Juliette Bilbaut-Vauchelet by Carjat
Carlotta Carozzi-Zucchi by Fredricks
Pauline Lucca by Loescher & Petsch (2)
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Christine Nilsson by Le Jeune
Ferdinand Mirapelli's autograph at the back
Ferdinand Mirapelli by Cabibel
Francesco Tamagno by Muggia
Désirée Artôt by Bieber
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Léon Melchissédec by Nadar
Jean-Alexandre Talazac by Lopez
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Lina Bell by Nadar
Joséphine Daram by Petit (1)
Adèle Isaac by Petit
Italo Gardoni by Disdéri (2)
Enrico Tamberlick by Legé & Bergeron
Nicolas Levasseur by Numa Blanc
Mathilde Mallinger by Pierson
Etelka Gerster by Elliott & Fry
Rosa Sucher by Schaarwächter (1)
Márie von Rabatinsky by Unknown
Emilie Herzog by Bieber
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Émile-Alexandre Taskin by Charles
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Première-cast "L'Africaine" (5); Armand Castelmary…
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Pierre-Émile Engel by Nadar
Emilio Naudin by Nadar
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Enrico Tamberlick by Nadar (2)
Louis-Antoine-Eléonore Ponchard by Franck with aut…
Jean Morère by Bacard
Nicolas Levasseur by Petit
Charles-François Duvernoy by Thiebault
Charles-François Duvernoy by Moulin with autograph
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Caroline Girard by Liébert
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Adèle Isaac by Thiébault
![Adèle Isaac by Thiébault Adèle Isaac by Thiébault](https://cdn.ipernity.com/122/12/97/34671297.916d51c3.640.jpg?r2)
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Adèle Isaac (1854-1915); French soprano.
She studied with the famous tenor Gilbert Duprez. In 1870 she made her debut at the Théâtre Montmartre in Massé's "Les Noces de Jeannette". After the end of the German-French war of 1870/71 she sang first at Liège, then in Brussels. Here she attracted attention singing the young sheperd in Wagner's "Tannhäuser" at the "La Monnaie" theater. In 1873 she was engaged by the Opéra-Comique, where she debuted as Marie in Donizetti's "La Fille du régiment". Especially in the period 1878/88 her career was very successful. She was much estimated as a Mozart interpreter (Susanna in "Le nozze di Figaro" and Zerlina in "Don Giovanni") and in the soprano parts of the operas by Thomas, Hérold, Halévy and Gounod. In 1881 she created the roles of Olympia, Antonia and Stella at the première of Offenbach's "Les Contes d'Hoffmann". In 1887 she created the role of Minka in Chabrier's "Le Roi malgré lui". In the years 1883/85 she was also very successful at the Grand Opéra Paris. She had a brilliant, virtuosic coloratura voice and shone in roles such as Juliette in Gounod's "Roméo et Juliette" and Violetta in Verdi's "La Traviata". After she married in 1887 businessman Charles Lelong her appearances became less frequent. In 1894, she retired from the stage and devoted herself to teaching.
She studied with the famous tenor Gilbert Duprez. In 1870 she made her debut at the Théâtre Montmartre in Massé's "Les Noces de Jeannette". After the end of the German-French war of 1870/71 she sang first at Liège, then in Brussels. Here she attracted attention singing the young sheperd in Wagner's "Tannhäuser" at the "La Monnaie" theater. In 1873 she was engaged by the Opéra-Comique, where she debuted as Marie in Donizetti's "La Fille du régiment". Especially in the period 1878/88 her career was very successful. She was much estimated as a Mozart interpreter (Susanna in "Le nozze di Figaro" and Zerlina in "Don Giovanni") and in the soprano parts of the operas by Thomas, Hérold, Halévy and Gounod. In 1881 she created the roles of Olympia, Antonia and Stella at the première of Offenbach's "Les Contes d'Hoffmann". In 1887 she created the role of Minka in Chabrier's "Le Roi malgré lui". In the years 1883/85 she was also very successful at the Grand Opéra Paris. She had a brilliant, virtuosic coloratura voice and shone in roles such as Juliette in Gounod's "Roméo et Juliette" and Violetta in Verdi's "La Traviata". After she married in 1887 businessman Charles Lelong her appearances became less frequent. In 1894, she retired from the stage and devoted herself to teaching.
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