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LOUIS ALPHONSE EDMOND HOLTZEM French Bass (Paris, 26 juin 1827 – .Lyon, 1896). Débute Opera Comique in 1860

Armand Castelmary (Count Armand de CASTAN) 1834-1897 French Bass He came from a family of French nobility and his official title was "Count Armand de Castan". In 1863 he started his career at the Grand-Opéra Paris. Here he created the role of Don Diégo in Meyerbeer's "L'Africaine" (1865) with his wife Marie Sasse creating the role of Selika. During the years 1864/67 he was married to the great Prima Donna Marie Sasse (1838-1907) after which they divorced. In 1867 he created the role of the monk "(the apparition of the deceased Carlo Quinto) in Verdi's "Don Carlos, with his wife Marie Sasse in the role of Élisabeth de Valois. In 1868 he created Horatio in the opera "Hamlet" by Ambroise Thomas. In 1870 he left Paris and made his first tour to the USA, singing with the French Opera Company New Orleans. In 1879 he made a second tour to the USA singing with the Strakosch Opera Company and in 1890 again with the Patti-Tamagno Company. In the 1870's he made guest appearances at Naples, Milan, Bologna and Rome. In 1881 he made a tour through South-America and he made further guest appearances at Warsaw, Vienna and London (1889/96). In 1893 he was engaged by The Metropolitan Opera New York, where he made his debut as Vulcain in Gounod's "Philémon et Baucis".This commitment with the Metropolitan marked the end of a great career, which took a tragic end on the evening of 10 February 1897. During a performance of Von Flotow 's "Martha", in which he sang the role of Sir Tristan, Castelmary died on the stage of a devastating heart attack.

as Méphistophélès, "Faust" Gounod Armand Castelmary (Count Armand de CASTAN) 1834-1897 French Bass He came from a family of French nobility and his official title was "Count Armand de Castan". In 1863 he started his career at the Grand-Opéra Paris. Here he created the role of Don Diégo in Meyerbeer's "L'Africaine" (1865) with his wife Marie Sasse creating the role of Selika. During the years 1864/67 he was married to the great Prima Donna Marie Sasse (1838-1907) after which they divorced. In 1867 he created the role of the monk "(the apparition of the deceased Carlo Quinto) in Verdi's "Don Carlos, with his wife Marie Sasse in the role of Élisabeth de Valois. In 1868 he created Horatio in the opera "Hamlet" by Ambroise Thomas. In 1870 he left Paris and made his first tour to the USA, singing with the French Opera Company New Orleans. In 1879 he made a second tour to the USA singing with the Strakosch Opera Company and in 1890 again with the Patti-Tamagno Company. In the 1870's he made guest appearances at Naples, Milan, Bologna and Rome. In 1881 he made a tour through South-America and he made further guest appearances at Warsaw, Vienna and London (1889/96). In 1893 he was engaged by The Metropolitan Opera New York, where he made his debut as Vulcain in Gounod's "Philémon et Baucis".This commitment with the Metropolitan marked the end of a great career, which took a tragic end on the evening of 10 February 1897. During a performance of Von Flotow 's "Martha", in which he sang the role of Sir Tristan, Castelmary died on the stage of a devastating heart attack.

Partial signature Léon ACHARD french tenor February 16, 1831 - 16th, July 11, 1905 a clerk in a law firm; but, gifted with a charming tenor voice A pupil at the Music Conservatory 1854 at Théâtre-Lyrique, Achard made his debut there October 07, 1854 in the role of Tobias " Billet de Marguerite". sang with great success the tenor roles in les Charmeurs, le Muletier de Tolède, les Compagnons de la Marjolaine, le Barbier de Séville, etc.(1856), Achard signed an engagement with the director of the Lyon Opera, where his success was complete; there he created Jaguarita, the Dragons of Villars, Faust, the Amours du Diable, Rigoletto , etc., and played the repertoire. In 1862, he left and returned to Paris, at the call of Perrin, who became director of the Opéra-Comique. There, he shared the leading roles with Montaubry after the latter's departure. He took over the main roles of the old repertoire, played in Haydée, la Dame blanche, le Songe d'une nuit d'été , the tenor roles in the new pieces. On December 16, 1862, he sang the 1000th at the Opéra-Comique de la Dame blanche and Coupe du roi de Thulé He toured France and Belgium (1870-1872); then in Italy (1872-1875) and created Wilhelm Meister "Mignon" Thomas in Italian. In 1873 he entered the Opera, debuted in the "la Coupe du roi de Thulé " . Les Huguenots, L' Africane , Vasco da Gama, etc. Requiem tour , in France and Belgium (1876). In March 1876, he returned for some time to the Opéra-Comique, his real place, and brilliantly inaugurated his return to the role of Georges " la Dame blanche" . In 1880 participated in the premiere of the " King of Lahore" Massenet to Lyon. Then he left the stage and was appointed professor of lyrical declamation (opera-comic) at the Paris Conservatory from April 1, 1887 to his retirement, October 25, 1901, and public education officer.

as Balkis in "La reine de Saba" (The Queen of Sheba) by Charles Gounod MARIE CONSTANCE SASSE . -Belgian soprano ( 26 January 1834 - November 07, 1907) .Debut on 01 October 1859, at the Théâtre-Lyrique, 03 August 1860 at the Opera ROBERT LE DIABLE by Meyerbeer (Alice). She sang LA JUIVE by Halévy (Rachel); Verdi IL TROVATORE (Leonora). VESPERS Sicilian Verdi (Helene); THE Queen of Sheba by Gounod (Queen); DON JUAN de Mozart (Elvira, Donna Anna); THE HUGUENOTS (Valentine); HAMLET (Ophelia, 1872). She participated in the first 13 March 1861 Tannhäuser (Elisabeth) Wagner. She created April 28, 1865 L'AFRICAINE (Selika) of Meyerbeer; on March 11, 1867 DON CARLOS (Elisabeth de Valois) for Verdi. She left the Opera in 1872. She has sung under the names of Sax, Saxe, Sass-Castelmary and under his own name.

as Elisabeth de Valois in Verdi's “Don Carlos” ; the role she created at the world première on 11th March 1867 at the Paris Opera MARIE CONSTANCE SASSE . -Belgian soprano ( 26 January 1834 - November 07, 1907) .Debut on 01 October 1859, at the Théâtre-Lyrique, 03 August 1860 at the Opera ROBERT LE DIABLE by Meyerbeer (Alice). She sang LA JUIVE by Halévy (Rachel); Verdi IL TROVATORE (Leonora). VESPERS Sicilian Verdi (Helene); THE Queen of Sheba by Gounod (Queen); DON JUAN de Mozart (Elvira, Donna Anna); THE HUGUENOTS (Valentine); HAMLET (Ophelia, 1872). She participated in the first 13 March 1861 Tannhäuser (Elisabeth) Wagner. She created April 28, 1865 L'AFRICAINE (Selika) of Meyerbeer; on March 11, 1867 DON CARLOS (Elisabeth de Valois) for Verdi. She left the Opera in 1872. She has sung under the names of Sax, Saxe, Sass-Castelmary and under his own name.

as Elisabeth de Valois in Verdi's “Don Carlos” ; the role she created at the world première on 11th March 1867 at the Paris Opera MARIE CONSTANCE SASSE . -Belgian soprano ( 26 January 1834 - November 07, 1907) .Debut on 01 October 1859, at the Théâtre-Lyrique, 03 August 1860 at the Opera ROBERT LE DIABLE by Meyerbeer (Alice). She sang LA JUIVE by Halévy (Rachel); Verdi IL TROVATORE (Leonora). VESPERS Sicilian Verdi (Helene); THE Queen of Sheba by Gounod (Queen); DON JUAN de Mozart (Elvira, Donna Anna); THE HUGUENOTS (Valentine); HAMLET (Ophelia, 1872). She participated in the first 13 March 1861 Tannhäuser (Elisabeth) Wagner. She created April 28, 1865 L'AFRICAINE (Selika) of Meyerbeer; on March 11, 1867 DON CARLOS (Elisabeth de Valois) for Verdi. She left the Opera in 1872. She has sung under the names of Sax, Saxe, Sass-Castelmary and under his own name.

MARIE CONSTANCE SASSE . -Belgian soprano ( 26 January 1834 - November 07, 1907) .Debut on 01 October 1859, at the Théâtre-Lyrique, 03 August 1860 at the Opera ROBERT LE DIABLE by Meyerbeer (Alice). She sang LA JUIVE by Halévy (Rachel); Verdi IL TROVATORE (Leonora). VESPERS Sicilian Verdi (Helene); THE Queen of Sheba by Gounod (Queen); DON JUAN de Mozart (Elvira, Donna Anna); THE HUGUENOTS (Valentine); HAMLET (Ophelia, 1872). She participated in the first 13 March 1861 Tannhäuser (Elisabeth) Wagner. She created April 28, 1865 L'AFRICAINE (Selika) of Meyerbeer; on March 11, 1867 DON CARLOS (Elisabeth de Valois) for Verdi. She left the Opera in 1872. She has sung under the names of Sax, Saxe, Sass-Castelmary and under his own name.

Christine Nilsson as Queen of th Night ' Magig Flute" Mozart CHRISTINE NILSSON (Sjöabol near Växjö, Sweden, August 20, 1843 - Stockholm, 22 November 1921). Swedish Soprano Debut October 27, 1864, Théâtre-Lyrique. Debuted at l'Opéra de la salle Le Peletier on 09 March 1868 by creating Opehlia in HAMLET ,Sang in the premiere on 03 March 1869 Marguerite in Faust at the Palais Garnier. She sang LA LEGENDE DE SAINTE CECILE , oratorio by Benedict; ROBERT LE DIABLE (Alice). Meyerbeer

as Schaunard "La Boheme' by Puccini William (Vilmas) Beck 1875 Hungary-6 December 1925 Chicago Hungarian Baritone William Beck, Hungarian Opera Singer Found Dead. The news of the death of William Beck caused great consternation in Chicago and especially among the Hungarians. Everyone loved Beck, who has been with the Chicago Opera for the last fourteen years. Everyone was surprised to hear of his sudden death, because he had not been ill and sang his part in "Madame Butterfly" perfectly Sunday. Monday evening he was to sing the part of Vitellius in "Herodiade." When the performance started and Beck didn't appear, the manager sent the call-boy for him to his hotel. In the meantime, Desire Defrere, also a baritone, took his place on the stage. The call-boy went to Beck's room at the Auditorium Hotel, knocked on the door and received no answer. He tried to open the door and succeeded, because it wasn't locked. The singer was lying on his bed motionless. The boy thought he was just ill and called the house physician, who pronounced Beck dead, probable cause, heart failure. As Beck was a bachelor,with no known relatives, the Opera Company wanted to bury him. At this time Benjamin Ehrlich, an attorney, appeared, saying that he was Beck's best friend and he demanded that an inquest be made to find out whether Beck wasn't poisoned. Ehrlich said that the night before his death, Beck drank some wine at a party and complained soon after of illness. The funeral was postponed until Dec. 27. William Beck was fifty years old. He knew every opera ever written. Although he has no relatives in America, a million people mourn his death.

MILA RODANI 1851-1888 German Soprano She was the adopted daughter of the actor and later theatre director Ferdinand Röder (1808-1880). Her real name was Mila Mielke; later in her career as an opera singer she used the stage name Mila Rodani. She received her vocal training in Paris from the famous tenor Gustave Roger. There she turned already to operetta, especially the works of Jacques Offenbach. Then she came to Vienna and with her first appearance at the "Wiener Carltheater" in the Offenbach operetta "Der Schneeball" she had a sensational success. Then she went to Berlin, where she performed at the Wallner-theater. In Berlin she started singing (mainly Italian) opera roles under the name of Rodani, but her actual domain remained the operetta under the name of Röder. She died in Cologne, where she was recently engaged, during a hospital operation.

MILA RODANI 1851-1888 German Soprano She was the adopted daughter of the actor and later theatre director Ferdinand Röder (1808-1880). Her real name was Mila Mielke; later in her career as an opera singer she used the stage name Mila Rodani. She received her vocal training in Paris from the famous tenor Gustave Roger. There she turned already to operetta, especially the works of Jacques Offenbach. Then she came to Vienna and with her first appearance at the "Wiener Carltheater" in the Offenbach operetta "Der Schneeball" she had a sensational success. Then she went to Berlin, where she performed at the Wallner-theater. In Berlin she started singing (mainly Italian) opera roles under the name of Rodani, but her actual domain remained the operetta under the name of Röder. She died in Cologne, where she was recently engaged, during a hospital operation.

As Salome in "Salome" by Antoine Mariotte LUCIENNE BREVAL (Bertha Agnès Lisette Schilling) (4 November 1869, Zürich- 15 August 1935, Neuilly-sur-Seine) Swiss Soprano She studied voice with Victor Warot at the Paris Conservatoire before making her debut at the Opéra National de Paris in 1892 as Selika in l'Africaine by Giacomo Meyerbeer .Bréval became a principal soprano at the Paris Opéra and remained there until 1919.[3] Her roles with the company included several world premières including Augusta Holmès's La Montagne Noire (1895), Camille Erlanger's Le fils de l' étoile' (1904), Dukas’ Ariane et Barbe-bleue (1907), Massenet's Bacchus (1909), and the title roles in Massenet's Ariane (1906) and Henry Février’s Monna Vanna (1909). She also was Kundry in France's first performance of Wagner's Parsifal (1914). Her other notable roles at the Paris Opera included Brünnhilde in Richard Wagner's Die Walküre (1893), Venus in Wagner's Tannhäuser (1895), Marguerite in Hector Berlioz's La damnation de Faust (1897), and the title role in Rameau's Hippolyte et Aricie (1908). Bréval also occasionally appeared in productions at the Opéra-Comique in Paris. Most notably she portrayed the title role in the world premiere of Massenet’s Grisélidis in 1901, and in 1910 she sang Lady Macbeth in the première of Ernst Bloch’s Macbeth, which he dedicated to her. In 1899, Bréval made her first appearance at the Royal Opera, Covent Garden as Valentine in Meyerbeer's Les Huguenots. Two years later she made her American début at the Metropolitan Opera as Chimène in Le Cid, singing also in Die Walküre and the American première of Ernest Reyer’s Salammbô. Five years later she returned to Covent Garden for the second and last time in the title role of Gluck’s Armide. In 1913 she created the title role in Fauré’s Pénélope at the Opéra de Monte-Carlo; her other title roles there had been in Isidore De Lara's Amy Robsart and in Bizet's Carmen

As Salome in "Salome" Strauss Maria Nikolaevna Kouznetsova-Benois 1880-1966 Ukranian Soprano Studied with Joachim Tartakov in St Petersburgh.Debut St Petersburgh Conservatoir as Tatiana ‘Eugene Onegin” by Tchaikovsky in 1904. Debut at the Marinsky Theatre as Margurite in “Faust” by Gounod in 1905.She remained at the Marinsky until 1917. She created the role’s of Fevroniya in “The Legend of the Invisible City of Kitezh and the Maiden Fevroniya” by Rimsky-Korsakov at Marinksy 1907 , Fausta in “Roma” by Massenet 1912 and Cleopatre in “Cleopatre” by Massenet 1914 , both at Monte Carlo Opera also sang at the Paris Opera , London Covent Garden,New York Metropolitan , Chicago Opera .Her roles included Mimi ‘La Boheme” by Puccini,Violetta ‘La Traviata” by Verdi ‘Elsa ‘Lohengrin” by Wagner , Antonida ‘The Life of the Tsar” by Glinka , Margurite ‘Faust” by Gounod ,Tamara ‘The Demon” by Rubenstein and Thais ‘Thais” by Massenet

as Arsace "Semiramide" by Rossini ZELIA TREBELLI - BETTINI (Gloria Caroline Gillebert) (1838-1892) French Mezzo Soprano Madame Trebelli-Bettini began to sing under the name Trebelli, which was derived from her real surname. On her marriage to the tenor Alessandro Bettini (1825-98) she added his name to hers. Her debut role was Azucena (Madrid 1859) and she continued to sing it throughout her career. In 1884 she was the first performer of Carmen at the Met. She was always a notable exponent of 'trouser' roles such as Cherubino, Siébel, Maffio Orsini (Lucrezia Borgia) and Urbain. her roles included Zerlina Don Giovanni ,Fatima Oberon ,Urbain Huguenots ,Azucena Trovatore ,Third Lady Magic Flute Cherubino Marriage of Figaro Nancy Martha ,Siébel Faust ,Carmen

FRANCESCO TAMAGNO (28 December 1850 – 31 August 1905) Italian Tenor Best known as the creator of the protagonist's part in Verdi's Otello at La Scala, Milan in 1887, he also was the first Gabriele Adorno in Verdi's 1881 revision of Simon Boccanegra, a far more lyrical assignment than the "Moor of Venice". He participated, too, in the premiere of Verdi's Italian-language version of Don Carlos when it was staged at La Scala in 1884, singing the eponymous role of the Infante of Spain. Five other operas in which Tamagno created leading roles were Carlos Gomes' Maria Tudor (in 1879), Amilcare Ponchielli's Il figliuol prodigo (1880) and Marion Delorme (1885), Ruggero Leoncavallo's I Medici (1893) and Isidore de Lara's Messaline (1899). He was lauded for his performances of such established parts as Manrico in Il trovatore, Don Alvaro in La forza del destino, the titles role in Ernani and Poliuto, Arnold in Guillaume Tell, John of Leyden in Le prophète, Raoul in Les Huguenots, Vasco in L'Africaine, Robert in Robert le diable and Eleazar in La Juive. He excelled in the newer dramatic parts of Radames in Aida, Samson in Samson et Dalila, Alim in Le roi de Lahore and John the Baptist in Hérodiade. Yet, in his younger days, before his voice grew too robust, he was able to negotiate a role as light and graceful as that of Edgardo in Lucia di Lammermoor due to his accomplished mezza-voce singing.

Vilma Bognar 1845-1904 Hungarian Soprano Studied with her father then with Lamperti in Milan and Matteo Salvit in Vienna also with Pauliine Viardot-Garcia , She went to Hannover and received invitations to sing in Bremen, Hamburg , Cologne , Aachen , Braunschweig , Leipzig, Amsterdam and Rotterdam.She was contracted to Dresden and retired at the age of 36