Opera's Golden Age In Postcards

Mabel Garrison Siemonn 1886 - 1963 American soprano Studied singing at the Peabody Conservatory and then studied further with Oscar Saenger and Herbert Witherspoon in New York. She made her debut in 1912 with the Aborn Opera Company as Philine in "Mignon". Metropolitan Opera debut on February 15, 1914 in a Sunday afternoon concert singing arias from operas by Verdi and Mozart. Her first role at the Met was Frasquita in Bizet's Carmen. Guest appearances in 1921 at the Berlin State Opera in Hamburg and at the Cologne Opera. Later that year, she made a world concert tour. She was a member of the Chicago Civic Opera during the 1925-26 season. She was a teacher at Smith College after 1933. Other roles included Adina in L'Elisir d'Amore, Bertha in Euryanthe, Biancofiore in Francesca da Rimini, Crobyle in Thaïs, the Dew Fairy in Hansel and Gretel, Gilda in Rigoletto, Lady Harriet in Martha, Oscar in Un Ballo in Maschera, the Queen of the Night in The Magic Flute, the Queen of Shemakha in The Golden Cockerel, Rosina in Il Barbiere di Siviglia, and Urbain in Les Huguenots among others. Her last performance at the Met was as the title role in Lucia di Lammermoor on January 22, 1921

LILLI LEHMANN (Elisabeth Maria Lehmann) (24 November 1848-17 May 1929) German Soprano Her father, Karl-August Lehmann, was a singer (Heldentenor) while her mother, Maria Theresia Löw was a soprano. Her first lessons were from her mother, After singing small parts on the stage, for example in Mozart's Magic Flute at Prague in 1866, and studies under Heinrich Laube in Leipzig Lehmann made her proper debut in 1870 in Berlin as a light soprano in Meyerbeer's Das Feldlager in Schlesien. She subsequently became so successful that she was appointed an Imperial Chamber Singer for life in 1876.Sang in the first Bayreuth Festival in 1876 , New York Metropolitan Opera in 1885–1899 .London's Royal Opera House, Covent Garden, in 1899 and sang in Paris and Vienna in 1903 and 1909 respectively. In 1905, she sang at the Salzburg Festival,

as Isolde "Tristran & Isolde" Wagner LILLI LEHMANN (Elisabeth Maria Lehmann) (24 November 1848-17 May 1929) German Soprano Her father, Karl-August Lehmann, was a singer (Heldentenor) while her mother, Maria Theresia Löw was a soprano. Her first lessons were from her mother, After singing small parts on the stage, for example in Mozart's Magic Flute at Prague in 1866, and studies under Heinrich Laube in Leipzig Lehmann made her proper debut in 1870 in Berlin as a light soprano in Meyerbeer's Das Feldlager in Schlesien. She subsequently became so successful that she was appointed an Imperial Chamber Singer for life in 1876.Sang in the first Bayreuth Festival in 1876 , New York Metropolitan Opera in 1885–1899 .London's Royal Opera House, Covent Garden, in 1899 and sang in Paris and Vienna in 1903 and 1909 respectively. In 1905, she sang at the Salzburg Festival,

LILLI LEHMANN (Elisabeth Maria Lehmann) (24 November 1848-17 May 1929) German Soprano Her father, Karl-August Lehmann, was a singer (Heldentenor) while her mother, Maria Theresia Löw was a soprano. Her first lessons were from her mother, After singing small parts on the stage, for example in Mozart's Magic Flute at Prague in 1866, and studies under Heinrich Laube in Leipzig Lehmann made her proper debut in 1870 in Berlin as a light soprano in Meyerbeer's Das Feldlager in Schlesien. She subsequently became so successful that she was appointed an Imperial Chamber Singer for life in 1876.Sang in the first Bayreuth Festival in 1876 , New York Metropolitan Opera in 1885–1899 .London's Royal Opera House, Covent Garden, in 1899 and sang in Paris and Vienna in 1903 and 1909 respectively. In 1905, she sang at the Salzburg Festival, ALBERT NIEMANN (15 January 1831 – 13 January 1917) German Tenor Niemann made a debut in Dessau in 1849, singing in minor roles and in chorus. He received training from Fritz Schneider (director of the ducal Hofkapell), from Albert Nusch and from Gilbert Duprez in Paris. Until 1866 he had various engagements in Stuttgart, Königsberg, Stettin, and from 1854 in Hannover. At Hannover he sang Tannhäuser (from 1854), Lohengrin (from 1855) and Rienzi (from 1859).In 1864, Niemann sang as guest in two performances of Tannhäuser at Munich, and in one of Lohengrin by the arrangement of Ludwig II, shortly before the death of King Maximilian II of Bavaria. Ludwig invited Niemann to repeat these roles in Munich in 1866, but war intervened: in the following year he was again invited, but declined, because the usual cuts were not to be made. In 1866, he became a member of the Berlin Opera, and remained so until 1888. In April 1870, he sang Walther in the Berlin Meistersinger premiere. As Tichatschek had grown old, and after Ludwig Schnorr's death in 1865, Niemann had become one of the most experienced and advanced Wagnerian tenors, In May 1872 he was in the quartet of soloists (with Johanna Jachmann-Wagner, Marie Lehmann and Franz Betz) in the inaugural performance of Beethoven's Ninth Symphony at the foundation-stone laying of the Bayreuth Festspielhaus, Niemann remained with the Berlin opera until 1888, but in the later years of his career he participated in several important tours. In 1882, he appeared as Siegmund in the first London Die Walküre, at Her Majesty's Theatre. In 1883, he was one of the twelve pall-bearers at Wagner's funeral at Wahnfried. From 1886 to 1888 he appeared at the Metropolitan Opera House, as the first American Tristan (December 1, 1886, Anton Seidl, conductor, Lilli Lehmann, Isolde, as Siegfried in the first American Götterdämmerung ( January 25, 1888, with Lilli Lehmann as Brünnhilde, and in Spontini's opera Fernando Cortez. In New York, he also sang Siegmund, John of Leyden in Le prophète, Tannhäuser, Lohengrin, Florestan (in Fidelio), and Eleazar in La juive. Angelo Neumann's touring company, in which Niemann took part under Seidl's conductorship, toured with the Ring through many towns of Germany, Belgium, Holland, Switzerland, Italy, Hungary, and AustriaAlbert Niemann died in Berlin, two days short of his 86th birthday.

LILLI LEHMANN (Elisabeth Maria Lehmann) (24 November 1848-17 May 1929) German Soprano Her father, Karl-August Lehmann, was a singer (Heldentenor) while her mother, Maria Theresia Löw was a soprano. Her first lessons were from her mother, After singing small parts on the stage, for example in Mozart's Magic Flute at Prague in 1866, and studies under Heinrich Laube in Leipzig Lehmann made her proper debut in 1870 in Berlin as a light soprano in Meyerbeer's Das Feldlager in Schlesien. She subsequently became so successful that she was appointed an Imperial Chamber Singer for life in 1876.Sang in the first Bayreuth Festival in 1876 , New York Metropolitan Opera in 1885–1899 .London's Royal Opera House, Covent Garden, in 1899 and sang in Paris and Vienna in 1903 and 1909 respectively. In 1905, she sang at the Salzburg Festival, Francisco Augusto D'Andrade, 11 January 1856 – 8 February 1921 Portuguese baritone He studied the basics of acting and music with Manuel Carreira and Arturo Pontecchi, the principal conductor of the Teatro São Carlos, and gave his first public recital in 1879 at the Salão da Trindade in Lisbon. In 1881 he went to Milan for further studies tenor Corrado Miraglia, and later with the baritone Sebastiano Ronconi. Debut 1882 at the Teatro Principe as Amedeo in Sanremo as Amonasro in Verdi's “Aida”. Over the next four years he sang in the opera houses of Portugal, Spain and Italy, including the Teatro Costanzi in Rome where he sang Count de Luna in Verdi's Il trovatore and Severo in the theatre's first performance of Donizetti's “Poliuto”. He and his brother António, D'Andrade were engaged as singers at the Théâtre Privé d'Opéra in Moscow for the 1885/86 season. They appeared together in 1888 world premiere of Alfredo Keil's “Donna Bianca” at the Teatro São Carlos with Francisco as Adaour and António as Aben-Afan. In 1886 he was at the Royal Italian Opera in London. His roles included Renato “Ballo in maschera”, Figaro “Il barbiere di Siviglia”, Escamillo “Carmen”, Giorgio Germont “La traviata”, Enrico Ashton “Lucia di Lammermoor”, Telramund “Lohengrin”, “ Rigoletto” and “Don Giovanni” In 1901 he sang Don Giovanni at the Salzburg Festival .In Germany he sang regularly with the Frankfurt Opera from 1891 to 1910 as well as several other major German opera houses. Berlin Hofoper in 1889. He retired from the stage in 1919.

as Don Giovanni ' Don Giovanni" by Mozart 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

as Don Giovanni ' Don Giovanni" by Mozaret 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

as Gurnemanz in "Parsifal" by Wagner Carl Braun 1886 – 1960 German bass A pupil of the Berlin Imperial Opera, he sang with the Wiesbaden Royal Opera, Vienna Imperial Opera, Berlin City Opera, Metropolitan Opera, and the Berlin State Opera.

de Nuovina as Carmen "Carmen" Bizet MARGUERITE ZINA DE NOUVINA (Marguerite Lamandi nee Moldave) 1865-1936 Romanian Mezzo Debut on November 27, 1889 - premiere of Esclarmonde in Théâtre Royal de la Monnaie in Brussels - Debut at the Opera Comique 24/3/1893 by creating Kassya "Kassya" .From 1900 sang Carmen "Carmen" , Santuzza "Cavaleria Rusticana" , Anita 'La Navarraine" and Charlotte "Werther". Performed in Paris and Berlin. Successes in leading roles in "Amida" by Gluck, "Lohengrin" by Wagner, In Bucharest, sang in shows Stephănescu, which aimed to raise funds for the establishment of Romanian Opera.

as Don Juan 'Don Juan" Mozart John Forsell (Carl Johan Jacob Forsell) 1868 – 1941), Swedish baritone, Before his singing career, he served in the Swedish Army. While serving in the army, he pursued voice studies with Julius Günther at the Royal College of Music, Stockholm from 1892-1894. After graduating from college he studied singing further in Paris in 1895-1896 and later in Stockholm with Hedvig Willman and Signe Hebbe.debut at the Royal Swedish Opera, Stockholm, in 1896 as Figaro in The Barber of Seville. He would remain that opera house's premier baritone through 1918,He sang in several world premieres with the company, including Wilhelm Stenhammar's Tirfing (1898) and Andreas Hallén's Valdemarskatten (1899, the title role of Valdemar IV of Denmark). He also appeared in the Swedish premieres of Eugene Onegin (1903, title role), Tosca (1904, Scarpia), and Salome (1909, Jochanaan).He also established an international career. From 1902-1906 he sang regularly at the Royal Danish Theatre in Copenhagen. In 1909-1910 he appeared at the Metropolitan Opera in New York City, performing such parts as Tonio in Pagliacci, Amfortas in Parsifal, Figaro in The Barber of Seville, Telramund in Lohengrin, Germont in La traviata and Yeletsky in the United States premiere of Tchaikovsky's The Queen of Spades. Director (Intendant) of the Royal Swedish Opera at the start of the 1923-1924 season.His final opera performance was on his 70th birthday when he sang the role of Count Almaviva in Mozart's The Marriage of Figaro at the RSO. He retired from his director's position in May 1939

as the Foreingner " Mona Lisa" Von Schillings CREATOR 269/12/1915 Stuttgard John Forsell (Carl Johan Jacob Forsell) 1868 – 1941), Swedish baritone, Before his singing career, he served in the Swedish Army. While serving in the army, he pursued voice studies with Julius Günther at the Royal College of Music, Stockholm from 1892-1894. After graduating from college he studied singing further in Paris in 1895-1896 and later in Stockholm with Hedvig Willman and Signe Hebbe.debut at the Royal Swedish Opera, Stockholm, in 1896 as Figaro in The Barber of Seville. He would remain that opera house's premier baritone through 1918,He sang in several world premieres with the company, including Wilhelm Stenhammar's Tirfing (1898) and Andreas Hallén's Valdemarskatten (1899, the title role of Valdemar IV of Denmark). He also appeared in the Swedish premieres of Eugene Onegin (1903, title role), Tosca (1904, Scarpia), and Salome (1909, Jochanaan).He also established an international career. From 1902-1906 he sang regularly at the Royal Danish Theatre in Copenhagen. In 1909-1910 he appeared at the Metropolitan Opera in New York City, performing such parts as Tonio in Pagliacci, Amfortas in Parsifal, Figaro in The Barber of Seville, Telramund in Lohengrin, Germont in La traviata and Yeletsky in the United States premiere of Tchaikovsky's The Queen of Spades. Director (Intendant) of the Royal Swedish Opera at the start of the 1923-1924 season.His final opera performance was on his 70th birthday when he sang the role of Count Almaviva in Mozart's The Marriage of Figaro at the RSO. He retired from his director's position in May 1939

as Count Almaviva "Marriage of Figaro" Mozart John Forsell (Carl Johan Jacob Forsell) 1868 – 1941), Swedish baritone, Before his singing career, he served in the Swedish Army. While serving in the army, he pursued voice studies with Julius Günther at the Royal College of Music, Stockholm from 1892-1894. After graduating from college he studied singing further in Paris in 1895-1896 and later in Stockholm with Hedvig Willman and Signe Hebbe.debut at the Royal Swedish Opera, Stockholm, in 1896 as Figaro in The Barber of Seville. He would remain that opera house's premier baritone through 1918,He sang in several world premieres with the company, including Wilhelm Stenhammar's Tirfing (1898) and Andreas Hallén's Valdemarskatten (1899, the title role of Valdemar IV of Denmark). He also appeared in the Swedish premieres of Eugene Onegin (1903, title role), Tosca (1904, Scarpia), and Salome (1909, Jochanaan).He also established an international career. From 1902-1906 he sang regularly at the Royal Danish Theatre in Copenhagen. In 1909-1910 he appeared at the Metropolitan Opera in New York City, performing such parts as Tonio in Pagliacci, Amfortas in Parsifal, Figaro in The Barber of Seville, Telramund in Lohengrin, Germont in La traviata and Yeletsky in the United States premiere of Tchaikovsky's The Queen of Spades. Director (Intendant) of the Royal Swedish Opera at the start of the 1923-1924 season.His final opera performance was on his 70th birthday when he sang the role of Count Almaviva in Mozart's The Marriage of Figaro at the RSO. He retired from his director's position in May 1939

John Forsell (Carl Johan Jacob Forsell) 1868 – 1941), Swedish baritone, Before his singing career, he served in the Swedish Army. While serving in the army, he pursued voice studies with Julius Günther at the Royal College of Music, Stockholm from 1892-1894. After graduating from college he studied singing further in Paris in 1895-1896 and later in Stockholm with Hedvig Willman and Signe Hebbe.debut at the Royal Swedish Opera, Stockholm, in 1896 as Figaro in The Barber of Seville. He would remain that opera house's premier baritone through 1918,He sang in several world premieres with the company, including Wilhelm Stenhammar's Tirfing (1898) and Andreas Hallén's Valdemarskatten (1899, the title role of Valdemar IV of Denmark). He also appeared in the Swedish premieres of Eugene Onegin (1903, title role), Tosca (1904, Scarpia), and Salome (1909, Jochanaan).He also established an international career. From 1902-1906 he sang regularly at the Royal Danish Theatre in Copenhagen. In 1909-1910 he appeared at the Metropolitan Opera in New York City, performing such parts as Tonio in Pagliacci, Amfortas in Parsifal, Figaro in The Barber of Seville, Telramund in Lohengrin, Germont in La traviata and Yeletsky in the United States premiere of Tchaikovsky's The Queen of Spades. Director (Intendant) of the Royal Swedish Opera at the start of the 1923-1924 season.His final opera performance was on his 70th birthday when he sang the role of Count Almaviva in Mozart's The Marriage of Figaro at the RSO. He retired from his director's position in May 1939

as Valdemar Atterdag "Waldemarsskatten" by Hallen CREATOR 8/4/1899 Stockholm John Forsell (Carl Johan Jacob Forsell) 1868 – 1941), Swedish baritone, Before his singing career, he served in the Swedish Army. While serving in the army, he pursued voice studies with Julius Günther at the Royal College of Music, Stockholm from 1892-1894. After graduating from college he studied singing further in Paris in 1895-1896 and later in Stockholm with Hedvig Willman and Signe Hebbe.debut at the Royal Swedish Opera, Stockholm, in 1896 as Figaro in The Barber of Seville. He would remain that opera house's premier baritone through 1918,He sang in several world premieres with the company, including Wilhelm Stenhammar's Tirfing (1898) and Andreas Hallén's Valdemarskatten (1899, the title role of Valdemar IV of Denmark). He also appeared in the Swedish premieres of Eugene Onegin (1903, title role), Tosca (1904, Scarpia), and Salome (1909, Jochanaan).He also established an international career. From 1902-1906 he sang regularly at the Royal Danish Theatre in Copenhagen. In 1909-1910 he appeared at the Metropolitan Opera in New York City, performing such parts as Tonio in Pagliacci, Amfortas in Parsifal, Figaro in The Barber of Seville, Telramund in Lohengrin, Germont in La traviata and Yeletsky in the United States premiere of Tchaikovsky's The Queen of Spades. Director (Intendant) of the Royal Swedish Opera at the start of the 1923-1924 season.His final opera performance was on his 70th birthday when he sang the role of Count Almaviva in Mozart's The Marriage of Figaro at the RSO. He retired from his director's position in May 1939

As Carmen ??? "Carmen" Bizet Berta Foerster-Lauterer (Berta Foersterová-Lautererová) 1869 - 1936 Czech Soprano After making her debut as a soprano at the National Theatre in Prague, in 1888 she married the composer and critic Josef Bohuslav Foerster (1859–1951), who moved with her to Hamburg when she joined the city's Stadtheater in 1893. The couple became acquainted with Gustav Mahler, who engaged her for the Hofoper in Vienna in 1903, causing the couple to relocate to the Austrian capital. However, they returned to Prague in 1918, and they remained in Czechoslovakia for the rest of their days.She created the role of Desdemona in the Czech premiere of Giuseppe Verdi's Otello, and sang Tatiana in the Czech premiere of Pyotr Ilyich Tchaikovsky's Eugene Onegin; she also appeared in the world premiere of Antonín Dvořák's The Jacobin.

as St Bris "Les Huguenots" by Donizetti GABRIEL VALENTIN SOULACROIX (11 December 1853 – 16 August 1905,) French baritone. Studied at Toulouse, debut as Ourrias in "Mireille" by Gounod 5 September 1878, Soulacroix appeared regularly at La Monnaie, Brussels, including in some local operatic premieres. His repertoire in Brussels included Le timbre d'argent by Camille Saint-Saëns (10 February 1879, playing the doctor), L'orage, an opéra-comique by Jean Urich (2 May 1879, Julien), The magic flute in French, (January to April 1880, Papageno), La Bernoise, an opéra comique by Emile Mathieu (1 April 1880, André), Le capitaine Raymond, an opéra comique by Jean-Baptiste Colyns (8 April 1881, Le comte de Guitaut), Jean de Nivelle by Léo Delibes (28 November 1882, Le comte de Charolais), Le panache blanc, an opéra comique by Philippe Flon (15 February 1884), Manon (15 March 1884, Lescaut), Le trésor, an opéra-comique by Charles Edouard Lefebvre (15 December 1884, Le duc Jean), Joli Gilles by Ferdinand Poise (7 February 1885, title role), and The Mastersingers of Nuremberg in French (7 March 1885, Sixtus Beckmesser). Soulacroix joined the Opéra-Comique company in 1885, his first appearance being as Bellamy in Les dragons de Villars on 25 September 1885. He sang Ford in the 1894 production of Falstaff, as well as Alfio (Cavalleria rusticana), Ourrias (Mireille), Schaunard (La Boheme) and Figaro (The Barber of Seville). He was on-stage singing Laerte in Mignon the night of the fire at the Salle Favart on 25 May 1887, and later received a médaille de sauvetage. In December 1899 he added Oreste to his repertoire, in a production of Iphigénie en Tauride at the Théâtre de la Renaissance. At the Covent Garden in London he sang the roles of Pedrillo, Escamillo, Figaro (Rossini), Alfio, Mercutio and Beckmesser. In addition, he was seen in a wide range of parts regularly at Monte Carlo from 1889 to 1904, including the title role in Zampa and Iago in Otello. His career was ended prematurely by his sudden death in middle-age.

As Parsifal "Parsifal" by Wagner Heinrich Hensel 29 Oct 1874 - 23 Feb 1935 German Tenor His voice was discovered by the conductor Felix Mottl and he studied in Vienna under Gustav Walter and Frankfurt with Eduard Bellwidt and made his début at Freiburg in 1897 , as Breisgau in ‘’Alessandro Stradella’’ by. von Flotow. remaining a member of the ensemble there until 1900. After engagements at Frankfurt, where he created the Prince in Humperdinck’s Dornröschen (1902),He became the leading Heldentenor at the Hamburg Opera (1912–29).He was chosen by Sigfried Wagner to create Banadietrich at Karlsruhe in 1910 and to sing Parsifal and Loge at Bayreuth 1911-1912.He visted the US and sang Siegmund, Siegfried and Lohengrin at the Metropolitan and Chicago opera also appearances at Covent Garden London singing Wagner roles. He performed at Bayreuth, Amsterdam, Berlin, Brüssel, Chicago, Frankfurt/Main, Freiburg/Breisgau, Hamburg, Hannover, Karlsruhe Later he worked as vocal pedagogue in Hamburg. He was married to the dramatic soprano Elsa Hensel-Schweitzer (1871-1937).

As Des Grieux in “Manon” Massenet Giuseppe Anselmi (Antonio Giuseppe Anselmi) 1876 -1929 Italian tenor. He studied violin and piano at the Naples Conservatory as a teenager, and then joined an operetta troupe. Studied voice with Luigi Mancinelli, one of Italy's leading conductors.Debut in Genoa in 1900, He appeared at the Teatro San Carlo, Naples 1900, at the Royal Opera House, Covent Garden London 1901. La Scala, Milan 1904, Monte-Carlo Opera 1908, . He sang at Teatro Colón in Buenos Aires, Brussels, Berlin and Vienna prior to World War I.His greatest triumphs, however, occurred in the cities of St Petersburg Warsaw and Madrid, His operatic career tailed off at the end of World War I. He spent his remaining years teaching and composing in Italy. He also gave the odd concert.