Ada Adini By Benque

19TH CENTURY OPERA SINGERS


Cecile Thevenet by Boyer

16 Aug 2014 278
Cecile Thevenet as Carmen 'Carmen" Bizet CECILE THEVENET ????-???? Debut Carmen (Carmen) on October 14, 1906. Created room Favart, Ariane and Bluebeard (the nanny), Celeste (old lady), Chemineau (Catherine), Julien (a chimera), Lépreuse (a Washerwoman), Penelope (Eurycleia). She participated in the premiere May 16, 1908, the clown (Madam Barbazan) of Isaac de Camondo. the tales of Hoffmann (Nicklauss), Louise (Gertrude, the Gleaner, the mother), Mireille (Taven), le Pardon de Ploermel (a shepherd), Werther (Charlotte) and the legend of Point of Argentan (Rose-Marie).

Jeanne Granier by Chalot

16 Aug 2014 381
Jeanne Garnier as Orphee 'Orphee Aux Enfers" Offenbach JEANNE GRANIER (31 March 1852 – 18 or 19 December 1939) was a French soprano, born and died in Paris, Granier was a pupil of Madame Barthe-Banderali, studying both opéra-comique and Italian music. Her debut was in 1873 at the Théâtre de la Renaissance, replacing at short notice Louise Théo as Rose Michon in the opening run of La jolie parfumeuse. Thus noticed by Offenbach, she went on to create Giroflé-Girofla (Paris premiere), title role in La Marjolaine, the title role in Le petit duc, Janot, Ninella, Mme le Diable, Belle Lurette and Fanfreluche. At the Théâtre des Variétés Granier appeared in major roles in revivals of La belle Hélène, Barbe-bleue, and La Grande-Duchesse de Gérolstein. Her other premieres at various Paris theatres included Mlle Gavroche (at the Variétés), Jacquette-Jaquet in La Béarnaise (Bouffes), Therèse in La cigale et la fourmi (Gaité) and Les saturnales (Nouveautés).

Adelina Patti by Unknown (2)

16 Aug 2014 229
ADELINA PATTI (19 February 1843 – 27 September 1919) Soprano Her voice was noticed very early and she nade her first tour in America at the age of seven years and was a huge success. Studied singing in New York under the direction of Maurice Strakosch, her brother-in-law, and in 1859 she sang in New York in Lucia di Lammermoor. At Covent Garden theatre in London in 1861 where she sang la Sonnambula, her reputation was strengthened and in 1862 she was singing in Paris at the Théâtre Italien, where she soon became the star. She remained at Paris until 1870, being heard in London during the summer season. In Paris she sang the Italian Repertory, in London the french Repertory. After a long stay in America and London, Patti returned several times to Paris at the Opera (debut in 1874) and the Théâtre de la Gaîté. Then she resumed travels and successfully created, in London, in 1882, the Charles Lenepveu's Velléda. She also created Dolores of André Pollonais in Nice on February 22, 1897. She triumphed especially in a vast Italian repertoire that suited to her beautiful light soprano voice. His career lasted for fifty-six years.

Adelina Patti by Newsboy (3)

16 Aug 2014 267
ADELINA PATTI (19 February 1843 – 27 September 1919) Soprano Her voice was noticed very early and she nade her first tour in America at the age of seven years and was a huge success. Studied singing in New York under the direction of Maurice Strakosch, her brother-in-law, and in 1859 she sang in New York in Lucia di Lammermoor. At Covent Garden theatre in London in 1861 where she sang la Sonnambula, her reputation was strengthened and in 1862 she was singing in Paris at the Théâtre Italien, where she soon became the star. She remained at Paris until 1870, being heard in London during the summer season. In Paris she sang the Italian Repertory, in London the french Repertory. After a long stay in America and London, Patti returned several times to Paris at the Opera (debut in 1874) and the Théâtre de la Gaîté. Then she resumed travels and successfully created, in London, in 1882, the Charles Lenepveu's Velléda. She also created Dolores of André Pollonais in Nice on February 22, 1897. She triumphed especially in a vast Italian repertoire that suited to her beautiful light soprano voice. His career lasted for fifty-six years.

Jeanne Camperdon by Bert

16 Aug 2014 1 2 289
Jeanne Camperdon as Ophelia "Hamlet" Thomas JEANNE CAMPERDON (Jeanne Hacoun) Algeria, January 27, 1884 Algerian Soprano Debut 13, 1908 in LES HUGUENOTS (the Queen). Sings: TANNHÄUSER (Venus, 1908), the twilight of the gods (Voglinde, 1908; Gutrune, 1928), ARMIDE (Lucinde 1909; Sidonie, 1910), die WALKÜRE (Ortlinde, 1909), THAIS (Charmeuse, 1909), HAMLET (Ophelia, 1909), William TELL (Mathilde, 1909), ROMEO and Juliet (Juliette, 1909), RIGOLETTO (Gilda, 1909), FAUST (Marguerite, 1910), GWENDOLINE (Gwendoline, 1912), fatherland! (Rafaela, 1915), OEDIPUS A column (Antigone, 1916), the magic FLUTE (Queen of the night, 1923), the triumph of love (Diane, 1925, Venus, 1932), CASTOR and POLLUX (Phoebe, 1930). CREATED creations of the RHINEGOLD (Freia), LA FORÊT (Linden), SIBERIA (the little girl), ICARE (a nymph), ROMA (Junia), the JEWELS of the Madonna (Stella), PARSIFAL (girl-flower), the VIRTUOSI of MAZARIN, LE CHEVALIER A LA ROSE (the Marschallin).

Ernest Van Dyck by Benque

16 Aug 2014 1 263
Ernest Van Dyck as Tanhauser "Tanhauser:" Wagner 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.

Lucienne Breval & Leon Gressi by Nadar

16 Aug 2014 1 324
Lucienne Breval as Eva & Leon Gressi as Pogner 'Maitres Chantuers" Wagner LEON PIERRE NAPOLEON GRESSI Charolles, July 22, 1845 - 78.Marly-le-Roi, April 13, 1900). French Bass Debut October 20, 1875 in HAMLET (a gravedigger). Sings the HUGUENOTS (Saint-Bris, 1875;) Marcel, 1885), GUILLAUME TELL (Gessler, 1876; Walther, 1885); then, in 1885, the FAVORITE (Balthazar), Jewish (Brogni); in 1886, RIGOLETTO (Sparafucile), ROBERT LE DIABLE (Bertram), the African (don Pedro), LE CID (don Diegue); in 1887, AIDA (Ramfis), the Prophet (Zaccharie); then HAMLET (King, 1888), SAMSON ET DALILA (old Hebrew man, 1893), ROMEO and Juliet (brother Laurent, 1894). A created SIGURD (Hagen), die WALKÜRE (Hounding), OTHELLO (Ludovic), the MONTAGNE NOIRE (father Saval), the MASTERSINGERS of NUREMBERG (Pogner). At la Monnaie in Brussels, he created December 19, 1881 Hérodiade (Patrick) by Jules Massenet LUCIENNE BREVAL (4 November 1869, Zürich- 15 August 1935, Neuilly-sur-Seine) Swiss Soprano

Lucienne Breval by Benque

16 Aug 2014 288
Lucienne Breval as Selika 'L"Africane" Meyerbeer (DEBUT ROLE) LUCIENNE BREVAL (Bertha Agnès Lisette Schilling) (4 November 1869, Zürich- 15 August 1935, Neuilly-sur-Seine) Swiss Soprano She studied voice with Victor Warot at the Paris Conservatoire before making her debut at the Opéra National de Paris in 1892 as Selika in l'Africaine by Giacomo Meyerbeer .Bréval became a principal soprano at the Paris Opéra and remained there until 1919.[3] Her roles with the company included several world premières including Augusta Holmès's La Montagne Noire (1895), Camille Erlanger's Le fils de l' étoile' (1904), Dukas’ Ariane et Barbe-bleue (1907), Massenet's Bacchus (1909), and the title roles in Massenet's Ariane (1906) and Henry Février’s Monna Vanna (1909). She also was Kundry in France's first performance of Wagner's Parsifal (1914). Her other notable roles at the Paris Opera included Brünnhilde in Richard Wagner's Die Walküre (1893), Venus in Wagner's Tannhäuser (1895), Marguerite in Hector Berlioz's La damnation de Faust (1897), and the title role in Rameau's Hippolyte et Aricie (1908). Bréval also occasionally appeared in productions at the Opéra-Comique in Paris. Most notably she portrayed the title role in the world premiere of Massenet’s Grisélidis in 1901, and in 1910 she sang Lady Macbeth in the première of Ernst Bloch’s Macbeth, which he dedicated to her. In 1899, Bréval made her first appearance at the Royal Opera, Covent Garden as Valentine in Meyerbeer's Les Huguenots. Two years later she made her American début at the Metropolitan Opera as Chimène in Le Cid, singing also in Die Walküre and the American première of Ernest Reyer’s Salammbô. Five years later she returned to Covent Garden for the second and last time in the title role of Gluck’s Armide. In 1913 she created the title role in Fauré’s Pénélope at the Opéra de Monte-Carlo; her other title roles there had been in Isidore De Lara's Amy Robsart and in Bizet's Carmen

William Schwenck Gilbert by Sarony

16 Aug 2014 243
WILLIAM SCHWENCK GILBERT (18 November 1836 – 29 May 1911) English Composer /Actor

Marie Gabrielle Krauss by Benque

17 Aug 2014 506
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.

Marie Gabrielle Krauss by Benque

17 Aug 2014 314
Marie Gabrielle Krauss as " Sapho "' 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.

Valentin Duc by Benque

17 Aug 2014 1 346
Valentin Duc as Karloo "Patrie" CREATOR ROLE JOSEPH VALENTIN DUC January 24, 1858 in Béziers and died on February 23, 1915 in Béziers He is buried in the old cemetery of Béziers. GUILLAUME TELL (Arnold). Sings, in 1885, LA JUIVE (Eléazar); in 1886, the HUGUENOTS (Raoul), CID (Rodrigue); in 1888, ROBERT LE DIABLE (Robert); in 1889, the Prophet (John); in 1890, AIDA (Radames), the African (Vasco), SIGURD (Sigurd); in 1891, the MAGE (Zarastra). Created A homeland! (Karloo).

Eva Dufranne by Benque

17 Aug 2014 276
Eva Dufranne as Dolores 'Patrie" EVA DUFRANE . -Belgian soprano ( Belgium, 1857 - Paris, July 1905). Debuts August 16, 1880 in LA JUIVE (Rachel). In 1881 LES HUGUENOTS (Valentine), the Prophet (Berthe), LE TRIBUT DE ZAMORA (Xaima, in 1885, Hermosa), ROBERT LE DIABLE (Alice), DON JUAN (Elvira, 1887, Anna); 1883: LE FREISCHÜTZ (Agathe), L'AFRICAINE (Selika); 1884: SAPHO (Sapho); in 1887: PATRIE! (Dolores), AIDA (Aida, , in 1895, Amneris); HENRY VIII (Catherine, 1888), LOHENGRIN (Elsa, Ortrude, 1892), DIE WALKÜRE (Brunhild, 1893; Fricka, 1894), SIGURD (Hilda, 1894; UTA, 1897), LA MONTAGNE NOIRE (Dara, 1895), LA FAVORITE (Léonore, 1896), HAMLET (Queen, 1896), LA CLOCHE DU RHINE (Liba), 1898. creator of TABARIN (Francisquine).

Edouard de Reszke by Benque

17 Aug 2014 1 1 326
Edouard de Reszke as Duc d'Alba "Patrie" CREATOR ROLE EDOUARD DE RESZKE, originally Edward, (22 December 1853 – 25 May 1917) was a Polish bass from Warsaw. His voice studies in Italy with Giovanni Sbriglia, a leading pedagogue. Initially, he did not want to become an operatic performer but at the urging of his younger sister, Josephine (Józefina), he accepted an engagement with the Paris Opéra. He was chosen by the composer Giuseppe Verdi to make his debut in the first Paris performance of Aida on 22 April 1876, appearing under the composer's baton as the King of Egypt. De Reszke's older brother was the renowned lyric-dramatic tenor Jean de Reszke (1850–1925), with whom he would sing often in Paris, London and New York City during the course of the next two decades. In 1887, for example, the brothers performed together in the 500th performance of Gounod's Faust at the Paris Opéra. Josephine, Edouard and Jean's sister, also embarked on a career as an opera singer in Paris but she retired early from the stage after marrying an aristocrat while at the height of her powers. (Another sibling, Victor de Reszke, manifested more moderate talents as a vocalist.) Between the start of 1880 and the end of 1900, Édouard de Reszke appeared on more than 300 occasions at the Royal Opera House, Covent Garden, performing a wide range of roles in French, German and Italian operas, including works by Wagner, Verdi, Rossini, Bellini, Donizetti, Ponchielli, Gounod, Meyerbeer, Flotow and Mozart. He was a huge favourite, too, with audiences at New York's Metropolitan Opera during the same era. (His only serious bass rival at the Met and Covent Garden was the elegant French virtuoso Pol Plançon [1851–1914]; but the Frenchman, unlike de Reszke, barely touched Wagnerian opera.) He also sang in Chicago in 1891 and, in 1879–1881, at La Scala, Milan. In 1903, he retired from the stage after his once superlative voice developed technical difficulties and went into a swift decline. De Reszke taught singing for a while in London before returning to his estate in Poland, where he was adversely affected by the outbreak of World War I in Europe in 1914. Cut off from his brother by the fighting, he died on 25 May 1917 at a house in Garnek, near Częstochowa, Poland. His grave is to be found at Borowno Poland

Jean de Reszke by Benque

17 Aug 2014 250
Jean de Reszke as Romeo "Romeo & Juilette " Gounod JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

Jean de Reszke by Benque

17 Aug 2014 289
Jean de Reszke as Romeo "Romeo & Juilette " Gounod JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

Jean de Reszke by Benque

17 Aug 2014 239
Jean de Reszke as Romeo "Romeo & Juilette " Gounod JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

Henry Sellier by Benque

17 Aug 2014 297
Henry Sellier as Sigurd "Sigurd" Reyer HENRY SELLIER (François Alfred Alexander Sellier) (26 March 1849 - 26 June 1899). As a young man of very poor ancestry he came to Paris looking for work. When he worked as an errand boy for a merchant his voice was discovered and with financial help he was able to study at the Conservatoire National de Paris. In 1876 he finished his vocal studies by winning the "Prix du Conservatoire". After that he was immediately engaged by the Grand-Opéra, where in 1878 he made his debut as Arnold in Rossini's "Guillaume Tell". Here he created the role of Manoël at the première in Gounod's "Le Tribut de Zamora" (1881) and the role of Paolo at the première of "Françoise de Rimini" by Ambroise Thomas (1882). He was widely admired for the balanced beauty of his tenor voice and the dramatic force of his performance. After a hunting accident he ended his career at the Grand-Opéra in 1888. The season 1889/90 he was engaged at Brussels at "The Théâtre de la Monnaie" , where he created the role of Mathô at the première of Ernest Reyer's opera "Salammbô". The season 1890/91 he was engaged at the Opéra of Marseille and the following years he was engaged by various French provincial theaters.

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