Bialystok-Stavenuiter's photos

Bertha Ehnn (1845-1932); Hungarian soprano/mezzo-soprano. Her first appearances were as a concert singer in Vienna. In 1864 she made her debut on stage in Linz as Nancy in Von Flotow's "Martha". In the season 1864/65 she was engaged at the "Theater von Graz". In 1865/66 she made very successful appearances at Hannover, Nürnberg, Darmstadt and Graz. From 1866/68 she was engaged at the "Stuttgarter Hofoper". Only with great difficulty and after having paid a high penalty of 5000 Florins she could terminate this contract and join the "Wiener Hofoper" in 1868. Here in Vienna she debuted as Marguerite in Gounod's "Faust" and until the year of her retirement in 1885 she had a brilliant career. Highlights in her stage repertoire included roles such as Cherubino and the Countess in "Le nozze di Figaro", Pamina in "Die Zauberflöte", Agathe in "Der Freischütz", Orsini in "Lucrezia Borgia", Leonore in "La Favorita" and Rachel in "La Juive".

Bertha Ehnn (1845-1932); Hungarian soprano/mezzo-soprano. Her first appearances were as a concert singer in Vienna. In 1864 she made her debut on stage in Linz as Nancy in Von Flotow's "Martha". In the season 1864/65 she was engaged at the "Theater von Graz". In 1865/66 she made very successful appearances at Hannover, Nürnberg, Darmstadt and Graz. From 1866/68 she was engaged at the "Stuttgarter Hofoper". Only with great difficulty and after having paid a high penalty of 5000 Florins she could terminate this contract and join the "Wiener Hofoper" in 1868. Here in Vienna she debuted as Marguerite in Gounod's "Faust" and until the year of her retirement in 1885 she had a brilliant career. Highlights in her stage repertoire included roles such as Cherubino and the Countess in "Le nozze di Figaro", Pamina in "Die Zauberflöte", Agathe in "Der Freischütz", Orsini in "Lucrezia Borgia", Leonore in "La Favorita" and Rachel in "La Juive".

Bertha Ehnn (1845-1932); Hungarian soprano/mezzo-soprano. Her first appearances were as a concert singer in Vienna. In 1864 she made her debut on stage in Linz as Nancy in Von Flotow's "Martha". In the season 1864/65 she was engaged at the "Theater von Graz". In 1865/66 she made very successful appearances at Hannover, Nürnberg, Darmstadt and Graz. From 1866/68 she was engaged at the "Stuttgarter Hofoper". Only with great difficulty and after having paid a high penalty of 5000 Florins she could terminate this contract and join the "Wiener Hofoper" in 1868. Here in Vienna she debuted as Marguerite in Gounod's "Faust" and until the year of her retirement in 1885 she had a brilliant career. Highlights in her stage repertoire included roles such as Cherubino and the Countess in "Le nozze di Figaro", Pamina in "Die Zauberflöte", Agathe in "Der Freischütz", Orsini in "Lucrezia Borgia", Leonore in "La Favorita" and Rachel in "La Juive".

Albert Niemann (1831-1917); German tenor. He made his debut in 1851 in Meyerbeer’s “Le Prophète" and continued his studies e.g. with the famous French tenor Gilbert Duprez. His first marriage –which lasted only two years- was with the soprano Marie Seebach (1830-1897). It is said they divorced after he threw her out of a first floor window. In 1871 he remarried, this time with the actress Hedwig Raabe (1844-1905) who kept the windows shut. On 13-3-1861 he sang at the Grand Opera the for Paris revised version of Tannhäuser with Marie Sasse as Elisabeth and Fortunata Tedesco as Venus. From 1866 till 1888 Niemann was a member of the “Hofoper Berlin”. In 1886 he sang in New York at the Metropolitan the rôle of Tristan in the American première of “Tristan und Isolde” with Lilli Lehmann as Isolde. In 1888 he sang at the same house the rôle of Siegfried in the American première of “Götterdämmerung” with Lilli Lehmann as Brünhilde. The first complete production of “Der Ring des Nibelungen” was played at Bayreuth from 13 august to17 august 1876 and in the second opera “Die Walküre” Niemann performed the rôle of Siegmund. His son Oscar Niemann (1862-1894) -from his first marriage- was a very promising tenor but died early. On the photo he is seen as Tannhäuser in Wagner's eponymous opera.

Lodovico Graziani (1820-1885); Italian tenor who created the role of Alfredo in Verdi's "La Traviata" at the Teatro La Fenice in Venice on 6 March1853. He was born into a musical family. Three of his brothers (baritone Francesco 1828-1901, baritone Vincenzo 1836-1906 and bass Giuseppe 1819-1905) also became professional singers. He studied with Cellini and made his debut in 1845 in Bologna in Cambiaggio's "Don Procopio". In 1846 he was heard at the Regio Teatro degli Avvalorati in Livorno as Elvino in Bellini's "La sonnambula". In 1847 he made his debut at La Scala Milan in the title role of Donizetti's "Dom Sébastien". In 1851 he sang in Paris at the Théâtre-Italien and in 1852 he was engaged in Venice at the Teatro La Fenice. Here he created the role of Alfredo at the première of Verdi's "La Traviata" in 1853. For the season 1854/55 he returned to Paris to sing again for the Théâtre-Italien. In 1855 Graziani returned to La Scala in Milan. He sang the role of Vasco da Gama in the first Italian performance of Meyerbeer's "L'Africaine" in Bologna in 1865. On the photo he is seen as The Duke of Mantua in Verdi's "Rigoletto" (1864).

Franz Nachbaur (1830-1902); German tenor. He created the role of Walther von Stolzing at the première of Wagner’s “Die Meistersinger von Nürnberg” (1868) and the role of Froh in Wagner’s “Das Rheingold”(1869). He studied with the famous Francesco Lamperti in Milan and in 1857 he made his debut in Passau. In the years 1858/67 he was engaged at Meiningen, Hannover, Prague, Darmstadt and made guest appareances at Munich and Berlin. In 1868 he was engaged by the “Münchner Hofoper” where he remained “ first tenor” for a period of 22 years. In 1890 he gave his last performance in Munich as Chapelou in Adam’s “Der Postillon von Lonjumeau”. On the photo he is seen as Walther von Stolzing in Wagner's "Die Meistersinger von Nürnberg".

Pauline Lucca (1841-1908); Austrian soprano. She made her debut in 1859 as Elvira in Verdi's "Ernani". In 1861 the composer Meyerbeer -a great admirer of Lucca- made her sign a contract with the Royal Court Opera in Berlin where she stayed several years. During her career she performed in England, France and Russia and she also undertook several tours in America. From 1874-1889 she was associated with the Vienna State Opera. Important roles of her were Zerlina in "Fra Diavolo", Cherubino in "Le noze di Figaro", Selika in "L'Africaine" and Carmen in Bizet's eponymous opera. She retired in 1889. On the photo she is seen as Marguerite in Gounod's "Faust".

Pauline Lucca (1841-1908); Austrian soprano. She made her debut in 1859 as Elvira in Verdi's "Ernani". In 1861 the composer Meyerbeer -a great admirer of Lucca- made her sign a contract with the Royal Court Opera in Berlin where she stayed several years. During her career she performed in England, France and Russia and she also undertook several tours in America. From 1874-1889 she was associated with the Vienna State Opera. Important roles of her were Zerlina in "Fra Diavolo", Cherubino in "Le noze di Figaro", Selika in "L'Africaine" and Carmen in Bizet's eponymous opera. She retired in 1889. Albert Niemann (1831-1917); German tenor. He made his debut in 1851 in Meyerbeer’s “Le Prophète" and continued his studies e.g. with the famous French tenor Gilbert Duprez. His first marriage –which lasted only two years- was with the soprano Marie Seebach (1830-1897). It is said they divorced after he threw her out of a first floor window. In 1871 he remarried, this time with the actress Hedwig Raabe (1844-1905) who kept the windows shut. On 13-3-1861 he sang at the Grand Opera the for Paris revised version of Tannhäuser with Marie Sasse as Elisabeth and Fortunata Tedesco as Venus. From 1866 till 1888 Niemann was a member of the “Hofoper Berlin”. In 1886 he sang in New York at the Metropolitan the rôle of Tristan in the American première of “Tristan und Isolde” with Lilli Lehmann as Isolde. In 1888 he sang at the same house the rôle of Siegfried in the American première of “Götterdämmerung” with Lilli Lehmann as Brünhilde. The first complete production of “Der Ring des Nibelungen” was played at Bayreuth from 13 august to17 august 1876 and in the second opera “Die Walküre” Niemann performed the rôle of Siegmund. His son Oscar Niemann (1862-1894) -from his first marriage- was a very promising tenor but died early.

Ludwig Schnorr von Carolsfeld (1836-1865); German tenor who created the role of Tristan in Wagner’s “Tristan und Isolde” at the Munich Hofoper in 1865. He was the son of the famous painter Julius Schnorr von Carolsfeld (1794-1872). In 1854 he made his debut at Karlsruhe as Naphtali in Méhul’s “Joseph”, but his big success came with his performance of Robert le Diable in Meyerbeer’s eponymous opera. Next there were engagements in Wiesbaden, Frankfurt a.M. and Düsseldorf. In 1860 he was engaged as first tenor at the “Hofoper Dresden”, where he stayed until his death. He was chosen by Richard Wagner to sing the première of “Tristan und Isolde” on June 10, 1865. In July the opera was repeated 4 times. His last performance was on July 9. 1865 as Erik in “Der fliegende Holländer”. At July 21, 1865 he died just 29 years old. He was married to the soprano Malvina Garrigues (1825-1904), who created the role of Isolde in “Tristan und Isolde”. Malvina Garrigues-Schnorr von Carolsfeld (1825-1904); Portuguese soprano who created the role of Isolde in Wagner’s “Tristan und Isolde” at the Munich Hofoper in 1865. She was the daughter of the Portuguese consul in Copenhagen and a pupil of the famous voice teacher Manuel Garcia Jr. in Paris. In 1847 she made her debut at Breslau as Isabella in Meyerbeer’s “Robert le Diable”. In the years 1849/54 she was engaged at the opera of Coburg und Gotha and Hamburg. From 1854/60 she was engaged at the Hofoper Karlsruhe and in 1860 she followed her husband Ludwig Schnorr von Carolsfeld to the “Hofoper Dresden”. She was chosen by Richard Wagner to sing the première of “Tristan und Isolde” on June 10, 1865 with her husband in the role of Tristan. After Ludwig's untimely death she gave up her career.

Malvina Garrigues-Schnorr von Carolsfeld (1825-1904); Portuguese soprano who created the role of Isolde in Wagner’s “Tristan und Isolde” at the Munich Hofoper in 1865. She was the daughter of the Portuguese consul in Copenhagen and a pupil of the famous voice teacher Manuel Garcia Jr. in Paris. In 1847 she made her debut at Breslau as Isabella in Meyerbeer’s “Robert le Diable”. In the years 1849/54 she was engaged at the opera of Coburg und Gotha and Hamburg. From 1854/60 she was engaged at the Hofoper Karlsruhe and in 1860 she followed her husband Ludwig Schnorr von Carolsfeld to the “Hofoper Dresden”. She was chosen by Richard Wagner to sing the première of “Tristan und Isolde” on June 10, 1865 with her husband in the role of Tristan. After Ludwig's untimely death she gave up her career.

Malvina Garrigues-Schnorr von Carolsfeld (1825-1904); Portuguese soprano who created the role of Isolde in Wagner’s “Tristan und Isolde” at the Munich Hofoper on June 10, 1865. The dedication is to her cousin Felice, dated 16 December 1865 and signed by her as Malvina Schnorr von Carolsfeld, gebürtig (born) Garrigues.. I thank Josef Hasmueller for his attempt to decipher her difficult handwriting. The dedication might be read as follows: Meinem lieben Felice ........ Mit herzlichem Gruß und Segen Von seiner ihn herzlich liebenden Tante Malvina Schnorr von Carolsfeld geb. Garrigues 16/12 65

Ludwig Schnorr von Carolsfeld (1836-1865); German tenor who created the role of Tristan in Wagner’s “Tristan und Isolde” at the Munich Hofoper on June 10, 1865. He was the son of the famous painter Julius Schnorr von Carolsfeld (1794-1872). In 1854 he made his debut at Karlsruhe as Naphtali in Méhul’s “Joseph”, but his big success came with his performance of Robert le Diable in Meyerbeer’s eponymous opera. Next there were engagements in Wiesbaden, Frankfurt a.M. and Düsseldorf. In 1860 he was engaged as first tenor at the “Hofoper Dresden”, where he stayed until his death. He was chosen by Richard Wagner to sing the première of “Tristan und Isolde” on June 10, 1865. In July the opera was repeated 4 times. His last performance was on July 9. 1865 as Erik in “Der fliegende Holländer”. At July 21, 1865 he died just 29 years old. He was married to the soprano Malvina Garrigues (1825-1904), who created the role of Isolde in “Tristan und Isolde”.

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 she is seen as Desdemona in Rossini's "Otello".

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 she is seen as Juliette in Gounod's "Roméo et Juliette".

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 she is seen in the title role of the opera "Esmeralda" by Fabio Campana. The title role had been written specially for her, but she could not make the Saint Petersburg premiere in 1869. In June of the following year it was performed in London at Covent Garden, this time with Adelina Patti as Esmeralda.

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.

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.