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Lucy Bertrand & Jean Bartet as Zerlina and Masetto "Don Giovanni" Lucie Bertrand (Berthet) 1866 Belguim Soprano studied until 1892 at the Conservatoire National de Paris. She was immediately committed to the Paris Grand Opera, where she debuted in 1892 as Ophélie in 'Hamlet' by A.Thomas. ; on 02.19.1897 she performed at the Grand Opera in the world premiere of the opera 'Messidor' of A.Bruneau as Hélène with, in 1895 in the 'La Montagne noire' of Augusta Holmès. In the years of their engagement, she sang at the Grand Opera roles such as Juliette in 'Roméo et Juliette' by Gounod, the Marguerite in his' Faust ', the title role in' Thaïs' by Massenet, the Marguerite de Valois in Meyerbeer's "Huguenots' , the title roles in 'Gwendoline' and 'Briseis' of E.Chabrier (1899 in the Paris premiere of this opera), Gilda in 'Rigoletto', the Zerlina in Don Giovanni and the Elsa in 'Lohengrin'. JEAN BARTET b 1862 French Baritone Jean-Arriet Bartet was, went through his vocal training at the Paris Conservatoire, where he was a pupil of Barbot and Giraudet. In 1893 he debuted at once at the Grand Opéra Paris as Nelusco in Meyerbeer's "Africaine '. He remained until (about) 1910 where the commitment and went to the Opera in a variety of roles: as Nevers in the 'Huguenots' by Meyerbeer, as Valentin in' Faust 'by Gounod and as Grand-Prêtre in' Samson et Dalila 'by Saint-Saëns, as William Tell by Rossini and as Alphonse in La Favorite' by Donizetti, as Masetto in Don Giovanni and as Amonasro in 'Aida', as Gunther in 'Sigurd' of Reyer and as Mathias in ' messidor 'of A.Bruneau, as Telramund in' Lohengrin ', as Kurvenal in' Tristan ', as Kothner in the' Meistersinger 'and as Wotan in the' Valkyrie '. He also worked at the Grand Opéra in several world premieres, including in 'La Cloche du Rhin' of S.Rousseau (1898) and in 'Lancelot' of V.Joncières (1900), 1899 in the premiere of 'Briseis' of E .Chabrier. In addition to his work at the Paris Opéra, he also had a successful career at the major opera houses in the French provinces

JANET MONARCH PATEY (Janet Monach Whytock ) (1 May 1842 – 28 February 1894) English contralto. Studied singing under J. Wass, Ciro Pinsuti and Mrs Sims Reeves (Emma Lucombe).Her first regular engagement was in 1865, in the provinces. From 1866, in which year she sang at the Worcester Festival, and married John Patey, a bass singer, she was recognized as one of the leading contraltos; and on the retirement of Helen Sainton-Dolby in 1870 Patey was without a rival whether in oratorio or in ballad music. She toured in America in 1871, sang in Paris in 1875, Australia in 1890, and New Zealand in 1891.

Milka Ternina as Isolde 'Tristan& Isolde" Wagner MILKA TERNINA 1861-1941 Croation Soprano She began her vocal studies at age twelve. First formed by Ida Winterberg in Zagreb, then 1882-84 by Joseph Gänsbacher in Vienna. She debuted in 1882 in Agram (Zagreb), while she was still studying, as Amelia in "Masked Ball" by Verdi. 1883-84 she was engaged at the Opera House Leipzig, 1884-86 at the City Theater of Graz, 1886-89 at the Municipal Theatre of Bremen, then 1890-99 at the Munich Court Opera, where she had great success and was still performing until 1906 as a guest. 1897 she worked there with the premiere of the opera "Sarema" of A.Zemlinsky in the title role. In 1896 she sang in Moscow at a concert on the occasion of the coronation of Tsar Nicholas II. In 1896 she undertook the German Opera Company, a North American tour. 1899 was admired at the Festival of Bayreuth their Kundry in "Parsifal". In 1900 she created at the Covent Garden Opera, where she was a regular guest from 1898 to 1906 (commencement role: Isolde in "Tristan"), the title role in the premiere of Puccini's "Tosca". Further appearances at the Court Opera in Berlin (1887), the Municipal Theatre of Zurich (1897) and the Municipal Theatre (Opera House) from Hamburg (1901). In 1890 it got its North American debut when she sang Elsa at the Opera of Boston in "Lohengrin". In 1899 she was appointed to the Metropolitan Opera New York, where she began her involvement with the game of Elisabeth in "Tannhäuser". In 1900 she sang again the title role in the premiere of Puccini's "Tosca", 1903 Kundry in the Forbidden Bayreuth American premiere of "Parsifal". She went to the Metropolitan Opera for four seasons until 1904 in 74 performances and 15 games in, including as Isolde, Brünnhilde, as Sieglinde, as Elsa, as Santuzza in "Cavalleria Rusticana" and as Leonore in "Fidelio". In addition to her work on stage, they also exhibited a concert career on an international level. 1909-12 she worked as a teacher at the New York College of Music. Because of progressive facial nerve paralysis she had to end her career in 1916 final. She lived ever since as a singing teacher in Zagreb, where she perceived a professor at the Conservatory since 1933. Among her pupils was the famous soprano Zinka Milanov.Ihr repertoire contained 85 large lots from all walks of soprano compartment; their Isolde as their Leonore in "Fidelio" were considered special excellence within their artistic generation.

FORTUNATA TEDESCO Fortunata Tedesco (Mantua, 14 December 1826 – after 1866) was an Italian operatic soprano. In 1846 tallied Elvira in Giuseppe Verdi's first opera, which performs in Cuba: Ernani. The success of the play and his singers had a great impact on the cultural world of Havana. Especially the soprano received numerous compliments, among which, a famous quadrille of Manuel Saumell, who play some passages of his entrance aria: Ernani involami. in 1848, the Italian Opera Company of Francisco Marty celebrates a function to the benefit of its music director, Luigi Arditi, where it premiered his opera Gulnara, Fortunata Tedesco creates the role of Gulnara. In January 1859 Pacini Saffo played at the Teatro Nacional de São Carlos in Lisbon. Was Venus in Tannhäuser revised version premiered on March 13, 1861 in the Paris Opera

SARAH EDITH WYNNE (Eos Cymru) (11 March 1842 – 24 January 1897) was a Welsh operatic soprano and concert singer. She was born in Holywell, Flintshire, and studied singing with Scarisbrick in Liverpool and Pinsuti at the Royal Academy of Music, where she was Westmorland Scholar from 1863 to 1864. She subsequently studied with Romani and Vannuccini in Florence. Her first appearances were in provincial concert halls and theatres. She made her London debut on 4 July 1862 at St. James's Hall in John Thomas's Welsh concert. Wynne sang in the United States with the Janet and John Patey and Charles Santley in 1871-1872, and at the Boston Festival of 1874. She also appeared in opera at The Crystal Palace between 1869 and 1871 as Arline in Wallace's Maritana and as Lady Edith in Randegger's Rival Beauties, but she was chiefly noted for her singing of art song and ballads. She married an Armenian barrister, Aviet Agabeg, in 1875 and after her marriage increasingly devoted herself to teaching oratorio and ballad singing. She died on 24 January 1897, and was buried in Hampstead Cemetery.

LOUISA BODDA-PYNE (27 August 1832 – 20 March 1904) was an English soprano and opera company manager. ( Louisa Fanny Pyne), she was the youngest daughter of the alto George Pyne (1790–1877). Her elder sister Susan Pyne was also an accomplished singer and her uncle James Kendrick Pyne (1785–1857) was a tenor Louisa Pyne was the manager, with the tenor William Harrison, of the Pyne & Harrison Opera Company which toured the Americas in the 1850s. In 1857 she and Harrison founded the Pyne and Harrison English Opera Company at the Lyceum Theatre, London. The company later moved to the Theatre Royal, Drury Lane and, in 1858, under the shortened name of the Royal English Opera, gained a lease at what is now the Royal Opera House in Covent Garden from December 1858 until 1864. The following year, Pyne, along with William Harrison, W. H. Weiss and Madame Weiss, formed a new company under E.T. Smith at Astley's Theatre Royal.[9] On 12 October 1868, she married the singer Frank H. Bodda remaining so until his death aged 69 on 14 March 1892. Pyne died at her home Cambridge Gardens, North Kensington on 20 March 1904

WILLIAM MUELLER 1845-1905 German Tenor He was the son of a shoemaker, but could not be trained his voice because of the poverty of his parents. So he was roofer; a pin lady heard him at work on the roof of the monastery Wienhausen sing a song, and by their means allowed King George V of Hanover him to study singing. After his training by the Kapellmeister Karl Ludwig Finck in Hanover, he made his debut in 1868 at the Court Theatre of Hanover as the title character in the opera "Joseph" by Mehul. Until 1875 he remained in Hanover. 1875-77 he was engaged at the Opera House Leipzig, 1877-84 he was a member of the Berlin Court Opera, where he participated in the premiere of the Ope "Ekkehard" by JJ Abert 1878. In 1884 he came back to Hanover, where he now until 1893 worked as a highly valued member of the ensemble and 1884 among others attended the premiere of the opera "Gudrun" by Felix Draeseke. The focus of his repertoire was the heroic tenors, in roles such as the Raoul in the 'Huguenots' by Meyerbeer, the title character in the "prophet", the Masaniello in "La muette de Portici" by Auber, Lohengrin and the Max in "Freischütz "Weber.

GUISEPPE KASCHMANN 1845-1925 Croation Baritone He first studied law at the University of Padua, then vocal studies with Alberto Giovanni in Udine. He debuted in 1869 at the Opera House of Zagreb (Agram) and sang the following year there at the inauguration of the new house, the title role in the opera "Mislav" by Ivan Zajc. In 1876 he joined the Teatro Regio Turin as Alfonso in Donizetti's "La Favorita". 1879-82 he had great success during their tour of Spain and Portugal, especially at the Teatro Real in Madrid and at the Teatro San Carlos, Lisbon. In Italy, since 1878 he was celebrated at La Scala (where he 1879 in the premiere of the opera "Mary Tudor" by Carlos Gomes participated), at the Teatro Costanzi in Rome and at many other major theaters. In 1883 he was appointed to the Metropolitan Opera New York and sang in their inaugural season (at the same time as his first role at this house) the Enrico in "Lucia di Lammermoor", but was initially only during this season there in commitment. He has performed with great success at Covent Garden Opera House London, at the Court Opera of St. Petersburg, on the operas of Warsaw, Monte Carlo and Cairo, at the Teatro Colón of Buenos Aires and at the Opera of Rio de Janeiro. At the Bayreuth Festival in 1892 and 1894 he sang the Wolfram in "Tannhäuser" and Amfortas in "Parsifal". On 06.10.1892 he participated in the premiere of the opera "Cristoforo Colombo" by Alberto Franchetti in the title role at the Teatro Carlo Felice Genoa. (This opera was commissioned by the city of Genoa to 400-year anniversary of the discovery of America by Columbus in her great son order). In the 1895-96 season he sang then again at the Metropolitan Opera New York. Overall, he has appeared at this house during two seasons in twelve different games and in 43 performances, including Don Giovanni, as Valentin in "Faust" by Gounod and as Kurvenal in "Tristan". With age, he moved to the buffo trade and had at the age of almost 70 years of great success as Don Pasquale by Donizetti and as Rosina in the "Barber of Seville". In 1922, he took his leave at the Teatro Quirino in Rome in Cimarosa's opera "Astuzie femminili" from the stage. At that time, he lived for some time in Rome, where he worked as a teacher and among other things the teacher of bassist Salvatore Baccaloni war

MINNIE HAUK (Amalia Mignon Hauck) (November 16, 1851 – February 6, 1929), American Soprano. In 1862, Hauk began vocal studies with Achille Errani, who secured her a spot with the operatic company of Max Maretzek. At age fourteen she made her debut in Brooklyn as Amina in La sonnambula, and a month later, in November, 1866, her New York City debut as Prascovia in L'étoile du nord. In the American premiere of Gounod's Roméo et Juliette (1867) she sang Juliette. Hauk sang at Covent Garden, London, on 26 October 1868, and debuted in Paris in 1869. The soprano then appeared in Italian and German opera at the Grand Opera in Vienna and other venues throughout Europe. Hauk was the first American Carmen (1878) and Manon (1885). Her voice became a mezzo-soprano of great strength and depth. Hauk's enormous repertory included approximately one hundred roles, and she sang Carmen in four languages.

Fides Devries as Elsa 'Lohengrin" Wagner 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

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as Athanael in Thaïs Massenet EDOUARD DE RESZKE, (22 December 1853 – 25 May 1917) Polish bass His voice studies in Italy with Giovanni Sbriglia, 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. 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. At New York's Metropolitan Opera during the same era. 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,

EMMA ABBOTT (December 9, 1849 – January 5, 1891) was an American operatic soprano Emma Abbott was born in 1850 in Chicago, Illinois, the daughter of the struggling Chicago musician Seth Abbott and his wife Almira Palmer. In 1866 she joined an itinerant concert troup and toured the country. While performing on the road she met and was befriended by Clara Louise Kellogg. Upon hearing Abbott in a concert in Toledo, Kellogg made it a point to meet her and encourage her to pursue an opera career and gave her a letter of introduction. Consequently, Abbott studied in New York City under Achille Errani, and made her concert début there in December 1871 In 1872 Abbott went abroad to study with Antonio Sangiovanni in Milan. This was followed by further studies with Mathilde Marchesi, Pierre François Wartel and Enrico Delle Sedie in Paris. She appeared in several productions in Paris, earning rave reviews for her fine soprano voice. She was awarded a contract with the Royal Opera in London and made her début at Covent Garden as Marie in La Fille du régiment in 1876. However, her contract was cancelled shortly thereafter when she refused to sing Violetta from Verdi's La Traviata on moral grounds. That same year she secretly married Eugene Wetherell (d. 1889) and they returned to the United States, where she remained for the rest of her life

Emma Calve as Carmen 'Carmen" Bizet EMMA CALVE (Rosa Emma Calvet de Noëmie Roquer) (August 15, 1858 – January 6, 1942), French Soprano Her operatic debut occurred on September 23, 1881, in Gounod's Faust at Brussels' La Monnaie. Later she sang at La Scala in Milan, and also at the principal theatres of Naples, Rome, and Florence. Returning to Paris in 1891, she created the part of Suzel in L'amico Fritz by Pietro Mascagni, playing and singing the role later at Rome. Because of her great success in it, she was chosen to appear[citation needed] as Santuzza in the French premiere of Cavalleria rusticana, which was viewed as one of her greatest parts. She repeated her success in it in London. Her next triumph was Bizet's Carmen. Before beginning the study of this part, she went to Spain, learned the Spanish dances, mingled with the people and patterned her characterization after the cigarette girls whom she watched at their work and at play. In 1894, she made her appearance in the role at the Opéra-Comique, Paris. The city's opera-goers immediately hailed her as the greatest Carmen that had ever appeared, a verdict other cities would later echo. She had had many famous predecessors in the role, including Adelina Patti, Minnie Hauk and Célestine Galli-Marié, but critics and musicians agreed that in Calvé they had found their ideal of Bizet's cigarette girl of Seville. Calvé first appeared in America in the season of 1893–1894 as Mignon. She would make regular visits to the country, both in grand opera and in concert tours. After making her Metropolitan Opera debut as Santuzza, she went on to appear a total of 261 times with the company between 1893 and 1904. She created the part of Anita, which was written for her, in Massenet's La Navarraise in London in 1894 and sang Sapho in an opera written by the same composer. She sang Ophélie in Ambroise Thomas's Hamlet in Paris in 1899, but the part was not suited to her and she dropped it. She appeared with success in many roles, among them, as the Countess in The Marriage of Figaro, the title role in Félicien David's Lalla-Rookh, as Pamina in The Magic Flute, and as Camille in Hérold's Zampa, but she is best known as Carmen .

CARLOTTA MARIA PATTI ( 1840 – 27 June 1889) operatic soprano Sister to famed soprano Adelina Patti. . Born into a musical family, Patti studied the piano in her youth before following her younger sister's inclination toward singing. As a child, Carlotta developed a handicap which caused a noticeable limp in her walk. Due to this condition she mostly avoided operatic performances and preferred to sing on the concert stage. While not able to achieve her sister's level of acclaim, Carlotta nonetheless received top billing in concerts in the United States of America, Great Britain, and Australia. She was known for her extensive vocal range, reportedly being able to reach a G sharp in altissimo.[4] She often sang songs such as Der Hölle Rache kocht in meinem Herzen that highlighted this extensive range. Carlotta Patti died of cancer in Paris on 27 June 1889.

Victor Capoul & Marie Rey as Romeo and Juliette 'Romeo & Juliette" MARIE REY 1834 French Soprano VICTOR CAPOUL (27 February 1839 – 18 February 1924) French Tenor He began his studies in 1859 at the Conservatoire of Paris . He debuted in 1861 at the Opéra-Comique Paris as Daniel in 'Le chalet' of Adam. By 1870, he remained at the Opéra-Comique as principal tenor until the outbreak of the Franco-Prussian war in 1870 .during which he sought asylum in England , There he joined the Mapelson Company at Drury Lane , making his debut as Faust in Gounod's "'Faust " then 1871-75 at the Italian Opera London At London he appeared at Covent Garden for the first time in 1877 , as Fra Diavolo . Lionel 'Marta" , Faust , Elvino ,and Ernesto.With Mapelson he went to the USA where he was regular visitor until 1884 , again at the New York Metropolitan Opera 1891-1892 ; He made his debut there as Gounod's Faust and sang seven roles: the Edgardo in "Lucia di Lammermoor ', in Wilhelm Meister' Mignon 'of A.Thomas, Count Almaviva in" The Barber of Sevbilla', the Alfredo in "La Traviata 'Tybalt in' Romeo et Juliette 'by Gounod, the Enzo in "La Gioconda" by Ponchielli and worked among others in 1891 in the Metropolitan premiere of Verdi's' Othello' as Cassio with. In the years 1892-97 he lived as a singing teacher in New York; then he became a director of the Grand Opera of Paris. In 1905 he gave up this activity.

JOSEF ALOYS TICHATSCHEK (11 July 1807 – 18 January 1886), originally Tichaček, trained by the tenor Giuseppe Ciccimarra in Vienna this now. In 1830 he began his singing career as a chorister at the Theater am Kärntnertor in Vienna. Soon he was there and used Choir inspector for the representation of small lots, at the same time he directed the choir of the St. Michaelis Barnabite in Vienna. In 1833, he debuted on the then Karntnertor Theater as a soloist in the role of Raimbaut in "Robert le Diable" by Meyerbeer. In 1835 he came to the Opera House Graz, where he remained until 1837. During the 1837-38 season he sang again in Vienna in 1838 and then followed a call to the Court Opera of Dresden, where he sang as a starting role in the King Gustave "Le Bal masqué" by Auber. This opera house was his true artistic home, and until 1872 he has been occurred with continued fame. He sang in Dresden as first games as Tamino in "The Magic Flute" and the title character in "Robert le Diable" by Meyerbeer. His career was promoted by the famous singer Wilhelmine Schröder-Devrient, who also was a member of the Dresden opera at this time, and gave him valuable practical advice. His name remains associated with the premieres of the first Wagner operas at the Dresden opera: on 20.10.1842 he sang the title role in "Rienzi" with Wilhelmine Schröder-Devrient in the role of Adriano; on 19.10.1845 he was the eponymous hero in the world premiere of "Tannhäuser", this time with Wilhelmine Schröder-Devrient as Venus and Johanna Wagner Jachmann as Elisabeth. Wagner estimated the artist very much. When he in the finale of the second act of "Tannhauser" had "to lead to salvation the sinner" with the passage difficulties, Wagner emphasized this from the score of the first performance. Under the leadership of Richard Wagner, he also sang on 05.01.1845 in Dresden in the world premiere of the opera "Emperor Adolph of Nassau" by Heinrich Marschner. In 1841 he was at the Drury Lane Theatre in London as a guest and sang the Adolar in "Euryanthe" by Weber as the title role in Meyerbeer's "Robert le Diable". He also gave guest performances in Sweden and in Holland and in 1861 at the Riga Opera House. Other major roles in the stage repertoire of the singer were of Eleazar in Halévy's "La Juive", the Masaniello in "La muette de Portici" by Auber and the title character in "Fernand Cortez" by Spontini. In his farewell to the stage he was in 1872 appointed honorary member of the Dresden Opera.

EUGEN GURA (November 8, 1842 – August 26, 1906) German operatic baritone Studied in Vienna and Franz Hauser in Munich vocals. 1865 it came to his stage debut at the Court Opera in Munich 'armourer' of Lortzingstraße. This was followed by engagements at the opera houses of Breslau (1867-70), Leipzig (1871-76, Inaugural roles: Wolfram in "Tannhäuser 'and William Tell by Rossini) and Hamburg (1873-83) at. Then he worked 1883-96 at the Court Opera in Munich. He was, above all in the area of ​​Wagner singing, as one of the most important artists of his generation. In the first Bayreuth Festival in 1876 he sang the thunder in 'Rheingold' and Gunther in the 'Twilight of the Gods' (in this performance on 08.17.1876 it was at the same time to the premiere of 'Twilight of the Gods', while 'Rheingold' in 1869 was premiered in Munich). In later Bayreuth Festival he sang there until 1896, King Mark in 'Tristan' and Hans Sachs in the 'Meistersinger'. In 1882, he was heard as a guest on Drury Lane Theatre London; here he sang again the brand and Hans Sachs in the English premieres of two operas Wagner's 'Tristan and Isolde' and 'Die Meistersinger von Nürnberg'. In the same season, he joined the Drury Lane Theatre as Lysiart in 'Euryanthe' of Weber. On 10.19.1887 he sang in Munich premiere of the opera 'Faust' by Heinrich Zollner the title role. In addition to his work on stage, he was a highly respected concert and especially Lieder singer. His presentation of the ballads of Loewe Karl was considered a classic. He sat down in a special way for the creation of the song was still largely unknown Hugo Wolf.