French baritone who created the role of of Guy de Montfort in Verdi's "Les Vêpres Siciliennes" in 1855 at the Grand Opéra Paris. The dedication is made to his colleague and friend Boulo, Jean-Jacques Boulo (1820-1887) was a French tenor, who had engagements at Lyon, Paris (Opéra-Comique and Grand-Opéra) and at the end of his career at his hometown Toulouse.

Italo Gardoni (1821-1882); Italian tenor. In 1840 he made his debut at Viadana in the title role of Donizetti’s “Roberto Devereux”. In the same year he performed in Turin and Berlin; in Berlin he sang the role of Rodrigo in Rossini’s “Otello” with the famous tenor Giovanni Battista Rubini as Otello. From 1841/43 he performed at Brescia and Milan, the season 1844/45 at the Grand Opéra Paris and in 1847 also in Paris at the Théâtre-Italien. Also in 1847 he made his London debut where he sang at Her Majesty's Theatre the role of Carlo in the world première of Verdi’s “I Masnadieri” (with Luigi Lablache as Massimiliano and Jenny Lind as Amalia). Until 1874 –the year of his retirement from the stage- he kept appearing at both London and Paris. He also made very successful guest appearances at St, Petersburg, Madrid, Amsterdam and Rome. In 1864 Gardoni was one of the 4 soloists in the first performance of Rossini's “Petite messe solennelle” with Carlotta and Barbara Marchisio and Luigi Agnesi. He was married to the daughter of the famous baritone Antonio Tamburini (1800-1876).

Adelina Patti (1843-1919); Italian soprano. She came from a very musical family. Her father was the Italian tenor Salvatore Patti and her mother the soprano Catarina Chiesa Barilli. Her older sisters Amelia (1831-1915) and Carlotta (1835-1889) were also famous sopranos. Her brother Carlo (1842-1873) was a well known violinplayer and conductor. As a child Adelina moved to New York where her father worked at the Italian Opera as a stage-manager. At the age of 16 she made her debut as Lucia di Lammermoor at the Academy of Music in New York. In 1861 she came to Europa (London) and in 1862 to Paris. That was the beginning of a long and very successful career and she sang in all the leading cities of Europa (Milano, Bruxelles, Monte Carlo, Vienna, Berlin, St. Petersburg and Moscow). She was the best paid singer of her time. Her last public performance was in 1914 at a charity-concert. She left about 32 gramophone recordings (from 1905 and 1906) of songs and arias.

Adelina Patti (1843-1919); Italian soprano. She came from a very musical family. Her father was the Italian tenor Salvatore Patti and her mother the soprano Catarina Chiesa Barilli. Her older sisters Amelia (1831-1915) and Carlotta (1835-1889) were also famous sopranos. Her brother Carlo (1842-1873) was a well known violinplayer and conductor. As a child Adelina moved to New York where her father worked at the Italian Opera as a stage-manager. At the age of 16 she made her debut as Lucia di Lammermoor at the Academy of Music in New York. In 1861 she came to Europa (London) and in 1862 to Paris. That was the beginning of a long and very successful career and she sang in all the leading cities of Europa (Milano, Bruxelles, Monte Carlo, Vienna, Berlin, St. Petersburg and Moscow). She was the best paid singer of her time. Her last public performance was in 1914 at a charity-concert. She left about 32 gramophone recordings (from 1905 and 1906) of songs and arias. On the photo from 1861 she is see as Lady Harriet in Friedrich von Flotow's opera " Martha".

Adelina Patti (1843-1919); Italian soprano. She came from a very musical family. Her father was the Italian tenor Salvatore Patti and her mother the soprano Catarina Chiesa Barilli. Her older sisters Amelia (1831-1915) and Carlotta (1835-1889) were also famous sopranos. Her brother Carlo (1842-1873) was a well known violinplayer and conductor. As a child Adelina moved to New York where her father worked at the Italian Opera as a stage-manager. At the age of 16 she made her debut as Lucia di Lammermoor at the Academy of Music in New York. In 1861 she came to Europa (London) and in 1862 to Paris. That was the beginning of a long and very successful career and she sang in all the leading cities of Europa (Milano, Bruxelles, Monte Carlo, Vienna, Berlin, St. Petersburg and Moscow). She was the best paid singer of her time. Her last public performance was in 1914 at a charity-concert. She left about 32 gramophone recordings (from 1905 and 1906) of songs and arias.

Gilbert-Louis Duprez (1806-1896); French tenor who became famous for being the first tenor to deliver the high C from the chest ( in 1831 as Arnold in the Italian première of Rossini's "William Tell"). He made his debut in 1825 in "Il barbière di Siviglia". He sang at many premières. The most known are: Edgardo in Donizetti's "Lucia di Lammermoor" (1835), the title-rôle in Berlioz' "Bevenuto Cellini" (1838), Fernando in Donizetti's "La favorita" (1840), Poliuto in Donizetti's "Les martyrs" (1840) and the title-rôle in Donizett's "Don Sébastiano" (1843). He ended his stage-career in 1849 and worked as a voice-teacher. His most famous pupils were his daughter Caroline Duprez, Marie Battu, Marie Miolan-Carvalho, Constance Nantier-Didiée and Emma Albani.

Gilbert-Louis Duprez (1806-1896); French tenor, singingteacher and composer. A short note written and autographed by Gilbert-Louis Duprez about his opera Jeanne d'Arc. The note paper bears his initials in watermark. The text reads as follows * Monsieur, Je viens de recevoir la réponse des membres de la société chorale, qui ne peut pas me rendre le service d'aller sur un théâtre public pour y chanter Jeanne d'Arc. Je ne saurais donc trop vous prier, si vous tenez à ce fragment, de veiller à l'exécution des choeurs, car il me serait de toute impossi- bilité de laisser exécuter d'une manière douteuse et incomplète ce morceau inédit de mon ouvrage. Lundi, je reviendrai à Paris pour y recevoir un mot de vous. En l'attendant, veuillez agréer Monsieur, l'expression de tous mes sentiments bien distingués. G. Duprez Paris 5 mai 1860 *Thanks to Laurent Fraison who was kind enough to decipher the text for me

Gilbert-Louis Duprez (1806-1896); French tenor, singingteacher and composer. A short note written and autographed by Gilbert-Louis Duprez about his opera Jeanne d'Arc. The note paper bears his initials in watermark. The text reads as follows * Monsieur, Je viens de recevoir la réponse des membres de la société chorale, qui ne peut pas me rendre le service d'aller sur un théâtre public pour y chanter Jeanne d'Arc. Je ne saurais donc trop vous prier, si vous tenez à ce fragment, de veiller à l'exécution des choeurs, car il me serait de toute impossi- bilité de laisser exécuter d'une manière douteuse et incomplète ce morceau inédit de mon ouvrage. Lundi, je reviendrai à Paris pour y recevoir un mot de vous. En l'attendant, veuillez agréer Monsieur, l'expression de tous mes sentiments bien distingués. G. Duprez Paris 5 mai 1860 *Thanks to Laurent Fraison who was kind enough to decipher the text for me

Gilbert-Louis Duprez (1806-1896); French tenor who became famous for being the first tenor to deliver the high C from the chest ( in 1831 as Arnold in the Italian première of Rossini's "William Tell"). He made his debut in 1825 in "Il barbière di Siviglia". He sang at many premières. The most known are: Edgardo in Donizetti's "Lucia di Lammermoor" (1835), the title-rôle in Berlioz' "Bevenuto Cellini" (1838), Fernando in Donizetti's "La favorita" (1840), Poliuto in Donizetti's "Les martyrs" (1840) and the title-rôle in Donizett's "Don Sébastiano" (1843). He ended his stage-career in 1849 and worked as a voice-teacher. His most famous pupils were his daughter Caroline Duprez, Marie Battu, Marie Miolan-Carvalho, Constance Nantier-Didiée and Emma Albani.

Gilbert-Louis Duprez (1806-1896); French tenor who became famous for being the first tenor to deliver the high C from the chest ( in 1831 as Arnold in the Italian première of Rossini's "William Tell"). He made his debut in 1825 in "Il barbière di Siviglia". He sang at many premières. The most known are: Edgardo in Donizetti's "Lucia di Lammermoor" (1835), the title-rôle in Berlioz' "Bevenuto Cellini" (1838), Fernando in Donizetti's "La favorita" (1840), Poliuto in Donizetti's "Les martyrs" (1840) and the title-rôle in Donizett's "Don Sébastiano" (1843). He ended his stage-career in 1849 and worked as a voice-teacher. His most famous pupils were his daughter Caroline Duprez, Marie Battu, Marie Miolan-Carvalho, Constance Nantier-Didiée and Emma Albani.

Francesco Graziani (1828-1901); Italian baritone who created the role of Don Carlo in Verdi's "La forza del destino" in St. Peterburg (1862). He was born into a musical family. Three of his brothers (tenor Lodovico 1820-1885, baritone Vincenzo 1836-1906 and bass Giuseppe 1819-1905) also became professional singers. His brother Lodovico was the first Alfredo in Verdi's La Traviata in1853. They all studied with Cellini and in 1851 Francesco made his debut in Ascoli Piceno as Conte di Vergy in Donizetti's "Gemma di Vergy". In the following years he performed in all the major opera houses in Italy including La Scala Milan. In 1854 he made a tour of guest appearances through the USA. In 1855 he made his Covent Garden debut in London as Don Carlo in Verdi's "Ernani". Until 1880 he returned to London almost every year and he performed in a number of English premières : in 1855 as Count di Luna in "Il Trovatore", in 1865 as Nelusco in "L'Africaine", in 1867 as Rodrigo in "Don Carlos" and in 1876 as Amonasro in "Aida". During the seasons 1853/61 he was also very successful in Paris at the Théâtre-Italien. In 1862 he created at St. Petersburg the role of Don Carlo in Verdi's "La forza del destino" with Enrico Tamberlick in the role of Don Alvaro. Graziani had one of the most beautiful baritone voices of his time, but from artistic point of view he appears not to have been very gifted. Critics of that time repeatedly referred to defects in his phrasing and they also doubted his musicality.

Enrico Tamberlick (1820-1889); Italian tenor who created the role of Don Alvaro in Verdi's "La forza del destino" in St. Petersburg (1862). Enrico Tamberlick, who flourished during the middle of the 19th century was a tenor of high rank. He belonged to the class of "tenore di forza" and used to make a tremendous effect with his high C, which he produced with immense power. His voice was one of great richness of tone and volume. His delivery was grand and noble, his phrasing perfect and he sang with a great depht of expression. His elocution was so fine that every word was delivered with full effect and his dramatic power was unusually great. He was seen to best advantage in heroic parts, in which his fine figure and majestic bearing, together with the power and resonance of his voice, were displayed. Such parts as Jean de Leyde in "Le Prophète", Arnold in "Guillaume Tell", Manrico in "Il Trovatore", Otello in Rossini's "Otello", Pollione in "Norma", Poliuto in "Les Martyrs" and Robert in "Robert le Diable". In 1841 he made his debut at the Teatro Fondo in Naples as Tybalt in Bellini’s "I Capuleti ed i Montecchi" under the name of Enrico Danieli (his mother's name). The following two years he continued his career in Naples at the Teatro Fondo and at the Teatro San Carlo (under the name of Tamberlick). His voice was not yet develloped into the tenor it would become later. From 1843 on he performed in Spain ( Madrid, Barcelona etc.) and Portugal (Lisbon). In 1850 he appeared in London and made his Covent Garden debut as Masaniello in Auber’s "La Muette de Portici". He became so great a favourite that he was engaged there every season until 1864, with the exception of the season 1857/58 when he was engaged at the Théâtre-Italien in Paris. Of equal importance during the years 1850/63 was St. Petersburg (the Mariinsky Theatre) where he made guest appearances. Here he created the role of Don Alvaro in Verdi's "La forza del destino" on 10 November 1862. He made his initial guest appearance at the Théâtre-Italien in Paris in 1858, returning there many times until 1877. In 1874 he made a tour of the USA and he was the first tenor of importance who visited South America, singing at Rio de Janeiro, Buenos Ayres and Montevideo. He performed Alfredo in "La Traviata" -with Sofia Vera Lorini as Violetta- for the opening of the original Teatro Colón opera house in Buenos Aires in 1857. He retired from the stage with a tour through Spain in 1881, but he continued giving occasional concerts.

Enrico Tamberlick (1820-1889); Italian tenor who created the role of Don Alvaro in Verdi's "La forza del destino" in St. Petersburg (1862). Enrico Tamberlick, who flourished during the middle of the 19th century was a tenor of high rank. He belonged to the class of "tenore di forza" and used to make a tremendous effect with his high C, which he produced with immense power. His voice was one of great richness of tone and volume. His delivery was grand and noble, his phrasing perfect and he sang with a great depht of expression. His elocution was so fine that every word was delivered with full effect and his dramatic power was unusually great. He was seen to best advantage in heroic parts, in which his fine figure and majestic bearing, together with the power and resonance of his voice, were displayed. Such parts as Jean de Leyde in "Le Prophète", Arnold in "Guillaume Tell", Manrico in "Il Trovatore", Otello in Rossini's "Otello", Pollione in "Norma", Poliuto in "Les Martyrs" and Robert in "Robert le Diable". In 1841 he made his debut at the Teatro Fondo in Naples as Tybalt in Bellini’s "I Capuleti ed i Montecchi" under the name of Enrico Danieli (his mother's name). The following two years he continued his career in Naples at the Teatro Fondo and at the Teatro San Carlo (under the name of Tamberlick). His voice was not yet develloped into the tenor it would become later. From 1843 on he performed in Spain ( Madrid, Barcelona etc.) and Portugal (Lisbon). In 1850 he appeared in London and made his Covent Garden debut as Masaniello in Auber’s "La Muette de Portici". He became so great a favourite that he was engaged there every season until 1864, with the exception of the season 1857/58 when he was engaged at the Théâtre-Italien in Paris. Of equal importance during the years 1850/63 was St. Petersburg (the Mariinsky Theatre) where he made guest appearances. Here he created the role of Don Alvaro in Verdi's "La forza del destino" on 10 November 1862. He made his initial guest appearance at the Théâtre-Italien in Paris in 1858, returning there many times until 1877. In 1874 he made a tour of the USA and he was the first tenor of importance who visited South America, singing at Rio de Janeiro, Buenos Ayres and Montevideo. He performed Alfredo in "La Traviata" -with Sofia Vera Lorini as Violetta- for the opening of the original Teatro Colón opera house in Buenos Aires in 1857. He retired from the stage with a tour through Spain in 1881, but he continued giving occasional concerts.

Enrico Tamberlick (16 March 1820 – 13 March 1889) The small announcement about his illness comes from the newspaper Le Rappèl of 23-2-1889. The translation is as follows: Mister Tamberlick is reported to be seriously ill. For some years now the famous tenor has lived with his son-in-law, doctor Galezowski. A medical consultation has been conducted; the doctors have expressed their concern. ******************************************************************************************* The article "Tamberlick" comes from the newspaper Le Matin of 15-3-1889. The translation is as follows: TAMBERLICK Death of the famous tenor – His first appearances and successes in Paris It is in 1858 that the public in Paris heard him for the first time on the stage of the Théâtre Italien. That somewhat barbaric name did not sound well to the ears of our music lovers who were used to the harmonious consonants of the Italian names. Moreover, fanatical admirers had awkwardly compared this newcomer with Mario, their former idol whose remembrance still vibrated in the hearts of theatregoers of both sexes. So the house was rather hostile. Tamberlick appeared. His famous C-sharp resounded under those vaults where today one can only hear the voices of the employees of the discount Banque, and after they had given the artist a long ovation the audience left the theatre conquered and fascinated. The following day the name of Tamberlick resounded in every salon, in every circle, wherever people pretended to know about music, and at the end of the year the revues in the little theatres made puns of the name of the tenor. He had become a celebrity. Tamberlick was thirty-eight then. So it was rather late, as you can see, that he decided to face the public in Paris. He was quite young when he left Rome, his hometown, to make his debut in Naples with stunning success. From then on he became a roaming tenor, acclaimed wherever he came, in Lisbon, in London, in Saint Petersburg. Next he crossed the Atlantic on one of those first fabulous golden bridges that very sensible impresarios provide for the artists. He sang in New York, in Rio-de-Janeiro, in Buenos-Aires. All the stages became triumphs. Tamberlick, as we just said, had hesitated a long time before he ventured on the stage in Paris. The chief cause of that apprehension was his incomplete knowledge of our language. By a great effort of will he overcame this obstacle and one remembers how some twenty years ago he sang the part of Arnold in the trio of Guillaume Tell with an exceptional success in an extraordinary performance in l’Opéra. But it is the language in which the “si” sounds that has charmed all ears. His first triumphant evening at the Théâtre Italien was followed by many other ones. In the mean time the artist spent profitable seasons abroad; but it was always Paris that attracted him. That is where he found back the people he loved most, among others the tenderness of his daughter who had become a Parisienne by her marriage with doctor Galezowski, the eminent oculist. Tamberlick died at the age of sixty-eight. He looked younger than his age. This was probably because, from a weakness excusable for a man who had nearly always played the part of a young and happy lover, he had hated to see the first grey hair in the mirror. Pure childishness, by the way, and readily excusable, for the success of Tamberlick has never left any trace of old age arrogance. He was the best and most unpretentious of men and one of the rare retired tenors who acknowledged the merit of present tenors, or which is even more embarassing to their self-esteem, that of the artists who were their contemporaries. Tamberlick was the father-in-law of doctor Galezowski. ******************************************************************************************** The article" Nécrology" (Obituary) comes from the newspaper Le Gaulois of 17-3-1889. The translation is as follows: Obituary The funeral service of Tamberlick was held yesterday at noon at the church of Saint Augustin. The body of the deceased was laid out in the funeral chapel of the funeral parlour in the boulevard Haussmann 103. On a cushion, surrounded by funeral wreaths, were placed the Commander ‘s ribbon and the decoration of knighthood of Isabel-la-Católica of Spain. The funeral procession was led by Tamberlick’s son, his son-in-law, doctor Galezowski, and his grandson. Among the many people attending the procession were the managers of our major theatres, musical critics, the artists of our lyrical theatres and a great number of representatives from the world of science who wanted to express their sympathy to doctor Galezowski whose talent is universally appreciated. At the church a mess was celebrated and the following pieces were performed: Kyrie of J. Hochstens, bandmaster of Saint-Augustin; Pie Jesu of Stradella, cello, by Badiali; Agnus Dei of Rey by Giraudet of the Opèra. The absolution was given by the parish priest of Saint-Augustin surrounded by his clergy. After the ceremony the procession proceeded to the cemetery of Père-Lachaise where the burial took place in the family tomb. Mr de Lauzières-Thémines, old friend of Tamberlick spoke some moving words at the grave in which he described the career of the great artist and praised his good heart.

Enrico Tamberlick (1820-1889); Italian tenor who created the role of Don Alvaro in Verdi's "La forza del destino" in St. Petersburg (1862). Enrico Tamberlick, who flourished during the middle of the 19th century was a tenor of high rank. He belonged to the class of "tenore di forza" and used to make a tremendous effect with his high C, which he produced with immense power. His voice was one of great richness of tone and volume. His delivery was grand and noble, his phrasing perfect and he sang with a great depht of expression. His elocution was so fine that every word was delivered with full effect and his dramatic power was unusually great. He was seen to best advantage in heroic parts, in which his fine figure and majestic bearing, together with the power and resonance of his voice, were displayed. Such parts as Jean de Leyde in "Le Prophète", Arnold in "Guillaume Tell", Manrico in "Il Trovatore", Otello in Rossini's "Otello", Pollione in "Norma", Poliuto in "Les Martyrs" and Robert in "Robert le Diable". In 1841 he made his debut at the Teatro Fondo in Naples as Tybalt in Bellini’s "I Capuleti ed i Montecchi" under the name of Enrico Danieli (his mother's name). The following two years he continued his career in Naples at the Teatro Fondo and at the Teatro San Carlo (under the name of Tamberlick). His voice was not yet develloped into the tenor it would become later. From 1843 on he performed in Spain ( Madrid, Barcelona etc.) and Portugal (Lisbon). In 1850 he appeared in London and made his Covent Garden debut as Masaniello in Auber’s "La Muette de Portici". He became so great a favourite that he was engaged there every season until 1864, with the exception of the season 1857/58 when he was engaged at the Théâtre-Italien in Paris. Of equal importance during the years 1850/63 was St. Petersburg (the Mariinsky Theatre) where he made guest appearances. Here he created the role of Don Alvaro in Verdi's "La forza del destino" on 10 November 1862. He made his initial guest appearance at the Théâtre-Italien in Paris in 1858, returning there many times until 1877. In 1874 he made a tour of the USA and he was the first tenor of importance who visited South America, singing at Rio de Janeiro, Buenos Ayres and Montevideo. He performed Alfredo in "La Traviata" -with Sofia Vera Lorini as Violetta- for the opening of the original Teatro Colón opera house in Buenos Aires in 1857. He retired from the stage with a tour through Spain in 1881, but he continued giving occasional concerts.

Enrico Tamberlick (1820-1889); Italian tenor who created the role of Don Alvaro in Verdi's "La forza del destino" in St. Petersburg (1862). By Tamberlick written and autographed quotation that comes from the French writer/poet Victor Hugo and reads as follows: Vous qui pleurez, venez à lui [ce Dieu], car il pleure. Vous qui souffrez, venez à lui car il guérit ! Ecrit au bas d'un crucifix by Victor Hugo (1802-1885) Vous qui pleurez, venez à ce Dieu, car il pleure. Vous qui souffrez, venez à lui, car il guérit. Vous qui tremblez, venez à lui, car il sourit. Vous qui passez, venez à lui, car il demeure.

Enrico Tamberlick (1820-1889); Italian tenor who created the role of Don Alvaro in Verdi's "La forza del destino" in St. Petersburg (1862). Enrico Tamberlick, who flourished during the middle of the 19th century was a tenor of high rank. He belonged to the class of "tenore di forza" and used to make a tremendous effect with his high C, which he produced with immense power. His voice was one of great richness of tone and volume. His delivery was grand and noble, his phrasing perfect and he sang with a great depht of expression. His elocution was so fine that every word was delivered with full effect and his dramatic power was unusually great. He was seen to best advantage in heroic parts, in which his fine figure and majestic bearing, together with the power and resonance of his voice, were displayed. Such parts as Jean de Leyde in "Le Prophète", Arnold in "Guillaume Tell", Manrico in "Il Trovatore", Otello in Rossini's "Otello", Pollione in "Norma", Poliuto in "Les Martyrs" and Robert in "Robert le Diable". In 1841 he made his debut at the Teatro Fondo in Naples as Tybalt in Bellini’s "I Capuleti ed i Montecchi" under the name of Enrico Danieli (his mother's name). The following two years he continued his career in Naples at the Teatro Fondo and at the Teatro San Carlo (under the name of Tamberlick). His voice was not yet develloped into the tenor it would become later. From 1843 on he performed in Spain ( Madrid, Barcelona etc.) and Portugal (Lisbon). In 1850 he appeared in London and made his Covent Garden debut as Masaniello in Auber’s "La Muette de Portici". He became so great a favourite that he was engaged there every season until 1864, with the exception of the season 1857/58 when he was engaged at the Théâtre-Italien in Paris. Of equal importance during the years 1850/63 was St. Petersburg (the Mariinsky Theatre) where he made guest appearances. Here he created the role of Don Alvaro in Verdi's "La forza del destino" on 10 November 1862. He made his initial guest appearance at the Théâtre-Italien in Paris in 1858, returning there many times until 1877. In 1874 he made a tour of the USA and he was the first tenor of importance who visited South America, singing at Rio de Janeiro, Buenos Ayres and Montevideo. He performed Alfredo in "La Traviata" -with Sofia Vera Lorini as Violetta- for the opening of the original Teatro Colón opera house in Buenos Aires in 1857. He retired from the stage with a tour through Spain in 1881, but he continued giving occasional concerts.