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Célestine Galli-Marié's autograph at the back
Célestine Galli-Marié by Nadar (1)
Short note with autograph Célestine Galli-Marié
Pauline Viardot-Garcia by Disdéri (9)
Enrico Delle Sedie's autograph at the back
Enrico Delle Sedie by Numa Blanc
Elias Nathan by Petit & Trinquart
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Jean-Baptiste Faure by Reutlinger (3)
Short note with autograph Jean-Baptiste Faure
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Pauline Viardot-Garcia by Disdéri (10)
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Ada Adini by Rossi
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Carl Mayerhofer's autograph at the back
Stepan Vlasov by Unknown
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Pavel Akinfievich Khohklov by Unknown
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Anders Willman by Florman
Fritz Arlberg by Unknown
Leonard Labatt by Luckhardt
Signe Hebbe by Eurenius & Quist
Signe Hebbe by Florman
Anna Klemming by Florman
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Marie Renard by Adèle (8)
Marie Renard, born Marie Pölzl (1864-1939); Austrian mezzo-soprano/soprano.
In 1882 she made her debut at Graz as Azucena in “Il Trovatore”. From 1882/85 she was engaged at the “Deutschen Theater” in Prague and from 1885/88 at the “Hofoper Berlin”. In 1888 she was contracted by the “Wiener Hofoper” where she remained until her retirement from the stage in 1900.
Here she sang in 1890 the title role in the first Viennese performance of Massenet's “Manon”. In 1892 she created the role of Charlotte in Massenet’s “Werther”, with the tenor Ernest Van Dyck in the role of Werther. For this Viennese premiè the opera was translated into German. Also in 1892 she sang Eva in the world premiere of “Ritter Pázmán” by Johann Strauss II. Further on she created the role of Frau Dot in the première of Goldmark's “Das Heimchen am Herd” (1896) and Tatjana in the first Viennese performance of Tchaikovsky's “Eugene Onegin” (1897). Her farewell performance to the Viennese public (1900) was as Carmen, one of her star roles.
On the photo from 1897 she is seen as Tatjana in Tschaikowski's "Eugen Onegin".
In 1882 she made her debut at Graz as Azucena in “Il Trovatore”. From 1882/85 she was engaged at the “Deutschen Theater” in Prague and from 1885/88 at the “Hofoper Berlin”. In 1888 she was contracted by the “Wiener Hofoper” where she remained until her retirement from the stage in 1900.
Here she sang in 1890 the title role in the first Viennese performance of Massenet's “Manon”. In 1892 she created the role of Charlotte in Massenet’s “Werther”, with the tenor Ernest Van Dyck in the role of Werther. For this Viennese premiè the opera was translated into German. Also in 1892 she sang Eva in the world premiere of “Ritter Pázmán” by Johann Strauss II. Further on she created the role of Frau Dot in the première of Goldmark's “Das Heimchen am Herd” (1896) and Tatjana in the first Viennese performance of Tchaikovsky's “Eugene Onegin” (1897). Her farewell performance to the Viennese public (1900) was as Carmen, one of her star roles.
On the photo from 1897 she is seen as Tatjana in Tschaikowski's "Eugen Onegin".
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