19th century opera singers

Jenny Lind (1820-1887); Swedish soprano. She made her debut in 1838 at the Stockholm Opera in "Der Freischütz". In the years to follow she sang at Paris, but with little succes because of voice-problems. After a studie of two years with the famous voice-teacher Manuel Garcia jr. she recovered her voice and from then on she had a triumphal career. In 1847 she was engaged in London at Her Majesty's Theatre where she debuted as Alice in Meyerbeer's "Robert le Diable". Also in 1847 she created here the role of Amalia in the world première of Verdi’s “I Masnadieri” (with Luigi Lablache as Massimiliano and Italo Gardoni as Carlo). The premiere was attended by Queen Victoria and Prince Albert. In 1849 (at the age of 29) she retired from the opera-stage . From then on she only performed as a concertsinger. During the years 1850-1852 she made a concert-tour through the United States and gave 93 concerts under the management of P.T. Barnum. She retired from singing in 1883.

Jenny Lind (1820-1887); Swedish soprano. She made her debut in 1838 at the Stockholm Opera in "Der Freischütz". In the years to follow she sang at Paris, but with little succes because of voice-problems. After a studie of two years with the famous voice-teacher Manuel Garcia jr. she recovered her voice and from then on she had a triumphal career. In 1847 she was engaged in London at Her Majesty's Theatre where she debuted as Alice in Meyerbeer's "Robert le Diable". Also in 1847 she created here the role of Amalia in the world première of Verdi’s “I Masnadieri” (with Luigi Lablache as Massimiliano and Italo Gardoni as Carlo). The premiere was attended by Queen Victoria and Prince Albert. In 1849 (at the age of 29) she retired from the opera-stage . From then on she only performed as a concertsinger. During the years 1850-1852 she made a concert-tour through the United States and gave 93 concerts under the management of P.T. Barnum. She retired from singing in 1883.

Jenny Lind (1820-1887); Swedish soprano. She made her debut in 1838 at the Stockholm Opera in "Der Freischütz". In the years to follow she sang at Paris, but with little succes because of voice-problems. After a studie of two years with the famous voice-teacher Manuel Garcia jr. she recovered her voice and from then on she had a triumphal career. In 1847 she was engaged in London at Her Majesty's Theatre where she debuted as Alice in Meyerbeer's "Robert le Diable". Also in 1847 she created here the role of Amalia in the world première of Verdi’s “I Masnadieri” (with Luigi Lablache as Massimiliano and Italo Gardoni as Carlo). The premiere was attended by Queen Victoria and Prince Albert. In 1849 (at the age of 29) she retired from the opera-stage . From then on she only performed as a concertsinger. During the years 1850-1852 she made a concert-tour through the United States and gave 93 concerts under the management of P.T. Barnum. She retired from singing in 1883.

Anna de Belocca (1854-?); Russian contralto. In 1874 she made her debut in Paris at the Théâtre Italien as Rosina in "Il barbiere di Siviglia". In 1876 she made her American debut at New York's Academy of Music with the same role. There she joined the Strakosch Opera Company. In 1879 she joined Mapleson's Opera Company and a large part of her career took place in America. In 1882 she returned to France.

Anna de Belocca (1854-?); Russian contralto. The dedication with autograph at the back reads as follows: Mon bon souvenir à Monsieur Longuety Anna de Belocca".

Anna de Belocca (1854-?); Russian contralto. In 1874 she made her debut in Paris at the Théâtre Italien as Rosina in "Il barbiere di Siviglia". In 1876 she made her American debut at New York's Academy of Music with the same role. There she joined the Strakosch Opera Company. In 1879 she joined Mapleson's Opera Company and a large part of her career took place in America. In 1882 she returned to France.

Minnie Hauk, born Amalia Mignon Hauck (1851-1929); American soprano. At the age of 10 she already performed in a concert. She made her New York debut in 1866 as Amina in Bellini's "La Somnambula". In 1868 she went to Europe and sang in London (Covent Garden) and Bruxelles. In 1869 she made her debut in Paris and during the next years she performed throughout Europe including Moscow and St. Petersburg. She even went as far as China and Japan. She toured through the U.S. with her own "Minnie Hauk's Concert and Opera Company". In 1925 she published her lifestory in "Memories of a singer". On the photo she is seen at the early age of 17.

Minnie Hauk, born Amalia Mignon Hauck (1851-1929); American soprano. At the age of 10 she already performed in a concert. She made her New York debut in 1866 as Amina in Bellini's "La Somnambula". In 1868 she went to Europe and sang in London (Covent Garden) and Bruxelles. In 1869 she made her debut in Paris and during the next years she performed throughout Europe including Moscow and St. Petersburg. She even went as far as China and Japan. She toured through the U.S. with her own "Minnie Hauk's Concert and Opera Company". In 1925 she published her lifestory in "Memories of a singer".

Minnie Hauk, born Amalia Mignon Hauck (1851-1929); American soprano. At the age of 10 she already performed in a concert. She made her New York debut in 1866 as Amina in Bellini's "La Somnambula". In 1868 she went to Europe and sang in London (Covent Garden) and Bruxelles. In 1869 she made her debut in Paris and during the next years she performed throughout Europe including Moscow and St. Petersburg. She even went as far as China and Japan. She toured through the U.S. with her own "Minnie Hauk's Concert and Opera Company". In 1925 she published her lifestory in "Memories of a singer".

Louis Barrielle; French bass-baritone. In 1859 he performed the rôle of Braconnier at the premiere of Meyerbeer's "Dinorah". In 1860 he created the rôle of Gaspar in Donizetti's "Rita" and in 1861 the rôle of Orsakoff in Auber's "La Circassienne", both at the Opéra Comique. In 1878 he created Hérode in Pessard's "Le Capitaine Fracasse".

Louis Barrielle; French bass-baritone. In 1859 he performed the rôle of Braconnier at the premiere of Meyerbeer's "Dinorah". In 1860 he created the rôle of Gaspar in Donizetti's "Rita" and in 1861 the rôle of Orsakoff in Auber's "La Circassienne", both at the Opéra Comique. In 1878 he created Hérode in Pessard's "Le Capitaine Fracasse". On the photo he is seen as the Russian general "Prince Orsakoff" in La Circassienne.

Carolina Ferni (1839-1926); Italian soprano and violinist. She started her career as a violinist together with her sister Virginia Ferni (1837-1926). From 1851 the two sisters undertook concert-tours through the northern part of Italy, Switzerland and France. They received further training in Paris and Bruxelles from the most famous violin-teachers of those days. In 1860 Viginia got married and stopped public performances; Carolina started a vocal study with the famous soprano Giuditta Pasta. She made her opera stage debut in 1862 in Turin as Leonora in Donizett’s “La Favorita”. From 1866-1868 she performed at La Scala in Milan. In 1878 she sang at the premiere of “Il violino del diavolo” an opera composed especially for her by Agostino Mercuri. In this opera she could both sing and play the violin. Her husband, the famous baritone Leone Giraldoni (1824-1897) also took part in that premiere. They had a son –Eugenio Giraldoni (1871-1924)- who like his father also became a famous baritone and created the role of Scarpia in Puccini’s “Tosca” in 1900. Caroline Ferni retired from the stage in 1883 and started a singing-school in Milan and later in St. Petersburg. Among her pupils were the soprano Eugenia Burzio, the tenor Enrico Caruso and of course her own son Eugenio Giraldoni.

Virginia Ferni-Teja (1837-1926); Italian violinist and soprano. She started her career as a violinist together with her sister Carolina Ferni-Giraldoni (1839-1926). From 1851 the two sisters undertook concert-tours through the northern part of Italy, Switzerland and France. They received further training in Paris and Bruxelles from the most famous violin-teachers of those days. In 1860 Viginia got married and stopped public performances. From 1868 it was necessary for her -for economic reasons- to perform in public again. Often together with her sister Carolina Ferni and both as a violinist and singer. She died in the same year as her sister (1926).

Carolina Ferni (1839-1926); Italian soprano and violinist. The dedication at the back is dated 11 july 1866 at Como (her hometown).

Carolina Ferni (1839-1926); Italian soprano and violinist. She started her career as a violinist together with her sister Virginia Ferni (1837-1926). From 1851 the two sisters undertook concert-tours through the northern part of Italy, Switzerland and France. They received further training in Paris and Bruxelles from the most famous violin-teachers of those days. In 1860 Viginia got married and stopped public performances; Carolina started a vocal study with the famous soprano Giuditta Pasta. She made her opera stage debut in 1862 in Turin as Leonora in Donizett’s “La Favorita”. From 1866-1868 she performed at La Scala in Milan. In 1878 she sang at the premiere of “Il violino del diavolo” an opera composed especially for her by Agostino Mercuri. In this opera she could both sing and play the violin. Her husband, the famous baritone Leone Giraldoni (1824-1897) also took part in that premiere. They had a son –Eugenio Giraldoni (1871-1924)- who like his father also became a famous baritone and created the role of Scarpia in Puccini’s “Tosca” in 1900. Caroline Ferni retired from the stage in 1883 and started a singing-school in Milan and later in St. Petersburg. Among her pupils were the soprano Eugenia Burzio, the tenor Enrico Caruso and of course her own son Eugenio Giraldoni.

Jules-Sébastien Montjauze (1825-1877); French tenor. He started his career as an actor. In 1855, at the Théâtre-Lyrique, he made his debut as a singer in the première of Halevy's "Jaguarita, l'indienne". He sang the premières of Clapison's "La Fanchonette" (1856), Massé's "La Reine Topaze" (1856), Clapison's "Margot" (1857), Reyer's "La Statue" (1861), Grisar's "La chatte merveilleuse" (1862). He created the role of Énée in Berlioz's "Les Troyens à Carthage" (1863) and Fabrice in Von Flotow's "L'ombre" (1870).

Jules-Sébastien Montjauze (1825-1877); French tenor. He started his career as an actor. In 1855, at the Théâtre-Lyrique, he made his debut as a singer in the première of Halevy's "Jaguarita, l'indienne". He sang the premières of Clapison's "La Fanchonette" (1856), Massé's "La Reine Topaze" (1856), Clapison's "Margot" (1857), Reyer's "La Statue" (1861), Grisar's "La chatte merveilleuse" (1862). He created the role of Énée in Berlioz's "Les Troyens à Carthage" (1863) and Fabrice in Von Flotow's "L'ombre" (1870).

Jules-Sébastien Montjauze (1825-1877); French tenor. He started his career as an actor. In 1855, at the Théâtre-Lyrique, he made his debut as a singer in the première of Halevy's "Jaguarita, l'indienne". He sang the premières of Clapison's "La Fanchonette" (1856), Massé's "La Reine Topaze" (1856), Clapison's "Margot" (1857), Reyer's "La Statue" (1861), Grisar's "La chatte merveilleuse" (1862). He created the role of Énée in Berlioz's "Les Troyens à Carthage" (1863) and Fabrice in Von Flotow's "L'ombre" (1870).