Bialystok-Stavenuiter's photos

Victor Maurel (1848-1923); French baritone who created Iago in Verdi's "Otello" (1887) and Sir John Falstaff in Verdi's "Falstaff" (1893). He studied singing at the conservatories of Marseille and Paris, where he was a pupil of Vauthrot and Duvernoy. He made his debut in 1867 in Marseille as Wilhelm Tell in Rossini's eponymous opera. He was then in 1868 at the Grand Opéra Paris (debut as Count Luna in "Il Trovatore" and as Nevers in "Les Huguenots). Then guest performances in St. Petersburg, Cairo, and Venice. In 1870 at La Scala Milan he created the role of Il Cacico in the premiere of "Il Guarany" by Carlos Gomes. In 1873 he created the role of Cambro in "Fosca", another world premiere of this Brazilian composer. He became famous as a Verdi interpreter. The maestro himself gave him at the Italian premiere of his opera "Don Carlos" in 1871 "at the Teatro San Carlo in Naples the part of Posa. He had great success in London's Covent Garden Opera, where he appeared 1873/79, 1891/95 and 1904. In 1873 he performed for the first time in North America and sang Amonasro in the American premiere of Verdi 's "Aida" at the Academy of Music in New York. At the age of 25 he had become practically the most important baritone for the Italian repertoire of his generation. Over the following three decades, he hurried to the major opera houses throughout the world from triumph to triumph. The focus of his artistic activities formed the La Scala Milan, the Grand Opéra Paris (1879/94) and the New York Metropolitan Opera, where he was engaged from 1894 to 1899. Moreover he made guest appearances in London, Madrid, Lisbon, Barcelona, Cairo, Naples, St. Petersburg and Moscow.In 1892 he created at the Teatro Dal Verme in Milan in the world premiere of Leoncavallo's "Pagliacci" the role of Tonio. Because this role did not contain a single aria, Leoncavallo transfered the prologue -which originally was for Canio- to Tonio. Only under this condition the famous singer was willing to accept the role. In 1897 at Monte Carlo he sang at the première of De Lara's opera "Moïna". In 1900 he created in Paris the role of Mathias in Erlanger's "Le Juif Polonais". In 1904 Maurel decided to end his triumphant career on the stage. He then lived as a teacher in Paris and since 1909 in New York City. On the photo he is seen as ...........................................

Rosine Bloch (1832-1891); French mezzo-soprano. She studied at the Conservatoire National de Paris with Levasseur and Battaille.She made her debut in 1865 as Azucena in Verdi’s “Il Trovatore” at the Grand Opéra Paris, where she remained until 1880. In 1873 she created the role of Claribel in "La coupe du Roi de Thulé" by Eugène Diaz. In 1880 she sang at the French première of Verdi’s “Aïda” the role of Amneris. She also sang the role of Dalila in the Paris première of Saint-Saëns’ “Samson et Dalila” (1890) on the occasion of the opening of the Théâtre Eden. She made guest appearances at Brussels, Monte Carlo and London (Covent Garden). On the photo she is seen as Catarina Cornaro in Halévy's "La reine de Chypre".

Marie van Zandt (1858-1919); American soprano who created the role of Lakmé at the première of Delibes’ eponymous opera. She received her first singing lessons from her mother,the soprano Jenny van Zandt. After coming to Europe she continued her singing studies with Francesco Lamperti in Milan. In 1879 she made her debut at Turin as Zerline in “Don Giovanni”. From 1880/85 she was engaged by the Opéra-Comique in Paris, where in 1883 she created the role of Lakmé. The composer Delibes had composed this role of Lakmé especially for her voice. In 1885 she sang in London at the English première of Lakmé at the Gaiety Theatre. During her career she made very successful guest appearances; at The Imperial Opera of St. Petersburg and of Moscow (1888), at Covent Garden London (1889), at theTeatro San Carlos Lisbon (1887 and 1889), at the Budapest Opera (1889), at Brussels and Copenhagen (1896) and at the Monte Carlo Opera (1897). In the season 1891/92 she was engaged by the Metropolitan Opera New York. In 1898 she retired from the stage after her marriage with the Russian Count Micha de Tcherinoff. On the photo she is seen in her creator role of Lakmé in the eponymous opera by Delibes.

Zoé Bélia (1836-?); French soprano, born "Victorine-Zoé Delau". She made her debut in 1853 at the Opéra-Comique and stayed there till 1870 singing minor roles. She sang at the première of Auber's "Manon Lescaut" the role of the slave-girl Zaby (1856). Also in 1856 she created the role of Marion in Halevy's "Valentine d'Aubigny". In 1858 she created Rispah in Gevaert's "Quentin Durward" and in 1864 at the première of Auber's "La fiancée du Roi de Garbe" the role of the king's page Raphael.

Céline-Anna van Ghell (1847-?); Dutch mezzo-soprano. She started her “French” career in Brussels by playing the role of Rothomago junior in Ennery’s theatre play “Rothomago”. After Brussels she continued her career at Paris where she performed the same role at The Châtelet in 1877. In 1869 she created at the Théâtre des Folies-Dramatiques the role of Méphisto in Hervé’s “Le petit Faust” in which the composer himself (who was also a deserving tenor singer) created the role of Faust. In 1869 she also created the role of Prince Raphaël in the 3-act version of Offenbach’s “La Princesse de Trébizonde” at the Théâtre des Bouffes-Parisiens. She created the role of Gabrielle at the French première of Lecocq’s “Les cent vierges” (1872) and Bobeche in Offenbach’s “La foir Saint-Laurent” (1877).

Céline-Anna van Ghell (1847-?); Dutch mezzo-soprano. The dedication written and signed by Anna van Ghell reads as follows: a mon ami acelly* sa petite allumette anna * M. Acelly was a French actor who in the 1870s performed at the Théâtre Cluny and the Théâtre Beaumarchais.

Enrico Tamberlick (1820-1889); Italian tenor who created the role of Don Alvaro in Verdi's "La forza del destino" in St. Petersburg (1862). Enrico Tamberlick, who flourished during the middle of the 19th century was a tenor of high rank. He belonged to the class of "tenore di forza" and used to make a tremendous effect with his high C, which he produced with immense power. His voice was one of great richness of tone and volume. His delivery was grand and noble, his phrasing perfect and he sang with a great depht of expression. His elocution was so fine that every word was delivered with full effect and his dramatic power was unusually great. He was seen to best advantage in heroic parts, in which his fine figure and majestic bearing, together with the power and resonance of his voice, were displayed. Such parts as Jean de Leyde in "Le Prophète", Arnold in "Guillaume Tell", Manrico in "Il Trovatore", Otello in Rossini's "Otello", Pollione in "Norma", Poliuto in "Les Martyrs" and Robert in "Robert le Diable". In 1841 he made his debut at the Teatro Fondo in Naples as Tybalt in Bellini’s "I Capuleti ed i Montecchi" under the name of Enrico Danieli (his mother's name). The following two years he continued his career in Naples at the Teatro Fondo and at the Teatro San Carlo (under the name of Tamberlick). His voice was not yet develloped into the tenor it would become later. From 1843 on he performed in Spain ( Madrid, Barcelona etc.) and Portugal (Lisbon). In 1850 he appeared in London and made his Covent Garden debut as Masaniello in Auber’s "La Muette de Portici". He became so great a favourite that he was engaged there every season until 1864, with the exception of the season 1857/58 when he was engaged at the Théâtre-Italien in Paris. Of equal importance during the years 1850/63 was St. Petersburg (the Mariinsky Theatre) where he made guest appearances. Here he created the role of Don Alvaro in Verdi's "La forza del destino" on 10 November 1862. He made his initial guest appearance at the Théâtre-Italien in Paris in 1858, returning there many times until 1877. In 1874 he made a tour of the USA and he was the first tenor of importance who visited South America, singing at Rio de Janeiro, Buenos Ayres and Montevideo. He performed Alfredo in "La Traviata" -with Sofia Vera Lorini as Violetta- for the opening of the original Teatro Colón opera house in Buenos Aires in 1857. He retired from the stage with a tour through Spain in 1881, but he continued giving occasional concerts. On the photo he is seen as Poliuto in the eponymous opera by Donizetti.

Enrico Tamberlick (1820-1889); Italian tenor who created the role of Don Alvaro in Verdi's "La forza del destino" in St. Petersburg (1862). Enrico Tamberlick, who flourished during the middle of the 19th century was a tenor of high rank. He belonged to the class of "tenore di forza" and used to make a tremendous effect with his high C, which he produced with immense power. His voice was one of great richness of tone and volume. His delivery was grand and noble, his phrasing perfect and he sang with a great depht of expression. His elocution was so fine that every word was delivered with full effect and his dramatic power was unusually great. He was seen to best advantage in heroic parts, in which his fine figure and majestic bearing, together with the power and resonance of his voice, were displayed. Such parts as Jean de Leyde in "Le Prophète", Arnold in "Guillaume Tell", Manrico in "Il Trovatore", Otello in Rossini's "Otello", Pollione in "Norma", Poliuto in "Les Martyrs" and Robert in "Robert le Diable". In 1841 he made his debut at the Teatro Fondo in Naples as Tebaldo (Tybalt) in Bellini’s "I Capuleti ed i Montecchi" under the name of Enrico Danieli (his mother's name). The following two years he continued his career in Naples at the Teatro Fondo and at the Teatro San Carlo (under the name of Tamberlick). His voice was not yet develloped into the tenor it would become later. From 1843 on he performed in Spain ( Madrid, Barcelona etc.) and Portugal (Lisbon). In 1850 he appeared in London and made his Covent Garden debut as Masaniello in Auber’s "La Muette de Portici". He became so great a favourite that he was engaged there every season until 1864, with the exception of the season 1857/58 when he was engaged at the Théâtre-Italien in Paris. Of equal importance during the years 1850/63 was St. Petersburg (the Mariinsky Theatre) where he made guest appearances. Here he created the role of Don Alvaro in Verdi's "La forza del destino" on 10 November 1862. He made his initial guest appearance at the Théâtre-Italien in Paris in 1858, returning there many times until 1877. In 1874 he made a tour of the USA and he was the first tenor of importance who visited South America, singing at Rio de Janeiro, Buenos Ayres and Montevideo. He performed Alfredo in "La Traviata" -with Sofia Vera Lorini as Violetta- for the opening of the original Teatro Colón opera house in Buenos Aires in 1857. He retired from the stage with a tour through Spain in 1881, but he continued giving occasional concerts.

Adelina Patti (1843-1919); Italian soprano. She came from a very musical family. Her father was the Italian tenor Salvatore Patti and her mother the soprano Catarina Chiesa Barilli. Her older sisters Amelia (1831-1915) and Carlotta (1835-1889) were also famous sopranos. Her brother Carlo (1842-1873) was a well known violinplayer and conductor. As a child Adelina moved to New York where her father worked at the Italian Opera as a stage-manager. At the age of 16 she made her debut as Lucia di Lammermoor at the Academy of Music in New York. In 1861 she came to Europa (London) and in 1862 to Paris. That was the beginning of a long and very successful career and she sang in all the leading cities of Europa (Milano, Bruxelles, Monte Carlo, Vienna, Berlin, St. Petersburg and Moscow). She was the best paid singer of her time. Her last public performance was in 1914 at a charity-concert. She left about 32 gramophone recordings (from 1905 and 1906) of songs and arias. Giovanni Mario, born Giovanni Matteo De Candia (1810-1883); Italian tenor who created the role of Ernesto in Donizetti’s "Don Pasquale" at the Théâtre-Italien in Paris (1843). Because he possessed an exceptionally fine natural voice, Mario was encouraged by the composer Giacomo Meyerbeer to become a singer. He studied singing with Louis-Antoine Ponchard and Marco Bordogni. Mario made his debut in 1838 at the Paris Opéra in the title role of Meyerbeer's "Robert le diable". After meeting the famous soprano Giulia Grisi (London 1839) they often performed together and they lived together (because Grisi could not get an official divorce). From 1840 Mario sang in Paris at the Théâtre-Italien and London and Paris were the main places of his activity. Here he became the most celebrated tenor of his era. He sang at Covent Garden from 1847 until 1867 and again during the 1871 season. He sang in the London premieres of Don Pasquale (1843), Le Prophète (1849), Rigoletto (1853) and Roméo et Juliette (1867). In Paris he sang in the world premieres of Don Pasquale (1843) and Rossini's Stabat Mater (1847). He also sang the Paris premières of I due Foscari (1846), La traviata (1856), Rigoletto (1857), Martha (1858) and Un ballo in maschera (1861). He also appeared in St. Petersburg (1849/53, 1866/70), Madrid (1859, 1864) and New York (1854). His most famous roles were Almaviva in Il barbiere di Siviglia, Nemorino in L’elisir d’amore, Ernesto in Don Pasquale, Gennaro in Lucrezia Borgia, Fernando in La favorite, Lionel in Martha, Raoul in Les Huguenots, the Duke in Rigoletto and Manrico in Il trovatore. His voice was considered one of the finest tenor voices of his time; one praised the elegance and intelligence of his declamation, his musical taste and his eminent sense of style. Complemented by a brilliant stage presence and a special interpretive talent. In 1871 he gave his farewell performance at Covent Garden. In 1872/73 he undertook a tour through the United States along with Carlotta Patti. Soon after ending his career he was in grinding poverty. In 1880 a benefit concert was organized for him in London. On the photo Adelina Patti is seen as Marguerite and Govanni Mario as Dr. Faust in Gounod's opera "Faust".

Regina Pacini (1871-1965); Portugese soprano. Her father was the well-known Italian baritone Pietro Andrea Giorgi-Pacini (1827-1882), who was also director of the Teatro San Carlos in Lisbon. She received her first vocal training from him and later studied with Valani in Lisbon. In 1888 she debuted in Lisbon as Amina in Bellini's "La Sonnambula". Here she continued to sing, with great success until 1904. In 1889 she made guest appearances at Milan, Palermo and London. During the years 1890-1905 she made regurlarly appearances at the Teatro Real in Madrid and the Liceo in Barcelona. In 1894/95 she appears in Warsaw and St. Petersburg. In 1899 she debuted at the Teatro Solis in Montevideo and at the Teatro Politeama in Buenos Aires. Here she met Dr. Marcelo Torcuato de Alvear (1868-1942) future president of Argentina (1922-1928), who followed her around from performance to performance in different theaters in the world for a number of years until she finally accepted his marriage proposal in 1907 and retired from the stage.

Elisa Volpini, born Elisa Vilar y Jurado (1835-?); Spanish soprano. At a young age she married the tenor Ambrosio Volpini and from then on she used the name Volpini as her stage name. In 1861 she and her husband made a tour to Mexico and Cuba as members of an opera company. They returned to Europe and she performed at the Théâtre-Italien Paris in Von Flotow's opera "Martha". There followed guest appearances in Barcelona, Lisbon, London, Vienna, in Germany and in Russia (Moscow and St. Petersburg). She made a tour through Spain and sang at Madrid, Sevilla, Cadiz and Malaga. After her husband died in 1872 she remarried the Spanish tenor Andrés Marín (1843-1896). Together they had resounding successes in Russia and during a guest appearance in St. Petersburg they were invited to sing at an Imperial Concert for Tsar Alexander II. About 1886 -after a final performance in Malaga- they ended their careers and her husband became Mayor of the city of Teruel.

Elisa Volpini, born Elisa Vilar y Jurado (1835-?); Spanish soprano. The dedication reads as follows: A mis buenos protecto- res los Señores Marqueses de Terrena y Monfalim, su agradecida amiga E Volpini Porto 18 de Abril 1866

Eugène Lorrain (1856-1924); French bass-baritone. He studied singing at the Conservatoire National de Paris with Portier and Obin. In 1879 he made his debut at the Grand Opéra Paris as St. Bris in Meyerbeer's "Les Huguenots". He remained here until 1884 and in 1883 he created the role of Le Duc de Norfolk in Saint-Saëns' opera "Henri VIII". During the years 1884/90 he made many guest appearances in Italy. From 1890/93 he was engaged at the Opéra-Comique Paris where he debuted as Lothario in Massenet's "Mignon". Here he participated at the premières of Diaz de La Pena's "Benvenuto" (1890), Bruneau's "Le Rêve" (1891), Berlioz's "Les Troyens à Carthage" (1892) and Delibes' "Kassya" (1893). He made guest appearances at Brussels (Théâtre de la Monnaie), London (Covent Garden), Milan (La Scala) and Budapest. After his retirement as a singer he was a vocal teacher at the Conservatoire National de Paris.

Eugène Lorrain (1856-1924); French bass-baritone. Dedication written and signed by Eugène Lorrain. The dedication reads as follows: A son ami Fernand souvenir de sa très grande sympathie, son Camarade d'Audey E Lorrain Paris 6 Juillet 1880

Antoine Aimé Renard (1825-1872); French tenor and composer. He is best remembered for composing the melody for the famous "Le Temps des cerises", now a milestone of the French repertoire. Born in a working class family, as a teen he joined his father in a print shop and afterwards he was a foundry worker. In the evenings he sang in vaudeville productions at local inns or in the streets. He slowly established himself by joining the regional choirs and the choir of the Grand Opéra Paris. Then he obtained a commitment as a tenor at the theatre of Nîmes in 1852 followed by Le Havre, Strasbourg, Bordeaux, Lyon in 1855 and finally the Grand Opéra Paris in 1856. The following year he had his breakthrough in Rossini’s "Guillaume Tell". As a true bohemian, he was a popular figure in the French capital, what was illustrated by the caricatures made of him by Etienne Carjat and others, several of which are preserved at the French National Library. Hector Berlioz, who directed Renard at a concert in Baden in 1861 wrote that the tenor had "a very full and sonorous voice", an extended range and a very clear enunciation. In 1867, Renard met the impoverished songwriter Jean-Baptiste Clément in Brussels, and, according to lore, offered him his coat. In return, Clément offered Renard one of his songs, Le Temps des Cerises. Renard put music to it and introduced the song to the public in 1868, at the Paris Eldorado Theatre. It quickly became popular and has been recorded by a great number of artists since then. Renard then became gravely ill (a victim of laryngeal cancer, according to some sources) and his career rapidly declined. The artist died three years later, without reaping the rewards of his enduring creation.

Therese Tietjens (1831-1877); German soprano. In 1848 she made her debut at the Stadttheater von Hamburg as Irma in Auber’s “Le maçon”. From 1850/53 she was engaged at the Opernhaus von Frankfurt a.M. Here she sang at the première of Lortzing’s “Die Opernprobe” in 1851. From 1853/59 she was engaged at the Wiener Hofoper. In 1858 she made a guest appearance in London at Her Majesty’s Theatre and from 1859 until her death she lived and performed in London ( also at the Drury Lane Theatre and Covent Garden). She sang at several English premières of international well known opera’s: as Medea in Cherubini’s eponymous opera (1865), as Elena in “I vespri Siciliani” (1859), as Amalia in “Un ballo in maschera” (1861), as Leonore in “La forza del destino” (1867), as Marguerite in “Faust” (1863), as Frau Fluth in “Die lustigen Weiber von Windsor” (1864) and as Mireille in the eponymous opera by Gounod (1864). In 1875/76 she made a very successful tour in the USA. She was also a highly esteemed oratorio and concert singer. She also appeared at Royal Court concerts for Queen Victoria, who was very fond of her. In 1877 she died of cancer at the age of 46. Her last performance was Lucrezia Borgia; during the performance she collapsed and she died two months later.

Célestine Galli-Marié, born Célestine Marié de l'Isle (1840-1905); French mezzo-soprano. She was the daughter of the opera singer Félix Mécène Marié de l'Isle (1811-1882), who taught her singing. In 1859 she made her debut at Strassburg and in 1861 she performed at Lisbon. From 1862 until 1885 she was engaged at the Paris Opéra-Comique. She created various première-roles. The most known are Kaled in Maillart’s “Lara”(1864), Blandine in Gevaert’s “Le capitaine Henriot” (1864), Friday in Offenbach’s “Robinson Crusoé” (1867), Fantasio in Offenbach’s “Fantasio” (1872), Lazarillo in Massenet’s “Don César de Bazan” (1872) and Zanetto in Paladilhe’s “Le passant” (1872). She is however best remembered for creating the title-role in the opera “Mignon” (1866) by Ambroise Thomas (1866) and the title-role in “Carmen” by Georges Bizet (1875). These two roles made her world famous and from 1875 on she made guest appearances all over the world in these two opera’s. In 1885 she appeared in the 100th (gala)performance of Carmen at the Opéra-Comique. Here she ended her career in the same year. In 1890 she returned to the Opéra-Comique to sing in a fundraising performance to erect a monument to the composer Bizet. The mezzo-soprano Paola Marié (1847-1919) was her younger sister and was also well known for the interpretations of Carmen and Mignon.

A short letter written and signed by Galli-Marié. The addressee, Monsieur Briet, was the director of the "L'Opéra de Rouen". The contacts with Grisar must have been related to his opera "Les amours du diable" which was performed at the Opéra-Comique in 1863. The text reads as follows: 24 avril. Cher monsieur Briet Je viens encor vous rappeler votre promesse de ne pas me faire jouer dimanche. Toute ma journée est prise la moitié par Mr Grisar, l'autre moitié en répétition de la servante que je joue lundi. Je compte entièrement sur votre charmante obligeance car si je retourne à Rouen je ne pourrai revenir à Paris à temps pour terminer cette affaire avec Mr Grisar. Je mets mon espoir en vous et d'avance je vous suis on ne peut plus reconnaissante. Tout bien à vous" C. Galli marié