Marie Belval by Reutlinger
Jean Alexandre Talazac by Benque
Caroline Fierens by Benque
Jean Francois Philibert Berthelier by Reutlinger
Eva Dufranne by Chalot
Nellie Melba by Reutlinger
Nellie Melba by Reutlinger
Nellie Melba by Reutlinger
Nellie Melba by Reutlinger
Nellie Melba by Falk
Nellie Melba by Chalot
Nellie Melba by Falk
Bianca Bianchi by Krziwanek
Bianca Bianchi by Krziwanek
Maria Dolina Gorlenko by Photography of Imperial T…
Lise Tautin by Reutlinger
Marie Sasse by Reutlinger (1)
Amélie Faivre by Bureau
Rosine Bloch by Manoury
Celestine Galli-Marie by Reutlinger
Emilio Naudin by Reutlinger
Marie Cabel by Bingham
Mathilde Sessi by Dupont
Eugene Etienne Auguste Mossol by Disderi
Louis-Antoine Ponchard
Maurice Renaud by Barry
Maurice Renaud by Duguy
Gustave Hippolyte Roger by Reutlinger
Gustave Hippolyte Roger by Mitkiewicz
Enrico Tamberlick by Reutlinger
Louise Saint-Aguet by Disderi
Louise Saint-Aguet by Disderi
Etienne Troy by Bacard
Lola Beeth by Reutlinger
Ada Adini By Benque
Saint-Urbain by Disderi
Saint-Urbain by Disderi
Pauline Viardot-Garcia ????? by Richebourg (3)
Pauline Viardot-Garcia by Mayer & Pierson (4)
Pauline Viardot-Garcia by Disderi (5)
Célestine Galli-Marié by Maunoury
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Rose Caron by Benque


ROSE CARON (Rose Lucile MEUNIER). -Soprano (91.Monnerville, 17 November 1857 - April 09, 1930).
Studied at the Paris Conservatoire, but was not taken on at the Paris Opera; her husband, an accompanist, encouraged her to take lessons from Marie Sasse who helped her to get engagements at the opera in Brussels (having made her concert debut in 1880)
First operatic appearance in Brussels was as Alice in Meyerbeer's" Robert le Diable", followed by Salomé in Massenet's Hérodiade and Marguerite in Gounod's Faust; noticed by Ernest Reyer, he chose her to create the role of Brunehild in Sigurd in 1884 (and the Paris premiere in 1885). The title roles in Benjamin Godard's Jocelyn (1888) and Reyer's Salammbo (1890) and were also created by Caron in Brussels .In 1885 she began singing at the Paris Opera, Also other roles "LOHENGRIN "(Elsa), "SALAMMBÔ" Salammbô), "Die WALKÜRE" (Sieglinde), "DJELMA "(Djelma), "HELLE " (Helle) and OTHELLO (Desdemona), LA JUIVE (Rachel), LE CID (Chimène), LES HUGUENOTS (Valentine), HENRY VIII (Catherine), FAUST (Marguerite), LE FREISCHÜTZ (Agathe), in 1895 in TANNHÄUSER (Elisabeth), in 1896 in DON JUAN (Doña Anna) and the APOTHEOSIS of BEETHOVEN in 1886 in 1909 Fourth Symphony).
Studied at the Paris Conservatoire, but was not taken on at the Paris Opera; her husband, an accompanist, encouraged her to take lessons from Marie Sasse who helped her to get engagements at the opera in Brussels (having made her concert debut in 1880)
First operatic appearance in Brussels was as Alice in Meyerbeer's" Robert le Diable", followed by Salomé in Massenet's Hérodiade and Marguerite in Gounod's Faust; noticed by Ernest Reyer, he chose her to create the role of Brunehild in Sigurd in 1884 (and the Paris premiere in 1885). The title roles in Benjamin Godard's Jocelyn (1888) and Reyer's Salammbo (1890) and were also created by Caron in Brussels .In 1885 she began singing at the Paris Opera, Also other roles "LOHENGRIN "(Elsa), "SALAMMBÔ" Salammbô), "Die WALKÜRE" (Sieglinde), "DJELMA "(Djelma), "HELLE " (Helle) and OTHELLO (Desdemona), LA JUIVE (Rachel), LE CID (Chimène), LES HUGUENOTS (Valentine), HENRY VIII (Catherine), FAUST (Marguerite), LE FREISCHÜTZ (Agathe), in 1895 in TANNHÄUSER (Elisabeth), in 1896 in DON JUAN (Doña Anna) and the APOTHEOSIS of BEETHOVEN in 1886 in 1909 Fourth Symphony).
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