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AUGUSTE ALPHONSE EDMOND MEILLET ( 07 April 1828-.31 August 1871). French Baritone Married in Paris on 04 December 1851 opera singer Marie Stéphanie Meyer; Son Lucien Jean Henri Auguste Edmond Meillet parents (Paris, December 09, 1855)-Studied at Conservatoire, Debut at the Opera in 1850 in the Soul in Trouble, but only passed through it, and after making a short appearance in 1852 at the Opéra-National (which was to become the Lyric Theater ), Then at the Opéra-Comique, he entered the Lyric Theater the following year,nt creations which gave him authority over the public and secured his reputation. The main roles he created or played are: Good evening , neighbor! ; The doctor in spite of himself ; Jaguarita ; Richard the Lionheart ; My Aunt Aurora ; The Marriage of Figaro ; The Val d'Andorra , etc. Around 1861 or 1862, however, Meillet left Paris and went to work in various large provincial and foreign cities, notably in Brussels. Then he reappeared at the Lyric Theater, and was finally engaged at the Opéra-Comique, where he charmingly created the role of Doctor Mirouet in the Shadow of Flotow.

CHARLES LOUIS SAINTE-FOYE (Charles Louis PUBEREAU ). - Tenor (February 13, 1817 - Paris, 01 April 1877). Married the singer Clarisse Sainte-Foy. Began in 1840. He played operetta after 1870. He was the son of a soldier of the first Empire that his comrades had nicknamed Sainte-Foy.

CHARLES LOUIS SAINTE-FOYE (Charles Louis PUBEREAU ). - Tenor (vitry-le-francois, February 13, 1817 - 92.Neuilly-sur-Seine or Paris, 01 April 1877). Married the singer Clarisse Sainte-Foy. Began in 1840. He played operetta after 1870. He was the son of a soldier of the first Empire that his comrades had nicknamed Sainte-Foy.

GUSTAVE HIPPOLYTE ROGER -Tenor (.La chapel-Saint-Denis, December 17, 1815 - September 12, 1879). Debut February 16, 1838, at the Opéra-Comique in lightning (George), and he played GUITARERO, LES MOUSQUETAIRES DE LA REINE, HAYDEE, Debut 16 April 1849 Opera by creating the LE PROPHET (Jean de Leyde) of Meyerbeer. In the premier of L'ENFANT PRODIGUE by Auber (Azael); LE JUIF ERRANT by Halévy; LA ROSE DE FLORENCE;by Biletta HERCULANEUM by Félicien David. He sang Lucia of LAMMERMOOR, Donizetti (Edgar); LA REINE DE by Halevy (Gerard); LA FAVORITE by Donizetti (Fernand); LES HUGUENOTS by Meyerbeer (Raoul).

ENRICO TAMBERLICK (1820-1889). Tenor The Italian (or possibly Romanian) tenor Enrico Tamberlick (sometimes spelt Tamberlik or Tamberlinck) was born on 16 March 1820. He made his début at Rome in December 1837, and performed at Covent Garden regularly from 1850 to 1864, and then again in 1870. One of the first tenors to reach a high ‘C’, he also appeared in New York, Paris, Madrid and St. Petersburg. He interpreted the operas of Berlioz, Rossini and Verdi; on 10 November 1862 in St. Petersburg he created the role of Don Alvaro in Verdi’s La Forza del Destino. Enrico Tamberlick died on 13 March 1889.

GIOVANNI MARIO (Giovanni Matteo, marquis of CANDIA ). -Italian tenor (Cagliari, October 17, 1810 – December 11, 1883). Husband Giulia Grisi. He debuted under the name of Mario on 02 December 1838 in ROBERT LE DIABLE de Meyerbeer (Robert). He sang LE COMTE ORY Rossini. THE Draper of Halévy; THE HUGUENOTS (Raoul, 1862). "This famous tenor of the Italians, and a moment of the Opera, was the son of the Italian general marquis of Candia." When starting at the Opera that he took the name of Mario, he was both exemplified since. After a long time living with the famous singer Giulia Grisi, who died in 1869, he eventually married her, when she became the widow of her first husband. They had six children .

THERESE TIETJENS 1831-1877 Soprano (Carolina Johanna Alexandra Tiejens) She studied at the Hamburg Schmidt educators and then in Vienna with Dellessie, Babing and H.Proch. In 1848 she made her debut at the municipal theater (opera house) of Hamburg as Irma in "Le Ma ¢ on" ("Mason and Schlosser") by Auber. 1849 there had particular success in the title role of Donizetti's "Lucrezia Borgia". 1850-53 she was engaged at the Opera House of Frankfurt aM and sang during this time the theater of Brünn (Brno). On 20.01.1851 she performed in Frankfurt in the world premiere of Lortzings "Opera Rehearsal" on the eve of the death of the composer. 1853-59 Member of the Vienna Court Opera. In 1858 she appeared for the first time in London, and though at Her Majesty's Theatre as Valentine in "Les Huguenots" by Meyerbeer. Since 1859 she performed until her death in London, where she moved, and both at Her Majesty's Theatre as the Drury Lane Theatre, often also at the Covent Garden Opera. She appeared in a large number of important premieres in London with: 1865 at Her Majesty's Theatre in the title role in the opera "Medea" by Cherubini, 1859 at the Drury Lane Theatre as Elena in "I Vespri Siciliani" by Verdi, 1861 at the Lyceum Theatre London as Amelia in Verdi's "Un Ballo in Maschera", in 1867 at Her Majesty's Theatre as Leonora in "La forza del destino" by Verdi, 1863 in the same house as Marguerite in "Faust" by Gounod, 1864 again there in the title role of Gounod's "Mireille "and as Mistress Ford in Nicolai's" Merry Wives of Windsor "(in Italian). She sang constantly in the English metropolis, apart from a stint in Paris in 1863 and an extensive and very successful North American tour 1875-76. Other highlights in her wide-ranging repertoire were the Norma, Donna Anna in "Don Giovanni", the Lucrezia Borgia and Agathe in "Der Freischütz" by Weber. She sang a technically difficult role as Semiramide in Rossini's opera, an old role as the Fides in Meyerbeer's "Le A Prophet" as well as the only Wagner role Ortrud in "Lohengrin". Under the 5/26/1864 offered her Richard Wagner in a letter to take over the Isolde in his opera "Tristan and Isolde" and was willing to take some cuts in the score, but did not materialize this project. She could not decide which to take Sieglinde in "Die Walküre" also. Even as a concert and oratorio singer Therese Tietjens enjoyed the highest reputation. In 1876 she gave her last concert in London, the 1877 one still followed in Dublin. On several occasions she sang in court concerts in front of Queen Victoria, who was very fond of her. She had a rich educated, powerful voice, which ranged from c to d three-painted, and their ability to express it as well as their admired virtuoso agility. At the beginning of her career in England they represented a very attractive, elegant stage presence, but was subsequently very corpulent. In September 1877 she suffered during a performance of "Lucrezia Borgia" in which she sang the title role on the stage of Her Majesty's Theatre a serious collapse attack and died of cancer two months later.

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.

LEONTINE de MAESEN (15 July 1835 – 1906) was a Belgian coloratura soprano Active on the opera stages of France from 1858 to 1868. She is most remembered today for having created the role of Leïla in Bizet's 1863 opera, Les pêcheurs de perles Born Léontine Van der Maësen d'Avionpuits in Esneux, Belgium, she was the daughter of the crown prosecutor in Verviers. Her father died when she was still a young girl, and after his death she entered the Royal Conservatory of Liège where she studied singing with Théophile Vercken. She then continued her studies at the Paris Conservatory with Laure Cinti-Damoreau and later with Gilbert Duprez. De Maësen made her stage debut in Marseille during the 1858 season and subsequently sang there as Marguerite in Faust and Lucie in Lucie de Lammermoor. She returned in the 1861-62 season and sang with great success the title role in Massé's La reine Topaze for its first Marseille performance. During that season, she also sang in revivals of The Marriage of Figaro and Der Freischütz. After performances in Lille, she was engaged by Léon Carvalho for his Théâtre Lyrique company in Paris, where in 1863 she created the role of Leïla in Bizet's Les pêcheurs de perles. Her performance in the premiere was a sensation with the audience, according to the critic in Le Guide musical, who went on to praise "the beauty of her voice, the perfection of her singing, her personal charm, and her talent as actress." Bizet would later dedicate his 1868 mélodie, "Rêve de la bien-aimée" (Dream of the beloved), to

Jeanne Granier as Jacquette "La Bearnaise" Messager CREATOR Paris 12/12/1885 JEANNE GRANIER (31 March 1852 – 18 or 19 December 1939) was a French soprano, born and died in Paris, Granier was a pupil of Madame Barthe-Banderali, studying both opéra-comique and Italian music. Her debut was in 1873 at the Théâtre de la Renaissance, replacing at short notice Louise Théo as Rose Michon in the opening run of La jolie parfumeuse. Thus noticed by Offenbach, she went on to create Giroflé-Girofla (Paris premiere), title role in La Marjolaine, the title role in Le petit duc, Janot, Ninella, Mme le Diable, Belle Lurette and Fanfreluche. At the Théâtre des Variétés Granier appeared in major roles in revivals of La belle Hélène, Barbe-bleue, and La Grande-Duchesse de Gérolstein. Her other premieres at various Paris theatres included Mlle Gavroche (at the Variétés), Jacquette-Jaquet in La Béarnaise (Bouffes), Therèse in La cigale et la fourmi (Gaité) and Les saturnales (Nouveautés).

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.)

ENRICO CAMPOBELLO (Henry McLean Martin )(1848-?); Scottish bass-baritone. Married Clarice Sinco 2nd May 1874 London, both who worked along side many well known Operatic Singers of that time and Toured all over the World, and some of Enrico's roles in Emir he sang and performed Saladin in 1874. Maurevet Huguenots in 1874. Count Arnheim Govenor of Pressburg 1877. Count Almaviva in the Mariage of Figaro. Clarice performed in the first Magic Flute as Papagena an Old Woman. They also Staged their Own Opera's and worked with Colonel James Henry Mapleson Impresario's Italian Opera.

MARIE CABEL ( Marie-Josèphe Dreulette[in Liège) (31 January 1827 – 23 May 1885) Belgian Soprano. Autographed 1866 She is probably best remembered for having created the role of Philine in Ambroise Thomas' opera Mignon. Cabel first studied voice in Liège with Bouillon, and, her father having died, gave music lessons to help support her mother. Cabel's younger brother Edmond also became a singer and in 1863 created the role of Hylas in Hector Berlioz' Les Troyens. Cabel studied voice in Brussels with Ferdinand Cabel and Louis-Joseph Cabel. In 1847 she gave a concert in Paris and continued her studies at the Paris Conservatory in 1848–1849. Cabel made her operatic debut in Paris at the Théâtre Chateau des Fleurs in 1848, and in 1849 sang the roles of Georgette in Halévy's Le val d'Andorre and Athénaïs in Halévy's Les mousquetaires de la reine at the Opéra-Comique, where she went almost unnoticed. Moving back to Brussels, she sang at the Théâtre de la Monnaie from 1850 to 1853 with greater success In 1852 she also appeared in Lyon,

MADELEINE BROHAN 21 October 1833 - 24 February 1900 French Actress Madeleine is the daughter of Suzanne Augustine Brohan and the sister of Augustine Brohan. Married Mario Uchard in 1853, and divorced two years later, she was the mistress of Louis-Napoléon Bonaparte and the prince of Joinville, and had a long relationship with Paul Déroulède (whom she had a child) She entered very young the Conservatory, attended Samson and won a second prize for comedy in 1839 and the first in 1840. She was admitted to the Comédie-Française in 1850. She spent a few years in Russia, where she played the french Saint Petersburg Theatre.

ANNA DE BELOCCA (née de Bellokh) (4 January 1854 – unknown ), was a Russian-born operatic contralto. born in St.Petersburg, where her father was an Imperial Russian Councilor of State. After studying in St. Petersburg with Henriette Nissen-Saloman and in Paris with Nicolas Lablache and Maurice Strakosch, she made her stage debut in Paris at the Théâtre Italien as Rosina The Barber of Seville. She also appeared there in the title role of La Cenerentola and as Arsace in Semiramide. She appeared in various cities in Europe, including London, where she made her debut with Mapleson's company. She then became a member of the Strakosch Opera Company with whom she made her American debut on 17 April 1876 as Rosina at New York's Academy of Music. She also appeared in concerts in Boston, Chicago, Philadelphia and San Francisco. With the Mapleson company, she continued to sing leading roles in New York and Philadelphia through the 1880s.

EMMA ALBANI (1 November 1847 – 3 April 1930) Canadian soprano (Marie Louise Cecilia Emma Lajeunesse.) Vocal studies in Europe, and she became a student of Gilbert Louis Duprez in Paris, then by Francesco Lamperti in Milan. Debut in 1870 at the Opera House of Messina as Amina in 'La Sonnambula'. Covent Garden début 1872. First Covent Garden Senta (Der fliegende Holländer), 1877. NY Met début 1891; first Desdemona at NY Met 1894. Sang Isolde, Covent Garden 1896, retiring from stage a month later, but continuing to sing in oratorio. Retired to teach in 1911. DBE 1925.

LOUIS ALPHONSE EDMOND HOLTZEM French Bass (Paris, 26 juin 1827 – .Lyon, 1896). Débute Opera Comique in 1860 Photo autographed to Soprano Leontine Maësen 1860

Hortense Schneider as Duchess in "La Grande-Duchesse de Gérolstein " Offenbach (Creator role) HORTENSE CATHERINE SCHNEIDER, La Snédèr, (30 April 1833 – 6 May 1920) was a French soprano, one of the greatest operetta stars of the 19th century, particularly associated with the works of composer Jacques Offenbach. ]Born in Bordeaux, where she studied with Schaffner, she made her debut in Agen in 1853, as Inés in La favorite. She came to Paris and was turned down by the director of the Théâtre des Variétés but was noticed by Jacques Offenbach who invited her to the Théâtre des Bouffes Parisiens, where she made her debut in 1855 in Le violoneux. She enjoyed immediate success and created for Offenbach the role of Boulotte in Barbe-bleue and the title roles in La belle Hélène, La Grande-Duchesse de Gérolstein and La Périchole, all resounding triumphs. She also appeared in London and Saint Petersburg, to great acclaim. An accomplished singer and actress, she was much admired for her brio and verve on stage, was the toast of the Second Empire and a favourite of royal visitors to Paris. La Snédèr was reputedly one of King Edward VII's mistresses (because of the favours which she liberally granted to the members of the nobility, she was known as Le Passage des Princes.). She retired in 1878, after her marriage, and died in Paris over forty years later at age 87.