Bialystok-Stavenuiter's photos

Emilia La Grua (1831-?); Italian soprano who created the role of Irène in Halevy's "Le juif errant" (1852). She had an important carreer in South-America.

Gilbert-Louis Duprez (1806-1896); French tenor who became famous for being the first tenor to deliver the high C from the chest ( in 1831 as Arnold in the Italian première of Rossini's "William Tell"). He made his debut in 1825 in "Il barbière di Siviglia". He sang at many premières. The most known are: Edgardo in Donizetti's "Lucia di Lammermoor" (1835), the title-rôle in Berlioz' "Bevenuto Cellini" (1838), Fernando in Donizetti's "La favorita" (1840), Poliuto in Donizetti's "Les martyrs" (1840) and the title-rôle in Donizett's "Don Sébastiano" (1843). He ended his stage-career in 1849 and worked as a voice-teacher. His most famous pupils were his daughter Caroline Duprez, Marie Battu, Marie Miolan-Carvalho, Constance Nantier-Didiée and Emma Albani.

Gilbert-Louis Duprez (1806-1896); French tenor who became famous for being the first tenor to deliver the high C from the chest ( in 1831 as Arnold in the Italian première of Rossini's "William Tell"). He made his debut in 1825 in "Il barbière di Siviglia". He sang at many premières. The most known are: Edgardo in Donizetti's "Lucia di Lammermoor" (1835), the title-rôle in Berlioz' "Bevenuto Cellini" (1838), Fernando in Donizetti's "La favorita" (1840), Poliuto in Donizetti's "Les martyrs" (1840) and the title-rôle in Donizett's "Don Sébastiano" (1843). He ended his stage-career in 1849 and worked as a voice-teacher. His most famous pupils were his daughter Caroline Duprez, Marie Battu, Marie Miolan-Carvalho, Constance Nantier-Didiée and Emma Albani.

Gilbert-Louis Duprez (1806-1896); French tenor who became famous for being the first tenor to deliver the high C from the chest ( in 1831 as Arnold in the Italian première of Rossini's "William Tell"). He made his debut in 1825 in "Il barbière di Siviglia". He sang at many premières. The most known are: Edgardo in Donizetti's "Lucia di Lammermoor" (1835), the title-rôle in Berlioz' "Bevenuto Cellini" (1838), Fernando in Donizetti's "La favorita" (1840), Poliuto in Donizetti's "Les martyrs" (1840) and the title-rôle in Donizett's "Don Sébastiano" (1843). He ended his stage-career in 1849 and worked as a voice-teacher. His most famous pupils were his daughter Caroline Duprez, Marie Battu, Marie Miolan-Carvalho, Constance Nantier-Didiée and Emma Albani.

Adelaide Borghi-Mamo (1826-1901); Italian mezzo-soprano. She made her debut in 1843 in Mercadante’s “Il giuramento”. She sang at the première of Pacini’s “Malvina di Scozia” (1851) as Morna, she created the role of Olimpia in Mercadante’s “Statira” (1853), Odetta in Pacini’s “Romilda di Provenza” (1853) and Tremacoldo in Petrella’s “Marco Visconti” (1854.. All 4 premières were at the “Real Teatro di San Carlo” at Naples. She also sang the première of Rossi’s “L'alchimista” (1853) at the Teatro del Fondo in Naples. From 1854 on she also performed in Paris at the Théâtre-Italien and the Paris Opera, where she created the role of Mélusine in Halévy’s “La Magicienne” (1858), Opympia in David’s “Herculanum” (1859) and Margherita in Braga’s “Margherita la mendicante” (1859). She sang at all the mayor opera houses in Italy (including several premières at “La Scala”) and also in London and Madrid. In 1849 she married the Italian tenor Michele Mamo and they had a daughter (born only a few hours after her performance of Azucena in “Il Trovatore”) Erminia Borghi-Mamo (1855-1941) who was a well known soprano with an international career.

Adelaide Borghi-Mamo (1826-1901); Italian mezzo-soprano. She made her debut in 1843 in Mercadante’s “Il giuramento”. She sang at the première of Pacini’s “Malvina di Scozia” (1851) as Morna, she created the role of Olimpia in Mercadante’s “Statira” (1853), Odetta in Pacini’s “Romilda di Provenza” (1853) and Tremacoldo in Petrella’s “Marco Visconti” (1854.. All 4 premières were at the “Real Teatro di San Carlo” at Naples. She also sang the première of Rossi’s “L'alchimista” (1853) at the Teatro del Fondo in Naples. From 1854 on she also performed in Paris at the Théâtre-Italien and the Paris Opera, where she created the role of Mélusine in Halévy’s “La Magicienne” (1858), Opympia in David’s “Herculanum” (1859) and Margherita in Braga’s “Margherita la mendicante” (1859). She sang at all the mayor opera houses in Italy (including several premières at “La Scala”) and also in London and Madrid. In 1849 she married the Italian tenor Michele Mamo and they had a daughter (born only a few hours after her performance of Azucena in “Il Trovatore”) Erminia Borghi-Mamo (1855-1941) who was a well known soprano with an international career.

Carlo Baucardé (1825-1883); Italian tenor who created the role of Manrico in Verdi's "Il Trovatore" in Rome (1853).

Carlo Baucardé (1825-1883); Italian tenor who created the role of Manrico in Verdi's "Il Trovatore" in Rome (1853). The person on the right is Carlo Baucardé and the person on the left could well be his son.

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.