Bialystok-Stavenuiter's photos

Joseph-Amédée-Victor Capoul (1839-1924); French tenor. He made his debut in 1861 in Adam's "Le Calet" at the Opéra-Comique where he stayed until 1870. From 1870 to 1879 he performed in London at the Italian Opera and at Covent garden. He sang at various premières:in Massenet's "La Grand'Tante" (1867), in Auber's "Le premier jour de bonheur" (1868), in Offenbach's "Vert-Vert" (1869) and the title-role in Massé's "Paul et Virginie" (1876). His only gramophone-recording is “La berceuse de Jocelyn” (1905).

Angelo Masini (1844-1926); Italian tenor. In 1867 he made his debut at the Teatro Finale Emilia as Pollione in Bellini’s “Norma”. In the following years he performed at Italian theaters e.g. Rome, Bologna and Modena and also in Spain. In 1876 he went to Russia; first to Moscow and then to St. Petersburg and was very succesful. His career in Russia lasted more then 26 years and he was the favourite tenor singer (like Tamberlick before) of the Russian tsars. When Verdi wrote the tenor solo “Ingemisco” for his “Messa da Requiem” in 1874 he had the voice of Masini -whom he greatly admired- in mind. In 1875 Masini sang the “Requiem” in London, Paris and Vienna with Verdi himself as a conductor. In the first performance in France of Verdi’s “Aïda”, also under the direction of the composer, Masini performed the rôle of Radames. His last opera performance was in 1905 in “Il barbiere di Siviglia” with Titta Ruffo as Figaro. On the photo he is seen as Raoul in Meyerbeer's "Les Huguenots".

Mariano Padilla y Ramos (1842-1906); Spanish baritone. He studied singing at Florence with Mabellini and Ronconi. He performed at the major theatres in Italy, Spain and throughout Europe. In 1869 he married opera singer Désirée Artôt. Together with his wife he undertook extensive and very successful tours of guest appearances in Germany, Austria, Italy, Hungary, Poland, Sweden, Belgium, the Netherlands, Denmark, Russia, and Finland. In 1887 in Prague he appeared in the festive centenary performance of Mozart's "Don Giovanni"; the title role was considered his greatest creation. After leaving the stage in 1889 he was -like his wife- a much sought-after singing teacher.

Marcel Boudouresque (1862-1940); French bass. He was the son of the famous bass Auguste Boudouresque (1835-1905). He sang a similar repertoire as his father. In 1888 he made his debut at the Opéra-Comique as Max in Adam's "Le Chalet" and here he remained active until 1901. In 1889 he created the role of Cléomer in Massenet's "Esclarmonde" and in 1901 Le Comte de la Brède in Pierné's "La fille de Tabarin". His most memorable roles were Michel in "Le Caid", Zuniga in "Carmen" , Gaveston in "La Dame blanche", Gil Perez in "Le domino noir", Nilakantha in "Lakmé" and Lothario in "Mignon". Between 1893 and 1902 he made guest appearances at the Opera de Monte Carlo, among others as Sparafucile in "Rigoletto", as Colline in "La Bohème", as Balthazar in "La favorita", as Count Rodolfo in "La sonnambul" and as Sulpice "La fille du Régiment". In 1897 he sang at the premiere of the De Lara's "Moïna" in Monte Carlo.In 1902 he made guest appearances at the Teatro de la Opera in Buenos Aires.

Albert Alvarez, born Raymond Gourron (1861-1933); French tenor. In 1883 he started his vocal study with Martini in Paris and in 1886 he made his debut at the Opera van Gent (Belgium) as Faust. In the following years he was engaged at Lyon and Marseiille. In 1892 he joined the Grand Opéra Paris where he created a number of roles at their worldpremière: Nicias in Massenet's "Thaïs" (1894), Mirko in Augusta Holmes' "La montagne noir" (1895), Merowig in Giraud's "Frédégonde" (1895), Jean in Duvernoy's "Hellé" (1896), Guillaume in Bruneaus' "Messidor" (1897), Gautier in Vidal's "La Burgonde" (1898), Hercule in Leroux's "Astarté (1901) and Bar-Kokéba in Erlanger's "Le Fils de l'étoile" 1904). In Monte Carlo he appeared in the premieres of De Lara's "Messaline" (1899) as Hélion and in Saint-Saëns' "Hélène" (1904) as Pâris. This opera was written by Saint-Saëns specifically for the famous soprano Nellie Melba who created the title role.During the period 1893/1903 he made guest appearances at London Covent Garden almost every year. Here in 1893 he created the role of Leicester in the worldpremière of De Lara's "Amy Robsart" and in 1894 the role of Araquil in the première of Massenet's "La Navarraise". In 1899/1903 he was engaged at the Metropolitan Opera New York. In 1907/1908 he undertook a major tour through Belgium and Germany followed by his second engagement at the Grand Opéra Paris. Finally he was activ as a vocal teacher in Paris. His most memorable roles were Raoul in "Les Huguenots", Des Grieux in "Manon", Siegmund in "Die Walküre", Radames in "Aida" and the title roles in "Otello", "Sigurd", "Le Cid", "Tannhäuser" and "Lohengrin". He made grammophone recordings but his voice can also be heard on the "Mapleson cylinders". The Mapleson cylinders are a group of more than 100 phonograph cylinders recorded live at the Metropolitan Opera, primarily in the years 1901/1903 by the Met's librarian Lionel Mapleson (a nephew of impresario James Henry Mapleson). On the photo he is seen as Jean de Leyde in Meyerbeer's "Le Prophète".

Antonio Tamburini (1800-1876); Italian baritone. He studied singing with the vocal teachers Aldobrando Rossi and Bonifacio Asioli. In 1818 he made his debut at Cento in Pietro Generali's opera "La contessa di colle erboso" followed by an engagement at the Teatro Municipale di Piacenza in the season 1818/19. The first years of his career he performed at the minor provincial Italian theaters but gradually he was invited in the theaters of Naples, Turin, Florence, Livorno and in 1822 finally at Milan (La Scala) where he was very successful. In the years 1824/32 he sang at all the major Italian opera houses and he made regurlarly guest appearances at Vienna. In 1832 he was engaged in London at Her Majesty's Theatre where he remained until 1854. During this period he also performed regurlarly in Paris at the Theâtre-Italien and in St. Petersburg at the Imperial Opera. The last years of his career he was engaged at Covent Garden, where he gave his last performance in 1859. From 1855 his appearances became rare; in 1869 he was heard for the last time in Paris. He lived then retired at his villa in Sèvres near Paris. Roles created by Antonio Tamburini 1820 Mercadante: Violenza e Costanza (Atlante) 1822 Mercadante: Adele ed Emerico (Generale Banner) 1822 Donizetti: Chiara e Serafina (Picaro) 1824 Donizetti: L'ajo nell'imbarazzo (Don Giulio) 1826 Donizetti: Alahor in Granata (title role) 1827 Bellini: Il pirata (Ernesto) 1828 Donizetti: Alina, regina di Golconda (Volmar) 1828 Donizetti: Gianni di Calais (Rustano) 1828 Bellini: Bianca e Fernando (Filippo) 1829 Pacini: Il talismano (Riccardo Cuor di Leone) 1829 Bellini: La straniera (Valdeburgo) 1830 Donizetti: Imelda de' Lambertazzi (Bonifacio) 1831 Mercadante: Zaira (Orosmane) 1831 Donizetti: Francesca di Foix (il Re) 1831 Donizetti: La romanzesca e l'uomo nero (Filidoro) 1831 Coccia: Edoardo Stuart in Scozia (title role) 1832 Donizetti: Fausta (Costantino) 1835 Donizetti: Marin Faliero (Israele Bertucci) 1835 Bellini: I Puritani (Riccardo) with Grisi, Rubini, Lablache 1836 Mercadante: I briganti (Hermann) 1843 Donizetti: Don Pasquale (Malatesta) with Grisi, Mario, Lablache In 1842 he sang in Paris the première of Rossini's "Stabat Mater" together with Giulia Grisi, Giovanni Mario and Emma Albertazzi.

Eleonora Grossi (1837-1879); Italian mezzo-soprano who created the role of Amneris in Verdi's "Aida" on 24 December 1871 in Cairo. She started her career in the early 1860's. In 1862 she performed the role of Ulrica in Verdi's "Un ballo in maschera" at the San Carlo in Naples. In the season 1862/63 she was engaged at the Teatro Carolino inPalermo and also in 1863 she sang at the Teatro Liceo in Barcelona the role of Climene in Pacini's "Saffo". In 1864 she appeared at the Teatro Apollo in Rome singing Preziosilla in Verdi's "La forza del destino" and Nidia in Petrella's "Jone". In the years 1868/70 she was engaged at Covent Garden London singing Nancy in Von Flotow's "Martha", Page Urbain in Meyerbeer's "Les Huguenots" and Pippo in Rossini's "La gaza ladra". In 1869 she sang in the opening performance of the newly built Opera House Cairo the role of Maddalena in Verdi's "Rigoletto". Other memorable roles were Leonora in Donizett's "La Favorita" and Fides in Meyerbeer's "Le Prophet". On the photo she is seen as Page Urbain in Meyerbeer's "Les Huguenots".

Elena Sanz (1844-1898); Spanish contralto. She studied singing with Saldoni in Valencia and continued her studies in Madrid with Mariano de Padilla y Ramos. It is said she reached an international career rather rapidly because of the influence of the Spanish Queen Isabella. The Queen did not approve the relation between Sanz and her son Prince Alfonso /the later King Alfonso XII and preferred seeing Sanz as far away as possible from Madrid. In 1868 she left for Paris and and made her French debut as Azucena in Verdi's "Il Trovatore". In 1876 she sang at La Scala Milan the role of Leonora in Donizetti's "La Favorita" and Odetta in Halévy's "Charles VI". In that same year she made a tour through South-America and performed in the Teatro Colón in Buenos Aires. The second part of the 1870's she was engaged by the Théâtre-Italien in Paris. During those years she made many guest appearances in France, Italy and Spain. Her most memorable roles were Pierrotto in "Linda di Chamounix", Maddalena in "Rigoletto", Azucena in "Il Trovatore", Amneris in "Aida" and Leonora in "La Favorita". Elena Sanz, who was regarded as a striking beauty, became known by her relation to King Alfonso XII of Spain. This relation began already in 1872 in Vienna when he was still Crown Prince. Both presented themselves since 1878 on the Castle Riofrio in the vicinity of Madrid and eventually two sons were born: Alfonso Sanz (1880) and Fernando Sanz (1881). During these years Elena Sanz did not occur. The Spanish Queen Maria Cristina prevailed eventually. Sanz had to leave Spain and moved to Paris. The mother of King Alfonso XII. Doña Isabel, who visited her in her exile in Paris, called her "su nuera ante Dios" (her daughter-in-law before God). On the photo she is seen as Amneris in Verdi's "Aida".

Étienne Troy (1844-1909); French bass. He was the younger brother of the baritone Eugène-Louis Troy (1836-1871). In 1864 he made his debut at the Théâtre-Lyrique Paris. In 1867 he created the role of Count Capulet at the première of Gounod’s “Roméo and Juliette” while his older brother performed the role of his servant Gregorio. In 1868 he left the Théâtre-Lyrique and and in the following years he performed at other (provincial) French opera houses. He returned in 1876 and in 1879 he was engaged by the Théâtre-Comique Paris, where he stayed until the end of his singing career in 1905. In the last years and even after 1905 he was also working as a stage-manager at the Opéra-Comique. In 1881 he created the role of Luther at the première of Offenbach’s “Les Contes d’ Hoffmann”; in 1884 as the innkeeper in Massenet’s “Manon” and in 1900 as the 1st guard in Charpentier’s “Louise” (1900).

Angela Peralta Castera (1845-1883); Mexican soprano. She was baptised with the beautiful names "María de los Ángeles Manuela Tranquilina Cirila Efrena" Peralta Castera. In 1860 -at the early age of 15- she made her stage debut as Leonora in Verdi's "Il trovatore" at the Teatro Nacional in Mexico City. In 1862 she came to Europe and immediately had a great succes at La Scala Milan as Lucia in Donizetti's "Lucia di Lammermoor". In the years 1862/65 she sang in the opera houses of Rome, Florence, Bologna, Genoa, Naples, Lisbon, Madrid, Barcelona, St. Petersburg, Alexandria and Cairo. When in 1866 she returned to Mexico they garanteed her an income of 20% of the total revenue of each opera performance, but she preferred to establish her own Opera Company to tour throughout the country. The opera troupe comprised around 80 members, who came mostly from Italy. Her influence on the evolving music and opera life in Mexico was extraordinary. In 1873 a new founded opera house in Mexico City was given –in her honour- the name of "Teatro Peralta". In August 1883, while on tour with her opera troupe in Matzatlán, she got the yellow fever and died, not yet 40 years old. She and 76 of the Opera Company's 80 members died in the yellow fever epidemic, that tormented the city shortly after their arrival.

Angela Peralta Castera (1845-1883); Mexican soprano. Dedication –dated 16 September 1866- made and signed by Angela Peralta Castera. She was at Guadalajara on the ocasion of (the first*) inauguration of the Teatro Alarcón on 13 September 1866. That opening night she sang the title role in Donizetti's "Lucia de Lammermoor". *At this point in time the theater had not been completed. Subsequently, there were many renovations and four more inaugurations and the name of the theater was changed into "Degollado".

Angiola Ortolani-Tiberini, born Ortolani-Valandris (1830-1913); Italian soprano. She studied singing at the Milan Conservatory under Francesco Lamperti and in 1853 she made her debut in the title role of Donizetti's "Parisina" at the Teatro Riccardi in Bergamo. In the following years she made a very succesfull career at La Scala and at the other major Italian opera houses. She also made guest appearances at London, Barcelona and Madrid. In 1857 she performed in London at Her Majesty's Theatre and in 1861 at Covent Garden. In the late 1850's she married the tenor Mario Tiberini (1826-1880) and for the rest of their careers they appeared together in many operas houses throughout Italy as well as in London's Covent Garden, Vienna's "Hofoper" and theatres in Spain, Russia, and the United States. She now appeared under the surname Ortolani-Tiberini. In 1865 at the Teatro Carlo Felice in Genua she created the role of Ofelia in Faccio's "Amleto" while her husband created the title role.

Pauline Viardot-Garcia (1821-1910); French mezzo-soprano. She created the role of Fidès in Meyerbeer's "Le prophète" (1849) and the title role in Gounod's "Sapho" (1851). She was the younger sister of the legendary prima donna Maria Malibran (1808-1836) and the famous baritone/vocal teacher Manuel Garcia jr. (1805-1906). She studied singing with her mother -the soprano Joacquino Sitchez (1780-1854)- and her brother Manuel jr. In 1839 she made her stage debut in London at the Her Majesty's Theatre as Desdemona in Rossini's "Otello". In that year she made her Paris debut at the Théâtre-Italien performing the same role with overwhelming succes. In 1840 she married the director of the Théâtre-Italien Louis Viardot and from then on she performed under the name of Pauline Viardot (-Garcia). In the following years she celebrated great triumphs at this theatre. In the season 1843/44 she made guest appearances at St. Petersburg and in 1847 in Berlin and Dresden. In the years 1848/51 and 1854/55 she regularly appeared at London Covent Garden. During these years, she was at the peak of her career and she distributed her triumphs between Paris and London. In the 1860's she incidentally performed on the stage; by that time she had moved to Germany and lived in Baden-Baden. After the Franco-Prussian War (1870/71) she returned to Paris where she became a well sought after vocal teacher; her most famous pupils were Désirée Artôt, Aglaja Orgeni, Marianne Brandt, Annie Louise Cary and her own daughter louise Viardot (1841-1918).

Mlle de Taisy, born Honorine François (?-?); French soprano. From 1861 until 1866 she was engaged at the Grand Opéra Paris. Here she performed as Isolier in "Le comte Ory", Mathilde in "Guillaume Tell", Ritta in "La Xacarilla", Isabelle in "Robert le Diable", Lucia in "Lucia di Lammermoor", Urbain in "Les Huguenots", Elvire in "La muette de Portici" and SinaÏde in "MoÏse". On 30 December 1861 she created de role of Isaure in "La voix humaine" by Giulio Alary. Hector Berlioz writes in his review on 7 January 1862: "Mlle de Taisy représente avec grâce la jeune Isaure". On the photo she is seen as Orphée in Gluck's "Orphée et Eurydice".

Mlle de Taisy, born Honorine François (?-?); French soprano. From 1861 until 1866 she was engaged at the Grand Opéra Paris. Here she performed as Isolier in "Le comte Ory", Mathilde in "Guillaume Tell", Ritta in "La Xacarilla", Isabelle in "Robert le Diable", Lucia in "Lucia di Lammermoor", Urbain in "Les Huguenots", Elvire in "La muette de Portici" and SinaÏde in "MoÏse". On 30 December 1861 she created de role of Isaure in "La voix humaine" by Giulio Alary. Hector Berlioz writes in his review on 7 January 1862: "Mlle de Taisy représente avec grâce la jeune Isaure". On the photo she is seen as Sinaide in Rossini's "Mosè in Egitto".

Giovanni Battista Belletti (1813-1890); Italian baritone. In 1838 he made his debut at the Royal Opera of Stockholm as Figaro in Rossini’s “Il barbiere di Siviglia”. One month after his debut, the famous soprano Jenny Lind (1820-1887) also made her debut at this opera house. Belletti remained at the Stockholm Opera until 1844 and in those years he performed many times together with Jenny Lind; the opera’s were always translated into Swedish. He also sang at several Swedish premières of international well known opera’s: as Enrico in “Lucia di Lammermoor” (1840), as Belcore in “L’elisir d’amore” (1840), as Valdeburgo in “La Straniera” (1841), as Oroveso in “Norma” (1841), as Marcel in “Les Huguenots” (1842), as Count Rodolfo in “La Sonnambula” (1843), as Gottardo in “La gazza ladra” (1843) and as Enrico VIII in “Anna Bolena” (1844). His artistic relationship with Jenny Lind highly influenced his career. In 1844 he returned to Italy, but when Jenny Lind was engaged in London, Belletti also was contracted in 1848 at Her Majesty’s Theatre on Lind’s advice. Here he made his first appearance as Silva in “Ernani” (with Sofia Cruvelli). In 1850/52 he was engaged with Jenny Lind and Julius Benedict by Barnum, for a tour in the United States; a tour that brought both singers triumphant successes. Returned once more to London he remained there until 1862, singing not only at the Opera, but also in classical concerts and oratorios.

Pasquale Brignoli (1824-1884); Italian tenor. In 1855 he went to America where the most important part of his career took place. Here he accompanied Adelina Patti on her first theatrical tour. For many years he was the undisputed number one star at the New-York Academy of Music. In 1855 he sang Manrico in the American première of “Il Trovatore”. He also performed as Alfredo at the American première of “La Traviata” (1856); as Arrigo in “I Vespri Siciliani” (1857) and as Riccardo in “Un Ballo in maschera” (1861). His first wife was the English contralto Kate Morensi and his second wife the American soprano Isabella McCullough.

Pasquale Brignoli (1824-1884); Italian tenor. The dedication is made to Fanny Lablache who was a daughter-in-law of the famous Luigi Lablache. She was married to Frederick Lablache who was a well known bass singer. Fanny Lablache was English and sang at Covent Garden under the name of Wyndham.