Bialystok-Stavenuiter's photos

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 (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). The by Tamberlick written and autographed quotation -dated 18 August 1858- comes from Dante’s Divina Commedia (Divine Comedy) and reads as follows: “Nessun maggior dolore che ricordarsi nel tempo felice della miseria !” Which can be translated as "There is no greater misery than remembering past happiness in times of anguish". Rossini uses this text in his opera Otello for the Gondolier's aria in the third act. In 1858 Tamberlick had an overwhelming success in Paris singing Rossini's "Otello".

Enrico Tamberlick (1820-1889); Italian tenor who created the role of Don Alvaro in Verdi's "La forza del destino" in St. Petersburg (1862). A short note written and signed by Enrico Tamberlick on notepaper with his initials. The text reads as follows: ET (initiales) [répondu le 12 mars 1875] "Madrid 27 Février 1875 Cher Mr. Bagier Je vous remercie d'abord de votre amabilité, et croyez que je suis bien peiné de tout ce qui vous est arrivé, mais il ne faut pas se décourager, et peut-être vous prendrez votre revanche plus tard. Je n'ai pas pu encore voir Mr. Isasa (?), j'y ai été et je ne l'ai pas trouvé, demain Dimanche j'y retournerai. J'ai parlé à Cuzrani, qui me dit avoir reçu un mot de vous, et même il m'a demandé de Venati, qui certainement serait pour Robles une excellente adquisition. Nous verrons ce qu'on peut faire pour votre matériel, mais je crois qu'un jour ou l'autre votre présence ici sera nécessaire pour terminer cette affaire. Notre saison marche très, très bien, et moi je suis à ma 60ème représentation. D'ici nous passerons à Séville, et en attendant si je puis vous servir je suis à vos ordres. En attendant ma femme et moi vous prions d'agréer nos compliments empressés E. Tamberlick" The recipient is Prosper Bagier (1811-1881) who was an impresario and director of the Théâtre Italien in Paris. The also mentioned Robles was the director of the Teatro Real in Madrid.

Enrico Tamberlick (1820-1889); Italian tenor who created the role of Don Alvaro in Verdi's "La forza del destino" in St. Petersburg (1862). A short note written and signed by Enrico Tamberlick on notepaper with his initials. The text reads as follows: ET (initiales) [répondu le 12 mars 1875] "Madrid 27 Février 1875 Cher Mr. Bagier Je vous remercie d'abord de votre amabilité, et croyez que je suis bien peiné de tout ce qui vous est arrivé, mais il ne faut pas se décourager, et peut-être vous prendrez votre revanche plus tard. Je n'ai pas pu encore voir Mr. Isasa (?), j'y ai été et je ne l'ai pas trouvé, demain Dimanche j'y retournerai. J'ai parlé à Cuzrani, qui me dit avoir reçu un mot de vous, et même il m'a demandé de Venati, qui certainement serait pour Robles une excellente adquisition. Nous verrons ce qu'on peut faire pour votre matériel, mais je crois qu'un jour ou l'autre votre présence ici sera nécessaire pour terminer cette affaire. Notre saison marche très, très bien, et moi je suis à ma 60ème représentation. D'ici nous passerons à Séville, et en attendant si je puis vous servir je suis à vos ordres. En attendant ma femme et moi vous prions d'agréer nos compliments empressés E. Tamberlick" The recipient is Prosper Bagier (1811-1881) who was an impresario and director of the Théâtre Italien in Paris. The also mentioned Robles was the director of the Teatro Real in Madrid.

Giovanni Mario, born Giovanni Matteo De Candia (1810-1883); Italian tenor who created the role of Ernesto in Donizetti’s "Don Pasquale" at the Théâtre-Italien in Paris (1843). Because he possessed an exceptionally fine natural voice, Mario was encouraged by the composer Giacomo Meyerbeer to become a singer. He studied singing with Louis-Antoine Ponchard and Marco Bordogni. Mario made his debut in 1838 at the Paris Opéra in the title role of Meyerbeer's "Robert le diable". After meeting the famous soprano Giulia Grisi (London 1839) they often performed together and they lived together (because Grisi could not get an official divorce). From 1840 Mario sang in Paris at the Théâtre-Italien and London and Paris were the main places of his activity. Here he became the most celebrated tenor of his era. He sang at Covent Garden from 1847 until 1867 and again during the 1871 season. He sang in the London premieres of Don Pasquale (1843), Le Prophète (1849), Rigoletto (1853) and Roméo et Juliette (1867). In Paris he sang in the world premieres of Don Pasquale (1843) and Rossini's Stabat Mater (1847). He also sang the Paris premières of I due Foscari (1846), La traviata (1856), Rigoletto (1857), Martha (1858) and Un ballo in maschera (1861). He also appeared in St. Petersburg (1849/53, 1866/70), Madrid (1859, 1864) and New York (1854). His most famous roles were Almaviva in Il barbiere di Siviglia, Nemorino in L’elisir d’amore, Ernesto in Don Pasquale, Gennaro in Lucrezia Borgia, Fernando in La favorite, Lionel in Martha, Raoul in Les Huguenots, the Duke in Rigoletto and Manrico in Il trovatore. His voice was considered one of the finest tenor voices of his time; one praised the elegance and intelligence of his declamation, his musical taste and his eminent sense of style. Complemented by a brilliant stage presence and a special interpretive talent. In 1871 he gave his farewell performance at Covent Garden. In 1872/73 he undertook a tour through the United States along with Carlotta Patti. Soon after ending his career he was in grinding poverty. In 1880 a benefit concert was organized for him in London.

Giovanni Mario, born Giovanni Matteo De Candia (1810-1883); Italian tenor who created the role of Ernesto in Donizetti’s "Don Pasquale" at the Théâtre-Italien in Paris (1843). Because he possessed an exceptionally fine natural voice, Mario was encouraged by the composer Giacomo Meyerbeer to become a singer. He studied singing with Louis-Antoine Ponchard and Marco Bordogni. Mario made his debut in 1838 at the Paris Opéra in the title role of Meyerbeer's "Robert le diable". After meeting the famous soprano Giulia Grisi (London 1839) they often performed together and they lived together (because Grisi could not get an official divorce). From 1840 Mario sang in Paris at the Théâtre-Italien and London and Paris were the main places of his activity. Here he became the most celebrated tenor of his era. He sang at Covent Garden from 1847 until 1867 and again during the 1871 season. He sang in the London premieres of Don Pasquale (1843), Le Prophète (1849), Rigoletto (1853) and Roméo et Juliette (1867). In Paris he sang in the world premieres of Don Pasquale (1843) and Rossini's Stabat Mater (1847). He also sang the Paris premières of I due Foscari (1846), La traviata (1856), Rigoletto (1857), Martha (1858) and Un ballo in maschera (1861). He also appeared in St. Petersburg (1849/53, 1866/70), Madrid (1859, 1864) and New York (1854). His most famous roles were Almaviva in Il barbiere di Siviglia, Nemorino in L’elisir d’amore, Ernesto in Don Pasquale, Gennaro in Lucrezia Borgia, Fernando in La favorite, Lionel in Martha, Raoul in Les Huguenots, the Duke in Rigoletto and Manrico in Il trovatore. His voice was considered one of the finest tenor voices of his time; one praised the elegance and intelligence of his declamation, his musical taste and his eminent sense of style. Complemented by a brilliant stage presence and a special interpretive talent. In 1871 he gave his farewell performance at Covent Garden. In 1872/73 he undertook a tour through the United States along with Carlotta Patti. Soon after ending his career he was in grinding poverty. In 1880 a benefit concert was organized for him in London.

Emilio Naudin (1823-1890); Italian tenor. In 1843 he made his debut at Cremona in Pacini’s opera “Saffo”. In the following years he performed successfully at the leading Italian opera houses, especially at Genua and Rome. He also made a successful international career and sang at Vienna, St. Petersburg, London, Paris, Berlin, Lisbon and Cairo. In 1865 he created the rôle of Vasco da Gama in Meyerbeer's "L'Africaine". At Covent Garden he performed in 1867 the role of Don Carlos in the English première of Verdi’s eponymous opera. Also at Covent Garden he sang at the première of Poniatowski’s “Gelmina” (1872), an opera that was dedicated to Adelina Patti who sang the lead role.

Barbara Marchisio (1833-1919); Italian contralto.She made her debut in 1856 at the Teatro Real de Madrid as Rosina in Rossini's "Barbiere di Siviglia". She performed almost always together with her sister Carlotta Marchisio. They were protégé's of Rossini and he wrote the Petit Messe Solennelle especially for their voices. After her sister's early death at the age of 36 she was occupied as a voice-teacher and her most famous pupils were Toti dal Monte and Rosa Raïsa. On the photo she is seen as Arsace in Rossini's "Semiramide".

Barbara Marchisio (1833-1919) and Carlotta Marchisio (1835-1872). On the photo Carlotta (on the right) is seen as Semiramide and Barbara (on the left) as Arsace in Rossini's opera "Semiramide".

Barbara Marchisio (1833-1919); Italian contralto.She made her debut in 1856 at the Teatro Real de Madrid as Rosina in Rossini's "Barbiere di Siviglia". She performed almost always together with her sister Carlotta Marchisio. They were protégé's of Rossini and he wrote the Petit Messe Solennelle especially for their voices. After her sister's early death at the age of 36 she was occupied as a voice-teacher and her most famous pupils were Toti dal Monte and Rosa Raïsa. On the photo she is seen as Arsace in Rossini's "Semiramide".

Carlotta Marchisio (1835-1872); Italian soprano. She made her debut in 1856 at the Teatro Real de Madrid as Norma in Bellini's eponymous opera. She performed almost always together with her sister Barbara Marchisio. They were protégé's of Rossini and he wrote the Petit Messe Solennelle especially for their voices. She died early at the age of 36 while giving birth to her daughter Margherita. Ten days before her 9-year old son Giachino (named after Rossini) had died. Barbara Marchisio (1833-1919); Italian contralto.She made her debut in 1856 at the Teatro Real de Madrid as Rosina in Rossini's "Barbiere di Siviglia". She performed almost always together with her sister Carlotta Marchisio. They were protégé's of Rossini and he wrote the Petit Messe Solennelle especially for their voices. After her sister's early death at the age of 36 she was occupied as a voice-teacher and her most famous pupils were Toti dal Monte and Rosa Raïsa.

Carlotta Marchisio (1835-1872); Italian soprano. She made her debut in 1856 at the Teatro Real de Madrid as Norma in Bellini's eponymous opera. She performed almost always together with her sister Barbara Marchisio. They were protégé's of Rossini and he wrote the Petit Messe Solennelle especially for their voices. She died early at the age of 36 while giving birth to her daughter Margherita. Ten days before her 9-year old son Giachino (named after Rossini) had died. Barbara Marchisio (1833-1919); Italian contralto.She made her debut in 1856 at the Teatro Real de Madrid as Rosina in Rossini's "Barbiere di Siviglia". She performed almost always together with her sister Carlotta Marchisio. They were protégé's of Rossini and he wrote the Petit Messe Solennelle especially for their voices. After her sister's early death at the age of 36 she was occupied as a voice-teacher and her most famous pupils were Toti dal Monte and Rosa Raïsa.

Carlotta Marchisio (1835-1872); Italian soprano. She made her debut in 1856 at the Teatro Real de Madrid as Norma in Bellini's eponymous opera. She performed almost always together with her sister Barbara Marchisio. They were protégé's of Rossini and he wrote the Petit Messe Solennelle especially for their voices. She died early at the age of 36 while giving birth to her daughter Margherita. Ten days before her 9-year old son Giachino (named after Rossini) had died. On the photo she is seen as Saffo in Pacini's eponymous opera.

Barbara Marchisio (1833-1919) and Carlotta Marchisio (1835-1872). On the photo Carlotta (on the left) is seen as Semiramide and Barbara (on the right) as Arsace in Rossini's opera "Semiramide".

Barbara Marchisio (1833-1919); Italian contralto.She made her debut in 1856 at the Teatro Real de Madrid as Rosina in Rossini's "Barbiere di Siviglia". She performed almost always together with her sister Carlotta Marchisio. They were protégé's of Rossini and he wrote the Petit Messe Solennelle especially for their voices. After her sister's early death at the age of 36 she was occupied as a voice-teacher and her most famous pupils were Toti dal Monte and Rosa Raïsa. On the photo she is seen as Azucena in Verdi's "Il Trovatore".

Marietta Piccolomini (1834-1899); Italian soprano. In 1852 she made her debut at the Teatro della Pergola in Florence as Lucrezia Borgia in Donizetti’s eponymous opera. In the following years she appeared in Rome, Pisa, Turin, Bologna and her native town Sienna. In the season 1855/56 she had a great success in Paris at the Théâtre-Italien where she sang the role of Violetta in the first French performance of “La Traviata”. In 1856 she did the same in London at Her Majesty’s Theatre performing at the English première of “La Traviata”. In 1858 she performed in the same theatre the role of Luisa in the English première of Verdi’s “Luisa Miller”. In London she also performed in an Italian performance of Balfe’s “Bohemian Girl”. In 1858 she made a very successful tour through the USA. In 1860 she married the Italian Marquis Gaetani della Fargia and retired from the stage. Her most memorable roles were Zerline in “Don Giovanni”, Lucia in “Lucia di Lammermoor”, Norina in “Don Pasquale”, Gilda in “Rigoletto” and Luisa in “Luisa Miller”.