Fyodor Stravinsky by Wesenberg (1)
Fyodor Stravinsky by Wesenberg (2)
Fyodor Stravinsky by Wesenberg (3)
Josef Paleček and Wilhelmina Raab by Wesenberg
Wilhelmina Raab by Wesenberg (1)
Maria Deysha-Sionitzkaya by Wesenberg
Nikolai Figner and Medea Mei-Figner by Wesenberg (…
Nikolai Figner and Medea Mei-Figner by Wesenberg (…
Wilhelmina Raab and Ivan Melnikov by Wesenberg
Nikolai Figner and Medea Mei-Figner by Wesenberg (…
Ivan Melnikov by Wesenberg (1)
Ivan Melnikov by Wesenberg (2)
Leonid Yakovlev by Wesenberg
Maria Dolina by Wesenberg
Sofia Scalchi by Wesenberg
Lodovico Graziani by Wesenberg
Wilhelmina Raab by Wesenberg (2)
Fyodor Komissartschevsky by Bergamasco (3)
Gian Francesco Angelini by Bergamasco
Francesco Graziani by Bergamasco
Enrico Calzolari by Bergamasco
Caroline Salla by Bergamasco
Marie Sasse by Reutlinger (2)
Emilio Pancani by Lehmann
Emilio Pancani's autograph at the back
Gustave Roger by Portier
Gustave Roger's autograph at the back
Enrico Tamberlick by Unknown
Franz Betz by Unknown
Amalie Materna by Atelier Rembrandt
Therese Vogl by Müller
Bertha Ehnn by Mahlknecht (2)
Bertha Ehnn by Gertinger (2)
Bertha Ehnn by Gertinger (1)
Albert Niemann by Albert
Lodovico Graziani by Mahlknecht
Franz Nachbaur by Albert
Pauline Lucca by Graf (3) with autograph
Pauline Lucca and Albert Niemann by Lehmann
Ludwig Schnorr von Carolsfeld and Malvina Garrigue…
Malvina Garrigues by Holzer (2)
Malvina Garrigues ' autograph at the back
Ludwig Schnorr von Carolsfeld by Holzer (2)
Adelina Patti by Bergamasco (8)
Adelina Patti by Bergamasco (7)
See also...
Authorizations, license
-
Visible by: Everyone -
All rights reserved
-
491 visits
Elias Nathan by Franck
Elias Nathan (1822-1884); French bass.
He studied at the Conservatoire National de Paris. In 1847 he made his debut at the Opéra-Comique, where he remained throughout his career. His roles were primarely from the buffo repertoire like Bartolo in "Il Barbiere di Siviglia", Mathéo in "Fra Diavolo" and Sulpice in "La Fille du Régiment". Later in his career he added a number of smaller character roles and also comprimario roles to his repertoire. In 1875 he created the small (speaking) role of Lillas Pastia at the première of Bizet's "Carmen" at the Opéra-Comique.
He studied at the Conservatoire National de Paris. In 1847 he made his debut at the Opéra-Comique, where he remained throughout his career. His roles were primarely from the buffo repertoire like Bartolo in "Il Barbiere di Siviglia", Mathéo in "Fra Diavolo" and Sulpice in "La Fille du Régiment". Later in his career he added a number of smaller character roles and also comprimario roles to his repertoire. In 1875 he created the small (speaking) role of Lillas Pastia at the première of Bizet's "Carmen" at the Opéra-Comique.
- Keyboard shortcuts:
Jump to top
RSS feed- Latest comments - Subscribe to the comment feeds of this photo
- ipernity © 2007-2026
- Help & Contact
|
Club news
|
About ipernity
|
History |
ipernity Club & Prices |
Guide of good conduct
Donate | Group guidelines | Privacy policy | Terms of use | Statutes | In memoria -
Facebook
X
Sign-in to write a comment.