19TH CENTURY OPERA SINGERS

Malten as Brunhilde THERESE MALTEN (Therese Müller) (21 June 1855 – 2 January 1930) German dramatic soprano. Studied with Gustav Engel in Berlin.Début in 1873 in Dresden as Pamina in "The Magic Flute". In 1882 Richard Wagner selected her as the original Kundry in Parsifal. From that time on till her retirement in 1903, she remained a member of the Dresden Opera, with frequent leaves of absence for appearances in the principal European opera houses . She Began in the lyric repertoire and mainly in Italian opera, From 1881 she turned the Wagner singing and was one of the greatest Wagnerian singers of her generation. In 1874, she was at Dresden in the world premiere of "The Folkunger" by Kretschmar . 1882, she sang at the Bayreuth Festival in the first "Parsifal" performances alternating with Amalie Materna and Marianne Brandt the role of Kundry. By 1894, she performed at the Bayreuth Festival, Isolde "Tristan & Isolde " 1886 at he first performance of Wagner's opera admired in Bayreuth. She appeared in London in the roles appeared as Elsa in "Lohengrin", as Elisabeth in "Tannhäuser", as Eva in "Die Meistersinger" and as Leonore in Beethoven's "Fidelio" . In 1893 she starred in the world premiere of "Evanthia" by Paul Umlauff at the court theater of Gotha. Her repertoire included outside the Wagner repertoire Armida Gluck's "Iphigenia in Tauris", Leonore in "Fidelio", Genoveva in the opera by R. Schumann,"The Queen of Sheba" by Goldmark, the title role in of Sheba by Goldmark, the title role in "Jessonda" by L.Spohr and Leonore in "Troubadour".

MINNA PESCHKA-LEUTNER 25/10/1839-1/12/1890 Austrian Soprano Student of Proch in Vienna . Debut at Stadtheater Breslau as Agathe " Die Freischute" Weber followed by Alice " Robert de Diable" Meyerbeer in 1856.Became a member of the court opera Dessau . 1868-1876 performed at Leipzig city theater .1876-1883 at Cologne and then Hamburg until her retirement in 1887. Made guest appearances in USA 1872 and 1881 also appeared in London and Netherlands. After her retirement taught singing in Koln and Wiesbaden.

PAULINE VIARDOT [née García] (Michelle Ferdinande Pauline García ) (July 18, 1821 – May 18, 1910) French mezzo-soprano, Born in Paris to the Garcías, a Spanish opera family led by her father, tenor, singing teacher, composer and impresario Manuel García . She was 13 years younger than her beautiful sister, diva Maria Malibran, In 1837, 16-year-old Pauline García gave her first concert performance in Brussels and in 1839, made her opera debut as Desdemona in Rossini's Otello in London. This proved to be the surprise of the season. Despite her flaws, she had an exquisite technique combined with an astonishing degree of passion.

Sanchioli in the role of Azucena, in "Il trovatore" Verdi AUTOGRAPHED GIULIA SANCHIOLI-DE-FILIPPI (1824-?) Italian soprano/mezzo-soprano. She received her vocal training mainly from the famous voice teacher (and composer) Nicola Vaccai, who also arranged her stage debut in 1845 at Rome. She was so successful that her next engagement that year was in Naples at the San Carlo Theatre, where she debuted as Emilia in Mercadante's "La Vestale". This was followed by engagements at the Teatro Concordia at Cremona and the Teatro Carolina at Palermo. In 1848 she made her London debut at Her Majesty's Theatre as Abigaille in the English première of Verdi's "Nabucco". The London critics compared her to the great Prima Donna Giulia Grisi, who was very beloved at that time in London. In 1851 she was engaged at the Teatro Carlo Felice in Genua and the following years she had her career mainly in Italy and appeared at all the major opera houses; the season 1854/55 she appeared at La Scala in Milan. Considering the size of her voice she was able to sing both soprano as mezzo-soprano roles. Many thanks to Bialystok-Stavenuiter for Bio information

Peschard as Muller "La Timbale d'argent " By Vasseur CREATOR ROLE MARIE BLANCH PESCHARD (Marie Renouleau) (1843-1888) French Mezzo Soprano .She performed in many premiere's at theatre de Bouffes Parisians "Boule-de Neige" by Offenbach 1871,"Le Docteur Rose " by de Ricci 1872 , Muller in "La Timbale d'argent" by Vasseur , ''Le Grebot" by Vasseur 1873 , "La Quenouille de Nerre" by Grisart 1873 , " La Bouton Perdu" by Talexy 1874 , 'Le Hanetons" by Offenbach 1875 , "La Sorrentine" by Vassuer 1877 , "La trois Margot" by Grisart 1877 , Alvarez in "Maitre Peronilla" by Offenbach 1878 . At La Monnaie Bruxelles Elvire in "Une Folie a Rome" by de Ricci 1870 and at the theatre des Fantaisies Bruxelles "La Filleule du Roi" by Vogel 1875 and she also sang Eurydice in "Orphee aux Enfers " by Offenbach at Theatre de la Gaite in 1878 .

BERNADINE HAMAKERS (Caroline Frederique Bernadine Hamakers) (12 June 1836 - 24 October 1912) Belguim Soprano She was the daughter of a soldier and was discovered by de Morny . Hamakers sang the baptismal mass at the baptism of the Prince Imperial in Notre Dame cathedral in June 1856. She created Benoni in "La Reine de Saba" by Gounod at Salle Le Peletier on February 28, 1862. Her many roles in Paris included Isabelle in "Robert de Diable" by Meyerbeer , Rachel in "La Juive" by Halevy , Isolier in 'Le Comte Ory " by Rossini , Ninka in " La dieu et la Bayadere" by Auber , Elvire in " La Musette de Portica" by Auber , Mathilde & Jemmy in "William Tell" by Rossini , Urbain & Marguerite in " Les Huguenots" Meyerbeer , She held the favour of the Paris public until her death, and one of her “stunts,” as Gilda in “Rigoletto,” by verdi was to trill, watch in hand, for a full minute or more.

ELIAS NATHAN (January 1822- 28/10/1884) French Bass Nathan was born in Hombourg France and died in Paris . He made his debut in 1847 in Paris , From that time he performed mostly at the Opera Comique up until his death in 1884. Nathan sang in many world premieres at the Opera Comique Paris Including "Le Paysen" by Poisot 1850 , "Manon Lescaut" by Auber , Bernard in "Paquerette" by Duprato in 1856 , "Mariage Extravagant" by Gautier , "Clef des Champs" by Deffes in 1857 , "Fourberiesde Marinette" by Creste , "Don Gregorio" by Gabrielli in 1859 , Bennet in "Barkouf" by Offenbach ", "L'Habit de Mylord" by Lagarde in 1860 , "Bataille d'Amour" by Vaucorbeil in 1863 , "Le Fiancee dy Roide Garbe" by Auber in1864, "Jose Maria" by Cohen in 1866 , "le Korngold" by Guirard , . Geronte in "le Medecin Malgre Lui" by Gounod in 1870. Lilas Pastia in "Carmen" by Bizet in 1875.His other roles at the Opera Comique included Girot in "Pre-aux-clercs" by Herold 1854 ,Matteo in "Fra Diavolo" by Auber 1863 , Sulpice in "la fille du Regiment" by' Donizetti 1871 , Bartolo in 'Marriage of Figaro" by Mozart 1872 , Wilhelm in "Maitre Wolfram" by Reyer 1873 .

Albani as "Desdemona" Othello" Verdi EMMA ALBANI (1 November 1847 – 3 April 1930) Canadian soprano (Marie Louise Cecilia Emma Lajeunesse.) Vocal studies in Europe, and she became a student of Gilbert Louis Duprez in Paris, then by Francesco Lamperti in Milan. Debut in 1870 at the Opera House of Messina as Amina in 'La Sonnambula'. Covent Garden début 1872. First Covent Garden Senta (Der fliegende Holländer), 1877. NY Met début 1891; first Desdemona at NY Met 1894. Sang Isolde, Covent Garden 1896, retiring from stage a month later, but continuing to sing in oratorio. Retired to teach in 1911. DBE 1925.

Van Dyck as Le Chevalier des Grieux & Renard as Manon Lescaut in " Manon " Massenet ERNEST VAN DYCK (Ernst Marie Hubert VAN DIJCK ) (Anvers, 02 Aprill 1861 – Berlaar [Berlaar-lez-Lierre], province d'Anvers, 31 August 1923) Belguim Tenor First student in law at Louvain and Brussels, he became a journalist, editor of "the Scheldt" in Antwerp, from "the motherland" in Paris, where he worked with Saint-Yves-Bax singing. He was hired by Lamoureux concerts and was there cheering for five years in the music of Wagner. January 25, 1886, he created with the Concerts Lamoureux in the Eden-Théâtre le song of the Bell (Wilhelm) of Vincent d'Indy. When Lamoureux gave April 30, 1887, this theatre the memorable representation of Lohengrin in the French version of Charles Nuitter, Van Dyck was appointed to the role of Lohengrin. He was part of the cast of Bayreuth from 1888 to 1911; its beginning was resounding, and the young singer was immediately hired in Vienna, where he played in German: Parsifal, Lohengrin, the gold of the Rhine, the mastersingers of Nuremberg, then Faust, Romeo and Juliet, Manon, and finally Werther (Werther), which he created at the imperial Opera on February 16, 1892 in the German version of Kalbeck. He continued to sing annually at Bayreuth, where he became the Wagnerian tenor by excellence. Covent-Garden, its success was not less complete. March 14, 1897, he created in Monte - Carlo Moina (Patrice) of Isidore de Lara. He sang repeatedly the operas of Wagner at the Opéra de Paris in 1897, in 1908, and notably in 1914 when Parsifal was staged for the first time. On 1 April 1913, he staged the Freischütz at the Théâtre des Champs Elysées. Van Dyck was one of the most accomplished Wagnerian tenors. MARIE RENARD (Marie Polzl) (8 January 1864 – 19 October 1939) Austrian Mezzo Soprano Studied voice with Louise Weinlich-Tipka in her native city of Graz and later in Berlin with Rosa de Ruda. She debuted in 1882 in Graz as Azucena in Verdi's "Il trovatore", (1884–1885) she sang at the German Theatre in Prague. After making guest appearances in the title roles of Bizet's Carmen and Ambroise Thomas' Mignon at the Berlin Hofoper in 1885, she became a member of that company from 1885 to 1888 and sang there in the premiere of Heinrich Hofmann's Donna Diana in 1886.In 1888 she was engaged at the Vienna Hofoper .She was known for her portrayals of roles in French operas (sung in German), in particular as Carmen. Sang in World Permieres of as Eva in " Ritter Pázmán "by Johann Strauss II 1892 Charlotte Massenet's "Werther" 1892 ,Frau Dot in the world premiere of Goldmark's " Das Heimchen am Herd " 1896 .She sang the title role in the first Viennese performance's of Massenet's "Manon" (1890) and Tatjana Tchaikovsky's Eugene Onegin (1897). Other roles in Vienna included Cherubino in Figaros Hochzeit (Mozart's Le nozze di Figaro in German), Zerline in Mozart's Don Giovanni, the title roles in Mignon by Thomas and Djamileh by Bizet, Ännchen in Weber's Der Freischütz, Angela in Auber's Le domino noir, Rosalinde in Die Fledermaus by Johann Strauss II, Musetta in Puccini's La bohème, and Hänsel in Humperdinck's Hänsel und Gretel. Her farewell performance was as Carmen in 1900

Renard as Manon 'Manon" Massenet MARIE RENARD (Marie Polzl) (8 January 1864 – 19 October 1939) Austrian Mezzo Soprano Studied voice with Louise Weinlich-Tipka in her native city of Graz and later in Berlin with Rosa de Ruda. She debuted in 1882 in Graz as Azucena in Verdi's "Il trovatore", (1884–1885) she sang at the German Theatre in Prague. After making guest appearances in the title roles of Bizet's Carmen and Ambroise Thomas' Mignon at the Berlin Hofoper in 1885, she became a member of that company from 1885 to 1888 and sang there in the premiere of Heinrich Hofmann's Donna Diana in 1886.In 1888 she was engaged at the Vienna Hofoper .She was known for her portrayals of roles in French operas (sung in German), in particular as Carmen. Sang in World Permieres of as Eva in " Ritter Pázmán "by Johann Strauss II 1892 Charlotte Massenet's "Werther" 1892 ,Frau Dot in the world premiere of Goldmark's " Das Heimchen am Herd " 1896 . She sang the title role in the first Viennese performance's of Massenet's "Manon" (1890) and Tatjana Tchaikovsky's Eugene Onegin (1897). Other roles in Vienna included Cherubino in Figaros Hochzeit (Mozart's Le nozze di Figaro in German), Zerline in Mozart's Don Giovanni, the title roles in Mignon by Thomas and Djamileh by Bizet, Ännchen in Weber's Der Freischütz, Angela in Auber's Le domino noir, Rosalinde in Die Fledermaus by Johann Strauss II, Musetta in Puccini's La bohème, and Hänsel in Humperdinck's Hänsel und Gretel. Her farewell performance was as Carmen in 1900

Manoury as The count of Nevers - Opera Meyerbeer 'Les Huguenots' Théophile Adolphe Manoury (December 16, 1846 - June 16, 1909) French Baritone. 1871 -1874 studied at the conservatoire de Paris, where he took lessons from Messrs. Crosset, Obin and Mokr. Debut Opéra-Comique, 1874, in the Favorite. He remained member of the National Academy of music until 1880. He signed a commitment with the Théâtre de Marseille. He then left for Turin and performed at the Theatre Royal many roles in Italian operas. 1882 at la Scala in Milan, then at la monnaie in Brussels, in the role Massenet's Hérodiade, finally at the Théâtre des Arts in Rouen. Sang in Marseille, Lyon, Nice, Bordeaux Left for America (end of 1889) where he was chosen to head the vocal Department at the national Conservatory in New York. Returned to Paris in 1893,Appointed Professor at the conservatoire de Paris on April 25, 1903, he also opened a singing scholl at his home in Paris,

Moreau-Sainti as Tao-Jin "Cheval de bronze" by Auber. MARIE MOREAU-SAINTI 1826-1913 French Soprano Daughter of the french tenor Francois Theodore Moreau-Sainti (1799-1860). Studied with her father and Duprez . Debut 1856 at the Paris opera. Sang in Italy and returned to France .Created Aminta ' "La Rose de florence" by Biletta. Sang Valentine "Les Hugenots" Meyerbeer , Helene 'Les Vepres Siciliennes " Verdi , Rachel; " La Juive" Halevy . taught singing at the Paris Conservatoire

EDUARD NAWIASKY 1854-1925 Austrian Baritone Studied at the Vienna Conservatory .Debut 1876 as a Herald "Lohengrin" by Wagner at Vienna Court Opera.Engaged at Graz (1882-1883) and Court Opera Stuttgart (1883-1885) ,Opera House Frankfurt (1885-1907) .In german premiere of 'Lel Cid" Massenet .Made guest appearnce at Dresden , Basel , Cologne , Weiner and Wiesbaden . At Bayreuth Festival in 1904 he sang Aldreich in " Der Ring des Nibelungen " Wagner .After retiring he taught in Vienna . His roles included Rigoletto "Rigoletto" Verdi , Di Lina 'Il Trovatore" Verdi , William Tell "William Tell " Rossini , Lysart "Euryanthe" Weber , Nelusco " Africane" Meyerbeer , Dutchman "Der fliegende Holländer " Wagner , Telramund " Lohengrin" Wagner and Don Giovanni ' Don Giovanni" Mozart . also was succesful singing leider in the Concert,

EMIL KARL GOTZE 1856-1901 German Tenor Studied at the Conservatory of Dresden with Gustav Sharp. Debut 1878 Court Opera Dresden. In 1879 he sang Lionel "Matha" Flowtow and Max in "Die Freischutz" at Dresden . Sang Tamino "The Magic Flute" Mozart at Cologne in 1882 . Made guest appearance in Vienna , Berlin , Munich , Stuttgart and opera houses in Netherlands , Russia and Switzerland . Sang Raol 'Les Huguenots" Meyerbeer , Johann "Les Prophet " Meyerbeer . Lohengrin , Faust ,..Sang the title roles in "'Alessandro Stradella" Flowtow , " Jean de Paris " Boieldieu . He died of a heart attack in 1901

GIOVANNI MARIO (Giovanni Matteo, marquis of CANDIA ). -Italian tenor (Cagliari, October 17, 1810 – December 11, 1883). Husband Giulia Grisi. He debuted under the name of Mario on 02 December 1838 in ROBERT LE DIABLE de Meyerbeer (Robert). He sang LE COMTE ORY Rossini. THE Draper of Halévy; THE HUGUENOTS (Raoul, 1862). "This famous tenor of the Italians, and a moment of the Opera, was the son of the Italian general marquis of Candia." When starting at the Opera that he took the name of Mario, he was both exemplified since. After a long time living with the famous singer Giulia Grisi, who died in 1869, he eventually married her, when she became the widow of her first husband. They had six children .

MARIE BREMA (Mary Agnes Fehrmann) (28 February 1856 – 22 March 1925) English dramatic mezzo-soprano Began her vocal studied with George Henschel and continued her training with various vocal coaches .Made her stage deut at Oxford in 1891 as Adriana Lecouvreur . On 10 October 1891 (aged 35), taking her stage name from her father's birthplace her operatic debut was as Lola in Cavalleria Rusticana by Mascagni opposite Francesco Vignas At the Shaftsbury theater London .She also performed Orfeo . She was bought to the notice of Cosima Wagner and was invited to Bayreuth . She was the first english singer to appear at Bayreuth . She sang Ortrud (Lohengrin) Kundry (Parsifal) , She toured extensively in the USA , Her role included Brangane (Tristan & Isolde) , Brunhilde in ( Die Walkure & Gotterdammerung) , Fricka ( Rhiengold) After her retirement she became Director of The Manchester Royal College of Music

MARIE BREMA (Mary Agnes Fehrmann) (28 February 1856 – 22 March 1925) English dramatic mezzo-soprano Began her vocal studied with George Henschel and continued her training with various vocal coaches .Made her stage deut at Oxford in 1891 as Adriana Lecouvreur . On 10 October 1891 (aged 35), taking her stage name from her father's birthplace her operatic debut was as Lola in Cavalleria Rusticana by Mascagni opposite Francesco Vignas At the Shaftsbury theater London .She also performed Orfeo . She was bought to the notice of Cosima Wagner and was invited to Bayreuth . She was the first english singer to appear at Bayreuth . She sang Ortrud (Lohengrin) Kundry (Parsifal) , She toured extensively in the USA , Her role included Brangane (Tristan & Isolde) , Brunhilde in ( Die Walkure & Gotterdammerung) , Fricka ( Rhiengold) After her retirement she became Director of The Manchester Royal College of Music

ADELAIDE PHILLIPS (26 October 1833-3 October 1882) English Contralto Came to the United States with her family at the age of seven . When Jenny Lind appeared in Boston in 1850, Adelaide sang for her, and was advised to go to Europe. Pupil of Manuel García.Continued her studies in Italy, and made her début 1853 at Brescia, as Arsace in Semiramide. She sang also in Milan and other cities. Her stage name in Europe was Signorina Fillippi.In 1855 she returned to the US and appeared in Italian opera in Philadelphia and New York City. and travelled to Havana Cuba . In 1860 she made her first appearance in oratorio with the Handel and Haydn Society, Boston, in the Messiah. The following year she went abroad again, and appeared in Paris as Azucena in " Il Trovatore." After a professional tour in Europe she returned to the US. In 1864 she went again to Havana, and from that time until her death she appeared in opera, oratorio, and concerts the USn. She organised her own opera company "The Adelaide Phillipps Opera Company " in 1876, and in 1879 she joined the" Ideal Opera Company", remaining until 1881, when she made her last appearance on the stage in Cincinnati, Ohio.