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as Walther in "Die Meistersinger von Nürnberg" by Wagner Erik Enderlien 1887-1947 German Tenor After his studies he made his debut in 1912 at the Court Opera of Dresden, where he remained till 1917..He sang at Bayreuth , Vienna, Rome, Manheimm,Copenhagen,Geneva.After his retirment he was a congressman in Berlin

as Mefistofele in " Mefistofele" by Boito Ettore Borucchia 1858-1944 Italian Bass Debut in 1883 at the in Genova and appeared there almost every season until 1905. In the 1888-1890 seasons he made guest appearances at the Teatro San Carlo in Lisbon. In 1901 Bologna and 1903 Rome as a partner of Enrico Caruso, he sang the role Sparafucile in G. Verdi’s ‘’Rigoletto’’.

Vladimir Rosing 1890-1963 Russian Tenor ,Took private singing lessons with Ioakim Tartakov. Debut 1910 in concert . In 1910, he left for Europe for further study with Sir George Power (London), Giovanni Sbrillia and Jean de Reszke (Paris). Operatic debut at the Theater of Musical Drama in St. Petersburg as Trike in ‘’Eugene Onegin’’ (1912). and appeared there as Lensky (‘’Eugene Onegin’’), Pretender (‘’Boris Godunov’’) and Walther von Stolzing (‘’Die Meistersinger von Nürnberg’’). In 1914 he became a director of the London Opera House ‘’Kingaway’’. From 1913 to 1921 he gave 104 recitals in London. In the 1915-1916 season he appeared with success at the Drury Lane Theatre in London. In 1921, as a member of the Car Rosa Opera Company, he sang the part of Cavaradossi in G. Puccini’s ‘’Tosca’’. The same year he sang at the Opéra-Comique in Paris in the following operas: ‘’The Queen of Spades’’ (Hermann), ‘’Pagliacci’’ (Canio), ‘’Faust’’ (Faust) and ‘’Carmen’’ (Don Jose). The made guest appearances In Brussels (Théâtre de la Monnaie) and Madrid (Teatro Reale). Since 1921 he lived in USA, where made appearances at the opera houses of Chicago and New York. He sang on stage up to 1930.

as Elio in "Chopin" by Orefice Ferruccio Coradetti 1858-1944 Italian Baritone Studied with Giuseppe Faini. Sang in at the famous Italian opera theatres. In 1898 he sang in Holland , where he performed among other things as Marcello in Dutch premiere of Puccini’s ‘’La Boheme’’, He appeared in London and Paris, Berlin , Amsterdam, Buenos Aires and Montevideo . He also sang in Rio de Janeiro, Madrid and Barcelona. In 1901 he sang at the Teatro Costanzi, Rome in one of six premieres of Mascagni’s opera ‘’Le Maschere’’. In 1905 and 1911 he was to be heard once more there in ‘’Fedora’’, ‘’La Boheme‘', ‘’La Fanciulla del West’’ and ‘’Linda di of Chamounix’’. In 1904 he sang at the Teatro Lirico, Milan in the premieres of two prize-winning operas of the Sonzogno competition, on 15. 5. 1904 in ‘’Manuel Menendez’’ of Lorenzo Filiati, one day later, on 16. 5. 1904 in ‘’La Cabrera’’ of Gabriel Dupont (with Gemma Bellincioni as a partner). In 1910 he took part at Rome in the premiere of the opera ‘’Malbruk’’ of Leoncavallo in the title role, in 1913 at the Teatro Costanzi, Rome in the premiere of V. Tommasini’s ‘’Uguale Fortuna’’. In 1914 he went to North America; here he guested first in Boston, later in New York. Then, however, he turned more and more to the teaching and was active as a music critic and music journalist.

as Marguerite in "Faust" by Gounod LILLIAN BLAUVELT (1873 - 1947) American Soprano She was a graduate of the National Conservatory of Music. Blauvelt sang in concerts in New York City and Brooklyn prior to becoming the soprano of the West Presbyterian Church, 42nd Street between Fifth Avenue and Sixth Avenue, in 1893. In January 1893 she sang the air (music) for Aida, from Act I and the duet for Aida and Amneria from Act II, with Mrs. Luckstone-Myers, a contralto. The Sunday concert was held at Music Hall She performed with the New York Symphony at Carnegie Hall. In the ninth season of Symphony Concerts for Young People, 1904, the program was devoted to works by Bizet, Gounod, Verdi, and Richard Wagner. Blauvelt and Edward P. Johnson were soloists with the orchestra conducted by Frank Damrosch .She sang before an audience numbering 3,000 at the Asbury Park, New Jersey Casino in July 1904 The following month Alice Roosevelt Longworth attended a concert given by the Bar Harbor, Maine Choral Society, during which Blauvelt sang. She replaced Ella Russell in a solo quartet at a Christmas 1904 performance of The Messiah. It was presented by the Oratorio Society at Carnegie Hall. In 1905 Blauvelt signed a six year contract with Fred Whitney to appear in comic opera.. She was a soloist for a February 1905 New York Symphony Concert given at Alexander Hall on the campus of Princeton University. She sang Una Voce Poco Fa by Rossini. Five first violins were added to the orchestra to restrain the brass effect. The same year she sang in a production of Stabat Mater. The music was written by Antonín Dvořák in 1876. Her solo was part of a tribute to Dvořák held at Carnegie Hall on March 14. The composer died in 1904. Stabat Mater is the most popular of his choral works outside of his native Czechoslovakia. Blauvelt was chosen to sing the soprano portion of a Verdi composition at a memorial concert to the composer held in Rome, Italy, in 1905. She appeared at the Lyceum Theatre in Rochester, New York, in November 1905, for the first production of The Rose of the Alhambra. The comic opera was written by Charles Emerson Cook and directed by F. C. Whitney. It was her first work in light opera after working for years in grand opera. Blauvelt received encores until she was compelled to refuse further acknowledgements. In 1906, she starred in Victor Herbert's The Magic Knight. In December 1912 she returned from Europe and performed in a solo quartet in The Messiah at the Aeolian Hall.

Nina Pack (Annette Marie Ballay) 1869-???? French Soprano Studied at the Paris Conservatory and engaged by the Opera Comique and made her debut as a soul in “la Tempete” by Duvernoy in 1889.In 1890 she created Fathma in “Zaire” by de la Nux at the Palais Garnier in Paris. She also sang in Geneva.Roles included Sieglinde in “Die Walkure” by Wagner m Valentine in “Les Huguenots” by Meyerbeer , Carmen in “Carmen” by Bizet , Scazzone in “Ascanio” by Saint-Seans , Hilde in “Sigurd” by Reyer , Santuzza in “Cavalleria Rusticana” by Mascagni , Madeline in “Rigoletto” by Verdi , Selika in “L’Africaine” by Meyerbeer and Berthe in “Le Prophete by Meyerbeer.

Katharina Wilhelmina Fleischer-Edel 1873-1928 German Soprano. Studied at the Conservatory of Cologne with August Iffert and at Dresden.Stage debut 1893 at Dresden in concert with the Dresden Choral Society.Opera debut 1894 as bridesmaid in “Die Freischutz” She went to the Hamburg Opera in 1897 and remained for 17 years . She guested including in Bayreuth, Paris, Saint Louis , Stockholm , Vienna, London, New York ,Zurich ,Prague and Bayreuth.She sang the Wagner roles of Sieglinde “Die Walkure” ,Eva “Meistersanger”,Elizabeth “Tannhauser” ,Brangaene ‘Tristan & Isolde” , Guntrune “Gotterdammerung” as well as Desdemona “Othello” Verdi and Marguerite “La Damnation of Faust” Berloiz.She taught singing at Dresden

Marcelle Demougeot (Jeanne Marguerite Marcelle Decorne) 1876-1931 French Soprano Studied in Dijon with Charles Laurent and at the Paris Conservatory with Hettich.Debut 1902 at Palais Garnier Paris as Donna Elvira in “ Don Giovanni” by Mozart . In 1904 she sang in the premiere of “Le fils de l’étoile” by Camille Erlanger, and 1906 as Cypris in “Ariane”, by Massenet .1907-09 seasons she sang at the provincial theaters and later at Nice, Bordeaux, Lyon and Vichy. In 1921 she sang at the Palais Garnier Paris as Brunnhilde in ”Die Walkure’’. In 1930 she sang Brünnhilde in the Ring cycle. in Strasbourg. She was considered the most important French Wagnerian soprano of her generation and she also sang Fricka in “Rheingold” by Wagner. Kundry in “Parsifal” by Wagner .She also sang roles such as Aida in “Aida” by Verdi , Valentine in “Les Huguenots” by Meyerbeer, Mathilde in “William Tell” by Rossini, Cyria in “Ariane” by Massenet and Marguerite in “La Damnation de Faust” by Berlioz. Dejanire “Déjanire” by Saint-Saens .She was also a noted concert singer .She retired in 1925 and taught singing

Nikolay Figner as Werther 'Werther" Massenet NIKOLAY FIGNER (Nikolay Nikolayevich Figner ) (1857–1918), Russian Tenor Studied with Vassily Samus, I. P. Pryanishnikova and Camille Everardi at the St Petersburg Conservatory.Debut at Naples in Gounod's Philémon et Baucis in 1882 . Further study with Francesco Lamperti in Italy .Sang the principal tenor role in the world premiere of the revised version of Alfredo Catalani's Edmea . He sang roles such as Arnold in Rossini's William Tell, the Duke in Verdi's Rigoletto, and Carlo in Donizetti's Linda di Chamounix.Leading tenor at the Mariinsky Theatre .Sang Alexander Borodin (Vladimir in Prince Igor), Alexander Dargomyzhsky (the Prince in Rusalka), and Anton Rubinstein (Sinodal in The Demon).

Nikolay Figner as Werther 'Werther" Massenet NIKOLAY FIGNER (Nikolay Nikolayevich Figner ) (1857–1918), Russian Tenor Studied with Vassily Samus, I. P. Pryanishnikova and Camille Everardi at the St Petersburg Conservatory.Debut at Naples in Gounod's Philémon et Baucis in 1882 . Further study with Francesco Lamperti in Italy .Sang the principal tenor role in the world premiere of the revised version of Alfredo Catalani's Edmea . He sang roles such as Arnold in Rossini's William Tell, the Duke in Verdi's Rigoletto, and Carlo in Donizetti's Linda di Chamounix.Leading tenor at the Mariinsky Theatre .Sang Alexander Borodin (Vladimir in Prince Igor), Alexander Dargomyzhsky (the Prince in Rusalka), and Anton Rubinstein (Sinodal in The Demon).

FEODOR IVANOVICH CHALIAPIN (February 13 ,1873 – April 12, 1938) Russian Bass Largely self-taught, he began his career at Tbilisi and the Imperial Opera, St. Petersburg in 1894. He was then invited to sing at the Mamontov Private Opera (1896–1899); his first role there was as Mephistopheles in Gounod's Faust, At Mamontov he also met Sergei Rachmaninoff, who was serving as an assistant conductor there and with whom he remained friends for life. Rachmaninoff taught him much about musicianship, including how to analyze a music score, and insisted that Chaliapin learn not only his own roles but also all the other roles in the operas in which he was slated to appear. With Rachmaninoff he learned the title role of Mussorgsky's Boris Godunov, which became his signature character , On the strength of his Mamontov appearances, the Bolshoi Theatre in Moscow engaged Chaliapin, where he appeared regularly from 1899 until 1914. During the First World War, Chaliapin also appeared regularly at the Zimin Private Opera in Moscow. In addition, from 1901, Chaliapin began touring in the West, making a sensational debut at La Scala that year as the devil in a production of Boito's Mefistofele, under the baton of one of the 20th century's most dynamic opera conductors, Arturo Toscanini Chaliapin's last stage performance took place at the Monte Carlo Opera in 1937, as Boris. He died the following year of leukemia, aged 65, in Paris, where he was interred

FEODOR IVANOVICH CHALIAPIN (February 13 ,1873 – April 12, 1938) Russian Bass Largely self-taught, he began his career at Tbilisi and the Imperial Opera, St. Petersburg in 1894. He was then invited to sing at the Mamontov Private Opera (1896–1899); his first role there was as Mephistopheles in Gounod's Faust, At Mamontov he also met Sergei Rachmaninoff, who was serving as an assistant conductor there and with whom he remained friends for life. Rachmaninoff taught him much about musicianship, including how to analyze a music score, and insisted that Chaliapin learn not only his own roles but also all the other roles in the operas in which he was slated to appear. With Rachmaninoff he learned the title role of Mussorgsky's Boris Godunov, which became his signature character , On the strength of his Mamontov appearances, the Bolshoi Theatre in Moscow engaged Chaliapin, where he appeared regularly from 1899 until 1914. During the First World War, Chaliapin also appeared regularly at the Zimin Private Opera in Moscow. In addition, from 1901, Chaliapin began touring in the West, making a sensational debut at La Scala that year as the devil in a production of Boito's Mefistofele, under the baton of one of the 20th century's most dynamic opera conductors, Arturo Toscanini Chaliapin's last stage performance took place at the Monte Carlo Opera in 1937, as Boris. He died the following year of leukemia, aged 65, in Paris, where he was interred

Leopold Demuth (Leopold Pokorny) 1861-1910 Moravian Baritone He studied at the Vienna Conservatory and in 1889 at Halle made his stage début in the title role of Marschner’s Hans Heiling. He sang at the Leipzig Opera, 1891-1897, and for a season at Hamburg. In 1898 he joined the Hofoper at Vienna, where he sang 68 roles as a leading member.

as William Tell "William Tell" by Rossini EAN-LOUIS LASALLE -Baritone (.Lyon, December 10, 1845 or 14 February 1847 - September 07, 1909). Father of Robert Lassalle tenor. Student at Paris Concervatoire and later a pupil of Novelli.He made his first appearance on stage as St Bris in "Les Huguenot's" at Liege in 1868. During the next 4 years he sang at Lille , Toulouse , Brussels and the Hague . Debuted at the Opera on 09 June 1872 , as Nelusko "L'Africane". There he took part in many world premieres as Scindia in Massenet's "La Roi De Lahore" 1877 , Severe in Gounod's "Polyeucte" 1878 ,Ben Said in Gounod's "Le Tribute de Zamora ' 1880 ,Malatesta in Thomas's 'Francoise de Rimini" 1880 , and in 1183 the title role of Saint Saens "Henry VIII". He sang at Covent Garden 1879 , 1880 and 1881 and again between 1883-1891.In 1891 he made his Metropolitan Debut as Nelusko in Meyerbeer's "L'Africane". He sang Carmen (Escamillo) at the Opéra-Comique on December 11, 1890, for the erection of the monument to the memory of Bizet.

ELOI SYLVA 1843 - 8 September 1919 Belgian tenor. He studied at the Royal Conservatory of Brussels and in Paris with the tenor Duprez . He made his debut at Nantes (some sources give his debut at Lyon in 1868). After appearances in The Hague and Lyon, His debut at the Paris Opera (15 May 1872) as Robert in “ Robert le diable.” by Meyerbeer, the Metropolitan Opera (debut John of Leyden in Meyerbeer's “Le prophète”, 27 November 1885).He also appeared in Berlin , St. Petersburg

Austographed signed Emma 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 .

as De Nevers in "Le Huguenots'" by Meyerbeer JEAN-BAPTISTE FAURE (15 January 1830 – 9 November 1914)French operatic baritone Faure was born in Moulins. A choirboy in his youth, he entered the Paris Conservatory in 1851 and made his operatic debut the following year at the Opéra-Comique, as Pygmalion in Victor Massé's Galathée. He remained at the Opéra-Comique for over seven years, singing baritone roles such as Max in Adolphe Adam's Le chalet and Michel in Thomas's Le caïd. During this time he also created the Marquis d'Erigny in Auber's Manon Lescaut (1856) and Hoël in Meyerbeer's Le pardon de Ploërmel (1859; later known as Dinorah), among seven premieres at that house. He made his debut at the Royal Opera House, London, in 1860 as Hoël, and at the Paris Opera in 1861. He would sing at the Opera every season until 1869 and then again in 1872-76 and 1878. In addition, he continued to perform off and on in London until 1877 at venues such as Her Majesty's Theatre and the Theatre Royal, Drury Lane. Among the many operas in which he appeared in Paris were Wolfgang Amadeus Mozart's Don Giovanni as well as L'étoile du nord, Les Huguenots and La favorite. He also made history by creating several important operatic roles written by such prominent composers as Giacomo Meyerbeer, Giuseppe Verdi and Ambroise Thomas. They included the leading baritone parts in L'Africaine, Don Carlos and Hamlet (in 1865, 1867, and 1868 respectively). His last stage appearances are recorded as taking place in Marseilles and Vichy in 1886.

ITALIO CAMPANINI (June 30, 1845 – November 14, 1896) Italian Tenor Campanini studied at the Parma Conservatory before making his operatic debut as Manrico in Il trovatore, in 1869, in Odessa. Further study with Francesco Lamperti in Milan.On May 4, 1872 the tenor made his London debut as Gennaro in Lucrezia Borgia.His first American appearances at the Academy of Music, New York, in 1873 in performances of Les Huguenots .On 26 November 1873 he was Rhadames in Max Strakosch's production of Aida.