19TH CENTURY OPERA SINGERS

As Brunhild in "Sigurd" by Reyer CREATOR Théatre de la Monnaie in Brussels on 7 January 1884 ROSE CARON (Rose Lucile MEUNIER). -Soprano (91.Monnerville, 17 November 1857 - April 09, 1930). Studied at the Paris Conservatoire, but was not taken on at the Paris Opera; her husband, an accompanist, encouraged her to take lessons from Marie Sasse who helped her to get engagements at the opera in Brussels (having made her concert debut in 1880) First operatic appearance in Brussels was as Alice in Meyerbeer's" Robert le Diable", followed by Salomé in Massenet's Hérodiade and Marguerite in Gounod's Faust; noticed by Ernest Reyer, he chose her to create the role of Brunehild in Sigurd in 1884 (and the Paris premiere in 1885). The title roles in Benjamin Godard's Jocelyn (1888) and Reyer's Salammbo (1890) and were also created by Caron in Brussels .In 1885 she began singing at the Paris Opera, Also other roles "LOHENGRIN "(Elsa), "SALAMMBÔ" Salammbô), "Die WALKÜRE" (Sieglinde), "DJELMA "(Djelma), "HELLE " (Helle) and OTHELLO (Desdemona), LA JUIVE (Rachel), LE CID (Chimène), LES HUGUENOTS (Valentine), HENRY VIII (Catherine), FAUST (Marguerite), LE FREISCHÜTZ (Agathe), in 1895 in TANNHÄUSER (Elisabeth), in 1896 in DON JUAN (Doña Anna) and the APOTHEOSIS of BEETHOVEN in 1886 in 1909 Fourth Symphony).

MARGUERITE PRIOLA (Marguerite Marie Sophie Polliart) (Paris, 02/10/1849-13.Marseille, 27/10/1876) French Soprano Daughter of Jules - César Patrick, general manager of the theatre of the Folies-Dramatiques Debut as The Messanger of Peace "Reinzi" Wagner April 06, 1869 at the Théâtre-Lyrique. Debuted at the Opéra-Comique in 1869 in Rêve d'amour. . She created on 30 November 1872 Don César of Bazán (Maritana) by Jules Massenet. Giving a representation of Mignon in 1876 in Marseille, Her voice apparently broke and she was hissed from the stage. The impression of the hostile event she took to heart and caused her to go become physically and mentally ill, she died a few days later, at the age of 26.

Joachim Tartakov 1860-1923 Russian Baritone Studied St Petersburg Conservatory with Camille Everard. Graduated from the Conservatory in 1881 and joined the Odessa Opera Company as first baritone that same year. There he made his debut in 1882 as Rigoletto in "Rigoletto" by Verdi’s. Then from 1882 he sang in provincial opera houses. and travelled to Italy for 2 seasons.Upon his return he was engaged at the Marinsky Theatreas principal baritone .He also sang in Berlin, Copenhagen, and other European cities. He performed Tchaikovsky’s art songs in concert. .From 1900 he was the Director of the Marinsky and 1920 to 1923 he was a professor at the Petrograd Conservatory. His roles included Rigoletto in "Rigoletto" by Verdi , Tonio in "I Pagliacci" by Leoncavallo ,Germont in "La Traviatta" by Verdi , Onegin in "Eugene Onegin" by Tchaikovsky , Demon in "Demon" by Rubinstein and many others

Russian Mezzo Soprano Biographical details unknown

as Faust in "Faust" by Gounod Andrei Labinski 1872-1941 Russian Tenor Began in the chorus of the Marinsky and became a pupil at the St. Petersburg Conservatoire (1895-1899) under Gabel and Samus.Debut in 1899 at the Mariinsky Theatre as Berendey in ''The Snow Maiden'' by. Rimsky-Korsakov.He remained at the Marinsky until 1911 and moved to the Bolshoi where he remained the rest of his career .He was appointed Professor of Singing in 1920 at the Moscow Conservatory .Roles included Sobinin in “A Life of the Tsar” by Glinka , Lensky in “Eugene Onegin” Tchaikovsky , Sinodal “Demon” by Rubenstein , Dante in “Franceso de Rimini” by Nepravnik , Berendey in ''The Snow Maiden'' by. Rimsky-Korsakov..Romeo in “Romeo & Juliette” by Gounod , Lohengrin “Lohengrin” Ny Wagner, Don Jose in “Carmen” by Bizet , Rhadames in “Aida” by Verdi ,Faust in “Faust” by Gounod and Prince in “Russalka” by Dvorak.

as Levko in "May Night :" by Rimsky-Korsakov CREATOR 21 January 1880 at the Mariinsky Theatre . St Petersburg Pyotr Lodiy ??? Russian Tenor Sang with Mamontov Private Opera which was active 1885-1903 which performed in the provinces and finally in Moscow. Mamontov united in his theatre the most talented singers, like Nadezhda Zabela-Vrubel, Pyotr Lodiy, Vladimir Lossky, Pyotr Olenin, Vera Petrova-Zvantseva, Nadezhda Salina, Anton Sekar-Rozhansky, Feodor Chaliapin, Nikolai Shevelev, Vasily Shkafer, Elena Tsvetkova and others.

THERESE TIETJENS 1831-1877 Soprano (Carolina Johanna Alexandra Tiejens) She studied at the Hamburg Schmidt educators and then in Vienna with Dellessie, Babing and H.Proch. In 1848 she made her debut at the municipal theater (opera house) of Hamburg as Irma in "Le Ma ¢ on" ("Mason and Schlosser") by Auber. 1849 there had particular success in the title role of Donizetti's "Lucrezia Borgia". 1850-53 she was engaged at the Opera House of Frankfurt aM and sang during this time the theater of Brünn (Brno). On 20.01.1851 she performed in Frankfurt in the world premiere of Lortzings "Opera Rehearsal" on the eve of the death of the composer. 1853-59 Member of the Vienna Court Opera. In 1858 she appeared for the first time in London, and though at Her Majesty's Theatre as Valentine in "Les Huguenots" by Meyerbeer. Since 1859 she performed until her death in London, where she moved, and both at Her Majesty's Theatre as the Drury Lane Theatre, often also at the Covent Garden Opera. She appeared in a large number of important premieres in London with: 1865 at Her Majesty's Theatre in the title role in the opera "Medea" by Cherubini, 1859 at the Drury Lane Theatre as Elena in "I Vespri Siciliani" by Verdi, 1861 at the Lyceum Theatre London as Amelia in Verdi's "Un Ballo in Maschera", in 1867 at Her Majesty's Theatre as Leonora in "La forza del destino" by Verdi, 1863 in the same house as Marguerite in "Faust" by Gounod, 1864 again there in the title role of Gounod's "Mireille "and as Mistress Ford in Nicolai's" Merry Wives of Windsor "(in Italian). She sang constantly in the English metropolis, apart from a stint in Paris in 1863 and an extensive and very successful North American tour 1875-76. Other highlights in her wide-ranging repertoire were the Norma, Donna Anna in "Don Giovanni", the Lucrezia Borgia and Agathe in "Der Freischütz" by Weber. She sang a technically difficult role as Semiramide in Rossini's opera, an old role as the Fides in Meyerbeer's "Le A Prophet" as well as the only Wagner role Ortrud in "Lohengrin". Under the 5/26/1864 offered her Richard Wagner in a letter to take over the Isolde in his opera "Tristan and Isolde" and was willing to take some cuts in the score, but did not materialize this project. She could not decide which to take Sieglinde in "Die Walküre" also. Even as a concert and oratorio singer Therese Tietjens enjoyed the highest reputation. In 1876 she gave her last concert in London, the 1877 one still followed in Dublin. On several occasions she sang in court concerts in front of Queen Victoria, who was very fond of her. She had a rich educated, powerful voice, which ranged from c to d three-painted, and their ability to express it as well as their admired virtuoso agility. At the beginning of her career in England they represented a very attractive, elegant stage presence, but was subsequently very corpulent. In September 1877 she suffered during a performance of "Lucrezia Borgia" in which she sang the title role on the stage of Her Majesty's Theatre a serious collapse attack and died of cancer two months later.

Therese Vogl 1845-1921 German Soprano Her name was Therese Thoma, was the daughter of a school teacher and received her education by the educator Hauser in Munich. In 1865, she debuted at the Court Theater of Karlsruhe in the role of Casilda in "La Part du Diable" by Auber. A year later in 1866, she followed a call to the Hofoper of Munich. In 1868 she married the famous first tenor of this opera house, Heinrich Vogl (1845-1900). Both were soon regarded as excellent voyagemen; The successors of the couple Ludwig and Malvina Schnorr von Carolsfeld, who had sung the title parts in Munich in the premiere of Wagner's "Tristan und Isolde" Heinrich and Therese Vogl were regarded as unsurpassed within their artistic generation in these two difficult parts, since they had sung them for the first time in 1869 in Munich. On June 26, 1870 Therese Vogl sang in Munich in the world premiere of the "Walküre" by R. Wagner, while her husband created the part of Siegmund. In 1878 and 1879 she was the Brünnhilde in Munich in the first performances of "Siegfried" and "Götterdämmerung" outside of Bayreuth. In 1881 she was a guest at the Hofoper of Berlin as Elsa in the "Lohengrin". In 1882 she sang the Brünnhilde at the Her Majesty's Theater in the English premiere of the Ring cycle under Anton Seidl. She also took part in the Europa tour with Angelo Neumann's wandering Wagner theater in 1882-83. In 1884 she sang with Heinrich Vogl in the premiere of "Tristan" at the opera in Frankfurt am Main, where she often enjoyed. She also appeared as a guest in Russia. She sang at the Stadttheater (opera house) of Hamburg (1877), at the court theater of Mannheim, Weimar, Wiesbaden and Stuttgart (1887). In 1885 she performed in Munich, together with her husband, in the premiere of the opera "Der faule Hans" by Alexander Ritter, in 1872 in the opera "Theodor Körner" by Wendelin Weissheimer. In 1892, she gave her farewell performance as an Isolde in Munich. She was appointed honorary member of the Munich Opera. In addition to Wagner's repertoire, she was successful in roles such as the Eglantine in "Euryanthe", the title role in "Alceste" by Gluck, the Leonore in the "Fidelio", the Clytemnestra in "Iphigenie in Aulis" and the Agathe in "Freischütz"

Gabrielle Krauss as Catherine of Aragon in "Henry VIII" by Saint- Saens CREATOR on 5 March 1883 at the Académie Nationale de Musique MARIE GABRIELLE KRAUSS (Vienna, 23 March 1842 - January 06, 1906) Soprano She was nicknamed "the Rachel singing". Begins on the night of the inauguration of the Palais Garnier on 05 January 1875 in both first act of LA JUIVE (Rachel). Sings DON JUAN (Anna, 1875), LES HUGUENOTS (Valentine, 1875), ROBERT LE DIABLE (Alice, 1876), du FREISCHÜTZ (Agathe, 1877), the African (Selika, 1877), FAUST (Marguerite, 1882) and SAPPHO (Sappho, 1884). Is the creator of Joan of ARC (Jeanne d'Arc), POLYEUCTE (Pauline), AIDA (Aida), Madonna (the Virgin), the tribute of ZAMORA (Hermosa), HENRY VIII (Catherine of Aragon), RIGOLETTO (Gilda) and Fatherland! (Dolores). retired in 1888.

1849 Sheet Music " La filia Del Regimento" with Engraving of Jenny Lind as Marie

Sheet Music 1843 Featuring Harriett Waylett 1798-1851 Actress , Singer & theatre Manager with reference to John Braham 1774-1856 English Tenor

as Paddock in "La Coupe du Roi de Thule" by Diaz CREATOR Theatre de National de L'Opera (Salle le Peletier) Paris on 10 January 1873. 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.

As Phanuel in "Herodiade" by Massenet CREATOR 19 December 1881 La Monnaie Brussels Leon Gresse (Leon Pierre Napoleon Gresse) 22 July 1845-13 April 1900 French Bass Debut 20 October 1875 in HAMLET (as a Gravedigger) and then disappeared in order to expand his repertoire in the provinces, and we find him in the opera house of La Gaîté under the direction of Vizentini. In the "Bravo" de Salvayre, which he created with Lhérie, Bouhy, Caisso, Mesdames Heilbronn and Engally, At La Monnaie Brussels, he CREATED on 19 December, 1881, "Herodade" (Phanuel) by Jules Massenet and on CREATED on 7 January 1884 "SIGURD" (Hagen),by Reyer .At Palais Garnier Paris 8 February 1895 he CREATED " LAMONTAGNE-NOIRE" (Sava) by Holmes Roles included "LES HUGUENOTS" (Saint-Bris & Marcel) "GUILLAUME TELL" (Gessler & Walther), "LA FAVORITE" (Balthazar), "LA JUIVE" (Brogni); " RIGOLETTO" (Sparafucile), "ROBERT LE DIABLE" (Bertram), "L'AFRICANE" (Don Pedro), "LE CID" (Don Diego); , Aida (Ramfis), "LA E PROPHET "(Zaccharia); " HAMLET" (the King, "SAMSON AND DALILA " (Old Hebrew), ROMÉO AND JULIETTE (Brother Laurent) ,"DIE WALKYRIE" (Hounding),"OTHELLO" (Ludovic), "THE MASTERS SINGERS OF NUREMBERG" (Pogner)

as Romeo & Juliette in "Romeo et Juliette" by Gounod Jean Alexandre Talazac May 16, 1853 - December 26, 1892 FrenchTenor Debut April 28, 1878 Lae Statue (Selim). He sang in 1879 at the premiere of the Magic Flute (Tamino) by Mozart, and la Traviata in 1886 (Rodolphe). He created in 1880 Jean de Nivelles (Jean) by Léo Delibes, 1881 les Contes d'Hoffmann (Hoffmann) by Jacques Offenbach, in 1883 Lakmé (Gérald) by Léo Delibes, January 19, 1884 Manon (Des Grieux) by Jules Massenet, in 1888 the Roi D'ys (Mylio)d'Edouard Lalo (Joseph) Romeo and Juliet (Romeo),Richard Cœur de Lion (Richard). 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.

as Lakme in "Lakme" by Delibes CREATOR Opera Comique Paris 14/2/1883 MARIE VAN ZANDT (October 8, 1858 – December 31, 1919) American Soprano Daughter of Jennie van Zandt , She studied in Milan with Francesco Lamperti, making her debut as Zerlina in Don Giovanni in Turin in 1879. Successful appearances followed, including at Covent Garden in 1879. She was only 21 signed a contract with the Opéra-Comique in 1880, making her debut as Mignon. It was the beginning of the glory. Léo Delibes composed his opera Lakmé for her, and she created the title role for its world premiere in 1883.Marie van Zandt made her Metropolitan Opera debut as Amina in Vincenzo Bellini's La sonnambula on December 21, 1891, remaining with the company for only one season, as usual. She returned to the Opéra-Comique in 1896 and revived some of her earlier success there, including Lakmé to huge enthusiasm in 1896, and Zerlina and Mignon in 1897 .She married with a Russian Count and went into retirement, staying in France

As Henry VIII in "Henry VIII" by Saint-Seans CREATOR Palais Garnier Paris 5/3/1883 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.

as Romeo & Juliette in "Romeo et Juliette" by Gounod MARIE REY (Marie Emilie Guillemette Rey) 30 August 1834_???? French Soprano Debut Opera Comique 1856 and Paris Opera in 1860 VICTOR CAPOUL (27 February 1839 – 18 February 1924) French Tenor He began his studies in 1859 at the Conservatoire of Paris . He debuted in 1861 at the Opéra-Comique Paris as Daniel in 'Le chalet' of Adam. By 1870, he remained at the Opéra-Comique as principal tenor until the outbreak of the Franco-Prussian war in 1870 .during which he sought asylum in England , There he joined the Mapelson Company at Drury Lane , making his debut as Faust in Gounod's "'Faust " then 1871-75 at the Italian Opera London At London he appeared at Covent Garden for the first time in 1877 , as Fra Diavolo . Lionel 'Marta" , Faust , Elvino ,and Ernesto.With Mapelson he went to the USA where he was regular visitor until 1884 , again at the New York Metropolitan Opera 1891-1892 ; He made his debut there as Gounod's Faust and sang seven roles: the Edgardo in "Lucia di Lammermoor ', in Wilhelm Meister' Mignon 'of A.Thomas, Count Almaviva in" The Barber of Sevbilla', the Alfredo in "La Traviata 'Tybalt in' Romeo et Juliette 'by Gounod, the Enzo in "La Gioconda" by Ponchielli and worked among others in 1891 in the Metropolitan premiere of Verdi's' Othello' as Cassio with. In the years 1892-97 he lived as a singing teacher in New York; then he became a director of the Grand Opera of Paris. In 1905 he gave up this activity.