19TH CENTURY OPERA SINGERS

as Ben Said & Hermosa in "La Tribute de Zamora" by Gounod CREATORS Palais Garnier Paris 1/4/1881 JEAN-LOUIS LASALLE -Baritone (.Lyon, December 10, 1845 or 14 February 1847 - September 07, 1909). Father of Robert Lassalle tenor. Student at Paris Concervatoire and later a pupil of Novelli.He made his first appearance on stage as St Bris in "Les Huguenot's" at Liege in 1868. During the next 4 years he sang at Lille , Toulouse , Brussels and the Hague . Debuted at the Opera on 09 June 1872 , as Nelusko "L'Africane". There he took part in many world premieres as Scindia in Massenet's "La Roi De Lahore" 1877 , Severe in Gounod's "Polyeucte" 1878 ,Ben Said in Gounod's "Le Tribute de Zamora ' 1880 ,Malatesta in Thomas's 'Francoise de Rimini" 1880 , and in 1183 the title role of Saint Saens "Henry VIII". He sang at Covent Garden 1879 , 1880 and 1881 and again between 1883-1891.In 1891 he made his Metropolitan Debut as Nelusko in Meyerbeer's "L'Africane". He sang Carmen (Escamillo) at the Opéra-Comique on December 11, 1890, for the erection of the monument to the memory of Bizet. MARIE GABRIELLE KRAUSS (Vienna, 23 March 1842 - January 06, 1906) Soprano She was nicknamed "the Rachel singing". Begins on the night of the inauguration of the Palais Garnier on 05 January 1875 in both first act of LA JUIVE (Rachel). Sings DON JUAN (Anna, 1875), LES HUGUENOTS (Valentine, 1875), ROBERT LE DIABLE (Alice, 1876), du FREISCHÜTZ (Agathe, 1877), the African (Selika, 1877), FAUST (Marguerite, 1882) and SAPPHO (Sappho, 1884). Is the creator of Joan of ARC (Jeanne d'Arc), POLYEUCTE (Pauline), AIDA (Aida), Madonna (the Virgin), the tribute of ZAMORA (Hermosa), HENRY VIII (Catherine of Aragon), RIGOLETTO (Gilda) and Fatherland! (Dolores). retired in 1888.

Hermosa & Xaima in "La Tribute de Zamora" by Gounod CREATORS Palais Garnier Paris 1/4/1881 MARIE GABRIELLE KRAUSS (Vienna, 23 March 1842 - January 06, 1906) Soprano She was nicknamed "the Rachel singing". Begins on the night of the inauguration of the Palais Garnier on 05 January 1875 in both first act of LA JUIVE (Rachel). Sings DON JUAN (Anna, 1875), LES HUGUENOTS (Valentine, 1875), ROBERT LE DIABLE (Alice, 1876), du FREISCHÜTZ (Agathe, 1877), the African (Selika, 1877), FAUST (Marguerite, 1882) and SAPPHO (Sappho, 1884). Is the creator of Joan of ARC (Jeanne d'Arc), POLYEUCTE (Pauline), AIDA (Aida), Madonna (the Virgin), the tribute of ZAMORA (Hermosa), HENRY VIII (Catherine of Aragon), RIGOLETTO (Gilda) and Fatherland! (Dolores). retired in 1888. Marie Josephin Daram (Josephine Daram). 13 March 1845 -???? French Soprano Debut 4 December 1874 in LES HUGUENOTS as Urban. Sang the following roles at Palais Garnier Paris. LA JUIVE (Eudoxie, 1875), GUILLAUME TELL (Jemmy, 1875 ; Mathilde, 1876), LES HUGUENOTS (Marguerite, 1875), FAUST (Siébel, 1875 ; Marguerite, 1877), DON JUAN (Zerline, 1876), LE FREISCHÜTZ (Anette, 1876), ROBERT LE DIABLE (Isabelle, 1877), L'AFRICAINE (Inès, 1877), HAMLET (Ophélie, 1878), LA MUETTE DE PORTICI (Elvire, 1879), LE COMTE ORY (la Comtesse, 1880) CREATED ,Agnes Sorel in "JEANNE D'ARC" by Mermet 1876, Berthe in "LA REINE BERTHE " By Joncières 1878 , Angel Gabrielle in " LA VIERGE" by Massenet 1880 & Xaima in " LA TRIBUTE DE ZAMORA" by Gounod 1881

As Sitâ in " Le Roi de Lahore" by Massenet CREATOR Palais Garnier Paris 27 April 1877 JOSEPHINE DE RESZKE (Józefina Reszke) (June 4, 1855 – February 22, 1891) Polish Soprano Sister of the bass Edouard and the tenor Jean de Reszke, She began her studies with her mother and with a Mme. Nissen-Salomon, and made her debut in Paris as Ophelia in Hamlet on June 21, 1875. Created the role of Sita in Jules Massenet's Le roi de Lahore. Josephine appeared with her brother Jean on the occasion of his debut; the two, along with Edouard, participated in the Paris premiere of Hérodiade in 1884. At the peak of her career she married Baron Leopold Kronenberg, and retired from the stage

as Arnold in "William Tell" by Rossini HENRY SELLIER (François Alfred Alexander Sellier) (26 March 1849 - 26 June 1899). As a young man of very poor ancestry he came to Paris looking for work. When he worked as an errand boy for a merchant his voice was discovered and with financial help he was able to study at the Conservatoire National de Paris. In 1876 he finished his vocal studies by winning the "Prix du Conservatoire". After that he was immediately engaged by the Grand-Opéra, where in 1878 he made his debut as Arnold in Rossini's "Guillaume Tell". Here he created the role of Manoël at the première in Gounod's "Le Tribut de Zamora" (1881) and the role of Paolo at the première of "Françoise de Rimini" by Ambroise Thomas (1882). He was widely admired for the balanced beauty of his tenor voice and the dramatic force of his performance. After a hunting accident he ended his career at the Grand-Opéra in 1888. The season 1889/90 he was engaged at Brussels at "The Théâtre de la Monnaie" , where he created the role of Mathô at the première of Ernest Reyer's opera "Salammbô". The season 1890/91 he was engaged at the Opéra of Marseille and the following years he was engaged by various French provincial theaters.

MILY MEYER (Émilie Mily Meyer) (1852-1927) French Soprano Her professional début was at the Eldorado café-concert; she then went to the Théâtre de la Renaissance and appeared as the young duchess in the premiere of Le petit duc on 25 January 1878. Creations in La Camargo (1878),[2] Petite Mademoiselle (1879) and Belle-Lurette (1880) swiftly followed also appeared at the Théâtre des Nouveautés as Kate in the French premiere of Rip and at the Théâtre des Bouffes Parisiens as Bianca in the first run of La Béarnaise in 1885. Also at Théâtre des Variétés was La Princesse de Trébizonde, while at the Théâtre des Folies-Dramatiques she was in the French premiere of Millöcker's La Demoiselle de Belleville (Die Jungfrau von Belleville). Among many other operettas in which she sang were Roi de Carreau (1885) and Babolin (1884) at the Théâtre des Folies-Dramatiques (November 1884); La vie mondaine (1885) at the Théâtre des Nouveautés, and at the Théâtre des Bouffes Parisiens, La Béarnaise (1885), as Benjamine in Joséphine (1886), Gamine de Paris (1887), Le Retour d'Ulysse (1889), Le mari de la reine (1889), Cendrillonnette (1890) and revivals of Les petits mousquetaires and La Princesse de Trébizonde. Back at the Renaissance, she created La gardeuse d'oies (1888) and La petite Poucette (1891); followed by La Demoiselle du Téléphone (1891) at the Nouveautés, Fleur de Vertu (1894) at the Bouffes, and L'Élève du Conservatoire (1894) at the Théâtre des Menus-Plaisirs. + add a comment Comments

Luigi Agnesi (Louis Ferdinand Leopold Agniez) 17 July 1833-2 February 1875 Belguim Bass-Baritone Composer & Conductor Studied Harmony with Charles Bosselet at Royal Academy of Music Brussels , he won the Belguim Prix de Rome which enabled him to take further study for 2 years in Italy. In 1861 he entered the Paris Consevatory and studied voice with Gilbert Duprez.Debut as Assur in "Semiramide" by Rossini in 1864 at the Theatre Italian in Paris. Made his London debut in 1865 at Her Majestys Theatre and remained in London. He sang at Royal opera House Covent Garden and the Theatre Royal Drury Lane until his death. He was particulallary admired for his portrayal of Henry VIII in "Anna Bolena" and as Alphonso in "Lucrezia Borgia" both by Donizetti . He composed 1 opera "Hermond le Nomand" which premiered unsucceddfully at La Monnaie Brussels

CARL MAYERHOFER (1828-1913) Austrian Bass He trained with Manuel Garcia jr.in London. He first appeared as a soloist in oratorios, He received an engagement at the court theater of Weimar, which was at that time led by Franz Liszt. In 1854 he was appointed at Vienna Court opera as Don Giovanni and as Rocco in "Fidelio" Here he performed buffo roles because of his large bass voice and his masterful acting talent . His repertoire was very versatile and culminated in roles such as Leporello in "Don Giovanni", the Masetto in the same opera, Figaro in "The Marriage of Figaro", the speaker in "The Magic Flute" the Lord Cockburn in "Fra Diavolo" by Auber , the Bartolo in "Barber of Seville" (his big starring role), the title role in Donizetti's "Don Pasquale", the Lord flood in "The Merry Wives of Windsor" by Nicolai, the in "Fidelio", the Frère Laurent in "Rocco Roméo et Juliette "by Gounod, but he also sang Wagner roles such as Daland in" The Flying Dutchman ", the Landgrave in" Tannhäuser "and the Pogner in the" Meistersinger ". On 11.19.1886 he was in the world premiere of the opera "Merlin" by Karl Goldmark, on 16.02.1892 in the world premiere of Massenet's "Werther", which took place under the direction of the composer in Vienna, . In 1899 he sang at the Court Opera in the premiere of the opera "The Three Pintos" by Carl Maria von Weber .Guest performances and concerts brought him in London had the same success as in Vienna. When Richard Wagner conducted concerts of his music in 1863 at the Vienna Theater an der Wien, he sang as a soloist with the speech of the Pogner from "Die Meistersinger". In 1895 he resigned from his over 40-year career at the Vienna Court Opera, to which he was appointed honorary member.

Emma Seebold 1861-1942 German Soprano Sang Titania in the operetta "Die Afrikareise" by von Suppe and Laura in "Beggar Student" by Millocker in 1884 . Made her 1st appearance in America as Carlotta 'Gasperone" in 1885 was still singing in 1918 in Chicago as Frau Kummerlich in "der Eiserne Heiland" by Von Oberleithner

Therese Vogl 1845-1921 German Soprano Her name was Therese Thoma, was the daughter of a school teacher and received her education by the educator Hauser in Munich. In 1865, she debuted at the Court Theater of Karlsruhe in the role of Casilda in "La Part du Diable" by Auber. A year later in 1866, she followed a call to the Hofoper of Munich. In 1868 she married the famous first tenor of this opera house, Heinrich Vogl (1845-1900). Both were soon regarded as excellent voyagemen; The successors of the couple Ludwig and Malvina Schnorr von Carolsfeld, who had sung the title parts in Munich in the premiere of Wagner's "Tristan und Isolde" Heinrich and Therese Vogl were regarded as unsurpassed within their artistic generation in these two difficult parts, since they had sung them for the first time in 1869 in Munich. On June 26, 1870 Therese Vogl sang in Munich in the world premiere of the "Walküre" by R. Wagner, while her husband created the part of Siegmund. In 1878 and 1879 she was the Brünnhilde in Munich in the first performances of "Siegfried" and "Götterdämmerung" outside of Bayreuth. In 1881 she was a guest at the Hofoper of Berlin as Elsa in the "Lohengrin". In 1882 she sang the Brünnhilde at the Her Majesty's Theater in the English premiere of the Ring cycle under Anton Seidl. She also took part in the Europa tour with Angelo Neumann's wandering Wagner theater in 1882-83. In 1884 she sang with Heinrich Vogl in the premiere of "Tristan" at the opera in Frankfurt am Main, where she often enjoyed. She also appeared as a guest in Russia. She sang at the Stadttheater (opera house) of Hamburg (1877), at the court theater of Mannheim, Weimar, Wiesbaden and Stuttgart (1887). In 1885 she performed in Munich, together with her husband, in the premiere of the opera "Der faule Hans" by Alexander Ritter, in 1872 in the opera "Theodor Körner" by Wendelin Weissheimer. In 1892, she gave her farewell performance as an Isolde in Munich. She was appointed honorary member of the Munich Opera. In addition to Wagner's repertoire, she was successful in roles such as the Eglantine in "Euryanthe", the title role in "Alceste" by Gluck, the Leonore in the "Fidelio", the Clytemnestra in "Iphigenie in Aulis" and the Agathe in "Freischütz"

as Marguerite (Gretchen) in "Faust" by Gounod BERTHA EHNN (1847-1932) Austrian Soprano Studied at the Vienna Conservatory as a student of Marie Andriessen of Lingke Debut in 1864 in Linz (Danube) as Nancy in Flotow's 'Martha' and as Irene in 'Belisario' by Donizetti . In 1864-65 she was engaged at the Theater of Graz. In 1865 she was at the Court Theatre of Hanover and also at the Municipal Theatre of Nuremberg. In 1865 she created for Nuremberg Selika in the local premiere of Meyerbeer's "Africaine '. 1866 she performed at the Court Theatre of Darmstadt as Marguerite in 'Faust' by Gounod, as Agathe in the 'Freischütz' and again as Selika; . 1866-68 she was a member of the Stuttgart Court Opera. Highlights in her stage repertoire included roles such as Cherubino and later the Countess in 'The Marriage of Figaro', Pamina in the Magic Flute, Agathe in the 'Freischütz', the title character in 'Euryanthe' by Weber, the Orsini in 'Lucrezia Borgia' by Donizetti, Leonore in 'La Favorita' by the same composer, Rachel in La Juive 'of Halévy and the Giulia in' I Capuleti ed I Montecchi "by Bellini.

ITALIO CAMPANINI (June 30, 1845 – November 14, 1896) Italian Tenor Campanini studied at the Parma Conservatory before making his operatic debut as Manrico in Il trovatore, in 1869, in Odessa. Further study with Francesco Lamperti in Milan.On May 4, 1872 the tenor made his London debut as Gennaro in Lucrezia Borgia.His first American appearances at the Academy of Music, New York, in 1873 in performances of Les Huguenots .On 26 November 1873 he was Rhadames in Max Strakosch's production of Aida.

as Romeo & Juliette "Romeo & Juliette" by Gounod PAUL L'HERIE (Paul Levy) 3 October 1844-17 October 1937 French Tenor Debut 23 February 1866 as Duc de Valberg in "L'Ambassadrice" by Auber. Created at the Opera Comique on 20 November 1872 Charles II in "Don Cesar de Brazan" by Massenet and on 3 March 1875 Don Jose in "Carmen" by Bizet Sang as a baritone after 1882. Professor of voice at the opera Comique 1897-1901 and at L'opera Paris 1901-1905 .Also taught at the Consevatoire Paris MARIE HEILBRONN ( 1851- 31 March 1886). Belgian soprano. She studied in Paris and made her début in 1867 at the Opéra-Comique, as Alice in the first performance of Jules Massenet's "La grand’tante". In 1870 she appeared at La Monnaie as Violetta, the role of her début at Covent Garden in 1874, and in 1878 at the Théâtre Ventadour as Juliet in Victor Capoul's "Les amants". She returned in 1879 as Ophelia (Hamlet). The same year she appeared at the Paris Opéra as Marguerite and in 1880 she sang Zerlina and Ophelia there. At Monte Carlo in 1883 she sang Susanna, Philine (Mignon), Marguerite, Victor Massé's Galatea and Rose in Aimé Maillart's Dragons de Villars. In 1884 she created the title role of Massenet's "Manon" at the Opéra-Comique.

as De Nevers in "Le Huguenots'" by Meyerbeer JEAN-BAPTISTE FAURE (15 January 1830 – 9 November 1914)French operatic baritone Faure was born in Moulins. A choirboy in his youth, he entered the Paris Conservatory in 1851 and made his operatic debut the following year at the Opéra-Comique, as Pygmalion in Victor Massé's Galathée. He remained at the Opéra-Comique for over seven years, singing baritone roles such as Max in Adolphe Adam's Le chalet and Michel in Thomas's Le caïd. During this time he also created the Marquis d'Erigny in Auber's Manon Lescaut (1856) and Hoël in Meyerbeer's Le pardon de Ploërmel (1859; later known as Dinorah), among seven premieres at that house. He made his debut at the Royal Opera House, London, in 1860 as Hoël, and at the Paris Opera in 1861. He would sing at the Opera every season until 1869 and then again in 1872-76 and 1878. In addition, he continued to perform off and on in London until 1877 at venues such as Her Majesty's Theatre and the Theatre Royal, Drury Lane. Among the many operas in which he appeared in Paris were Wolfgang Amadeus Mozart's Don Giovanni as well as L'étoile du nord, Les Huguenots and La favorite. He also made history by creating several important operatic roles written by such prominent composers as Giacomo Meyerbeer, Giuseppe Verdi and Ambroise Thomas. They included the leading baritone parts in L'Africaine, Don Carlos and Hamlet (in 1865, 1867, and 1868 respectively). His last stage appearances are recorded as taking place in Marseilles and Vichy in 1886.

Austographed signed Emma EMMA CALVE (Rosa Emma Calvet de Noëmie Roquer) (August 15, 1858 – January 6, 1942), French Soprano Her operatic debut occurred on September 23, 1881, in Gounod's Faust at Brussels' La Monnaie. Later she sang at La Scala in Milan, and also at the principal theatres of Naples, Rome, and Florence. Returning to Paris in 1891, she created the part of Suzel in L'amico Fritz by Pietro Mascagni, playing and singing the role later at Rome. Because of her great success in it, she was chosen to appear[citation needed] as Santuzza in the French premiere of Cavalleria rusticana, which was viewed as one of her greatest parts. She repeated her success in it in London. Her next triumph was Bizet's Carmen. Before beginning the study of this part, she went to Spain, learned the Spanish dances, mingled with the people and patterned her characterization after the cigarette girls whom she watched at their work and at play. In 1894, she made her appearance in the role at the Opéra-Comique, Paris. The city's opera-goers immediately hailed her as the greatest Carmen that had ever appeared, a verdict other cities would later echo. She had had many famous predecessors in the role, including Adelina Patti, Minnie Hauk and Célestine Galli-Marié, but critics and musicians agreed that in Calvé they had found their ideal of Bizet's cigarette girl of Seville. Calvé first appeared in America in the season of 1893–1894 as Mignon. She would make regular visits to the country, both in grand opera and in concert tours. After making her Metropolitan Opera debut as Santuzza, she went on to appear a total of 261 times with the company between 1893 and 1904. She created the part of Anita, which was written for her, in Massenet's La Navarraise in London in 1894 and sang Sapho in an opera written by the same composer. She sang Ophélie in Ambroise Thomas's Hamlet in Paris in 1899, but the part was not suited to her and she dropped it. She appeared with success in many roles, among them, as the Countess in The Marriage of Figaro, the title role in Félicien David's Lalla-Rookh, as Pamina in The Magic Flute, and as Camille in Hérold's Zampa, but she is best known as Carmen .

ELOI SYLVA 1843 - 8 September 1919 Belgian tenor. He studied at the Royal Conservatory of Brussels and in Paris with the tenor Duprez . He made his debut at Nantes (some sources give his debut at Lyon in 1868). After appearances in The Hague and Lyon, His debut at the Paris Opera (15 May 1872) as Robert in “ Robert le diable.” by Meyerbeer, the Metropolitan Opera (debut John of Leyden in Meyerbeer's “Le prophète”, 27 November 1885).He also appeared in Berlin , St. Petersburg

as William Tell "William Tell" by Rossini EAN-LOUIS LASALLE -Baritone (.Lyon, December 10, 1845 or 14 February 1847 - September 07, 1909). Father of Robert Lassalle tenor. Student at Paris Concervatoire and later a pupil of Novelli.He made his first appearance on stage as St Bris in "Les Huguenot's" at Liege in 1868. During the next 4 years he sang at Lille , Toulouse , Brussels and the Hague . Debuted at the Opera on 09 June 1872 , as Nelusko "L'Africane". There he took part in many world premieres as Scindia in Massenet's "La Roi De Lahore" 1877 , Severe in Gounod's "Polyeucte" 1878 ,Ben Said in Gounod's "Le Tribute de Zamora ' 1880 ,Malatesta in Thomas's 'Francoise de Rimini" 1880 , and in 1183 the title role of Saint Saens "Henry VIII". He sang at Covent Garden 1879 , 1880 and 1881 and again between 1883-1891.In 1891 he made his Metropolitan Debut as Nelusko in Meyerbeer's "L'Africane". He sang Carmen (Escamillo) at the Opéra-Comique on December 11, 1890, for the erection of the monument to the memory of Bizet.

Blanche Cole 1851-31 August 1888 English Soprano In 1858, at the age of seven, she took part in a concert in Glasgow, winning a favourable review from The Glasgow Herald. In 1860 she took part in a concert at London's St. James's Hall In 1867, she sang Zerlina in Fra Diavolo, Amina in La sonnambula, and Marguerite in Faust with Rosenthal's English Opera Company. In 1868, she sang Oscar in Un ballo in maschera at the Theatre Royal in Cork and Leonora in Il trovatore in London, In 1869, She sang Acis in Acis and Galatea in London and made her debut at the Crystal Palace as Amina in Bellini's La sonnambula In 1872, she sang the role of Maid Marian in a concert version of G. A. Macfarren's opera Robin Hood at the Crystal Palace. She sang in 1875 in William Vincent Wallace's Lurline ,She appeared at the Adelphi Theatre with the Carl Rosa Opera Company in 1878 as Senta in The Flying Dutchman and as the Countess in The Marriage of Figaro. From time to time she presented her own opera company. On other occasions she appeared under the management of Richard Temple with Rose Hersee's company in Don Pasquale and Il trovatore. She also appeared with much success as Mary Wolf in Balfe's opera The Puritan's Daughter, produced by the Carl Rosa Company. In 1887 she sang Donna Anna in Don Giovanni.

CHARLES SANTLEY British Baritone (28 February 1834 – 22 September 1922) was an English-born opera and oratorio . He was a Choirboy and then appeared as an amateur singer, but finally decided to train his voice. He graduated in 1855, first at Gaetano Nava in Milan, then in Manuel Garcia in London. In 1857 he was heard in London for the first time as a soloist in the "creation" of J.Haydn. He debuted on stage in 1857 at the Municipal Theatre of Pavia as Dr. Grenvil in "La Traviata". Guest performances at leading theaters in Italy, England and France brachtem his first successes. He appeared especially at the Grand Opera of Paris and London at the Covent Garden Opera. He appeared in 1859 as Hoël in the English premiere of the opera "Dinorah" by Meyerbeer (with Mme Miolan-Carvalho as a partner), on 23.02.1860 in the world premiere of the opera "Lurline" by Vincent Wallace, on 11/30/1861 in the of "The Puritan's Daughter" by Michael Balfe, on 08/02/1862 in "The Lily of Killarney" by Julius Benedict (in the role of Danny Man). In 1863 he sang at Her Majesty's Theatre in London in the British premiere of Gounod's "Faust" in the presence of the composer Valentin. After this performance, Gounod composed for him the prayer of Valentin "Avant de quitter ces lieux" that is not found in the original score of the opera and is still not sung in Paris. In 1864 he participated in the British premieres of the operas "Mireille" by Gounod and "The Merry Weibner of Windsor" by Nicolai (in Italian) at the same theater. In 1870 he sang at Drury Lane Theatre in London, the title character in the British premiere of Wagner's "Flying Dutchman" (also still in Italian). In the years 1871 and 1891 he undertook glorious North American tours. In the 1875-76 season he was heard at the Carl Rosa Opera Company. He also made guest appearances at La Scala and the Teatro Liceo Barcelona. Until 1900, he regularly appeared on the stage, but gave up after that concert. He was considered the most significant English oratorio singers of his generation; his interpretation of the title role in "Elijah" by Mendelssohn was classified as completely incomparable. Since 1858 he sang at the Leeds Festival, since 1861 the Birmingham Festival, from 1863 to 1906 at each Three Choirs Festival, since 1862 also in the Handel Festival in London. In 1890 he toured Australia and New Zealand, 1893 and 1903, South Africa. In 1907, he was (to his 50th jubilee singers) knighted by King Edward VII. Than "Sir Charles Santley". In 1911 he was at the Covent Garden Opera London his farewell performance in "The Waterman" of Dibdin.