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ANNIE LOUISE CARY (October 22, 1842 – April 3, 1921) American Contralto In 1866 studied In Milan With Giovanni Corsi Until 1868. 1868 Debut In Italian Opera As A Profundo Contralto In Copenhagen . Further study with Pauline Viardot, And In The Autumn She In Paris, Studying With Giovanni Bottesini, A Conductor And Contra-bassist Made A Contract With Messrs. Maurice And Max Strakosch For Three Years In The United States. London With Henry C. Deacon, And Sang At Drury Lane Theatre. She Made Her First New York Appearance In September 1870 In Concert At Steinway Hall With Nilsson, Vieuxtemps, And Brignoli. Appearing With Carlotta Patti, Mario, Albani, f 1875/76, Visited Moscow And St. Petersburg, Returning To America For The Seasons Of 1877-78 And 1878-79, She Sang In Opera With Clara Louise Kellogg And Marie Rose,, At The Time She Retired, She Was The Most Popular Singer In America

ALBERT SALEZA (Luke Albert Saleza) (64.Bruges, October 18, 1867 - 64.Biarritz, November 26, 1916). French Tenor Debut May 16, 1892 by creating SALAMMBÔ (MDM). Also creates DJELMA (Nelly) and OTHELLO (Othello).portrayed in Le CID (Rodrigue), VALKYRIE (Siegmund), SIGURD (Sigurd) in 1893; Romeo and Juliet (Romeo, 1894), TANNHÄUSER (Tannhäuser, 1895), FAUST (Faust, 1898). He was Professor of lyrical declamation (opera) at the Conservatoire de Paris (1911-1916).

Rosa Bosman as Mathilde " William Tell" Rossini ROSA BOSMAN (Bruxelles, 29 décembre 1857 – 1930). Belguim Soprano She studied singing at the Brussels Conservatory in the class of Henri Warnots. Her debut at la Monnaie in Brussels in CARMEN (Carmen) in 1880. She debuted at the Opera June 12, 1885 by attending the first of SIGURD (Hilda) of Ernest Reyer. Creates the CID (Infante) November 30, 1885, MOTHERLAND! (Rafaela), LA DAME DE MONSOREAU (Diane), ASCANIO (Scozzone), STRATONICE (Stratonice), LANCELOT (Elaine), April 26, 1901 the King of PARIS (Jeanne de Noirmoutiers) of Georges Hüe. She attended the first hearing of the Rhine gold (Fricka, Wellegunde) by Richard Wagner 06 May 1893. On the other hand, has been shown successively from 1885 to 1898 in GUILLAUME TELL (Mathilde), LE CID (Chimène), FAUST (Marguerite), SIGURD (Jennifer), DON JUAN (Zerlina, and Doña Elvira), the Prophet (Berthe) L'AFRICAINE (Ines), LA JUIVE (Eudokia), ROBERT LE DIABLE (Alice), the MAGE (Anahita), LOHENGRIN (Elsa), SALAMMBÔ (Salammbô), die WALKÜRE (Sieglinde), OTHELLO (Desdemona), TANNHÄUSER (Elisabeth), DJELMA (Djelma) and the master SINGERS of NUREMBERG (Eva).

Lucienne Breval as Ilda "La Burgonde" Vidal CREATOR ROLE LUCIENNE BREVAL (Bertha Agnès Lisette Schilling) (4 November 1869, Zürich- 15 August 1935, Neuilly-sur-Seine) Swiss Soprano She studied voice with Victor Warot at the Paris Conservatoire before making her debut at the Opéra National de Paris in 1892 as Selika in l'Africaine by Giacomo Meyerbeer .Bréval became a principal soprano at the Paris Opéra and remained there until 1919.[3] Her roles with the company included several world premières including Augusta Holmès's La Montagne Noire (1895), Camille Erlanger's Le fils de l' étoile' (1904), Dukas’ Ariane et Barbe-bleue (1907), Massenet's Bacchus (1909), and the title roles in Massenet's Ariane (1906) and Henry Février’s Monna Vanna (1909). She also was Kundry in France's first performance of Wagner's Parsifal (1914). Her other notable roles at the Paris Opera included Brünnhilde in Richard Wagner's Die Walküre (1893), Venus in Wagner's Tannhäuser (1895), Marguerite in Hector Berlioz's La damnation de Faust (1897), and the title role in Rameau's Hippolyte et Aricie (1908). Bréval also occasionally appeared in productions at the Opéra-Comique in Paris. Most notably she portrayed the title role in the world premiere of Massenet’s Grisélidis in 1901, and in 1910 she sang Lady Macbeth in the première of Ernst Bloch’s Macbeth, which he dedicated to her. In 1899, Bréval made her first appearance at the Royal Opera, Covent Garden as Valentine in Meyerbeer's Les Huguenots. Two years later she made her American début at the Metropolitan Opera as Chimène in Le Cid, singing also in Die Walküre and the American première of Ernest Reyer’s Salammbô. Five years later she returned to Covent Garden for the second and last time in the title role of Gluck’s Armide. In 1913 she created the title role in Fauré’s Pénélope at the Opéra de Monte-Carlo; her other title roles there had been in Isidore De Lara's Amy Robsart and in Bizet's Carmen

Marie Delna as Mistress Quickley "Falstaff" Verdi MARIE DELNA (Marie Ledant) (Paris, 3 April 1875 - Paris, 24 July 1932) was a French contralto Her grandmother started her with singing lessons and she studied with Rosine Laborde. She began appearing at public auditions and various private concerts in Paris. She was spotted by Carvalho, director of Opéra-Comique, who suggested her stage name (a rough anagram of her surname). In June 1892, she made a sensational stage debut, just after her 17th birthday, as Didon in Les Troyens à Carthage. Massenet chose her as his first Charlotte in Werther in Paris, in January 1893, and later that year she created Marceline in Bruneau’s L'attaque du Moulin. The following April she sang the role of Mistress Quickly in the first French Falstaff, supervised by Verdi, and continued to play the role at the Salle Favart. She sang Marion in Godard's La Vivandière many times in her career, from its 1895 French premiere at the Opéra-Comique and subsequent revivals there to a production at the Gaîté-Lyrique. In 1896, Delna sang Orphée in the first Opéra-Comique production of the Berlioz-Viardot version of Gluck’s opera, to which she returned in 1900 and 1912 Delna took part in the first Covent Garden performance of L’attaque du moulin in 1894. Her Italian debut was in 1897 in Milan. In May 1898 she moved for a short while from the Opéra-Comique for the Paris Opéra, where she was Fidès in Le prophète and returned to Berlioz as Cassandre in the Paris premiere of La prise de Troie. She also sang La favorite and Samson et Dalila, as well as creating Ginèvra in Victorin de Joncières's Lancelot. Back at the Salle Favart in 1900 she sang first Carmen for the first time, alongside Adolphe Maréchal and Hector Dufranne. Along with Orphée, Carmen was the role which featured most promiment for the rest of her stage career. April 1901 saw her creating Marianne in Bruneau’s L’Ouragan. A revival of Falstaff in honour of Verdi’s memory featured her as Quickly and she portrayed Fée Grignotte (the witch) in Hänsel und Gretel. In 1902 she sang Margared for the first time, partnering Léon Beyle and Julie Guiraudon, in the revival of Le roi d'Ys. In 1903, while taking part as Carmen at the Théâtre de la Monnaie in Brussels, she married a Belgian admirer, the Marquis Prier de Saône, an industrialist, and retired from the stage. She later resumed her career with several concerts then productions at the Théâtre-Lyrique de la Gaîté as La Vivandière, Orphée and in L'attaque du moulin. The following season she sang Fidès and Léonore (La favorite). Delna made her Metropolitan Opera début as Orfeo conducted by Toscanini, but other appearances were curtailed for various reasons. The next stage of her career included more performances of L’attaque du moulin in 1910, the creation of Tilli in La Lépreuse by Lazzari (1912), and further performances at La Monnaie. During her career Delna performed at major houses such as La Monnaie, Covent Garden, La Scala, Teatro Lirico Milan, Metropolitan New York, Opera de Monte-Carlo and the Teatro Regio (Parma). During the First World War she sang widely in concerts for troops, then in November 1925 appeared in the premiere of Maurin des Maures by Léo Puget (Miss Rabasse) at the Folies-Dramatiques. Financial problems forced her to move in 1926 to a rented house in Villemomble. She died at the Hopital de la Pitié, and was buried in Thiais cemetery, later being moved to Père Lachaise.

Rose Caron as Salammbo & Albert Saleza as Matho in "Salammbo" by Reyer CARON CREATOR ROLE MONNAIE 18/2/1890 ROSE CARON (Rose Lucile MEUNIER). -Soprano (91.Monnerville, 17 November 1857 - April 09, 1930). Married Caron, piano accompanist. Ceated"SIGURD"(Jennifer). Also creates "LOHENGRIN "(Elsa), "SALAMMBÔ" Salammbô), "Die WALKÜRE" (Sieglinde), "DJELMA "(Djelma), "HELLE " (Helle) and OTHELLO (Desdemona). Also performed, in 1885, in 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). ALBERT SALEZA (Luke Albert Saleza) (64.Bruges, October 18, 1867 - 64.Biarritz, November 26, 1916). French Tenor Debut May 16, 1892 by creating SALAMMBÔ (MDM). Also creates DJELMA (Nelly) and OTHELLO (Othello).portrayed in Le CID (Rodrigue), VALKYRIE (Siegmund), SIGURD (Sigurd) in 1893; Romeo and Juliet (Romeo, 1894), TANNHÄUSER (Tannhäuser, 1895), FAUST (Faust, 1898). He was Professor of lyrical declamation (opera) at the Conservatoire de Paris (1911-1916).

Victor Maurel as Iago in "Otello" Verdi CREATOR ROLE VICTOR MAUREL Baritone (.Marseille, June 17, 1848 – October 22, 1923). Debuted at the Opera March 04, 1868. Debuted at the Opéra-Comique on 06 October 1885 in Etoile du Nord (Peters)Chante Zampa, le Songe d'une nuit d'été, Don Juan.. Sang Falstaff (Falstaff) from 1900, le Juif Polonais (Mathis), He created two roles. Verdi had chosen him to create Otello (Iago) and Falstaff (Falstaff) at the Scala in Milan. In 1883, he attempted to resurrect the Théâtre Italien in Paris.

Edouard De Reszke as Mephistopheles "Faust" Gounod EDOUARD DE RESZKE, originally Edward, (22 December 1853 – 25 May 1917) was a Polish bass from Warsaw. His voice studies in Italy with Giovanni Sbriglia, a leading pedagogue. Initially, he did not want to become an operatic performer but at the urging of his younger sister, Josephine (Józefina), he accepted an engagement with the Paris Opéra. He was chosen by the composer Giuseppe Verdi to make his debut in the first Paris performance of Aida on 22 April 1876, appearing under the composer's baton as the King of Egypt. De Reszke's older brother was the renowned lyric-dramatic tenor Jean de Reszke (1850–1925), with whom he would sing often in Paris, London and New York City during the course of the next two decades. In 1887, for example, the brothers performed together in the 500th performance of Gounod's Faust at the Paris Opéra. Josephine, Edouard and Jean's sister, also embarked on a career as an opera singer in Paris but she retired early from the stage after marrying an aristocrat while at the height of her powers. (Another sibling, Victor de Reszke, manifested more moderate talents as a vocalist.) Between the start of 1880 and the end of 1900, Édouard de Reszke appeared on more than 300 occasions at the Royal Opera House, Covent Garden, performing a wide range of roles in French, German and Italian operas, including works by Wagner, Verdi, Rossini, Bellini, Donizetti, Ponchielli, Gounod, Meyerbeer, Flotow and Mozart. He was a huge favourite, too, with audiences at New York's Metropolitan Opera during the same era. (His only serious bass rival at the Met and Covent Garden was the elegant French virtuoso Pol Plançon [1851–1914]; but the Frenchman, unlike de Reszke, barely touched Wagnerian opera.) He also sang in Chicago in 1891 and, in 1879–1881, at La Scala, Milan. In 1903, he retired from the stage after his once superlative voice developed technical difficulties and went into a swift decline. De Reszke taught singing for a while in London before returning to his estate in Poland, where he was adversely affected by the outbreak of World War I in Europe in 1914. Cut off from his brother by the fighting, he died on 25 May 1917 at a house in Garnek, near Częstochowa, Poland. His grave is to be found at Borowno Poland

Maurice Renaud as Hamlet "Hamlet" Thomas RENAUD Maurice (Maurice CRONEAU ). — Baritonen (Bordeaux, 24 Julyt 1862 – Paris, 16 October 1933). Début 17 July 1891 in L'AFRICAINE (Nélusko). 1891, LES HUGUENOTS (Nevers), LA FAVORITE (Alphonse), SIGURD (Gunther, The Priest in 1896) ; 1892, FAUST (Valentin), GUILLAUME TELL (Leuthold, then Guillaume), AÏDA (Amonasro), LE SICILIEN (Tircis), OTHELLO (Iago) ; then SAMSON ET DALILA (Grand Priest 1893), TANNHÄUSER (Wolfram 1895) ; HAMLET (Hamlet), DON JUAN (Don Juan) in 1896 ; RIGOLETTO (Rigoletto), THAÏS (Athanaël) 1908 ; APOTHEOSE DE BEETHOVEN (Teltscher), HENRY VIII (Henry VIII) 1909 ; LA DAMNATION DE FAUST (Méphistophélès, 1910), LE VIEIL AIGLE ( Khan, 1914), MONSIEUR CHOUFLEURI RESTERA CHEZ LUI LE... (Fetermann, 1919). Creator in LOHENGRIN ( Telramund), SALAMMBO (Hamilcar), LA VIE DU POETE, RHEINGOLD (Albérich), DEIDAMIE (Ulysse), GWENDOLINE (Harald), DJELMA (Raim), LA MONTAGNE NOIRE (Aslar), FREDEGONDE (Hilpérik), MESSIDOR (le Berger), LES MAÎTRES CHANTEURS DE NUREMBERG (Beckmesser), LA PRISE DE TROIE (Chorèbe), LANCELOT (Arthus . He created at the Nouveau-Théâtre on April 26, 1906 the Clown (Auguste) of Isaac de Camondo

Ernest Van Dyke as Lohengrin "Lohengrin" Wagner ERNEST VAN DYCK (Ernst Marie Hubert VAN DIJCK ) (Anvers, 02 Aprill 1861 – Berlaar [Berlaar-lez-Lierre], province d'Anvers, 31 August 1923) Belguim Tenor First student in law at Louvain and Brussels, he became a journalist, editor of "the Scheldt" in Antwerp, from "the motherland" in Paris, where he worked with Saint-Yves-Bax singing. He was hired by Lamoureux concerts and was there cheering for five years in the music of Wagner. January 25, 1886, he created with the Concerts Lamoureux in the Eden-Théâtre le song of the Bell (Wilhelm) of Vincent d'Indy. When Lamoureux gave April 30, 1887, this theatre the memorable representation of Lohengrin in the French version of Charles Nuitter, Van Dyck was appointed to the role of Lohengrin. He was part of the cast of Bayreuth from 1888 to 1911; its beginning was resounding, and the young singer was immediately hired in Vienna, where he played in German: Parsifal, Lohengrin, the gold of the Rhine, the mastersingers of Nuremberg, then Faust, Romeo and Juliet, Manon, and finally Werther (Werther), which he created at the imperial Opera on February 16, 1892 in the German version of Kalbeck. He continued to sing annually at Bayreuth, where he became the Wagnerian tenor by excellence. Covent-Garden, its success was not less complete. March 14, 1897, he created in Monte - Carlo Moina (Patrice) of Isidore de Lara. He sang repeatedly the operas of Wagner at the Opéra de Paris in 1897, in 1908, and notably in 1914 when Parsifal was staged for the first time. On 1 April 1913, he staged the Freischütz at the Théâtre des Champs Elysées. Van Dyck was one of the most accomplished Wagnerian tenors.

Henrie Sellier as Paulo & Caroline Salla as Francesca in "Francoise di Rimini" Thomas Paris 14/4/1882 CREATOR ROLES CAROLINE SALLA (Caroline Louise de Septavaux ) 1852- ??? French Soprano Daughter of a former Secretary of GuizotIn 1874-1875 she had an engagement at the Monnaie Opera in Brussels, in 1876 at the Théâtre Gaîté in Paris and in 1877 she was engaged by the Mapleson Opera Company and performed e.g. in Dublin. In 1877 she created the rôle of Hélène in “Le timbre d’argent” by Saint-Saëns. In 1878 she was heard at the Hofoper in Vienna and in 1882 she made her debut at the Grand Opera Paris creating the role of Francesca in the première of “Françoise de Rimini” by Ambroise Thomas. In 1886 she sang at the Opéra-Comique where in 1887 she created the rôle of Proserpine in the première of the eponymous opera by Saint-Saëns. Around the year 1890 she retired from the stage because of her marriage 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.

EMMA EAMES (August 13, 1865 - June 13, 1952) American Soprano She attended school in Boston where she studied singing with Charles R. Adams.Later she took voice lessons in Paris with Mathilde Marchesi. Operatic debut in Gounod's Roméo et Juliette at the Paris at Palais Garnier, in 1889. She would perform the role of Juliette many other times during the next two years, while adding other leading French-opera parts to her repertoire. As early as November 1889, She left the company in 1891, Towards the end of 1891, Eames debuted at the Metropolitan Opera in New York City in her trademark part of Juliette, and she quickly became a favourite with Met audiences. She would perform regularly at the Met in a variety of operas until 1909, Eames also made a number of successful appearances at London's Royal Opera House, Covent Garden. She sang there intermittently from 1891 to 1901 and established herself as a genuine rival to Covent Garden's reigning diva, Nellie Melba she also sang in Madrid Monte Carlo Opera during the 1890s. In 1906, Eames visited San Francisco with a touring troupe of leading Met singers.Her farewell operatic performances was during the 1911-12 seasons with the Boston opera company. She then undertook a series of concert tours of the United States

Emma Eames as Juliette 'Romeo & Juliette" Gounod EMMA EAMES (August 13, 1865 - June 13, 1952) American Soprano She attended school in Boston where she studied singing with Charles R. Adams.Later she took voice lessons in Paris with Mathilde Marchesi. Operatic debut in Gounod's Roméo et Juliette at the Paris at Palais Garnier, in 1889. She would perform the role of Juliette many other times during the next two years, while adding other leading French-opera parts to her repertoire. As early as November 1889, She left the company in 1891, Towards the end of 1891, Eames debuted at the Metropolitan Opera in New York City in her trademark part of Juliette, and she quickly became a favourite with Met audiences. She would perform regularly at the Met in a variety of operas until 1909, Eames also made a number of successful appearances at London's Royal Opera House, Covent Garden. She sang there intermittently from 1891 to 1901 and established herself as a genuine rival to Covent Garden's reigning diva, Nellie Melba she also sang in Madrid Monte Carlo Opera during the 1890s. In 1906, Eames visited San Francisco with a touring troupe of leading Met singers.Her farewell operatic performances was during the 1911-12 seasons with the Boston opera company. She then undertook a series of concert tours of the United States

Emma Eames as Elsa in " Lohengrin" Wagner EMMA EAMES (August 13, 1865 - June 13, 1952) American Soprano She attended school in Boston where she studied singing with Charles R. Adams.Later she took voice lessons in Paris with Mathilde Marchesi. Operatic debut in Gounod's Roméo et Juliette at the Paris at Palais Garnier, in 1889. She would perform the role of Juliette many other times during the next two years, while adding other leading French-opera parts to her repertoire. As early as November 1889, She left the company in 1891, Towards the end of 1891, Eames debuted at the Metropolitan Opera in New York City in her trademark part of Juliette, and she quickly became a favourite with Met audiences. She would perform regularly at the Met in a variety of operas until 1909, Eames also made a number of successful appearances at London's Royal Opera House, Covent Garden. She sang there intermittently from 1891 to 1901 and established herself as a genuine rival to Covent Garden's reigning diva, Nellie Melba she also sang in Madrid Monte Carlo Opera during the 1890s. In 1906, Eames visited San Francisco with a touring troupe of leading Met singers.Her farewell operatic performances was during the 1911-12 seasons with the Boston opera company. She then undertook a series of concert tours of the United States

Emma Eames As Colombe d'Estourville 'Ascanio" Saint Seans CREATOR ROLE EMMA EAMES (August 13, 1865 - June 13, 1952) American Soprano She attended school in Boston where she studied singing with Charles R. Adams.Later she took voice lessons in Paris with Mathilde Marchesi. Operatic debut in Gounod's Roméo et Juliette at the Paris at Palais Garnier, in 1889. She would perform the role of Juliette many other times during the next two years, while adding other leading French-opera parts to her repertoire. As early as November 1889, She left the company in 1891, Towards the end of 1891, Eames debuted at the Metropolitan Opera in New York City in her trademark part of Juliette, and she quickly became a favourite with Met audiences. She would perform regularly at the Met in a variety of operas until 1909, Eames also made a number of successful appearances at London's Royal Opera House, Covent Garden. She sang there intermittently from 1891 to 1901 and established herself as a genuine rival to Covent Garden's reigning diva, Nellie Melba she also sang in Madrid Monte Carlo Opera during the 1890s. In 1906, Eames visited San Francisco with a touring troupe of leading Met singers.Her farewell operatic performances was during the 1911-12 seasons with the Boston opera company. She then undertook a series of concert tours of the United States

EMMA EAMES (August 13, 1865 - June 13, 1952) American Soprano Eames was born in Shanghai, China and raised in Portland and Bath in the American state of Maine.She attended school in Boston where she studied singing with Charles R. Adams.Later she took voice lessons in Paris with the highly successful but autocratic teacher of bel canto sopranos, Mathilde Marchesi. Eames made her professional operatic debut in Gounod's Roméo et Juliette at the Paris Opéra's headquarters, the Palais Garnier, in 1889. She would perform the role of Juliette many other times during the next two years, while adding other leading French-opera parts to her repertoire. As early as November 1889, The Times newspaper called her "the favourite cantatrice of the Opera". She left the company in 1891, however, for personal reasons. Towards the end of 1891, Eames debuted at the Metropolitan Opera in New York City in her trademark part of Juliette, and she quickly became a favourite with Met audiences. She would perform regularly at the Met in a variety of operas until 1909, when a dispute with management precipitated her departure. Eames also made a number of successful appearances at London's Royal Opera House, Covent Garden. She sang there intermittently from 1891 to 1901 and established herself as a genuine rival to Covent Garden's reigning diva, Nellie Melba, whom she heartily disliked. Eames also sang in Madrid and fulfilled lucrative singing engagements at Monaco's chic Monte Carlo Opera during the 1890s. In 1906, Eames visited San Francisco with a touring troupe of leading Met singers. She was fortunate to survive unscathed when a devastating earthquake and fire struck the city, damaging her hotel. Eames gave her farewell operatic performances during the 1911-12 seasons with the Boston opera company. She then undertook a series of concert tours of the United States

FIDES DEVRIES American Soprano Fidès was born in New Orleans on 22 April 1852, and died in 1941, and was a soprano who studied under Duprez. She made her debut as Rose-de-Mai in Le val d'Andorre at the Théâtre Lyrique in October 1868. After a couple of seasons at La Monnaie in Brussels, she joined the Paris Opera in 1871, where her repertoire included Marguerite in Faust, Ophélie in Hamlet, Isabelle in Robert le diable, Agathe in Le Freischutz, Inès and Sélika in L’Africaine, Elvira in Don Juan, Mathilde in Guillaume Tell and Eudoxie in La Juive. In February 1873 Devriès took the solo soprano part in Beethoven’s Choral Symphony with the Société des Concerts du Conservatoire, along with an aria from Don Giovanni She interrupted her career from April 1874 to 1883, after which she appeared at the Théâtre-Italien directed by Victor Maurel, singing in Simon Boccanegra and Hérodiade. Back at the Opéra, after touring to Monte-Carlo, Madrid, Lisbon and Holland, she created the role of Chimène in the premiere of Le Cid on 30 November 1885. Her final major appearance was as Elsa in the French premiere of Lohengrin on 3 May 1887, before retiring from the stage in 1889

Adelina patti as juliette 'Romeo & Juliette" Gounod ADELINA PATTI (19 February 1843 – 27 September 1919) Soprano Her voice was noticed very early and she nade her first tour in America at the age of seven years and was a huge success. Studied singing in New York under the direction of Maurice Strakosch, her brother-in-law, and in 1859 she sang in New York in Lucia di Lammermoor. At Covent Garden theatre in London in 1861 where she sang la Sonnambula, her reputation was strengthened and in 1862 she was singing in Paris at the Théâtre Italien, where she soon became the star. She remained at Paris until 1870, being heard in London during the summer season. In Paris she sang the Italian Repertory, in London the french Repertory. After a long stay in America and London, Patti returned several times to Paris at the Opera (debut in 1874) and the Théâtre de la Gaîté. Then she resumed travels and successfully created, in London, in 1882, the Charles Lenepveu's Velléda. She also created Dolores of André Pollonais in Nice on February 22, 1897. She triumphed especially in a vast Italian repertoire that suited to her beautiful light soprano voice. His career lasted for fifty-six years.