19TH CENTURY OPERA SINGERS

Elisa Frandin as Mignon 'Mignon" Thomas 1884 ELISA FRANDIN (Lison Frandin) (1854-1911) Finnish Soprano Studied at the Paris Conservatoire her main teacher was the famous bass Obin. In 1881 she made ​​her debut in Cairo as Mignon , Carmen , and Rosa Friquet of Dragoons of Villars , In 1882 she was engaged at the Opera-Comique in Paris, where she was the first performer of Malika in Lakme by Delibes. In November 1883 she sang in Italian at the Carcano in Milan as Mignon . She sang in Argentina in Rome, Naples , at the Regio of Parma, Trieste Harmony in 1884, where she brought for the first time Carmen , She was an interpreter of all the major lyrical scenes Navarraise Massenet's Cavalleria, Pagliacci, Amico Fritz, Martyr (Samara ) Herodias, Aida and Margherita of Mephistopheles . Left the stage at La Fenice in Venice in May 1897 with Boheme by Leoncavallo. Venice. She died in Milan January 24, 1911, where since 1906 she had opened a school of singing and performing art. --------------------------------------------------------------------------------

Frau Louise Thebb opera/actress

ENRICO CARUSO ( February 25, 1873 – August 2, 1921) Italian Tenor Stage debut March 15, 1895 at the Teatro Nuovo in Naples. L'Amico Francesco, by the amateur composer Domenico Morelli. He received instruction from the conductor and voice teacher Vincenzo Lombardi .Caruso's 25-year career, stretching from 1895 to 1920, included 863 appearances at the New York Metropolitan Opera sang at such venues as La Scala in Milan, the Royal Opera House, Covent Garden, in London, the Mariinsky Theatre in Saint Petersburg, and the Teatro Colón in Buenos Aires, he was also the leading tenor of the Metropolitan Opera in New York City for 18 consecutive seasons. It was at the Met, in 1910, that he created the role of Dick Johnson in Giacomo Puccini's La fanciulla del West. Caruso's voice extended up to high C in its prime and grew in power and weight as he grew older. He sang a broad spectrum of roles, ranging from lyric, to spinto, to dramatic parts, in the Italian and French repertoires. In the German repertoire, Caruso sang only two roles, Assad (in Karl Goldmark's The Queen of Sheba) and Richard Wagner's Lohengrin, both of which he performed in Italian in Buenos Aires in 1899 and 1901, respectively

CHRISTINE NILSSON (Sjöabol near Växjö, Sweden, August 20, 1843 - Stockholm, 22 November 1921). Swedish Soprano Debut October 27, 1864, Théâtre-Lyrique. Debuted at l'Opéra de la salle Le Peletier on 09 March 1868 by creating Opehlia in HAMLET ,Sang in the premiere on 03 March 1869 Marguerite in Faust at the Palais Garnier. She sang LA LEGENDE DE SAINTE CECILE , oratorio by Benedict; ROBERT LE DIABLE (Alice). Meyerbeer

IVAN MELNIKOV (Ivan Aleksandrovich Melnikov ) (March 4, 1832 – July 8, 1906) Russian baritone Began studying with Gavriil Lomakin,continued his studies in Milan with a master of bel canto, E. Repetto .In 1867, Melnikov made a triumphant St. Petersburg debut at Mariinsky Theatre, performing the role of Riccardo in Bellini's I puritani. Melnikov appeared regularly at the Mariinsky, in both foreign and Russian roles, and was the first interpreter of more than dozen roles in Russian opera. Melnikov sang in every opera by Pyotr Ilyich Tchaikovsky except for Iolanta, creating roles in four of Tchaikovsky's operas: Prince Vyazminsky in The Oprichnik (1874), Devil in Cherevichki (1886), Prince Kurlyatev in The Enchantress (1887), and Tomsky in The Queen of Spades (1890)

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.

Andreas Dipple as Siegfried "Siegfried" Wagner ANDREAS DIPPEL ( Johann Andreas Dippel ) (30 November 1866 – 12 May 1932) German tenor He made his stage debut in 1887 at the Bremen Stadttheater as Lionel in Flotow's opera Martha and continued to study singing with Julius Hey (Berlin), Alberto Leoni (Milan) and Johann Ress (Vienna). He sang several smaller roles in Bayreuth in 1889, and become a member of the Vienna State Opera in 1893. He sang there until 1898 in 27 roles, including Marcello in the Vienna premiere of Leoncavallo's La bohème. During that period he also sang in London's Royal Opera House and at the New York Metropolitan Opera.Dippel made his debut at the Metropolitan Opera on 26 November 1890 in the title role of Alberto Franchetti's Asrael for its United States premiere. He appeared with the company 392 times including three other US premieres – Antonio Smareglia's Il vassalo di Szigeth (1890), Ernest II, Duke of Saxe-Coburg and Gotha's Diana von Solange (1891), and Richard Strauss' Salome (1907). His final appearance at the Met was as Froh in Das Rheingold on 13 April 1908

ALICE DUCASSE (Anne-Elisa Alice Ducasse) 1841-19?? Chillian Soprano pupil of M. Laget and Mmes Duprez and Miolan-Cavalho. At the Théâtre Lyrique under Pasdeloup and Vizentini she sang various roles at that theatre, creating Mab in Bizet's La jolie fille de Perth, as well as Nérine in L'irato by Méhul (November 1868), Formosa in En Prison by Guiraud (March 1869), and Thérèse in Don Quichotte by Boulanger (May 1869) .At the Opéra Comique she created Léna in the 1872 premiere of La princesse jaune, and Frasquita in the 1875 premiere of Carmen, as well as singing in the first Opéra Comique performances of works premiered elsewhere: Jacqueline in Le médecin malgré lui in 1872, Stefano in Roméo et Juliette in 1873, a shepherd in the 1874 revival of Le pardon de Ploërmel, Nicette in the 1871 revival of Le Pré aux clercs Mirza in the 1876 production of Lalla-Roukh, Rita in the 1877 revival of Zampa and Papagena in the 1879 production of The Magic Flute. After appearing as Marceline in The Marriage of Figaro in May 1882, Ducasse left the stage to take up teaching

Autographed 1894

PASQUALE BRIGNOLI (b. Naples, Italy, 1824; d. New York City, 30 October 1884) Italian-born American tenor. His operatic debut was in Paris in Rossini's Mosè in Egitto but he needed training and so he entered the Paris Conservatoire. After a period of study, he appeared in L'elisir d'amore in the role of Nemorino at the Theatre des Italiens. He is also recorded as having sung at the Paris Opera in 1854 he came to the United States with Maurice Strakosch in 1855, and soon attained a popularity that lasted almost to the end of his life. His American debut was as Edgardo in Lucia di Lammermoor (1855) and soon thereafter he sang Manrico in the first American production of Il Trovatore (1855). Other permière American performances in which he appeared were La Traviata (1856), I vespri siciliani (1859) and Un ballo in maschera (1861), conducted by Brignoli's friend, Emanuele Muzio at the New York Academy of Music, as well as Luigi Arditi's La Spia (1855) and Betly (1861) at the Philadelphia Academy of Music. Brignoli's first appearance in Boston was in 1855, as Gennaro in Lucrezia Borgia.

CLARA LOUISE KELLOGG (July 9, 1842 – May 13, 1916) American Soprano She received her musical training in New York City and first sang in opera there in 1861.She appeared as prima donna in Italian opera in London and at concerts in 1867 and 1868, and from that time till 1887 was one of the leading public singers. She appeared at intervals in London,but was principally engaged in America

ANNIE LOUISE CARY (October 22, 1842 – April 3, 1921) American Contralto In 1866 studied In Milan With Giovanni Corsi Until 1868. 1868 Debut In Italian Opera As A Profundo Contralto In Copenhagen . Further study with Pauline Viardot, And In The Autumn She In Paris, Studying With Giovanni Bottesini, A Conductor And Contra-bassist Made A Contract With Messrs. Maurice And Max Strakosch For Three Years In The United States. London With Henry C. Deacon, And Sang At Drury Lane Theatre. She Made Her First New York Appearance In September 1870 In Concert At Steinway Hall With Nilsson, Vieuxtemps, And Brignoli. Appearing With Carlotta Patti, Mario, Albani, f 1875/76, Visited Moscow And St. Petersburg, Returning To America For The Seasons Of 1877-78 And 1878-79, She Sang In Opera With Clara Louise Kellogg And Marie Rose,, At The Time She Retired, She Was The Most Popular Singer In America

ADOLPHE NOURITT (3 March 1802 – 8 March 1839) French Tenor Studied singing and musical theory with his father(Louis Nourrit) and then, despite his father's objections, took lessons with Manuel del Pópulo Vicente García.Made his professional operatic debut in 1821 as Pylades in Gluck's Iphigénie en Tauride. While at the Opéra, he became a pupil of Gioachino Rossini with whom he would work frequently. Nourrit created all principal tenor roles in Rossini's French operas, namely Néocles in Le siège de Corinthe (1826), Aménophis in the revised version of Moïse et Pharaon (1827), the title role in Le comte Ory (1828), and Arnold in William Tell (1829). He was also the first to perform the roles of Masaniello in Auber's La muette de Portici (1828), Robert in Meyerbeer's Robert le Diable, Eleazar in Halévy's La Juive (1835), and Raoul in Meyerbeer's Les Huguenots (1836), among other parts

ANNIE LOUISE CARY (October 22, 1842 – April 3, 1921) American Contralto In 1866 studied In Milan With Giovanni Corsi Until 1868. 1868 Debut In Italian Opera As A Profundo Contralto In Copenhagen . Further study with Pauline Viardot, And In The Autumn She In Paris, Studying With Giovanni Bottesini, A Conductor And Contra-bassist Made A Contract With Messrs. Maurice And Max Strakosch For Three Years In The United States. London With Henry C. Deacon, And Sang At Drury Lane Theatre. She Made Her First New York Appearance In September 1870 In Concert At Steinway Hall With Nilsson, Vieuxtemps, And Brignoli. Appearing With Carlotta Patti, Mario, Albani, f 1875/76, Visited Moscow And St. Petersburg, Returning To America For The Seasons Of 1877-78 And 1878-79, She Sang In Opera With Clara Louise Kellogg And Marie Rose,, At The Time She Retired, She Was The Most Popular Singer In America

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CATARINA MORENSI (Kate Duckworth) ????-1876 American Contralto Kate Morensi was the Italianized name of American singer, Kate Duckworth. She was also sometimes billed as Mlle. Montgomery .She was a pupil of Ettore Barili , Made her 1858 New York debut as Prince Affable in "Love and Lightning" at Laura Keene's Theatre. She was well known for the role of Maffio Orsini in Donizetti's "Lucrezia Borgia" and Azucena in "Il Trovatore." Morensi continued to perform in concert in the 1870s.She died 27 November 1876. (The Times Philadelphia, Pennsylvania), Thursday, November 30, 1876, Page 3. ... Kate Morensi, at one time a popular operatic singer in this country, died recently ) She toured United States with Grau Opera Company , Singing Adalgisa, Azucena , Maffio . Lucrezia borg among many others . Stated to be the 1st wife of Pasquale Brignoli , (but on his marriage in 1870 to Sallie Isabella McCullough he is listed as a bachelor)

Pedro Gailhardt as Gaspard in "Les Freischutz" von Weber PEDRO GAILHARDT (Pierre Samson Gailhard) (b Toulouse 1st August 1848 ,,d.Paris on 12 October 1918) French Bass Debut at the Opéra-Comique, then sang at the Opéra de Paris, beginning in the role of Mephistopheles of Faust by Charles Gounod in 1871. His interpretation of Leporello in Don Giovanni by Mozart remained particularly famous. He was Director of the Opéra de Paris from 1884 to 1891 and from 1893 to 1907. It is mentioned as such in the novel by Gaston Leroux, The Phantom of the Opera . He then became Director of the Conservatory of New York.

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.