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as as Herman in "Pique Dame" by Tchaikovsky Vasily Sevastyanov 1875-1929 Russian Tenor Studied in Milan with Rossi and Vidal.He sang at Kharkov and Kiev from 1899-1900.From 1901 he was at the Bolshoi and guested at the Mariinsky for the 1910-11 season.He toured Russia,Eastern Siberia and Japan.In 1911 he was the stage manager at the National Opera St Petersburg and also worked at Lagreb, Ljublana and Bucharest.Roles included Werther ‘Werther” Massenet and Lenski ‘Eugene Onegin” Tchaikovsky.

as Mephistopheles in "Faust" by Gounod Leon Rains 1870-1954 American Bass Studied at the National Conservatory in New York then in Paris with Bouhy. Sang firstly in concert and orotatorio .In 1899 he debuted as "Tannhauser" in Dresden and remained there until 1917.In 1909 he was a guest at the Metropolitan Opera in New York, where he played the "Méphistophélès" in Gounod's Faust , among other places . sang. In 1904 he was at the Bayreuth Festival of the "Hagen" in the Götterdämmerung .

as Pinkerton in "Madama Butterfly" by Puccini Carl Zeigler 1886-1944 German Tenor Began his career with an engagement at the Vienna Volksoper from 1908 till 1913. In 1911 he sang the role of the King's son in the Vienna premiere of Engelbert Humperdinck's "Königskinder", and in 1913 he sang the role of Folco in the first performance in German of Mascagni's "Isabeau". In 1911-1912 he sang the role of David in Wagner's" Die Meistersinger von Nürnberg "at the Bayreuth Festival. From 1913 till 1917 he worked at the Hamburg State Opera, and from 1917 till 1919 he was engaged at the Frankfurt Opera. There he created the role of Alviano Salvago in Franz Schreker's "Die Gezeichneten "(on 25 April 1918). Following several guest appearances in 1918-1919, he became a permanent member of the Vienna State Opera from 1919 till 1922, followed by more guest appearances till 1937. From 1939 to 1941 he made several guest appearances at the Vienna Volksoper.

HERMAN WINKLEMANN (8 March 1849 – 18 January 1912) German Tenor He went to Paris to study piano construction, but while there he decided to become a singer. He had his initial training in Paris, and later with Koch in Hanover. Made his debut as Manrico in Verdi's Il trovatore in the Court Theatre of Sondershausen in 1875.He created Anton Rubinstein's Néron , title role of Parsifal at the Bayreuth Festspielhaus in 1882.He was the first Tristan in Vienna (1883), and also the first Otello in that city, where he remained until 1906

as Tristan in "Tristan & Isolde" by Wagner HERMAN WINKLEMANN (8 March 1849 – 18 January 1912) German Tenor He went to Paris to study piano construction, but while there he decided to become a singer. He had his initial training in Paris, and later with Koch in Hanover. Made his debut as Manrico in Verdi's Il trovatore in the Court Theatre of Sondershausen in 1875.He created Anton Rubinstein's Néron , title role of Parsifal at the Bayreuth Festspielhaus in 1882.He was the first Tristan in Vienna (1883), and also the first Otello in that city, where he remained until 1906

HERMAN WINKLEMANN (8 March 1849 – 18 January 1912) German Tenor He went to Paris to study piano construction, but while there he decided to become a singer. He had his initial training in Paris, and later with Koch in Hanover. Made his debut as Manrico in Verdi's Il trovatore in the Court Theatre of Sondershausen in 1875.He created Anton Rubinstein's Néron , title role of Parsifal at the Bayreuth Festspielhaus in 1882.He was the first Tristan in Vienna (1883), and also the first Otello in that city, where he remained until 1906

Marie Charles- Rothier (Marie Julieann Beretta) 1877-???? French Soprano Debut 1901 as Louise "Louise" opera Comique .

as Manrico "Il Trovatore" by Verdi JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

as Siefried "Siefried" by Wagner JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

as Siefried "Siefried" by Wagner JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

Jean de Reszke as Romeo "Romeo & Juilette " Gounod JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

as Siefried "Siefried" by Wagner JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

as Siefried "Siefried" by Wagner JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

as Romeo "Romeo & Juliette' By Gounod JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

Mademoiselle MONROSE (Eugénie Chollet ) 1819-1893 French Soprano She studied voice with Gilbert Duprez Her debut at the Opéra-Comique was on 24 September 1859 in Ambroise Thomas's Le songe d'une nuit d'été (with Giacomo Meyerbeer in the audience), and she created the role of La Marquise de Villa-Bianca in Thomas's Le roman d'Elvire, premiered on 4 February 1860 by the Opéra-Comique at the second Salle Favart in Paris. She also sang Dinorah in a revival of Giacomo Meyerbeer's Le pardon de Ploërmel, Another creation was Olga in Daniel Auber's La circassienne, premiered on 2 February 1861 by the Opéra-Comique at the second Salle Favart, Another role was La Marquise de Richmond in the Opéra-Comique's revival of Albert Grisar's Le joaillier de Saint-James on 17 February 1862. She also created the role of Héro in Hector Berlioz's Béatrice et Bénédict on 9 August 1862 at the Theater der Stadt, Baden-Baden . She was later associated with the Théâtre du Parc in Brussels and the Théâtre des Galeries, Brussels. She retired from singing c. 1880, receiving a pension of 500 francs in 1883 (at age 65).

Nina Zottmayr-Hartrmann (Nina Hartmann) 30. August 1836 – 2. March 1903 German Soprano Sang 1856-1882 at Hamburg,Graz,Frankurt and Kassell Court Theatre.her and her husband Max Zottmayr sang in the world premiere of Schubert's Zensurtitel:der Hausliche Kreig in 1861. She sang role such as "Norma" and "Fides"

Clarice Sinico-Campobello (Clarice Marini) 1938-1909 Italian soprano. Debut at Nice (France) 1864 and was hired by James Mapleson Touring Opera Company and in the same year made her London debut. She sang at the various London opera-houses (Her Majesty’s Theatre, Drury Lane and Covent Garden)Her roles included Papagena "Magic Flute" 1869 ,.Donna Elvira "Don Giovanni" 1873 Annchen "Freischutz" 1873 < Pamina "Magic Flute" She was also a well known oratorio and concert singer.

as Romeo in "Romeo & Juliette" by Gounod Vilhelm Christoffer Herold March 19, 1865 – December 15, 1937 Danish Tenor Debut 1893 in the title role of Gounod's Faust at the Royal Theatre in Copenhagen. he also sang throughout Europe, including a command performance for King Edward VII at Buckingham Palace in 1905. The previous year, he had made his Covent Garden debut in the title role of Lohengrin. He also sang at the 1893 World's Fair in Chicago.Upon his retirement from the stage, Herold worked primarily as a voice and drama teacher at the Royal Theatre in Copenhagen,