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Marie Roze as Juliette 'Romeo & Juliette" Gounod MARIE ROZE (born Maria Hippolyte Ponsin), (2 March 1846, Paris – 2 June 1926, Paris), was a French operatic soprano. Debut at the Opéra-Comique 1865 . Her success there led to engagements with the Paris Opéra, and later in London. From 1876 she worked with the Carl Rosa Opera Company during their UK tours and in Scotland over a ten-year period sang roles ranging from Carmen and Manon to Marguerite] In 1877, she was engaged by the Max Strakosch Opera Company and made her American debut on 8 January 1878 in Philadelphia as Leonora in Donizetti's La favorita. She later toured the United States with the Carl Rosa Opera Company from 1883 to 1889 and was particularly noted for her interpretation of the title role Bizet's Carmen. In 1890, she taught singing in Paris and made her farewell tour in 1894.

Ugalde As Gil Blas "Gil Blas" Sermet DELPHINE UGALDE, née Beaucé, (3 December 1829 – 19 July 1910) was a French soprano. She was the mother of Marguerite Ugalde. Delphine Ugalde was born in Paris. After studies with her mother and the tenor Théodore-François Moreau-Sainti in Paris, she made her debut at the Opéra Comique in 1848 as Angèle in Auber’s Le domino noir, followed by L'ambassadrice. She went on to create roles in several popular operas of the time including the title role in Galathée by Massé on 14 April 1852, Virginie in Le caïd by Thomas on 3 January 1849 and Coraline in Le Toréador on 18 May 1849. After a break, she returned for Psyché (Eros) by Thomas on 26 January 1857.She sang in Auber’s L’enfant prodigue in London in 1851. At the Paris Opéra she sang Alice in Robert le diable in 1851 and Leonora in Il Trovatore (1858). In 1858, she made her debut at the Théâtre Lyrique, where she sang Suzanne in Les Noces de Figaro, Carabosse Mélodine in La fée Carabosse by Massé (28 February 1859), Blondine in L’Enlèvement au Sérail (1859), Martine in Ma tante dort (21 Jan 1860), and the title role in Gil Blas (24 March 1860). Her final benefit performance on 14 May 1860 was a lavish affair with, as well as many popular singers, contributions from Massé, Sarasate and Gounod. She returned briefly in 1865 to sing Papagena. In February 1861, From 1863, she sang at the Théâtre des Bouffes-Parisiens (Orphée, Les bavards), including her own operetta Halte au Moulin (1867), but retired from the stage in 1871.

Ugalde As Gil Blas "Gil Blas" Sermet DELPHINE UGALDE, née Beaucé, (3 December 1829 – 19 July 1910) was a French soprano. She was the mother of Marguerite Ugalde. Delphine Ugalde was born in Paris. After studies with her mother and the tenor Théodore-François Moreau-Sainti in Paris, she made her debut at the Opéra Comique in 1848 as Angèle in Auber’s Le domino noir, followed by L'ambassadrice. She went on to create roles in several popular operas of the time including the title role in Galathée by Massé on 14 April 1852, Virginie in Le caïd by Thomas on 3 January 1849 and Coraline in Le Toréador on 18 May 1849. After a break, she returned for Psyché (Eros) by Thomas on 26 January 1857.She sang in Auber’s L’enfant prodigue in London in 1851. At the Paris Opéra she sang Alice in Robert le diable in 1851 and Leonora in Il Trovatore (1858). In 1858, she made her debut at the Théâtre Lyrique, where she sang Suzanne in Les Noces de Figaro, Carabosse Mélodine in La fée Carabosse by Massé (28 February 1859), Blondine in L’Enlèvement au Sérail (1859), Martine in Ma tante dort (21 Jan 1860), and the title role in Gil Blas (24 March 1860). Her final benefit performance on 14 May 1860 was a lavish affair with, as well as many popular singers, contributions from Massé, Sarasate and Gounod. She returned briefly in 1865 to sing Papagena. In February 1861, From 1863, she sang at the Théâtre des Bouffes-Parisiens (Orphée, Les bavards), including her own operetta Halte au Moulin (1867), but retired from the stage in 1871.

ALEXANDRINE CICO (Alexandrine Louise Hortense TROTTE called Marie). -Soprano (.Paris, 04 July 1841 - 92.Neuilly-sur-Seine, September 09, 1875). Younger sister of Pauline Cico, actress.Educated at the Conservatoire National de Paris until 1861 and was completed with the fact that they won the first prizes in the departments Opéra and Opéra-Comique. In September 1861 she made her debut at the Opéra-Comique in Paris as Athenaise in 'Les Mousquetaires de la Reine' of Halévy and was able to develop in 1872 a very successful activity in this house. She was here with in a number of important opera premieres, including in the title role of the opera 'Lalla Roukh' of F.David (1862), in Auber's' La Fiancée du Roi de Garbe '(1864) and in' Le Voyage en Chine 'of François-Emmanuel-Joseph Bazin (1865). Among the other stage roles, she took over at the Opéra-Comique, are: Anna in 'La Dame blanche' by Boieldieu, the Susanna in 'Nozze di Figaro', the Isabella in 'Le Pré aux Clerc' by Herold Camilla in 'Zampa' by the same composers who Rafaela 'Haydee' by Auber, the title role in 'Lara' of Louis-Aimé Maillart, the Mme Darbel in 'L'Eclair' of Halévy and Philina in 'Mignon' of A.Thomas which she sang at the Opéra-Comique in the 100th performance of this popular opera.

ALEXANDRINE CICO (Alexandrine Louise Hortense TROTTE called Marie). -Soprano (.Paris, 04 July 1841 - 92.Neuilly-sur-Seine, September 09, 1875). Younger sister of Pauline Cico, actress.Educated at the Conservatoire National de Paris until 1861 and was completed with the fact that they won the first prizes in the departments Opéra and Opéra-Comique. In September 1861 she made her debut at the Opéra-Comique in Paris as Athenaise in 'Les Mousquetaires de la Reine' of Halévy and was able to develop in 1872 a very successful activity in this house. She was here with in a number of important opera premieres, including in the title role of the opera 'Lalla Roukh' of F.David (1862), in Auber's' La Fiancée du Roi de Garbe '(1864) and in' Le Voyage en Chine 'of François-Emmanuel-Joseph Bazin (1865). Among the other stage roles, she took over at the Opéra-Comique, are: Anna in 'La Dame blanche' by Boieldieu, the Susanna in 'Nozze di Figaro', the Isabella in 'Le Pré aux Clerc' by Herold Camilla in 'Zampa' by the same composers who Rafaela 'Haydee' by Auber, the title role in 'Lara' of Louis-Aimé Maillart, the Mme Darbel in 'L'Eclair' of Halévy and Philina in 'Mignon' of A.Thomas which she sang at the Opéra-Comique in the 100th performance of this popular opera.

Lucy Berthet 1866 -??? as Gwendoline –Soprano Maurice Renaud 1861-1933 as Harald –Baritone in 'GWENDOLINE' by Emmanuel Chabrier .cast of .Paris Premiere Palais Garnier 27/12/1893 LUCY BERTHET (Lucie Adeline Marie Bertrand) (1866-????) Belguim Soprano Pupil of Duvernoy , won 1st prize at the Conservatory in 1892, she started the same year at the Paris Opera. Debuted on September 25, 1892 in Hamlet (Ophelia) at the Opéra de Paris. She sang Roméo et Juliette (Juliette, 1892); Rigoletto (Gilda, 1892); Lohengrin (Elsa, 1893); Faust (Marguerite, 1894); Thaïs (Thaïs, 1894); Don Juan (Zerline, 1896); the Huguenots (the Queen, 1897).She participated in the first 12 May 1893 of Die Walküre (Ortlinte) [French version of Victor Wilder] by Richard Wagner; December 27, 1893 of Gwendoline (Gwendoline) by Emmanuel Chabrier.She created on 08 February 1895 Montagne Noire (Helena) of Augusta Holmès; February 19, 1897 Messidor (Helene) of Alfred Bruneau; April 13, 1898 the final version of Thaïs (Thaïs) by Jules Massenet; May 08, 1899 Briseis (Briseis) by Emmanuel Chabrier. RENAUD Maurice (Maurice CRONEAU ). — Baritonen (Bordeaux, 24 Julyt 1862 – Paris, 16 October 1933). Début 17 July 1891 in L'AFRICAINE (Nélusko). 1891, LES HUGUENOTS (Nevers), LA FAVORITE (Alphonse), SIGURD (Gunther, The Priest in 1896) ; 1892, FAUST (Valentin), GUILLAUME TELL (Leuthold, then Guillaume), AÏDA (Amonasro), LE SICILIEN (Tircis), OTHELLO (Iago) ; then SAMSON ET DALILA (Grand Priest 1893), TANNHÄUSER (Wolfram 1895) ; HAMLET (Hamlet), DON JUAN (Don Juan) in 1896 ; RIGOLETTO (Rigoletto), THAÏS (Athanaël) 1908 ; APOTHEOSE DE BEETHOVEN (Teltscher), HENRY VIII (Henry VIII) 1909 ; LA DAMNATION DE FAUST (Méphistophélès, 1910), LE VIEIL AIGLE ( Khan, 1914), MONSIEUR CHOUFLEURI RESTERA CHEZ LUI LE... (Fetermann, 1919). Creator in LOHENGRIN ( Telramund), SALAMMBO (Hamilcar), LA VIE DU POETE, RHEINGOLD (Albérich), DEIDAMIE (Ulysse), GWENDOLINE (Harald), DJELMA (Raim), LA MONTAGNE NOIRE (Aslar), FREDEGONDE (Hilpérik), MESSIDOR (le Berger), LES MAÎTRES CHANTEURS DE NUREMBERG (Beckmesser), LA PRISE DE TROIE (Chorèbe), LANCELOT (Arthus . He created at the Nouveau-Théâtre on April 26, 1906 the Clown (Auguste) of Isaac de Camondo

Lucy Berthet 1866 -??? as Gwendoline -Soprano Albert Alvarez 1861-1933 as Armel -Tenor Maurice Renaud 1861-1933 as Harald -Baritone in 'GWENDOLINE' by Emmanuel Chabrier .cast of .Paris Premiere Palais Garnier 27/12/1893 LUCY BERTHET (Lucie Adeline Marie Bertrand) (1866-????) Belguim Soprano Pupil of Duvernoy , won 1st prize at the Conservatory in 1892, she started the same year at the Paris Opera. Debuted on September 25, 1892 in Hamlet (Ophelia) at the Opéra de Paris. She sang Roméo et Juliette (Juliette, 1892); Rigoletto (Gilda, 1892); Lohengrin (Elsa, 1893); Faust (Marguerite, 1894); Thaïs (Thaïs, 1894); Don Juan (Zerline, 1896); the Huguenots (the Queen, 1897).She participated in the first 12 May 1893 of Die Walküre (Ortlinte) [French version of Victor Wilder] by Richard Wagner; December 27, 1893 of Gwendoline (Gwendoline) by Emmanuel Chabrier.She created on 08 February 1895 Montagne Noire (Helena) of Augusta Holmès; February 19, 1897 Messidor (Helene) of Alfred Bruneau; April 13, 1898 the final version of Thaïs (Thaïs) by Jules Massenet; May 08, 1899 Briseis (Briseis) by Emmanuel Chabrier. ALBERT ALVAREZ (Albert Raymond Gourron) ( May 16, 1861 - February 26, 1933) French Tenor Debut in Faust (Faust) March 14, 1892 at the Opéra de Paris , He sang Romeo and Juliet (Romeo, 1892); Lohengrin (Lohengrin, 1892); Samson and Delilah (Samson, 1893); the Valkyrie (Siegmund, 1893); Tannhäuser (Tannhäuser, 1895); Aida (Radames, 1895); the Favorite (Fernand, 1896); Sigurd (Sigurd, 1896); the Huguenots (Raoul, 1897); the Prophet (John, 1898); Fatherland! (Kerloo, 1900); The Cid (Rodrigue, 1900); Othello (Othello, 1903); Il Trovatore (Manrique, 1904); Pagliacci (Canio, 1906); Salammbô (Matho, 1906). He sang in the premiere at the Opera, November 10, 1897, the masters singers of Nuremberg (Walther) Richard Wagner [French version of Alfred Ernst]; December 11, 1904, Tristan and Isolde (Tristan) by Richard Wagner [French version of Alfred Ernst]. He created on 16 March 1894 Thaïs (Nicias) by Jules Massenet; February 08, 1895 the Black Mountain (Mirko) of Augusta Holmès; on December 18, 1895 Frédégonde (Merowig) to Ernest Guiraud; on April 24, 1896, Helle (Jean) of Alphonse Duvernoy. February 19, 1897 Messidor (Guillaume) of Alfred Bruneau; December 23, 1898 the Burgundian (Gauthier) of Paul Vidal; February 15, 1901 Astarte (Hercule) Xavier Leroux; on April 17, 1904, the son of Camille Erlanger Star (Bar-Kokeba RENAUD Maurice (Maurice CRONEAU ). — Baritonen (Bordeaux, 24 Julyt 1862 – Paris, 16 October 1933). Début 17 July 1891 in L'AFRICAINE (Nélusko). 1891, LES HUGUENOTS (Nevers), LA FAVORITE (Alphonse), SIGURD (Gunther, The Priest in 1896) ; 1892, FAUST (Valentin), GUILLAUME TELL (Leuthold, then Guillaume), AÏDA (Amonasro), LE SICILIEN (Tircis), OTHELLO (Iago) ; then SAMSON ET DALILA (Grand Priest 1893), TANNHÄUSER (Wolfram 1895) ; HAMLET (Hamlet), DON JUAN (Don Juan) in 1896 ; RIGOLETTO (Rigoletto), THAÏS (Athanaël) 1908 ; APOTHEOSE DE BEETHOVEN (Teltscher), HENRY VIII (Henry VIII) 1909 ; LA DAMNATION DE FAUST (Méphistophélès, 1910), LE VIEIL AIGLE ( Khan, 1914), MONSIEUR CHOUFLEURI RESTERA CHEZ LUI LE... (Fetermann, 1919). Creator in LOHENGRIN ( Telramund), SALAMMBO (Hamilcar), LA VIE DU POETE, RHEINGOLD (Albérich), DEIDAMIE (Ulysse), GWENDOLINE (Harald), DJELMA (Raim), LA MONTAGNE NOIRE (Aslar), FREDEGONDE (Hilpérik), MESSIDOR (le Berger), LES MAÎTRES CHANTEURS DE NUREMBERG (Beckmesser), LA PRISE DE TROIE (Chorèbe), LANCELOT (Arthus . He created at the Nouveau-Théâtre on April 26, 1906 the Clown (Auguste) of Isaac de Camondo .

Jean-Baptiste Faure as Guillaume "Guillaume Tell" Rossini a role he performed in the Premiere at Palais Garnier,28 February 1875 JEAN-BAPTISTE FAURE (15 January 1830 – 9 November 1914)French operatic baritone Faure was born in Moulins. A choirboy in his youth, he entered the Paris Conservatory in 1851 and made his operatic debut the following year at the Opéra-Comique, as Pygmalion in Victor Massé's Galathée. He remained at the Opéra-Comique for over seven years, singing baritone roles such as Max in Adolphe Adam's Le chalet and Michel in Thomas's Le caïd. During this time he also created the Marquis d'Erigny in Auber's Manon Lescaut (1856) and Hoël in Meyerbeer's Le pardon de Ploërmel (1859; later known as Dinorah), among seven premieres at that house. He made his debut at the Royal Opera House, London, in 1860 as Hoël, and at the Paris Opera in 1861. He would sing at the Opera every season until 1869 and then again in 1872-76 and 1878. In addition, he continued to perform off and on in London until 1877 at venues such as Her Majesty's Theatre and the Theatre Royal, Drury Lane. Among the many operas in which he appeared in Paris were Wolfgang Amadeus Mozart's Don Giovanni as well as L'étoile du nord, Les Huguenots and La favorite. He also made history by creating several important operatic roles written by such prominent composers as Giacomo Meyerbeer, Giuseppe Verdi and Ambroise Thomas. They included the leading baritone parts in L'Africaine, Don Carlos and Hamlet (in 1865, 1867, and 1868 respectively). His last stage appearances are recorded as taking place in Marseilles and Vichy in 1886.

Paul Franz as Walther in “ Les Maitres Chanteurs de Nurnburg.” Wagner PAUL FRANZ 1876-1950 French Tenor Worked as a navvy on the french railway before taking 1st prize in a singing competition , Debut 1908 Nantes . Franz had an heroic tenor voice he sang Tannhauser , Radames,Romeo,Sigurd , Siegmund, Faust & Samson . At Covent Garden london 1910 where he established himself as the leading french tenor . Last appeared in opera in 1938

Adele Isaac as Ophelia 'Hamlet" Thomas ADELE ISAAC (8 January 1854 – 22 October 1915) French soprano Isaac was born in Calais. After studying with Gilbert Duprez, her professional debut was in 1870 in Victor Massé's Les noces de Jeannette at the Théatre Montmartre. In February 1873 she attracted attention singing the young shepherd in Tannhäuser at La Monnaie (Bruxelles). Her first performance at the Opéra-Comique was in 1873 as Marie in La fille du régiment, going on to sing Mozart and Gounod. On 3 April 1882 she sang Angèle in the 1,000th performance of Le Domino Noir at the Opéra-Comique From 1883 to 1885 she appeared at the Opéra as Ophélia, Marguerite, Adele, Zerlina and Marguerite de Valois. She sang in the first Paris revival of Carmen in April 1883, and was chosen for the more restrained, even bland interpretation of the title role she offered. She created the roles of Olympia and Antonia in Les contes d'Hoffmann in 1881, Claire in Egmont by Salvayre in 1886, and Minka in Le roi malgré lui in 1887. Isaac was a great favourite at the Opéra-Comique: she sang Susanna in the 1882, 1886 and 1892 revivals of Le Nozze di Figaro. Her absence for a concert tour in Rome and Monte Carlo in early 1888 delayed repeat performances of Le roi malgré lui, and may have contributed to the end of its first run. In 1884 Adèle Isaac sang in the annual performances of Beethoven's 9th Symphony given at the Société des Concerts du Conservatoire; the following year she sang music from Egmont and The Magic Flute with the same orchestra . In 1887 she married businessman Charles Lelong; she retired in 1894. She died in Paris.

Adele Isaac as Catherine in “L’ Etoile du Nord” Meyerbeer ADELE ISAAC (8 January 1854 – 22 October 1915) French soprano, Autographed 1885 Isaac was born in Calais. After studying with Gilbert Duprez, her professional debut was in 1870 in Victor Massé's Les noces de Jeannette at the Théatre Montmartre. In February 1873 she attracted attention singing the young shepherd in Tannhäuser at La Monnaie (Bruxelles). Her first performance at the Opéra-Comique was in 1873 as Marie in La fille du régiment, going on to sing Mozart and Gounod. On 3 April 1882 she sang Angèle in the 1,000th performance of Le Domino Noir at the Opéra-Comique From 1883 to 1885 she appeared at the Opéra as Ophélia, Marguerite, Adele, Zerlina and Marguerite de Valois. She sang in the first Paris revival of Carmen in April 1883, and was chosen for the more restrained, even bland interpretation of the title role she offered. She created the roles of Olympia and Antonia in Les contes d'Hoffmann in 1881, Claire in Egmont by Salvayre in 1886, and Minka in Le roi malgré lui in 1887. Isaac was a great favourite at the Opéra-Comique: she sang Susanna in the 1882, 1886 and 1892 revivals of Le Nozze di Figaro. Her absence for a concert tour in Rome and Monte Carlo in early 1888 delayed repeat performances of Le roi malgré lui, and may have contributed to the end of its first run. In 1884 Adèle Isaac sang in the annual performances of Beethoven's 9th Symphony given at the Société des Concerts du Conservatoire; the following year she sang music from Egmont and The Magic Flute with the same orchestra . In 1887 she married businessman Charles Lelong; she retired in 1894. She died in Paris.

Léocadie Lemercier (1825-?); French soprano who created the rôle of Mirette in Limnander's "Le Château de la Barbe-Bleue" (1851), Marguerite in Auber's "Manon Lescaut" (1856), Eliane in Massé's "Les chaises à porteur" (1858) and Lilla in “Le roman d’Elvire” by Ambroise Thomas (1860.

LUIGI LABLACHE (6 December 1794 – 23 January 1858) Italian Bass Italian opera singer of French and Irish heritage. He was most noted for his comic performances, possessing a powerful and agile bass voice, a wide range, and adroit acting skills: Leporello in Don Giovanni was one of his signature roles. Luigi Lablache was born in Naples, the son of Nicolas Lablache, a merchant from Marseille, France, by an Irish lady. He was educated from 1806 at the Conservatorio della Pietà de' Tur...chini in Naples, where Gentili taught him the elements of music, and Valesi instructed him in singing, while at the same time he studied the violin and cello. He fled the Conservatorio five times in order to pursue an acting career, but each time he was brought back in disgrace. His voice was a beautiful contralto, and just before it broke he sang the solos in Mozart's Requiem on the death of Joseph Haydn in 1809. Before long he became possessed of a magnificent bass, which gradually increased in volume until at the age of twenty it attained a compass of two octaves from E-flat below to E-flat above the bass stave.

JEAN-LOUIS LASALLE -Baritone (.Lyon, December 10, 1845 or 14 February 1847 - September 07, 1909). Father of Robert Lassalle tenor. Student at Paris Concervatoire and later a pupil of Novelli.He made his first appearance on stage as St Bris in "Les Huguenot's" at Liege in 1868. During the next 4 years he sang at Lille , Toulouse , Brussels and the Hague . Debuted at the Opera on 09 June 1872 , as Nelusko "L'Africane". There he took part in many world premieres as Scindia in Massenet's "La Roi De Lahore" 1877 , Severe in Gounod's "Polyeucte" 1878 ,Ben Said in Gounod's "Le Tribute de Zamora ' 1880 ,Malatesta in Thomas's 'Francoise de Rimini" 1880 , and in 1183 the title role of Saint Saens "Henry VIII". He sang at Covent Garden 1879 , 1880 and 1881 and again between 1883-1891.In 1891 he made his Metropolitan Debut as Nelusko in Meyerbeer's "L'Africane". He sang Carmen (Escamillo) at the Opéra-Comique on December 11, 1890, for the erection of the monument to the memory of Bizet.

VICTOR PRILLEUX 1814-1876 French bass. Member of the Opéra-Comique he sang at many premières. de ; “Le diable au Moulin “ by Gevaert (1859) as Bonieface. was specially dedicated to Prilleux by the composer.

Pierre Jules Michot- as Tamino in Mozart’s “Die Zauberflöte PIERRE JULES MICHOT -French Tenor 1832-1896 In 1856 he made his debut at the Théâtre-Lyrique in the opera “Richard Coeur-de- Lion” by Grétry. In 1859 he sang at the première of “La fée Carabosse” by Victor Massé and he created the rôle of Scopas in Reyer’s “Erostrate” (1862). From 1859-1865 he was engaged by the Grand-Opéra Paris, but then returned to the Théâtre-Lyrique. Here he created in 1867 the rôle of Roméo in Gounod's "Roméo et Juliette" with Marie Caroline Miolan Carvalho as Juliette. His career did not last long because his last (guest)performance was in 1868 at the Marseille Opera in Verdi’s “Vêpres Siciliennes”.

Pierre Jules as Roméo in Gounod's "Roméo et Juliette PIERRE JULES MICHOT -French Tenor 1832-1896 In 1856 he made his debut at the Théâtre-Lyrique in the opera “Richard Coeur-de- Lion” by Grétry. In 1859 he sang at the première of “La fée Carabosse” by Victor Massé and he created the rôle of Scopas in Reyer’s “Erostrate” (1862). From 1859-1865 he was engaged by the Grand-Opéra Paris, but then returned to the Théâtre-Lyrique. Here he created in 1867 the rôle of Roméo in Gounod's "Roméo et Juliette" with Marie Caroline Miolan Carvalho as Juliette. His career did not last long because his last (guest)performance was in 1868 at the Marseille Opera in Verdi’s “Vêpres Siciliennes”.

MARIE-JULIE BARETTI (Marie Julie Blanche BARETTY). -(.Bordeaux, February 10, 1838 - Paris, 16 December 1877). French Soprano sang in the première of Maillart's "Les pecheurs de Catane" (1860) and "Lara" (1864), Reyer's "La statue" (1861) and David's "Le saphir" (1865