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MARGUERITE PRIOLA (Marguerite Marie Sophie Polliart) (Paris, 02/10/1849-13.Marseille, 27/10/1876) French Soprano Daughter of Jules - César Patrick, general manager of the theatre of the Folies-Dramatiques Debut as The Messanger of Peace "Reinzi" Wagner April 06, 1869 at the Théâtre-Lyrique. Debuted at the Opéra-Comique in 1869 in Rêve d'amour. . She created on 30 November 1872 Don César of Bazán (Maritana) by Jules Massenet. Giving a representation of Mignon in 1876 in Marseille, Her voice apparently broke and she was hissed from the stage. The impression of the hostile event she took to heart and caused her to go become physically and mentally ill, she died a few days later, at the age of 26.

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.

PAULINE LUCCA (April 25, 1841-February 28, 1908) Austrian Soprano She made her debut as a soloist in 1859 at the Theatre of Olomouc (Olomouc) in the role of Elvira in Verdi's "Ernani". 1860 she sang in Prague the Valentine in the "Huguenots" by Meyerbeer and Norma by Bellini. Berlin Court Opera in the world premiere of the opera "The Star of Turan" by Richard Würst in the lead role with. In 1863 she appeared at the Covent Garden Opera London, where she worked as Valentine in the "Huguenots" ,1865 in the London premiere of Meyerbeer's "Africaine" the Selika sang. In 1865 she appeared in Hannover and Hamburg. 1868-69 she undertook a tour of Russia, 1872 in Paris. 1872-74 North American tour there on the stage and in the concert hall the same success as in Europe. Returning to Europe, she followed in 1874 a professorship at the Vienna Court Opera. She guested on the German stage, in Brussels (1876), in St. Petersburg and Moscow (1877), in Madrid (1878) and again in the 1882-84 Covent Garden London.

MARIE ROZE (born Maria Hippolyte Ponsin), (2 March 1846, Paris – 2 June 1926, Paris), was a French operatic 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.

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.

as Elsa in "Lohengrin" by Wagner MATHILDE MALLINGER (Mathilde Lichtenegger) 17 February 1847 – 19 April 1920 Croation Soprano Studied singing with Giovanni Battista Gordigiani at the Prague Conservatory and with Richard Loewy in Vienna. Debut at Munich Hofoper in 1866 as Norma in “Norma” by Bellini. She created the role of Eva in the world premiere of Richard Wagner's Die Meistersinger von Nürnberg on 21 June 1868. Mallinger left Munich to join the roster of principal artists at the Berlin State Opera in 1869-1882. sang in the Berlin premieres of Lohengrin (Elsa, 1869), Die Meistersinger von Nürnberg (1870) and Giuseppe Verdi's Aida (Aida, 1874). She also portrayed Ingeborg in the world premiere of Bernard Hopffner's Frithjof (11 April 1871) and sang in the premiere of Wilhelm Taubert's Cesario oder Was ihr wollt (13 November 1874). Other roles she sang included Leonore in Fidelio, Agathe in Der Freischütz, Sieglinde in Die Walküre, Valentine in Les Huguenots and several Mozart heroines, including Pamina, Donna Anna and Countess Almaviva. She made a number of guest appearances at the Vienna State Opera and the Mariinsky Theatre in St Petersburg. Although she retired from the opera stage in 1882, she continued to perform as a concert singer up through 1895. She worked as a celebrated singing teacher in Prague and then taught at the Eichelberg'schen Konservatorium in Berlin up until her death.

LINA MAYR 21 June 1848-15 December 1914 Austrian soprano. Debut in 1861 in Linz. In the 1870s she mainly performed in Berlin in Offenbach operetta's like "La belle Hélene", "Barbe bleue" and "La vie Parisienne". In Berlin she performed the role of the glovemaker Gabrielle in "La vie Parisienne" .In addition, she later went on extensive concert tours through German cities, which they by successful events in North America ( Giroflé-Girofla ), also in St. Petersburg

as Benjamin "Joseph in Egypt" by Méhul FRIEDA HEMPEL 1885-1955 German Soprano Studied at Leipzig and then Berlin with Nicklass-Kempner .Made early appearances at Brelau singing Violetta ,Queen of the Night and Rosina.Made her debut at Schwerin in 1905 and remained until 1907 singing Gilda , Leonora (Il Trovatore) .By request of Kaiser Wilhelm II she made her Berlin debut 1905 as Frau Fluth (in Nicolai's Die lustigen Weiber von Windsor). She sang at the Royal Court Opera, Berlin, from 1907 to 1912, where she was also admired as Lucia, Marguerite de Valois and Marie.At the Covent Garden, London in 1907 as Bastienne, in Humperdinck's Hänsel und Gretel, as Eva and Elsa and again as Frau Fluth . In 1912 she made her debut at the Metropolitan Opera House, New York as Marguerite de Valois. She sang regularly in New York thereafter into the 1920s.After 1919 she sang mostly recitals and made her last appearance at New York Town Hall in 1951

as Salome "Salome" by Strauss 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).

as Pamina "The Magic Flute" by Mozart Lily Hafgren- Waag 1884-1965 Swedish Soprano Studied in Frankfurt and Milan on the advise of Seigfried Wagner ,Debut 1908 at Bayreuth as Freia in 'Das Rheingold".She was at the opera in Mannheim 1908-1912 this was followed by 6 years at the Hofoper in BerlinHer repertory ranged from Brunnhilde and Isolde to Pamina and the Countess Almaviva , Tosca , Carmen and Charlotte in 'Werther".She travelled all over Europe and performed Brunnhilde at La Scala 1925,1926 & 1930.

as Demon in "The Demon" by Rubenstein Nicolai Shevlev (Nicolai Shevelyukhin) 1874-1929 Russian Baritone Studied with Zanetti in St Petersburg later he studied with baritone Antonio Cotogni. and from 1889 to 1896 with Leopoldo Signoretti. In 1901 he also took lessons from Pauline Viardot- then in Tbilisi he studied also with Eugene Ryadnov. He began in 1880 in the chorus . In 1896 he was at the Moscow Private Opera Theatre of S. Mamontov making his debut in ‘’Snow maiden’’ by Rimsky-Korsakov. He remained here until 1901 and again from 1903 to 1905. 1906 to 1908 he appeared in St. Petersburg, from 1908 to 1913 from 1913 to 1919 he sang in Moscow, at National House of St. Petersburg, 1919 to 1922 he was a soloist of the Tbilisi Opera Theatre. 1922-1924 at Zimin’s Opera Theatre.He made guests appearances in Perm. Kiev, Nizhny and Novgorod and toured the provincial theatres He also sang in Italy, Germany, Japan, China, Austria and in North and South America.

Anton Von Rooy 1870 – 1932 Dutch Bass-Baritone Studied with Julius Stockhausen in Frankfurt. Debut at the Bayreuth Festival in 1897, singing Wotan in “ Ring des Nibelungen”. The year 1898 saw debuts in Berlin and at the Royal Opera House in London; and at the Metropolitan Opera, New York City, as Wotan in “Die Walküre” .Remained with the Met until 1908, during which time he was heard in all the leading baritone Wagnerian roles. Most notably, he created Amfortas in the American premiere of “Parsifal “ in 1903. Four years later, he created the part of John the Baptist in “Salome” in the initial New York production of Richard Strauss..Continued to sing regularly at Bayreuth until 1903, when he was banned by Cosima Wagner from any further performances at the festival, because the Met performances of “Parsifal” that he had participated in breached German copyright law. His appearances in London spanned the years 1898-1913. After leaving the Metropolitan Opera he became the leading Wagnerian baritone of the Frankfurt Opera

as Wanderer in ' Siegfried" by Wagner Anton Von Rooy 1870 – 1932 Dutch Bass-Baritone Studied with Julius Stockhausen in Frankfurt. Debut at the Bayreuth Festival in 1897, singing Wotan in “ Ring des Nibelungen”. The year 1898 saw debuts in Berlin and at the Royal Opera House in London; and at the Metropolitan Opera, New York City, as Wotan in “Die Walküre” .Remained with the Met until 1908, during which time he was heard in all the leading baritone Wagnerian roles. Most notably, he created Amfortas in the American premiere of “Parsifal “ in 1903. Four years later, he created the part of John the Baptist in “Salome” in the initial New York production of Richard Strauss..Continued to sing regularly at Bayreuth until 1903, when he was banned by Cosima Wagner from any further performances at the festival, because the Met performances of “Parsifal” that he had participated in breached German copyright law. His appearances in London spanned the years 1898-1913. After leaving the Metropolitan Opera he became the leading Wagnerian baritone of the Frankfurt Opera

Anton Von Rooy 1870 – 1932 Dutch Bass-Baritone Studied with Julius Stockhausen in Frankfurt. Debut at the Bayreuth Festival in 1897, singing Wotan in “ Ring des Nibelungen”. The year 1898 saw debuts in Berlin and at the Royal Opera House in London; and at the Metropolitan Opera, New York City, as Wotan in “Die Walküre” .Remained with the Met until 1908, during which time he was heard in all the leading baritone Wagnerian roles. Most notably, he created Amfortas in the American premiere of “Parsifal “ in 1903. Four years later, he created the part of John the Baptist in “Salome” in the initial New York production of Richard Strauss..Continued to sing regularly at Bayreuth until 1903, when he was banned by Cosima Wagner from any further performances at the festival, because the Met performances of “Parsifal” that he had participated in breached German copyright law. His appearances in London spanned the years 1898-1913. After leaving the Metropolitan Opera he became the leading Wagnerian baritone of the Frankfurt Opera

Robert Radford 1874-1933 English Bass He studied at the Royal Academy of Music in London, mainly under the conductor Alberto Randegger, but also received lessons from Battison Haynes and Frederic King . In November 1900, Henry Wood had engaged Radford for his uncut performance at Nottingham of the first two acts of Tannhäuser In 1904 he made his first appearance at Covent Garden, as the Commendatore in Don Giovanni He was again engaged for Richter's Ring cycle in 1908, taking the roles of Fasolt in Das Rheingold, Hunding in Die Walküre and Hagen in Götterdämmerung.He was then engaged at the Royal Opera House, Covent Garden, and sang at Drury Lane and His Majesty's Theatre. In April 1914 he was in the first English-language performance of Wagner's Parsifal with English soloists .In 1920–22, he became a founder Director of the British National Opera Company, and also became an important member of its singing company .Among his best-known roles were Mephistopheles (Gounod's Faust), Osmin (Il Seraglio), Sarastro (The Magic Flute), the Father (Charpentier's Louise), Ivan the Terrible and Boris Godunov (title role),

as Gaveston in "La Dame Blanche" by Boieldieu Hippolyte-Adolphe Belhomme 1854 - 1923 French bass or bass-baritone Studied with Boulanger and Ponchard at the Paris Conservatoire. Debut as Baskir in “Lalla-Roukh” at the Opéra-Comique in 1879 .Sang much of the repertoire for the basses chantantes at the Opéra-Comique up to June 1886 and then again from 1891 to 1916, He also spent time at the opera houses of Lyon , Marseille and Brussels . He created at the Opera Comique Mathurin in “Monsieur de Floridor” by Lajarte 1880, Crespel in “Les contes d'Hoffmann” ny Offenbach 1881,Cordier in “ Les fugitives” by Fijin 1899,Tripalarga in “ La jota” by Laparra 1911 ,Le bohême in ‘ Louis” by Charpentier 1900, Le sonneur in “Marchande d’allumettes” , Hémistikos in “La Marriage de Télémaque “ by Terrass 1910,père Vincent in “ Noel” by Erlanger 1910,Landry in “ On ne badine pas avec l’amour” by Pierne 1910,Albornas in”La sorcière” by Erlanger1912,Le précepteur in “Le voile de bonheur” ny Pons 1911,Un ainé in “Léone” by Rousseau 1910. Roles Carmen (Escamillo and Dancaïre), Cendrillon (Pandolphe), La fille du régiment (Sulpice),Madama Butterfly (the Bonze), Mignon (Lothario), Tosca (Sacristan) and Werther (Le bailli)

Alice Verlet ( Alice Verheyden ) 1873-1934 Belgium Soprano Studied under Mme. Moriani in Brussels.Debut 1893 at Leuven, and then sang for the Belgian Queen and members of the nobility in Brussels. She was known primarily as a concert singer but sang roles in opera. Debut at the Opéra-Comique in 1894. as Philine in Thomas's Mignon, 1895, she appeared in England, participating in a concert at the Masonic Hall . She sang principal roles at the operas in Lyon, Nice, and Monte Carlo; at His Majesty's Theater in London; at La Monnaie in Brussels; and at the Paris Opéra and Opéra-Comique. In the United States .Debut at the Monnaie in Brussels 1901 in Verdi's Rigoletto;Debut at the Paris Opéra, as Blondine in a French-language production of Mozart's Die Entführung aus dem Serail, came in 1903.In 1905 and 1906, Verlet played the Naiad in the first modern revival of Gluck's Armide in Paris 1908 the Théâtre de la Gaîté-Lyrique Toured England in 1910. US debut in August 1896. Although primarily a concert singer in the United States, she did perform some opera. In 1915 the Chicago Opera engaged her as Philene in several performances of Thomas's Mignon and also performed with the Boston Opera.Retired from performing in 1920. Thereafter, she taught voice until her death in Paris in 1934 Roles Included

Alice Verlet ( Alice Verheyden ) 1873-1934 Belgium Soprano Studied under Mme. Moriani in Brussels.Debut 1893 at Leuven, and then sang for the Belgian Queen and members of the nobility in Brussels. She was known primarily as a concert singer but sang roles in opera. Debut at the Opéra-Comique in 1894. as Philine in Thomas's Mignon, 1895, she appeared in England, participating in a concert at the Masonic Hall . She sang principal roles at the operas in Lyon, Nice, and Monte Carlo; at His Majesty's Theater in London; at La Monnaie in Brussels; and at the Paris Opéra and Opéra-Comique. In the United States .Debut at the Monnaie in Brussels 1901 in Verdi's Rigoletto;Debut at the Paris Opéra, as Blondine in a French-language production of Mozart's Die Entführung aus dem Serail, came in 1903.In 1905 and 1906, Verlet played the Naiad in the first modern revival of Gluck's Armide in Paris 1908 the Théâtre de la Gaîté-Lyrique Toured England in 1910. US debut in August 1896. Although primarily a concert singer in the United States, she did perform some opera. In 1915 the Chicago Opera engaged her as Philene in several performances of Thomas's Mignon and also performed with the Boston Opera.Retired from performing in 1920. Thereafter, she taught voice until her death in Paris in 1934 Roles Included