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as Isolde "Tristran & Isolde" Wagner 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,

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,

Mabel Garrison Siemonn 1886 - 1963 American soprano Studied singing at the Peabody Conservatory and then studied further with Oscar Saenger and Herbert Witherspoon in New York. She made her debut in 1912 with the Aborn Opera Company as Philine in "Mignon". Metropolitan Opera debut on February 15, 1914 in a Sunday afternoon concert singing arias from operas by Verdi and Mozart. Her first role at the Met was Frasquita in Bizet's Carmen. Guest appearances in 1921 at the Berlin State Opera in Hamburg and at the Cologne Opera. Later that year, she made a world concert tour. She was a member of the Chicago Civic Opera during the 1925-26 season. She was a teacher at Smith College after 1933. Other roles included Adina in L'Elisir d'Amore, Bertha in Euryanthe, Biancofiore in Francesca da Rimini, Crobyle in Thaïs, the Dew Fairy in Hansel and Gretel, Gilda in Rigoletto, Lady Harriet in Martha, Oscar in Un Ballo in Maschera, the Queen of the Night in The Magic Flute, the Queen of Shemakha in The Golden Cockerel, Rosina in Il Barbiere di Siviglia, and Urbain in Les Huguenots among others. Her last performance at the Met was as the title role in Lucia di Lammermoor on January 22, 1921

Alma Evelina Fohström-von Rode 1856–1936 Finnish soprano From 1873 to 1877, she studied song under the Swedish opera singer Henriette Nissen-Saloman at the Saint Petersburg Conservatory.In April 1878, Fohström performed at Berlin's Kroll Opera House, gaining immediate recognition. She went on to perform in some 200 venues in Europe, Asia and the Americas, singing for emperors and monarchs.South American tour in 1883 included performances in Buenos Aires, Montevideo, São Paulo and Rio de Janeiro. Her amazingly successful tour of the United States in 1885–86 included ten cities from New York to Cincinnati and in San Francisco, Became professor of singing at the St Petersburg Conservatory from 1909 to the Russian Revolution in 1917. She then returned to Finland before teaching at the Stern Conservatory in Berlin from 1920 to 1928. Thereafter she taught at the Helsinki Conservator , Roles included role of Vincent Wallace's opera Maritana, as Zerlina in Danil Auber's Fra Diavolo, and as Filina in Ambroise Thomas' Mignonn Bellini's La sonnambula Donizetti's Lucia di Lammermoor.] Marguerite in Meyerbeer's Les Huguenots, Mathilde in Rossini's William Tell, Margaretha in Gounod's Faust,[ Bertha in Meyerbeer's The Prophet,[ and Eudora in Halévy's La Juive.

Germaine Gallois 1869 - 1932 French Soprano Popular in Operetta , Debut Bouffes-Parisiens Theater , 1895 . She performed at Théâtre des Variétés , : Théâtre des Bouffes-Parisiens , Théâtre des Capucines , Paris opera and opera Comique. She created Hortense in "a Dot de Brigitte, Victor Roger 1895, Ninon de Lenclos '"Ninette", Charles Lecocq 1896, Cécile Blandin "Monsieur Lohengrin " Audran 1896 , Venus "Pâris ou Le bon juge" Claude Terrasse 1906

Germaine Gallois 1869 - 1932 French Soprano Popular in Operetta , Debut Bouffes-Parisiens Theater , 1895 . She performed at Théâtre des Variétés , : Théâtre des Bouffes-Parisiens , Théâtre des Capucines , Paris opera and opera Comique. She created Hortense in "a Dot de Brigitte, Victor Roger 1895, Ninon de Lenclos '"Ninette", Charles Lecocq 1896, Cécile Blandin "Monsieur Lohengrin " Audran 1896 , Venus "Pâris ou Le bon juge" Claude Terrasse 1906

as Don Pizarro "Fidelio" Beethoven Léon Rothier 1874 – 1951 French operatic bass Studied the Conservatoire de Paris .1899, he made his singing debut at the Opéra-Comique in Paris, in Charles Gounod's Philémon et Baucis. One year later, he participated in the premiere of Gustave Charpentier's Louise. Rothier left the Opéra-Comique in 1907, and after some short stints with a few smaller French opera companies, moved to the United States, beginning a 30-year association with the Metropolitan Opera in New York City. He created the role of Grandfather Tyl in L'oiseau bleu by Albert Wolff (1919). He was still fulfilling public singing engagements in New York City as late as 1949, at the Town Hall performance space.

as Ganelon in La Fille de Roland by Henri Rabaud CREATOR 1904 Hector Dufranne 1870 – 1951 Belgian operatic bass-baritone He studied at the Brussels Conservatory with Désiré Demest .Debut in 1896 at La Monnaie as Valentin in " Faust" Gounod. Opéra-Comique in Paris from 1900 to 1912 , Paris Opera Opéra de Monte-Carlo Royal Opera, Covent Garden in London. Manhattan Opera Company Chicago Grand Opera Company and the Chicago Opera Association .Created many roles Saluces in Griselidis (1901), the title role in Alfred Bruneau's L' Ouragan (1901), Golaud in Pelléas et Mélisande (1902), Amaury-Ganelon in La Fille de Roland by Henri Rabaud (1904), Koebi in Gustave Doret's Les Armaillis (1906), the title role in Xavier Leroux's Le Chemineau, Clavaroche in Fortunio by André Messager (1907), the fiancé in Raoul Laparra's La Habanéra (1908), and Don Iñigo Gomez in Maurice Ravel's L'Heure espagnole (1911) 1922, returned to Paris where he continued to appear in operas in all the major houses in addition to appearing in other opera houses in France. He also spent a brief time performing in Amsterdam in 1935.With the outbreak of World War II in 1939, Retired from the stage, with his last performance being the role of Golaud at the opera house in Vichy. He lived in Paris where he taught singing for many years before his death in 1951.

as Helena in "Die Schone Helena" Offenbach Meta Seinemeyer , 1895 – 1929 German soprano Studied at the Stern Conservatory with Ernst Grenzebach. She made her debut at the Deutsche Opernhaus in 1918. She joined the Dresden Semperoper in 1924, and began appearing at the Vienna State Opera in 1927.Sang at the Metropolitan Opera in New York City in 1923, as Elisabeth in Tannhäuser and Eva in Die Meistersinger von Nürnberg, at the Teatro Colón in Buenos Aires, as Agathe in Der Freischütz in 1926, and at the Royal Opera House in London in 1929, as Eva, Elsa in Lohengrin and Sieglinde in Die Walküre.Besides the great Wagner heroines, she also played an important role in the renaissance of Verdi's operas in Germany, winning considerable acclaim as Leonora in La forza del destino, Elisabeth de Valois in Don Carlos, and the title role in Aida. She was also admired as Marguerite in Faust, Maddalena in Andrea Chénier, and the title role in Tosca. She took part in the creation of Ferruccio Busoni's Doktor Faust in Dresden in 1925.

Meta Seinemeyer , 1895 – 1929 German soprano Studied at the Stern Conservatory with Ernst Grenzebach. She made her debut at the Deutsche Opernhaus in 1918. She joined the Dresden Semperoper in 1924, and began appearing at the Vienna State Opera in 1927.Sang at the Metropolitan Opera in New York City in 1923, as Elisabeth in Tannhäuser and Eva in Die Meistersinger von Nürnberg, at the Teatro Colón in Buenos Aires, as Agathe in Der Freischütz in 1926, and at the Royal Opera House in London in 1929, as Eva, Elsa in Lohengrin and Sieglinde in Die Walküre.Besides the great Wagner heroines, she also played an important role in the renaissance of Verdi's operas in Germany, winning considerable acclaim as Leonora in La forza del destino, Elisabeth de Valois in Don Carlos, and the title role in Aida. She was also admired as Marguerite in Faust, Maddalena in Andrea Chénier, and the title role in Tosca. She took part in the creation of Ferruccio Busoni's Doktor Faust in Dresden in 1925.

Helene Staegemann 1877 -1923 German soprano After a vocal training with her father Max Staegmann baritone (1843-1925), she was around the turn of the century a celebrated concert soprano, who performed in Berlin , Vienna and Prague and was especially regarded as an outstanding song interpreter . In 1899 she went on a concert tour through Eastern Europe . Composers such as Carl Reinecke and Hans Pfitzner dedicated their song compositions.Retired 1909 in Leipzig

Georg Bauer Tenor

John Coates 1865 – 1941 English tenor His early singing experience came as a chorister in a church choir (under his father's direction), where he learnt the importance of accent in singing from the performance of the Gregorian chant. He studied voice under multiple teachers: in Yorkshire under J. G. Walton, Robert Burton and Dr. J. C. Bridge, and in London under W. Shakespeare and T. A. Wallworth, and in Paris under Jacques Bouhy.Coates began his performing career as a baritone. He first appeared as Valentin in Gounod's Faust, as an amateur, with the Carl Rosa Opera Company in Manchester and Liverpool. After further training, he was engaged by the D'Oyly Carte Opera Company for its 1894 tour, Reappeared as a tenor in light opera in 1899-1900 at the Globe Theatre in London. He first appeared at the Globe Theatre in The Gay Pretenders in November 1900 and then at Covent Garden Opera House to created the role of Claudio in Charles Villiers Stanford's four-act opera "Much Ado About Nothing" in 1901.This was followed by Gounod's Faust, this time in the title role. That year he also appeared in the "Gürzenich's Concerts and Opera" at Cologne and Leipzig.Coates became one of the most popular festival singers in England,

John Coates 1865 – 1941 English tenor His early singing experience came as a chorister in a church choir (under his father's direction), where he learnt the importance of accent in singing from the performance of the Gregorian chant. He studied voice under multiple teachers: in Yorkshire under J. G. Walton, Robert Burton and Dr. J. C. Bridge, and in London under W. Shakespeare and T. A. Wallworth, and in Paris under Jacques Bouhy.Coates began his performing career as a baritone. He first appeared as Valentin in Gounod's Faust, as an amateur, with the Carl Rosa Opera Company in Manchester and Liverpool. After further training, he was engaged by the D'Oyly Carte Opera Company for its 1894 tour, Reappeared as a tenor in light opera in 1899-1900 at the Globe Theatre in London. He first appeared at the Globe Theatre in The Gay Pretenders in November 1900 and then at Covent Garden Opera House to created the role of Claudio in Charles Villiers Stanford's four-act opera "Much Ado About Nothing" in 1901.This was followed by Gounod's Faust, this time in the title role. That year he also appeared in the "Gürzenich's Concerts and Opera" at Cologne and Leipzig.Coates became one of the most popular festival singers in England,

Florence Easton 1882-1955 English Soprano Studied Royal College of Music with Agnes Larkon and later Elliott Haslam in Paris. Debut 1903 in Newcastle as shepherd boy in "Tannhauser" with the Moody Manner Opera Company.in 905 she went to USA with the Savage Opera Company ,US debut Boston as Gilda in "Rigoletto" .in 1907 became a member of the Berlin Imperial opera . Guest appearance at London Covent Garden , and in 1915 Chicago Opera and stayed because of the War.In 1929 she returned to London and remained until 1935 when she returned to USA .She gave her last recital in NY in 1943. Therafter she taught in Montreal and later NY . She was married to tenor Francis MacLennan (1874-1935) Roles included Eva, Maddelina, Elizabeth, Pilar, Elsa, Gioconda, Leonora, Tosca , Butterfly , Salome, Venus & Desdemoan

Edyth Walker March 27, 1867 – February 19, 1950 American Mezzo later Soprano She entered and won a singing competition which provided her with a scholarship that enabled her to study singing in Europe. She arrived in Dresden, Germany, in 1891 where she became a pupil of Aglaia Orgeni. She later studied singing with Marianne Brandt in Vienna. Professional debut as a concert singer at the Gewandhaus in Leipzig in 1892. Opera debut on 11 November 1894 at the Berlin State Opera as Fidès in Giacomo Meyerbeer's Le prophète. The following year she became a member of the Vienna State Opera where she was a leading mezzo-soprano with the company for eight seasons] She notably sang the role of Magdalena in the Vienna premiere of Wilhelm Kienzl's Der Evangelimann in 1896. She was also much admired in Vienna for her interpretation of the role of Amneris in Giuseppe Verdi's Aida. While under contract in Vienna,she made guest appearances with other European theatres. She made her first appearance in the UK at the Royal Opera House in London, singing the role of Amneris on 16 May 1900. She sang several more roles at Covent Garden in 1900-1901, all of them from the Wagnerian repertoire, including Erda in Siegfried, Fricka in both Die Walküre and Das Rheingold, Ortrud in Lohengrin, and Waltraute in Götterdämmerung In 1901 she portrayed the role of Elvira in Wolfgang Amadeus Mozart's Don Giovanni at the Salzburg Festival At the close of the 1902-03 season, she left her position in Vienna abruptly after a dispute with Gustav Mahler. Having broken her contract with the influential Vienna opera house, she found it impossible to gain a permanent position with another German or Austrian theatre under such circumstances She therefore returned to the United States and signed a contract with the Metropolitan Opera of New York City. She made her debut at the Metropolitan Opera House on November 30, 1903 as Amneris to the Aida of Johanna Gadski and the Radamès of Enrico Caruso. She sang at the Met for three seasons, notably appearing in the Met's first stagings of Gaetano Donizetti's Lucrezia Borgia(as Maffio Orsini) and Johann Strauss II's Die Fledermaus (as Prince Orlofsky). She portrayed mainly mezzo-soprano parts at the Met like Brangäne in Wagner's Tristan und Isolde, Erda, Fricka, La Cieca in Amilcare Ponchielli's La Gioconda, Leonora in La favorita, Nancy in Martha, Ortrud, Siebel in Charles Gounod's Faust, Urbain in Les Huguenots, and Waltraute. Her final and 108th performance with the Metropolitan Opera was in the title role of Karl Goldmark's Die Königin von Saba for an out of town engagement in San Francisco on April 16, 1906. While on contract with the Met, Walker began adding soprano roles to her repertoire, beginning with Brünnhilde in Die Walküre which she first performed at the Metropolitan Opera House in December 1905. That was the only soprano role she sang on the Met Stage However, after leaving the Met in 1906 to return to Europe, she added more soprano roles to her stage credits. Walker had already been performing periodically as a guest artist with the Hamburg State Opera (HSO) since 1903, and upon her return to Europe she signed a contract with that company. She remained with the HSO through 1912 performing both mezzo and soprano roles. Among the soprano parts she performed there were Isolde in Tristan und Isolde, Kundry in Parsifal, and the title role in Salome In 1908 Walker sang the roles of Ortrud and Kundry at the Bayreuth Festival. That same year she had a major triumph as Isolde at Covent Garden.[1] She returned to the Royal Opera House in 1910 to portray the title role in the critically acclaimed UK premiere of Richard Strauss' Elektra under the baton of Sir Thomas Beecham,and to sing the part of Thirza in Ethel Smyth's The Wreckers. From 1912-1917 she sang annually at the Munich Festivals with the Bavarian State Opera.[1] She made appearances as a guest artist at the Cologne Opera, La Monnaie and the Prague State Opera, among others. Her final performances were singing various roles in Wagner's The Ring Cycle at Elberfeld in 1918 After her retirement from the stage, Walker resided in Scheveningen, Holland until 1919 when she moved to Paris. She worked there as a voice teacher where she taught out of a private studio. In 1933 she joined the faculty at the American Conservatory in Fontainebleau where she taught through 1936. She then moved back to New York City where she continued to teach until her death

Edyth Walker March 27, 1867 – February 19, 1950 American Mezzo later Soprano She entered and won a singing competition which provided her with a scholarship that enabled her to study singing in Europe. She arrived in Dresden, Germany, in 1891 where she became a pupil of Aglaia Orgeni. She later studied singing with Marianne Brandt in Vienna. Professional debut as a concert singer at the Gewandhaus in Leipzig in 1892. Opera debut on 11 November 1894 at the Berlin State Opera as Fidès in Giacomo Meyerbeer's Le prophète. The following year she became a member of the Vienna State Opera where she was a leading mezzo-soprano with the company for eight seasons] She notably sang the role of Magdalena in the Vienna premiere of Wilhelm Kienzl's Der Evangelimann in 1896. She was also much admired in Vienna for her interpretation of the role of Amneris in Giuseppe Verdi's Aida. While under contract in Vienna,she made guest appearances with other European theatres. She made her first appearance in the UK at the Royal Opera House in London, singing the role of Amneris on 16 May 1900. She sang several more roles at Covent Garden in 1900-1901, all of them from the Wagnerian repertoire, including Erda in Siegfried, Fricka in both Die Walküre and Das Rheingold, Ortrud in Lohengrin, and Waltraute in Götterdämmerung In 1901 she portrayed the role of Elvira in Wolfgang Amadeus Mozart's Don Giovanni at the Salzburg Festival At the close of the 1902-03 season, she left her position in Vienna abruptly after a dispute with Gustav Mahler. Having broken her contract with the influential Vienna opera house, she found it impossible to gain a permanent position with another German or Austrian theatre under such circumstances She therefore returned to the United States and signed a contract with the Metropolitan Opera of New York City. She made her debut at the Metropolitan Opera House on November 30, 1903 as Amneris to the Aida of Johanna Gadski and the Radamès of Enrico Caruso. She sang at the Met for three seasons, notably appearing in the Met's first stagings of Gaetano Donizetti's Lucrezia Borgia(as Maffio Orsini) and Johann Strauss II's Die Fledermaus (as Prince Orlofsky). She portrayed mainly mezzo-soprano parts at the Met like Brangäne in Wagner's Tristan und Isolde, Erda, Fricka, La Cieca in Amilcare Ponchielli's La Gioconda, Leonora in La favorita, Nancy in Martha, Ortrud, Siebel in Charles Gounod's Faust, Urbain in Les Huguenots, and Waltraute. Her final and 108th performance with the Metropolitan Opera was in the title role of Karl Goldmark's Die Königin von Saba for an out of town engagement in San Francisco on April 16, 1906. While on contract with the Met, Walker began adding soprano roles to her repertoire, beginning with Brünnhilde in Die Walküre which she first performed at the Metropolitan Opera House in December 1905. That was the only soprano role she sang on the Met Stage However, after leaving the Met in 1906 to return to Europe, she added more soprano roles to her stage credits. Walker had already been performing periodically as a guest artist with the Hamburg State Opera (HSO) since 1903, and upon her return to Europe she signed a contract with that company. She remained with the HSO through 1912 performing both mezzo and soprano roles. Among the soprano parts she performed there were Isolde in Tristan und Isolde, Kundry in Parsifal, and the title role in Salome In 1908 Walker sang the roles of Ortrud and Kundry at the Bayreuth Festival. That same year she had a major triumph as Isolde at Covent Garden.[1] She returned to the Royal Opera House in 1910 to portray the title role in the critically acclaimed UK premiere of Richard Strauss' Elektra under the baton of Sir Thomas Beecham,and to sing the part of Thirza in Ethel Smyth's The Wreckers. From 1912-1917 she sang annually at the Munich Festivals with the Bavarian State Opera.[1] She made appearances as a guest artist at the Cologne Opera, La Monnaie and the Prague State Opera, among others. Her final performances were singing various roles in Wagner's The Ring Cycle at Elberfeld in 1918 After her retirement from the stage, Walker resided in Scheveningen, Holland until 1919 when she moved to Paris. She worked there as a voice teacher where she taught out of a private studio. In 1933 she joined the faculty at the American Conservatory in Fontainebleau where she taught through 1936. She then moved back to New York City where she continued to teach until her death

Edyth Walker March 27, 1867 – February 19, 1950 American Mezzo later Soprano She entered and won a singing competition which provided her with a scholarship that enabled her to study singing in Europe. She arrived in Dresden, Germany, in 1891 where she became a pupil of Aglaia Orgeni. She later studied singing with Marianne Brandt in Vienna. Professional debut as a concert singer at the Gewandhaus in Leipzig in 1892. Opera debut on 11 November 1894 at the Berlin State Opera as Fidès in Giacomo Meyerbeer's Le prophète. The following year she became a member of the Vienna State Opera where she was a leading mezzo-soprano with the company for eight seasons] She notably sang the role of Magdalena in the Vienna premiere of Wilhelm Kienzl's Der Evangelimann in 1896. She was also much admired in Vienna for her interpretation of the role of Amneris in Giuseppe Verdi's Aida. While under contract in Vienna,she made guest appearances with other European theatres. She made her first appearance in the UK at the Royal Opera House in London, singing the role of Amneris on 16 May 1900. She sang several more roles at Covent Garden in 1900-1901, all of them from the Wagnerian repertoire, including Erda in Siegfried, Fricka in both Die Walküre and Das Rheingold, Ortrud in Lohengrin, and Waltraute in Götterdämmerung In 1901 she portrayed the role of Elvira in Wolfgang Amadeus Mozart's Don Giovanni at the Salzburg Festival At the close of the 1902-03 season, she left her position in Vienna abruptly after a dispute with Gustav Mahler. Having broken her contract with the influential Vienna opera house, she found it impossible to gain a permanent position with another German or Austrian theatre under such circumstances She therefore returned to the United States and signed a contract with the Metropolitan Opera of New York City. She made her debut at the Metropolitan Opera House on November 30, 1903 as Amneris to the Aida of Johanna Gadski and the Radamès of Enrico Caruso. She sang at the Met for three seasons, notably appearing in the Met's first stagings of Gaetano Donizetti's Lucrezia Borgia(as Maffio Orsini) and Johann Strauss II's Die Fledermaus (as Prince Orlofsky). She portrayed mainly mezzo-soprano parts at the Met like Brangäne in Wagner's Tristan und Isolde, Erda, Fricka, La Cieca in Amilcare Ponchielli's La Gioconda, Leonora in La favorita, Nancy in Martha, Ortrud, Siebel in Charles Gounod's Faust, Urbain in Les Huguenots, and Waltraute. Her final and 108th performance with the Metropolitan Opera was in the title role of Karl Goldmark's Die Königin von Saba for an out of town engagement in San Francisco on April 16, 1906. While on contract with the Met, Walker began adding soprano roles to her repertoire, beginning with Brünnhilde in Die Walküre which she first performed at the Metropolitan Opera House in December 1905. That was the only soprano role she sang on the Met Stage However, after leaving the Met in 1906 to return to Europe, she added more soprano roles to her stage credits. Walker had already been performing periodically as a guest artist with the Hamburg State Opera (HSO) since 1903, and upon her return to Europe she signed a contract with that company. She remained with the HSO through 1912 performing both mezzo and soprano roles. Among the soprano parts she performed there were Isolde in Tristan und Isolde, Kundry in Parsifal, and the title role in Salome In 1908 Walker sang the roles of Ortrud and Kundry at the Bayreuth Festival. That same year she had a major triumph as Isolde at Covent Garden.[1] She returned to the Royal Opera House in 1910 to portray the title role in the critically acclaimed UK premiere of Richard Strauss' Elektra under the baton of Sir Thomas Beecham,and to sing the part of Thirza in Ethel Smyth's The Wreckers. From 1912-1917 she sang annually at the Munich Festivals with the Bavarian State Opera.[1] She made appearances as a guest artist at the Cologne Opera, La Monnaie and the Prague State Opera, among others. Her final performances were singing various roles in Wagner's The Ring Cycle at Elberfeld in 1918 After her retirement from the stage, Walker resided in Scheveningen, Holland until 1919 when she moved to Paris. She worked there as a voice teacher where she taught out of a private studio. In 1933 she joined the faculty at the American Conservatory in Fontainebleau where she taught through 1936. She then moved back to New York City where she continued to teach until her death