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GABRIEL VALENTIN SOULACROIX (11 December 1853 , Villeneuve-sur-Lot – 16 August 1905, Paris) French operatic baritone. He studied at Toulouse, where he won four first prizes, and then in Paris Making his debut in Mireille on 5 September 1878, Soulacroix appeared regularly at La Monnaie, Brussels, including in some local operatic premieres. His repertoire in Brussels included Le timbre d'argent by Camille Saint-Saëns (10 February 1879, playing the doctor), L'orage, an opéra-comique by Jean Urich (2 May 1879, Julien), The magic flute in French, (January to April 1880, Papageno), La Bernoise, an opéra comique by Emile Mathieu (1 April 1880, André), Le capitaine Raymond, an opéra comique by Jean-Baptiste Colyns (8 April 1881, Le comte de Guitaut), Jean de Nivelle by Léo Delibes (28 November 1882, Le comte de Charolais), Le panache blanc, an opéra comique by Philippe Flon (15 February 1884), Manon (15 March 1884, Lescaut), Le trésor, an opéra-comique by Charles Edouard Lefebvre (15 December 1884, Le duc Jean), Joli Gilles by Ferdinand Poise (7 February 1885, title role), and The Mastersingers of Nuremberg in French (7 March 1885, Sixtus Beckmesser). Soulacroix joined the Opéra-Comique company in 1885, his first appearance being as Bellamy in Les dragons de Villars on 25 September 1885. He sang Ford in the 1894 production of Falstaff, as well as Alfio (Cavalleria rusticana), Ourrias (Mireille), Schaunard (La Boheme) and Figaro (The Barber of Seville). He was on-stage singing Laerte in Mignon the night of the fire at the Salle Favart on 25 May 1887, and later received a médaille de sauvetage. In December 1899 he added Oreste to his repertoire, in a production of Iphigénie en Tauride at the Théâtre de la Renaissance. At the Covent Garden in London he sang the roles of Pedrillo, Escamillo, Figaro (Rossini), Alfio, Mercutio and Beckmesser. In addition, he was seen in a wide range of parts regularly at Monte Carlo from 1889 to 1904, including the title role in Zampa and Iago in Otello. His career was ended prematurely by his sudden death in middle-age.

ADOLPHE MARECHAL (26 September 1867 – 1 February 1935) Belgian tenor born Liège. Having studied at the Liège Conservatoire, Maréchal made his debut at Dijon in 1891 and toured the French provinces, singing in Rheims, Nice, Bordeaux, and especially at the Théâtre du Grand Cercle in Aix-les-Bains. He was engaged by the Opéra-Comique in 1895, making his debut as Don José in Carmen on 7 October 1895. His repertoire at the Opéra-Comique covered Cavalleria Rusticana (Turrido), Don Juan (Ottavio), Les dragons de Villars (Sylvain), Joseph, Lakmé (Gérald), Manon (des Grieux), Mireille (Vincent), La Navarraise (Araquil), Le pardon de Ploërmel (Un faucheur), Les pêcheurs de perles (Nadir), Le pré aux clercs (Mergy) and Le roi d'Ys (Mylio).[4] He also sang in several premieres, notably Louise in 1900 (Julien) and Grisélidis in 1901 (Alain), as well as enjoying a success in the Paris premiere of La Boheme (Rodolphe). At the Opéra de Monte-Carlo he created the role of Jean in Le jongleur de Notre Dame in 1902, and made his debut at Covent Garden the same year as Don José, also appearing in Faust, Manon and the première of The Princess Osra by Herbert Bunning (1863-1937) He retired back to Belgium in 1907,

Mounet-Sully as Hamlet Mounet-Sully (February 28, 1841 – 1916), a French actor, was born at Bergerac. His birth name was Jean-Sully Mounet: "Mounet-Sully" (without the "Jean") was a stage name.

Thanks to Walther van Rooij of Netherlands for his help on identifying DAVID SCULL BISPHAM (January 5, 1857 – October 2, 1921) American Baritone Studied singing in Florence with Luigi Vannuccini and in Milan with Francesco Lamperti. He also studied in Bayreuth. Royal Opera at Covent Garden to sing the part of Beckmesser in Wagner's Die Meistersinger von Nürnberg in June 1892 , Kurwenal in Richard Wagner's Tristan und Isolde. American debut, once again in Wagner, at the Metropolitan Opera in New York City on November 18, 1896; that night he sang the role of Sixtus Beckmesser in Die Meistersinger von Nürnberg.In 1901 he gave a recital exclusively featuring songs of of Carrie Jacobs-Bond in Chicago's Studebaker Theatre, After 1903 Bispham's operatic appearances were few, and he devoted most of his time to recitals, with which he had much success

ANNA SEMMLER - GORNER Soprano performed Vienna No details known CAN YOU HELP Married to Mr Gorner

ANNA SEMMLER-GORNER AUTOGRAPH No details Married to Mr Gorner

ANNA SEMMLER-GORNER Soprano performed Vienna No details known CAN YOU HELP Married to Mr Gorner

Anna Semmler-Gorner as Mathilde 'William Tell" by Rossini ANNA SEMMLER-GORNER Soprano performed Vienna No details known CAN YOU HELP Married to Mr Gorner

ANNA SEMMLER-GORNER Soprano performed Vienna No details known CAN YOU HELP Married to Mr Gorner

Gorner as Cardinal 'La Juive" by Halevy MR GORNER Bass Baritone No details known CAN YOU HELP Married Anna Semmler

Gorner as Figaro "Marriage of Figaro" by Mozart MR GORNER bass-baritone No details known CAN YOU HELP Married Anna Semmler

CELESTINE GALLI-MARIE (Marie-Célestine Laurence Marié de l'Isle) (November 1840 – 22 September 1905) French mezzo-soprano Most famous for creating the title role in the opera Carmen.Born in Paris. She was taught singing by her father, Mécène Marié de l'Isle, Her début came in 1859 in Strasbourg, and she sang in Italian in Lisbon. She sang at the Opéra-Comique until 1885, premiering in Pergolesi's La serva padrona. Her most famous roles were in Thomas's Mignon (1866) and Bizet's Carmen (1875). She created the roles of Lazarille in Don César de Bazan, Vendredi in Robinson Crusoé, the title part in Fantasio, as well as roles in Lara, Le Capitaine Henriot, Fior d'Aliza, La Petite Fadette, and Piccolino. She also sang Taven in Mireille and Rose Friquet in Les dragons de Villars. She died in Vence, near Nice. Her voice was described as being of a good timbre, with clear diction and phrasing

CAROLINE ALEXANDRINE LEOPOLDINE MARIE DUPREZ ( Caroline DUPREZ) french soprano (Florence, April 10, 1832 - 64.Pau, April 17, 1875) Her father was the famous opera singer Gilbert Duprez, with whom she sometimes appeared. A soprano, she made her Paris début at the Théâtre Italien in La Somnambula in 1850. The following year she helped to produce the world première of her father’s opera Joanita in Brussels. In 1852 she created the role of Angela in Marco Spada. She also appeared in Lyon (1856-1858), Bordeaux, London, St Petersburg, and at the Théâtre-Lyrique in Paris. She died on 17 April 1875 (her father outlived her by twenty-one years.)

Marie Miolan-Carvahlo as Mirielle 'Mirielle" Gounod CREATOR ROLE Théâtre-Lyrique (place du Châtelet) le 19 mars 1864 MARIE CAROLINE MIOLAN-CARVAHLO (Marie Caroline Félix-Miolan) 31 December 1827, Marseille - 10 July 1895, Château-Puys, near Dieppe) French Soprano Studied first with her father, François Félix-Miolan, an oboist, and later at the Paris Conservatory with Gilbert Duprez. She made her stage debut in Brest, as Isabelle in Le prophète, in 1849. The following year, she made her debut in Paris in the title role in Lucia di Lammermoor, later singing in Le Pré aux clercs, Les Huguenots, Der Freischütz, Hamlet, etc. She appeared at the Théâtre Lyrique from 1856 to 1867, mostly in Mozart and Rossini roles, but also created there an estimated 30 roles, notably by Charles Gounod such as Marguerite in Faust, Baucis in Philémon et Baucis, the title role in Mireille and Juliette in Roméo et Juliette, but also Louis Clapisson's La Fanchonnette, Victor Massé's Les noces de Jeanette, Ambroise Thomas's La cour de Célimène. She made frequent guest appearances at the Royal Opera House in London (1859–72), also appearing in Berlin and Saint Petersburg. She retired from the stage in 1885, as Marguerite. After retirement, she taught singing in Paris.

MARIE ROZE (born Maria Hippolyte Ponsin), (2 March 1846, Paris – 2 June 1926, Paris), was a French operatic soprano. Debut at the Opéra-Comique 1865 . Her success there led to engagements with the Paris Opéra, and later in London. From 1876 she worked with the Carl Rosa Opera Company during their UK tours and in Scotland over a ten-year period sang roles ranging from Carmen and Manon to Marguerite] In 1877, she was engaged by the Max Strakosch Opera Company and made her American debut on 8 January 1878 in Philadelphia as Leonora in Donizetti's La favorita. She later toured the United States with the Carl Rosa Opera Company from 1883 to 1889 and was particularly noted for her interpretation of the title role Bizet's Carmen. In 1890, she taught singing in Paris and made her farewell tour in 1894.

JOHN SIMS REEVES (21 October 1821[1] – 25 October 1900), ( Sims Reeves) English operatic, oratorio and ballad tenor Reeves began his singing career in 1838 but continued his vocal studies until 1847 In summer 1843 Reeves studied in Paris under the tenor and pedagogue Marco Bordogni of the Paris Conservatoire From October 1843 to January 1844 Reeves appeared in a very varied programme of musical drama, including the roles of Elvino in "La Sonnambula" and Tom Tug in Charles Dibdin's "The Waterman", at the Manchester theatre, and over the next two years performed in Dublin, Liverpool and elsewhere in the provinces .In oratorio, Reeves first sang "The Messiah" in Glasgow, Scotland, during 1844 . His debut in Italian opera was made on 29 October 1846 at La Scala in Milan as Edgardo in Donizetti's "Lucia di Lammermoor", partnered by Catherine HayesHis first principal role on the English operatic stage was with Louis Jullien's English Opera company at Drury Lane Theatre in December 1847 in "Lucia", in English text, with Mme Doras Gras and Willoughby Weiss, winning winning immediate and near-universal acclaim, not least from Hector Berlioz, who conducted the performance 1848In February 1848 he sang Handel's "Judas Maccabaeus", at Exeter Hall for John Hullah, "Acis and Galatea" in March and "Jephtha" in April and May. He was, meanwhile establishing himself as the leading ballad-singer in England . In May 1848 he joined Benjamin Lumley's company at Her Majesty's Theatre and sang "Linda di Chamounix" with Eugenia Tadolini, but he severed the connection when Italo Gardoni was brought in to sing Edgardo in "Lucia" opposite Jenny Lind . In September 1848 at the Worcester festival he took a solo in "Elijah", and sang in Beethoven's "Christ on the Mount of Olives", and packed the hall in a recital of "Oberon" His London Covent Garden Italian debut was in 1849, as "Elvino" in Bellini's "La sonnambula", opposite Fanny Tacchinardi Persiani : he made a great effect of full lyrical declamation in "Tutto e sciolto In the winter of 1849 he returned to English opera, and in 1850 at Her Majesty's he made a further great success in Verdi's "Ernani", opposite the "Elvira" of Mdlle Parodi and "Carlo" of Giovanni Belletti, who was about to embark on an American tour at the invitation of Jenny Lind Reeves toured in Dublin at Theatre Royal in 1849, for Mr Calcraft .During the 1850s, Reeves's career moved away from the stage and increasingly focused upon concert work 1851In 1851 Reeves sang Florestan in "Fidelio" to Sophie Cruvelli's Leonore, and some thought he outshone her.In February 1851 they returned to Dublin, where Reeves was to have performed with the soprano Giulia Grisi: she, however, was indisposed, .

ROSINE BLOCH (7 November 1844 – 1 February 1891) was a French operatic mezzo-soprano Most of her career was spent performing at the Opéra in Paris, she also appeared in stages in Belgium, Monaco, and England. She studied at the Paris Conservatoire with Nicolas Levasseur and Charles-Amable Battaille and in 1865 won the Conservatoire's first prize for singing and the first prize for opera.] She made her professional opera debut on 13 November 1865 at the Opéra's Salle Le Peletier as Azucena in Giuseppe Verdi's Le trouvère and continued singing in that theatre, where her most notable roles included Lelia in Félicien David's Herculanum and Léonore in Gaetano Donizetti's La favorite. She also sang Edwige in Gioacchino Rossini's Guillaume Tell (with Jean-Baptiste Faure as Guillaume and Marie Battu as Mathilde in 1868 and with Caroline Carvalho as Mathilde in 1870), and Fidès in Giacomo Meyerbeer's Le prophète in 1872. Although Bloch was striking in appearance with an ample, rich-timbred voice, it had become apparent over time that her portrayals lacked the "human quality" necessary for her to become a major star. Nevertheless, in the ensuing years she remained an honorable and respected member of the company. She also created two roles, Lysis in the world premiere of Jules-Laurent Duprato's 1-act La Fiancée de Corinthe, which had a libretto by Camille du Locle and was first performed on 21 October 1867, but was an opera that would soon fall into obscurity after only 14 representations, and Claribel in Eugène Diaz's 3-act La Coupe du Roi de Thulé, which had a libretto by L. Gallet and Edouard Blau and premiered on 10 January 1873, but would only be performed 21 times. The latter had won a competition which had been held by the Ministry of Fine Arts in 1869.

MARIE CONSTANCE SASSE . -Belgian soprano (Ghent, 26 January 1834 - 75016.Paris, November 07, 1907).Debut on 01 October 1859, at the Théâtre-Lyrique, 03 August 1860 at the Opera ROBERT LE DIABLE by Meyerbeer (Alice). She sang LA JUIVE by Halévy (Rachel); Verdi IL TROVATORE (Leonora). VESPERS Sicilian Verdi (Helene); THE Queen of Sheba by Gounod (Queen); DON JUAN de Mozart (Elvira, Donna Anna); THE HUGUENOTS (Valentine); HAMLET (Ophelia, 1872). She participated in the first 13 March 1861 Tannhäuser (Elisabeth) Wagner. She created April 28, 1865 L'AFRICAINE (Selika) of Meyerbeer; on March 11, 1867 DON CARLOS (Elisabeth de Valois) for Verdi. She left the Opera in 1872. She has sung under the names of Sax, Saxe, Sass-Castelmary and under his own name.