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John Forsell (Carl Johan Jacob Forsell) 1868 – 1941), Swedish baritone, Before his singing career, he served in the Swedish Army. While serving in the army, he pursued voice studies with Julius Günther at the Royal College of Music, Stockholm from 1892-1894. After graduating from college he studied singing further in Paris in 1895-1896 and later in Stockholm with Hedvig Willman and Signe Hebbe.debut at the Royal Swedish Opera, Stockholm, in 1896 as Figaro in The Barber of Seville. He would remain that opera house's premier baritone through 1918,He sang in several world premieres with the company, including Wilhelm Stenhammar's Tirfing (1898) and Andreas Hallén's Valdemarskatten (1899, the title role of Valdemar IV of Denmark). He also appeared in the Swedish premieres of Eugene Onegin (1903, title role), Tosca (1904, Scarpia), and Salome (1909, Jochanaan).He also established an international career. From 1902-1906 he sang regularly at the Royal Danish Theatre in Copenhagen. In 1909-1910 he appeared at the Metropolitan Opera in New York City, performing such parts as Tonio in Pagliacci, Amfortas in Parsifal, Figaro in The Barber of Seville, Telramund in Lohengrin, Germont in La traviata and Yeletsky in the United States premiere of Tchaikovsky's The Queen of Spades. Director (Intendant) of the Royal Swedish Opera at the start of the 1923-1924 season.His final opera performance was on his 70th birthday when he sang the role of Count Almaviva in Mozart's The Marriage of Figaro at the RSO. He retired from his director's position in May 1939

as Count Almaviva "Marriage of Figaro" Mozart John Forsell (Carl Johan Jacob Forsell) 1868 – 1941), Swedish baritone, Before his singing career, he served in the Swedish Army. While serving in the army, he pursued voice studies with Julius Günther at the Royal College of Music, Stockholm from 1892-1894. After graduating from college he studied singing further in Paris in 1895-1896 and later in Stockholm with Hedvig Willman and Signe Hebbe.debut at the Royal Swedish Opera, Stockholm, in 1896 as Figaro in The Barber of Seville. He would remain that opera house's premier baritone through 1918,He sang in several world premieres with the company, including Wilhelm Stenhammar's Tirfing (1898) and Andreas Hallén's Valdemarskatten (1899, the title role of Valdemar IV of Denmark). He also appeared in the Swedish premieres of Eugene Onegin (1903, title role), Tosca (1904, Scarpia), and Salome (1909, Jochanaan).He also established an international career. From 1902-1906 he sang regularly at the Royal Danish Theatre in Copenhagen. In 1909-1910 he appeared at the Metropolitan Opera in New York City, performing such parts as Tonio in Pagliacci, Amfortas in Parsifal, Figaro in The Barber of Seville, Telramund in Lohengrin, Germont in La traviata and Yeletsky in the United States premiere of Tchaikovsky's The Queen of Spades. Director (Intendant) of the Royal Swedish Opera at the start of the 1923-1924 season.His final opera performance was on his 70th birthday when he sang the role of Count Almaviva in Mozart's The Marriage of Figaro at the RSO. He retired from his director's position in May 1939

as the Foreingner " Mona Lisa" Von Schillings CREATOR 269/12/1915 Stuttgard John Forsell (Carl Johan Jacob Forsell) 1868 – 1941), Swedish baritone, Before his singing career, he served in the Swedish Army. While serving in the army, he pursued voice studies with Julius Günther at the Royal College of Music, Stockholm from 1892-1894. After graduating from college he studied singing further in Paris in 1895-1896 and later in Stockholm with Hedvig Willman and Signe Hebbe.debut at the Royal Swedish Opera, Stockholm, in 1896 as Figaro in The Barber of Seville. He would remain that opera house's premier baritone through 1918,He sang in several world premieres with the company, including Wilhelm Stenhammar's Tirfing (1898) and Andreas Hallén's Valdemarskatten (1899, the title role of Valdemar IV of Denmark). He also appeared in the Swedish premieres of Eugene Onegin (1903, title role), Tosca (1904, Scarpia), and Salome (1909, Jochanaan).He also established an international career. From 1902-1906 he sang regularly at the Royal Danish Theatre in Copenhagen. In 1909-1910 he appeared at the Metropolitan Opera in New York City, performing such parts as Tonio in Pagliacci, Amfortas in Parsifal, Figaro in The Barber of Seville, Telramund in Lohengrin, Germont in La traviata and Yeletsky in the United States premiere of Tchaikovsky's The Queen of Spades. Director (Intendant) of the Royal Swedish Opera at the start of the 1923-1924 season.His final opera performance was on his 70th birthday when he sang the role of Count Almaviva in Mozart's The Marriage of Figaro at the RSO. He retired from his director's position in May 1939

as Don Juan 'Don Juan" Mozart John Forsell (Carl Johan Jacob Forsell) 1868 – 1941), Swedish baritone, Before his singing career, he served in the Swedish Army. While serving in the army, he pursued voice studies with Julius Günther at the Royal College of Music, Stockholm from 1892-1894. After graduating from college he studied singing further in Paris in 1895-1896 and later in Stockholm with Hedvig Willman and Signe Hebbe.debut at the Royal Swedish Opera, Stockholm, in 1896 as Figaro in The Barber of Seville. He would remain that opera house's premier baritone through 1918,He sang in several world premieres with the company, including Wilhelm Stenhammar's Tirfing (1898) and Andreas Hallén's Valdemarskatten (1899, the title role of Valdemar IV of Denmark). He also appeared in the Swedish premieres of Eugene Onegin (1903, title role), Tosca (1904, Scarpia), and Salome (1909, Jochanaan).He also established an international career. From 1902-1906 he sang regularly at the Royal Danish Theatre in Copenhagen. In 1909-1910 he appeared at the Metropolitan Opera in New York City, performing such parts as Tonio in Pagliacci, Amfortas in Parsifal, Figaro in The Barber of Seville, Telramund in Lohengrin, Germont in La traviata and Yeletsky in the United States premiere of Tchaikovsky's The Queen of Spades. Director (Intendant) of the Royal Swedish Opera at the start of the 1923-1924 season.His final opera performance was on his 70th birthday when he sang the role of Count Almaviva in Mozart's The Marriage of Figaro at the RSO. He retired from his director's position in May 1939

as Virginie "Paul et Virginie" by Masse CREATOR 15/11/1876 PARIS CECILE RITTER-CIAMPI ( Cécile BEUNET) 1859-1939 French Soprano Sang at the Paris Opera Married to tenor Enzo Ciampi-Cellai . Mother of soprano Gabrielle Ritter-Ciampi

as Siegmund "die Walkure" 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.

as Amonasro "Aida" by Verdi Jean-Baptiste Noté 1858-1922 Belgian baritone. He graduated from the Royal Conservatory of Ghent in 1884, Debut in 1885 at the Opéra de Lille as Lord Enrico Ashton in Gaetano Donizetti's “Lucia di Lammermoor”. From 1887-1889 he was committed to the Théatre Royal in Antwerp. He then became a member of the Opéra National de Lyon where he had major success in the operas of Richard Wagner; especially the parts of Friedrich of Telramund in Lohengrin and Wolfram von Eschenbach in Tannhäuser. He was also admired at that theatre as Roland in Jules Massenet's Esclarmonde. He left Lyon in 1893 to join the roster of principal artists at the Paris Opera where he remained for the rest of his career. He made his debut in Paris in the title role of Giuseppe Verdi's Rigoletto. He continued to perform with that company up until his death

as Herode "Salome' by Strauss LUCIEN MURATORE 1878-1954 French Tenor Studied at the Paris Music Conservatory, and made his operatic debut in 1902, at the Opéra-Comique opposite Emma Calve , creating the King in Reynaldo Hahn's La carmélite.Debut at La Monnaie in 1904, as Werther, and the following year at the Palais Garnier, as Renaud in Lully Created several Massenet operas such as Ariane and Bacchus, at the Opéra, and Roma, in Monte Carlo. He also took part in the creation of La Catalane by Le Borne, Monna Vanna by Henry Février, Déjanire by Camille Saint-Saëns, and Pénélope by Gabriel Fauré. He became principal French tenor with the Boston Opera Company, the Chicago Grand Opera Company (1913–1914), the Chicago Opera Association (1915–1921), and the Chicago Civic Opera (1922). He also appeared at the Teatro Colón in Buenos Aires. Muratore retired from the stage in 1931. Returned to Paris and was made Director of Opera Comique

as Alsar "le Montagne Noir" by Holmes CREATOR PARIS 8/2/1895 Maurice RENAUD (Maurice CRONEAU ). 24 Julyt 1862 – 16 October 1933 French Baritone 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

as Nouraly "Djelma" by Lefebvre CREATOR PARIS 25/5/1894 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).

as Marcomir "les Barbares" by Saint-Saens CREATOR PARIS 23/10/1901 ALBERT VAGUET ( b.15 June 1865 - Elbeuf (Seine-Maritime) d. 22 February 1943 at Pau) French Tenor He studied at the Paris Conservatoire under Barbot, Obin and Ponchard. In 1890 he debuted at the Grand Opéra in Paris as Faust in Gounod’s ‘’Faust’’. During his whole career he remained a member of this opera house. Here in 1897 he sang at the premiere of as David in Wagner’s ‘’Meistersingers’’, in 1894 Cassio in Verdi’s ‘’Otello’’, in 1899 Hylas in the première of the opera ‘’Briseïs’’ of Chabrier, in 1901 Marcomir in ‘’Les barbares’’ of Saint-Saëns, in 1899 sang the title role in ‘’Joseph’’ of Méhul. In 1893 he appeared (as well as his wife) in the premiere of the opera ‘’Deïdamie’’ of Henri Maréchal. In 1895 he sang at the Grand Opéra in ‘’Tannhäuser’’ after the debacle of the première in 1861. In 1900 he sang in the premiere of the opera ‘’Lancelot’’ of F. L. R. Joncières. He was married to the soprano Alba Chrétien-Vaguet, he lost a leg in a accident in 1903 which ended his career as an opera singer suddenly. Then he performed as a concert singer

as Hamilcar "Salammbo" by Reyer CREATOR Monnaie Brussells 18/2/1890 RENAUD Maurice (Maurice CRONEAU ). 24 Julyt 1862 – 16 October 1933 French Baritone 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

de Nuovina as Carmen "Carmen" Bizet MARGUERITE ZINA DE NOUVINA (Marguerite Lamandi nee Moldave) 1865-1936 Romanian Mezzo Debut on November 27, 1889 - premiere of Esclarmonde in Théâtre Royal de la Monnaie in Brussels - Debut at the Opera Comique 24/3/1893 by creating Kassya "Kassya" .From 1900 sang Carmen "Carmen" , Santuzza "Cavaleria Rusticana" , Anita 'La Navarraine" and Charlotte "Werther". Performed in Paris and Berlin. Successes in leading roles in "Amida" by Gluck, "Lohengrin" by Wagner, In Bucharest, sang in shows Stephănescu, which aimed to raise funds for the establishment of Romanian Opera.

as Gurnemanz in "Parsifal" by Wagner Carl Braun 1886 – 1960 German bass A pupil of the Berlin Imperial Opera, he sang with the Wiesbaden Royal Opera, Vienna Imperial Opera, Berlin City Opera, Metropolitan Opera, and the Berlin State Opera.

as Don Giovanni ' Don Giovanni" by Mozart 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

as Don Giovanni ' Don Giovanni" by Mozaret 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

LILLI LEHMANN (Elisabeth Maria Lehmann) (24 November 1848-17 May 1929) German Soprano Her father, Karl-August Lehmann, was a singer (Heldentenor) while her mother, Maria Theresia Löw was a soprano. Her first lessons were from her mother, After singing small parts on the stage, for example in Mozart's Magic Flute at Prague in 1866, and studies under Heinrich Laube in Leipzig Lehmann made her proper debut in 1870 in Berlin as a light soprano in Meyerbeer's Das Feldlager in Schlesien. She subsequently became so successful that she was appointed an Imperial Chamber Singer for life in 1876.Sang in the first Bayreuth Festival in 1876 , New York Metropolitan Opera in 1885–1899 .London's Royal Opera House, Covent Garden, in 1899 and sang in Paris and Vienna in 1903 and 1909 respectively. In 1905, she sang at the Salzburg Festival, Francisco Augusto D'Andrade, 11 January 1856 – 8 February 1921 Portuguese baritone He studied the basics of acting and music with Manuel Carreira and Arturo Pontecchi, the principal conductor of the Teatro São Carlos, and gave his first public recital in 1879 at the Salão da Trindade in Lisbon. In 1881 he went to Milan for further studies tenor Corrado Miraglia, and later with the baritone Sebastiano Ronconi. Debut 1882 at the Teatro Principe as Amedeo in Sanremo as Amonasro in Verdi's “Aida”. Over the next four years he sang in the opera houses of Portugal, Spain and Italy, including the Teatro Costanzi in Rome where he sang Count de Luna in Verdi's Il trovatore and Severo in the theatre's first performance of Donizetti's “Poliuto”. He and his brother António, D'Andrade were engaged as singers at the Théâtre Privé d'Opéra in Moscow for the 1885/86 season. They appeared together in 1888 world premiere of Alfredo Keil's “Donna Bianca” at the Teatro São Carlos with Francisco as Adaour and António as Aben-Afan. In 1886 he was at the Royal Italian Opera in London. His roles included Renato “Ballo in maschera”, Figaro “Il barbiere di Siviglia”, Escamillo “Carmen”, Giorgio Germont “La traviata”, Enrico Ashton “Lucia di Lammermoor”, Telramund “Lohengrin”, “ Rigoletto” and “Don Giovanni” In 1901 he sang Don Giovanni at the Salzburg Festival .In Germany he sang regularly with the Frankfurt Opera from 1891 to 1910 as well as several other major German opera houses. Berlin Hofoper in 1889. He retired from the stage in 1919.

LILLI LEHMANN (Elisabeth Maria Lehmann) (24 November 1848-17 May 1929) German Soprano Her father, Karl-August Lehmann, was a singer (Heldentenor) while her mother, Maria Theresia Löw was a soprano. Her first lessons were from her mother, After singing small parts on the stage, for example in Mozart's Magic Flute at Prague in 1866, and studies under Heinrich Laube in Leipzig Lehmann made her proper debut in 1870 in Berlin as a light soprano in Meyerbeer's Das Feldlager in Schlesien. She subsequently became so successful that she was appointed an Imperial Chamber Singer for life in 1876.Sang in the first Bayreuth Festival in 1876 , New York Metropolitan Opera in 1885–1899 .London's Royal Opera House, Covent Garden, in 1899 and sang in Paris and Vienna in 1903 and 1909 respectively. In 1905, she sang at the Salzburg Festival, ALBERT NIEMANN (15 January 1831 – 13 January 1917) German Tenor Niemann made a debut in Dessau in 1849, singing in minor roles and in chorus. He received training from Fritz Schneider (director of the ducal Hofkapell), from Albert Nusch and from Gilbert Duprez in Paris. Until 1866 he had various engagements in Stuttgart, Königsberg, Stettin, and from 1854 in Hannover. At Hannover he sang Tannhäuser (from 1854), Lohengrin (from 1855) and Rienzi (from 1859).In 1864, Niemann sang as guest in two performances of Tannhäuser at Munich, and in one of Lohengrin by the arrangement of Ludwig II, shortly before the death of King Maximilian II of Bavaria. Ludwig invited Niemann to repeat these roles in Munich in 1866, but war intervened: in the following year he was again invited, but declined, because the usual cuts were not to be made. In 1866, he became a member of the Berlin Opera, and remained so until 1888. In April 1870, he sang Walther in the Berlin Meistersinger premiere. As Tichatschek had grown old, and after Ludwig Schnorr's death in 1865, Niemann had become one of the most experienced and advanced Wagnerian tenors, In May 1872 he was in the quartet of soloists (with Johanna Jachmann-Wagner, Marie Lehmann and Franz Betz) in the inaugural performance of Beethoven's Ninth Symphony at the foundation-stone laying of the Bayreuth Festspielhaus, Niemann remained with the Berlin opera until 1888, but in the later years of his career he participated in several important tours. In 1882, he appeared as Siegmund in the first London Die Walküre, at Her Majesty's Theatre. In 1883, he was one of the twelve pall-bearers at Wagner's funeral at Wahnfried. From 1886 to 1888 he appeared at the Metropolitan Opera House, as the first American Tristan (December 1, 1886, Anton Seidl, conductor, Lilli Lehmann, Isolde, as Siegfried in the first American Götterdämmerung ( January 25, 1888, with Lilli Lehmann as Brünnhilde, and in Spontini's opera Fernando Cortez. In New York, he also sang Siegmund, John of Leyden in Le prophète, Tannhäuser, Lohengrin, Florestan (in Fidelio), and Eleazar in La juive. Angelo Neumann's touring company, in which Niemann took part under Seidl's conductorship, toured with the Ring through many towns of Germany, Belgium, Holland, Switzerland, Italy, Hungary, and AustriaAlbert Niemann died in Berlin, two days short of his 86th birthday.