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Sheet music from 1830's featuring: John Templeton 1802-1886 English Tenor and Maria Malibran 1808-1836 Spanish Mezzo Soprano

1908 Berlin performance of "Carmen Krauss as Don Jose, Destinn as Carmen,Dietrich as Frasquetta, Parbs as Mercedes Ernst Kraus 1863 – 1941 German tenor Studied with Cesare Galliera and Anna Schimon-Regan.Debut Mannheim as Tamino in "Die Zauberflöte" Mozart 1893. He was appointed the leading tenor of the Berlin Staatsoper in 1896, holding that position for 27 continuous years.He appeared at the Bayreuth Festival as Siegmund in Die Walküre, in which role he made his New York Metropolitan Opera debut on November 25, 1903. He retired from opera in 1924 in order to teach. Emmy Destinn (Emílie Pavlína Věnceslava Kittlová) 1878-1930 Czech Soprano Her voice teacher since age thirteen had been Marie Maria von Dreger Loewe-Destinn, and the young singer began using her teacher's surname as a tribute. Debut 19 July 1898 at the Berlin Court Opera as Santuzza in "Cavalleria Rusticana" .London debut at Covent Garden's Royal Opera House on 2 May 1904, as Donna Anna in Don Giovanni. She appeared there in several operas for the next two seasons, including the London premiere of Madama Butterfly with Caruso. Her Metropolitan Opera debut came in 1908 with an acclaimed performance of Aida, she created the role of Minnie in the premiere of Puccini's La fanciulla del West, again opposite Caruso, While she was highly successful in the lighter roles of Wagner's operas, her voice,excelled in the French part of Carmen, in which she was said to rival Calvé, and in the Italian roles of Aida, Madama Butterfly and Leonora (in Il trovatore). Marie Dietrich 1868-1940 German Soprano Studied at the conservatory of Stuttgart with Ferdinand Jäger and later studied with Pauline Viardot-Garcia She began as a concert singer, and made her operatic debut in 1888 at the Court Opera Stuttgart and remained until 1891 She sang at Bayreuth in 1888 as a Flower in “Parsifal” by Wagner. Guest appearance in Vienna in 1891 and then went to Berlin .She performed several times at the Court Opera of Dresden and Court Theatre of Hannover 1897-1906 and in 1896 at the Court Opera of Moscow. She appeared in 1898 at the Berlin Court Opera in the premiere of the opera 'Don Quixote' by W.Kienzl. Her farewell to the stage in the role of Marie in ‘’Waffenschmied’’ by Lortzing in 1912 . After her farewell to the stage she worked as a concert soprano and as a teacher in Berlin Her roles included Susanna in 'The Marriage of Figaro' by Mozart,Zerlina in 'Don Giovanni' by Mozart, Queen of the Night in 'The Magic Flute' by Mozart Marcellina in ‘Fidelio’ by Beethovan, Lucia in’ Lucia di Lammermoor’ by Donizetti, Marie in 'Daughter of the Regiment' by Donizetti, Princesse in 'Jean de Paris' by Boieldieu, Amina in La ‘Sonnambula' by Bellini, Queen Marguerite & Page Urbain in 'Les Huguenots', Meyerbeer, Margarethe Parbs 1879-???? German Mezzo Soprano Studied with Nicklass-Kempner , Herzog & plaichinger.Debut 1900 Stadtheater Rostock as Venus in "Tannhauser" by Wagner 1900. 1900-1901 singing at Leipzig ,1902-1913at Berlin. Sang in concert .Roles included Nancy 'Marta" by Flowtow,Ortrud "Lohengrin" by Wagner , Hansel "Hansel & Gretel" by Humperdinck , Seibel "Faust" by Gounod , Orlowsky in "Die Fledermaus" by Strauss

as Nélusko in Meyerbeer’s “L’Africaine”. CREATOR at the Paris Opéra at the Salle Le Peletier on 28 April 1865. 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.

Adelina patti as Juliette 'Romeo & Juliette" Gounod ADELINA PATTI (19 February 1843 – 27 September 1919) Soprano Her voice was noticed very early and she nade her first tour in America at the age of seven years and was a huge success. Studied singing in New York under the direction of Maurice Strakosch, her brother-in-law, and in 1859 she sang in New York in Lucia di Lammermoor. At Covent Garden theatre in London in 1861 where she sang la Sonnambula, her reputation was strengthened and in 1862 she was singing in Paris at the Théâtre Italien, where she soon became the star. She remained at Paris until 1870, being heard in London during the summer season. In Paris she sang the Italian Repertory, in London the french Repertory. After a long stay in America and London, Patti returned several times to Paris at the Opera (debut in 1874) and the Théâtre de la Gaîté. Then she resumed travels and successfully created, in London, in 1882, the Charles Lenepveu's Velléda. She also created Dolores of André Pollonais in Nice on February 22, 1897. She triumphed especially in a vast Italian repertoire that suited to her beautiful light soprano voice. His career lasted for fifty-six years.

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 Parsifal in "Parsifal" by Wagner ERNEST VAN DYCK (Ernst Marie Hubert VAN DIJCK ) (Anvers, 02 Aprill 1861 – Berlaar [Berlaar-lez-Lierre], province d'Anvers, 31 August 1923) Belguim Tenor First student in law at Louvain and Brussels, he became a journalist, editor of "the Scheldt" in Antwerp, from "the motherland" in Paris, where he worked with Saint-Yves-Bax singing. He was hired by Lamoureux concerts and was there cheering for five years in the music of Wagner. January 25, 1886, he created with the Concerts Lamoureux in the Eden-Théâtre le song of the Bell (Wilhelm) of Vincent d'Indy. When Lamoureux gave April 30, 1887, this theatre the memorable representation of Lohengrin in the French version of Charles Nuitter, Van Dyck was appointed to the role of Lohengrin. He was part of the cast of Bayreuth from 1888 to 1911; its beginning was resounding, and the young singer was immediately hired in Vienna, where he played in German: Parsifal, Lohengrin, the gold of the Rhine, the mastersingers of Nuremberg, then Faust, Romeo and Juliet, Manon, and finally Werther (Werther), which he created at the imperial Opera on February 16, 1892 in the German version of Kalbeck. He continued to sing annually at Bayreuth, where he became the Wagnerian tenor by excellence. Covent-Garden, its success was not less complete. March 14, 1897, he created in Monte - Carlo Moina (Patrice) of Isidore de Lara. He sang repeatedly the operas of Wagner at the Opéra de Paris in 1897, in 1908, and notably in 1914 when Parsifal was staged for the first time. On 1 April 1913, he staged the Freischütz at the Théâtre des Champs Elysées. Van Dyck was one of the most accomplished Wagnerian tenors.

SOFIA SCALCHI (November 29, 1850 – August 22, 1922) Italian Contralto/Mezzo Studied voice with Augusta Boccabadati. In 1866, she made her stage debut in Mantua as Ulrica in Giuseppe Verdi's " Un Ballo in Maschera ". At the Royal Opera House, Covent Garden, on November 5, 1868, she made her London debut as Azucena in "Il trovatore," also by Verdi. She appeared with the Covent Garden company thereafter until 1890, performing most of the standard lower-pitched female operatic roles. These included Urbain, Amneris and Arsarce, among others. Meanwhile, in 1882-83, she toured the United States for the first time, singing on that occasion with Mapleson's company. She did, however, take part in a number of important American premieres, including those of Verdi's last two masterpieces, Otello and Falstaff. She appeared, too, in the initial American productions of Amilcare Ponchielli's La Gioconda and Umberto Giordano's Andrea Chénier.

as Marie in "la Fille de Regiment" by Donizetti MARCELLA SEMBRICH (Prakseda Marcelina Kochańska) (February 15, 1858 – January 11, 1935) Polish Soprano She entered the Vienna Conservatory in Autumn 1875. It was only then that her remarkable voice was discovered. She studied violin with Joseph Hellmesberger, Sr., piano with Julius Epstein, and voice with Viktor Rokitansky. After a year it was decided to give up study of the violin and piano and fully devote the young student to voice lessons. She arrived in Milan in September 1876 to study with one of the best vocal teachers on the continent, namely, Giovanni Battista Lamperti, son of the eminent teacher Francesco Lamperti, with whom she would later study in 1885. Made her debut in opera at Athens as Elvira in Bellini's I Puritani on June 3, 1877. She not only sang Puritani, but also Dinorah, Lucia di Lammermoor, Robert le Diable and La Sonnambula! She continued her vocal studies, this time with Marie Seebach and Richard Lewey in Vienna. At Covent Garden and signed a contract there for five seasons. In June 1880 she created a sensation in her debut at Covent Garden as Lucia in Donizetti's Lucia di Lammermoor. She became a great favorite in the characters of Zerlina, Don Giovanni; Susanna, The Marriage of Figaro; Konstanze, The Abduction from the Seraglio; Lady Harriet/Martha, Martha; and, of course, Lucia. She made her Met debut as Lucia in the company premiere of Lucia di Lammermoor on October 24, 1883, she was also the Met's first Elvira in I Puritani, Violetta in La Traviata, Amina in La Sonnambula, Gilda in Rigoletto, Marguerite in Les Huguenots and Rosina in Il Barbiere di Siviglia.

The American premiere (sung in English) took place on the stage of the Metropolitan Opera House on February 14, 1902, with the debut of Alexander von Bandrowski in the title role, Walter Damrosch conducting (good friend of the composer). The opera initially received an enthusiastic reception, with the premiere being marked as "one of high distinction." Nevertheless, predominantly due to a badly written libretto, it received only 9 performances in the season 1901/1902 (of which 4 performances were staged in New York City) and was never revived there since. Manru remains to this day the only Polish opera ever presented at The Metropolitan Opera.

MARCELLA SEMBRICH (Prakseda Marcelina Kochańska) (February 15, 1858 – January 11, 1935) Polish Soprano She entered the Vienna Conservatory in Autumn 1875. It was only then that her remarkable voice was discovered. She studied violin with Joseph Hellmesberger, Sr., piano with Julius Epstein, and voice with Viktor Rokitansky. After a year it was decided to give up study of the violin and piano and fully devote the young student to voice lessons. She arrived in Milan in September 1876 to study with one of the best vocal teachers on the continent, namely, Giovanni Battista Lamperti, son of the eminent teacher Francesco Lamperti, with whom she would later study in 1885. Made her debut in opera at Athens as Elvira in Bellini's I Puritani on June 3, 1877. She not only sang Puritani, but also Dinorah, Lucia di Lammermoor, Robert le Diable and La Sonnambula! She continued her vocal studies, this time with Marie Seebach and Richard Lewey in Vienna. At Covent Garden and signed a contract there for five seasons. In June 1880 she created a sensation in her debut at Covent Garden as Lucia in Donizetti's Lucia di Lammermoor. She became a great favorite in the characters of Zerlina, Don Giovanni; Susanna, The Marriage of Figaro; Konstanze, The Abduction from the Seraglio; Lady Harriet/Martha, Martha; and, of course, Lucia. She made her Met debut as Lucia in the company premiere of Lucia di Lammermoor on October 24, 1883, she was also the Met's first Elvira in I Puritani, Violetta in La Traviata, Amina in La Sonnambula, Gilda in Rigoletto, Marguerite in Les Huguenots and Rosina in Il Barbiere di Siviglia.

Sybil Sanderson as Thais "Thais" Massenet CREATOR ROLE SYBIL SANDERSON (December 7, 1864 – May 16, 1903) American Soprano Born in Sacramento, California, in the United States. After her fathers death in 1886, she and her mother and sisters moved back to Paris and became transplanted socialites. Sanderson proved to be a remarkably gifted singer and began to appear on the stages of the Opéra-Comique, and later Opéra, in Paris, most notably in the works of Jules Massenet.She was his favorite soprano . Her professional debut took place in Paris in the title role in Esclarmonde). She created Esclarmonde by Massenet, on May 14, 1889 , Phryné by Saint-Saëns on May 24, 1893 and Thaïs by Massenet on March 16, 1894 . She was also a famous interpreter of Manon, Massenet's most enduring opera. She recreated the role of Manon. Sanderson was also admired by Camille Saint-Saëns, who wrote the title role in Phryné for her. Success outside of Paris was elusive for Sanderson; she appeared at Covent Garden and the Metropolitan Opera (debut in title role of Manon on January 16, 1895, the last performance as Juliette in Roméo et Juliette on December 31, 1901) .

as Manon in "Manon " by Massenet SYBIL SANDERSON (December 7, 1864 – May 16, 1903) American Soprano Born in Sacramento, California, in the United States. After her fathers death in 1886, she and her mother and sisters moved back to Paris and became transplanted socialites. Sanderson proved to be a remarkably gifted singer and began to appear on the stages of the Opéra-Comique, and later Opéra, in Paris, most notably in the works of Jules Massenet.She was his favorite soprano . Her professional debut took place in Paris in the title role in Esclarmonde). She created Esclarmonde by Massenet, on May 14, 1889 , Phryné by Saint-Saëns on May 24, 1893 and Thaïs by Massenet on March 16, 1894 . She was also a famous interpreter of Manon, Massenet's most enduring opera. She recreated the role of Manon. Sanderson was also admired by Camille Saint-Saëns, who wrote the title role in Phryné for her. Success outside of Paris was elusive for Sanderson; she appeared at Covent Garden and the Metropolitan Opera (debut in title role of Manon on January 16, 1895, the last performance as Juliette in Roméo et Juliette on December 31, 1901) .

as Maguerite "Faust" by Gounod MARIE ROZE (born Maria Hippolyte Ponsin), 2 March 1846, – 2 June 1926 French soprano. Debut at the Opéra-Comique 1865 . Her success there led to engagements with the Paris Opéra, and later in London. From 1876 she worked with the Carl Rosa Opera Company during their UK tours and in Scotland over a ten-year period sang roles ranging from Carmen and Manon to Marguerite] In 1877, she was engaged by the Max Strakosch Opera Company and made her American debut on 8 January 1878 in Philadelphia as Leonora in Donizetti's La favorita. She later toured the United States with the Carl Rosa Opera Company from 1883 to 1889 and was particularly noted for her interpretation of the title role Bizet's Carmen. In 1890, she taught singing in Paris and made her farewell tour in 1894.

Possibly as Aida "Aida" by Verdi MARIE ROZE (born Maria Hippolyte Ponsin), 2 March 1846, – 2 June 1926 French soprano. Debut at the Opéra-Comique 1865 . Her success there led to engagements with the Paris Opéra, and later in London. From 1876 she worked with the Carl Rosa Opera Company during their UK tours and in Scotland over a ten-year period sang roles ranging from Carmen and Manon to Marguerite] In 1877, she was engaged by the Max Strakosch Opera Company and made her American debut on 8 January 1878 in Philadelphia as Leonora in Donizetti's La favorita. She later toured the United States with the Carl Rosa Opera Company from 1883 to 1889 and was particularly noted for her interpretation of the title role Bizet's Carmen. In 1890, she taught singing in Paris and made her farewell tour in 1894.

Maurice Renaud as Hamlet "Hamlet" by Thomas MAURICE RENAUD (Maurice CRONEAU ). (24 July 1862 – 16 October 1933). French Baritone Début 17 July 1891 in L'AFRICAINE (Nélusko). 1891, LES HUGUENOTS (Nevers), LA FAVORITE (Alphonse), SIGURD (Gunther, The Priest in 1896) ; 1892, FAUST (Valentin), GUILLAUME TELL (Leuthold, then Guillaume), AÏDA (Amonasro), LE SICILIEN (Tircis), OTHELLO (Iago) ; then SAMSON ET DALILA (Grand Priest 1893), TANNHÄUSER (Wolfram 1895) ; HAMLET (Hamlet), DON JUAN (Don Juan) in 1896 ; RIGOLETTO (Rigoletto), THAÏS (Athanaël) 1908 ; APOTHEOSE DE BEETHOVEN (Teltscher), HENRY VIII (Henry VIII) 1909 ; LA DAMNATION DE FAUST (Méphistophélès, 1910), LE VIEIL AIGLE ( Khan, 1914), MONSIEUR CHOUFLEURI RESTERA CHEZ LUI LE... (Fetermann, 1919). Creator in LOHENGRIN ( Telramund), SALAMMBO (Hamilcar), LA VIE DU POETE, RHEINGOLD (Albérich), DEIDAMIE (Ulysse), GWENDOLINE (Harald), DJELMA (Raim), LA MONTAGNE NOIRE (Aslar), FREDEGONDE (Hilpérik), MESSIDOR (le Berger), LES MAÎTRES CHANTEURS DE NUREMBERG (Beckmesser), LA PRISE DE TROIE (Chorèbe), LANCELOT (Arthus . He created at the Nouveau-Théâtre on April 26, 1906 the Clown (Auguste) of Isaac de Camondo

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.

ADELINA PATTI (19 February 1843 – 27 September 1919) Soprano Her voice was noticed very early and she nade her first tour in America at the age of seven years and was a huge success. Studied singing in New York under the direction of Maurice Strakosch, her brother-in-law, and in 1859 she sang in New York in Lucia di Lammermoor. At Covent Garden theatre in London in 1861 where she sang la Sonnambula, her reputation was strengthened and in 1862 she was singing in Paris at the Théâtre Italien, where she soon became the star. She remained at Paris until 1870, being heard in London during the summer season. In Paris she sang the Italian Repertory, in London the french Repertory. After a long stay in America and London, Patti returned several times to Paris at the Opera (debut in 1874) and the Théâtre de la Gaîté. Then she resumed travels and successfully created, in London, in 1882, the Charles Lenepveu's Velléda. She also created Dolores of André Pollonais in Nice on February 22, 1897. She triumphed especially in a vast Italian repertoire that suited to her beautiful light soprano voice. His career lasted for fifty-six years.