OperaMania's photos

as Louise de la Valliere in "La Carmelite" by Hahn CREATOR Opera Comique Paris 16 December 1902 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 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 also created Louise de la Valliere in "La Carmelite" by Hahn at Opera Comique Paris 16 December 1902 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 Postillion Chapelou in " Postillion von Lonjumeau" By Adam FRANZ NAVAL (Franz Pogacnik) 1865-1939 German Tenor Studied Laibach with Nedred and Vienna with Gansbacher.Debut 1888 at Frankfurt In 'Martha" Flowtow . From 1895-1898 he was a member of the Berlin Hofoper.Sang Rodolfo 'La Boheme" Puccini in Berlin 1897.Sang in Paris 1900-1903 , Metropolitan New York 1903 , He returned to Berlin Hofoper and was a permanent member again 1903-1908 Sang at Covent Garden London 1907 . He sang for 20years and retired and taught singing in Vienna , His roles included Jose 'Carmen" Bizet , Turiddu "Cavalleria Rusticana" Mascagni , Romeo "romeo & Juliette" Gounod .

as Phedre in "Hippolyte et Aricie" by Rameau .CREATOR IN FRENCH PREMIERE at Palais Garnier 13 May 1908 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 Mephistopheles "Faust " Gounod JEAN FRANCIS DELMAS Lyon, April 14, 1861-73.Saint - Alban-de-Monthel, 29 September 1933). French Bass Debut September 28, 1886 in LES HUGUENOTS (Saint-Bris). Sings the FREISCHÜTZ (Gaspard, 1886), AIDA (the King), FAUST (Mephistopheles) in 1887. DON JUAN (Leporello, 1887; don Juan, 1902), SIGURD (Hagen, 1891), William TELL (Gessler), the Sicilian (Connie) in 1892. OTHELLO (Iago, 1894), TANNHÄUSER (Landgrave, 1895); Romeo and Juliet (brother Laurent), fatherland! (de Rysoor), LE CID (don Diego), ALCESTE (high priest) in 1900; HENRY VIII (Henry VIII, 1903), ARMIDE (Hidraot, 1905), the DAMNATION of FAUST (Mephistopheles, 1906), SAMSON ET DALILA (high priest), HIPPOLYTE and ARICIE (Thésée) in 1908. ŒDIPE A column (Oedipus),. BRISEIS (Strakokles) in 1916. Is the creator of LA DAME DE MONSOREAU (Monsoreau), ROMEO ET JULIETTE (Capulet), ZAIRE (Jeanette); on March 16, 1891 LE MAGE (Amrou) de Jules Massenet LOHENGRIN (King), SALAMMBÔ (Nar-Havas), die WALKÜRE (Wotan). on March 16, 1894 THAÏS (Athanaël) by Jules Massenet; HELLE (Gautier), MESSIDOR (Mathias),LES MAITRES CHANTEURS DE NUREMBERG (Hans Sachs), BURGONE (Attila), JOSEPH (Jacob), ASTARTE (Phur); on April 26, 1901LE ROI DE PARIS (Henri, Duke of Guise) of Georges Hüe. THE LES BARBARES (Scaurus), SIEGFRIED (Wotan), ORSOLA (Bishop), bench (Tonio),LA STATUE (Arnigiad), L’ETRANGER (l'Etranger), LE FILS DE L'l'ETOILE (Akiba), TRISTAN & ISOLDE (Kurwenal), DARIA (Yvan),LA GLOIRE DE CORNEILLE (Auguste), ARIANE (Parithoils), LA CATALANE (Miguel), Twilight of the gods (Hagen), MONNA VANNA (Marco), RHEINGOLD (Wotan), LA Forêt (Pierre), ICARE (Daedalus), ROMA (Fabius), FERVAAL (Arfagard), PARSIFAL (Gurnemanz), L'OURAGAN (Gervais), La Roman le ESTELLE (Rubini), La GIRONDINS (Fonfrède), JEANNE d'Arc (Jacques d'Arc), INTERMEDE (Pierre Dupont), La Legende of SAINT Christoph (the hermit), ANTAR (Malek), LA FILLE DE ROLAND (Charlemagne), LES BURGRAVES (the beggar). Participated in the first performance December 24, 1923 of ESCLARMONDE (Emperor Phorcas) by Jules Massenet. He created at the Nouveau-Théâtre 26 April 1906 le Clown (Barbazan) of Isaac de Camondo.

as Pluton in "Hippolyte et Aricie" by Rameau .CREATOR IN FRENCH PREMIERE at Palais Garnier 13 May 1908 André Gresse 1868 - 1937 French Bass Son of the bass Léon Gresse,In 1893 he studied singing at the Paris Conservatory under Taskin, Melchissèdec and Duvernoy. He made his debut in 1896 at the Opéra-Comique in Paris as Commendatore in ‘’Don Giovanni’’, he appeared as Gaveston in ‘’La Dame blanche’’ by Boieldieu and as Samba-Hamet in ‘’Le Spahi’’ byn Lambert. When his father finished in 1900 his stage career at the Grand Opéra, he became his successor; here his role’s were Saint Bris in ‘’Huguenots’’ by Meyerbeer. Remained untill 1930 . In 1910 he created at the Opera House in Monte Carlo in the premiere of Massenet’s ‘’Don Quichotte’’ the role of Sancho Panza, He also sang in the premieres of the operas Césaire in ‘’Sapho’’ by Massenet 1897 Opera Comique, ‘’Le Juif Polonais’’ by Erlanger 1900 Opéra-Comique, ‘’Bacchus’’ by Massenet Grand Opéra Paris 1909), ‘’Le Miracle’’ by Húe 1910 Grand Opéra and ‘’Scémo’’ by Bachelet 1914 Grand Opéra. He sang at the Grand Opéra in the premières of several Wagner's operas and, also sang Fasolt ‘’Rheingold’’ 1909 ,Titurel ‘’Parsifal’’ 1914 and Marke ‘’Tristan’’, 1904,Retired. In 1930 and worked as a professor at the Paris Conservatory.

as Maitre Vigord 'Sanga" by de Lara CREATOR Opera Nice 19 March 1906 LUCIEN FUGERE (July 22, 1848, Paris - January 15, 1935, Paris) was a French baritone, Performed mainly in France . Began his career in 1874 at Les Bouffes Parisiens . In 1877 he joined the Opera Comique appearing in "les Nocesde Jeanette" Masse . He was principal at the Opera Comique for 30 years.Specialised in buffo roles : Leporello , Paspageno , Bartoli , Comte de Grieux ,Don Pasquale , Maequis in Delibes " Le Roi la dit" Dominque in 'Paul et Virginie" , Le Philospher in Massenet's 'Cherubin. In 1897 he made a rare trip outside of France to London Covent Garden were he took part in the Jubilee season , he sang Leporello to Renaud's Don . Made his last appearance as Don Bartolo at the age of 85 in 1933.

as Chrysis in "Aphrodite" by Erlanger Marthe Chenal 1881-1947 French Soprano Studied Conservatoire de Paris Martini. Debut in 1905 at the Palais Garnier as Brunehild in Ernest Reyer's Sigurd.Joined the roster of principal singers at the Opéra-Comique debut with the company in the title role of Camille Erlanger's Aphrodite.Appeared in several world premieres : Gabriel Pierné's On ne badine pas avec l'amour, Alfred Bruneau's Le Roi Candaule, and Erlanger's La sorcière , Camille Erlanger's Bacchus triomphant

Marthe Chenal as Zoraya "' La Sorciere " Erlander CREATOR Opera Comique 18/12/1912 Marthe Chenal 1881-1947 French Soprano Studied Conservatoire de Paris Martini. Debut in 1905 at the Palais Garnier as Brunehild in Ernest Reyer's Sigurd.Joined the roster of principal singers at the Opéra-Comique debut with the company in the title role of Camille Erlanger's Aphrodite.Appeared in several world premieres : Gabriel Pierné's On ne badine pas avec l'amour, Alfred Bruneau's Le Roi Candaule, and Erlanger's La sorcière , Camille Erlanger's Bacchus triomphant

EMMA ALBANI (1 November 1847 – 3 April 1930) Canadian soprano (Marie Louise Cecilia Emma Lajeunesse.) Vocal studies in Europe, and she became a student of Gilbert Louis Duprez in Paris, then by Francesco Lamperti in Milan. Debut in 1870 at the Opera House of Messina as Amina in 'La Sonnambula'. Covent Garden début 1872. First Covent Garden Senta (Der fliegende Holländer), 1877. NY Met début 1891; first Desdemona at NY Met 1894. Sang Isolde, Covent Garden 1896, retiring from stage a month later, but continuing to sing in oratorio. Retired to teach in 1911. DBE 1925.

MILY MEYER (Émilie Mily Meyer) (1852-1927) French Soprano Her professional début was at the Eldorado café-concert; she then went to the Théâtre de la Renaissance and appeared as the young duchess in the premiere of Le petit duc on 25 January 1878. Creations in La Camargo (1878),[2] Petite Mademoiselle (1879) and Belle-Lurette (1880) swiftly followed also appeared at the Théâtre des Nouveautés as Kate in the French premiere of Rip and at the Théâtre des Bouffes Parisiens as Bianca in the first run of La Béarnaise in 1885. Also at Théâtre des Variétés was La Princesse de Trébizonde, while at the Théâtre des Folies-Dramatiques she was in the French premiere of Millöcker's La Demoiselle de Belleville (Die Jungfrau von Belleville). Among many other operettas in which she sang were Roi de Carreau (1885) and Babolin (1884) at the Théâtre des Folies-Dramatiques (November 1884); La vie mondaine (1885) at the Théâtre des Nouveautés, and at the Théâtre des Bouffes Parisiens, La Béarnaise (1885), as Benjamine in Joséphine (1886), Gamine de Paris (1887), Le Retour d'Ulysse (1889), Le mari de la reine (1889), Cendrillonnette (1890) and revivals of Les petits mousquetaires and La Princesse de Trébizonde. Back at the Renaissance, she created La gardeuse d'oies (1888) and La petite Poucette (1891); followed by La Demoiselle du Téléphone (1891) at the Nouveautés, Fleur de Vertu (1894) at the Bouffes, and L'Élève du Conservatoire (1894) at the Théâtre des Menus-Plaisirs.

Autograph

Felix Schmidt 1848-1927 German Bass Son of tenor Heinrich Schmidt (1809-70) . He grew up in Lübeck, where he received his early musical training from his father. He studied vocal with the famous tenor Edward Mantius and Music Theory with Weitzmann in Berlin . After he had taken part in the 1870-71 Franco-German war, he continued his vocal studies with Adam Schulze in Berlin and Music Theory with Friedrich Kiel at the Berlin Music Academy. He then began a career as a concert singer and an educator. 1872-75 he worked as an assistant lecturer at the Music Academy in Berlin, then in 1878 as a associate and in 1888 he became a full professor . From 1895 he was head of the dramatic singing class at the university. 1887-1918 he conducted the Berlin teacher glee club, and started one of the leading choirs in Germany at this time. In 1888 he published the work of his former teacher Weitzmann "theory of music" in German translation. Despite these diverse activities, he went on to work in the concert hall; he was regarded as an excellent concert and Lieder singer and has appeared not only in the German musical centers but in concert tours in Milan and Switzerland. He retired in 1921- He was married to the concert soprano Maria Schmidt-Kühne (* 1858), who had been his pupil, and with who he often performed .

Antonina Vasilievna Nezhdanova 1873 –1950 Russian Soprano. In 1899, she entered the Moscow Conservatory and studied with Rubinstein and Masetti ,Debut 1902 as Antonida in “ Life of the Tsar” by Glinka at Moscow. She joined the Bolshoi Theatre, rapidly becoming its leading soprano. She often sang, too, at the Mariinsky Theatre in St Petersburg and also in Kiev .Monte Carlo and Odessa. Paris heard her in 1912, when she Gilda “Rigoletto” Verdi .She was also an qvid recitalist and introduced works by Arensky , Rimsky Korsakoff , Rachmaniov and Scriabin .Her roles include Julieete ‘Romeo et Julitte” Gounod ,Rosina ‘Barber of Saville” Rossini.Tatyana ‘Eugene Onegin” Tchaikovsky , Queen of the Night “Magic Flute” Mozart , Tosca ‘Tosca” Puccini , Elsa “Lohengrin “ Wagner and Tamara ‘The Demon” Rubenstein

Antonina Vasilievna Nezhdanova 1873 –1950 Russian Soprano. In 1899, she entered the Moscow Conservatory and studied with Rubinstein and Masetti ,Debut 1902 as Antonida in “ Life of the Tsar” by Glinka at Moscow. She joined the Bolshoi Theatre, rapidly becoming its leading soprano. She often sang, too, at the Mariinsky Theatre in St Petersburg and also in Kiev .Monte Carlo and Odessa. Paris heard her in 1912, when she Gilda “Rigoletto” Verdi .She was also an qvid recitalist and introduced works by Arensky , Rimsky Korsakoff , Rachmaniov and Scriabin .Her roles include Julieete ‘Romeo et Julitte” Gounod ,Rosina ‘Barber of Saville” Rossini.Tatyana ‘Eugene Onegin” Tchaikovsky , Queen of the Night “Magic Flute” Mozart , Tosca ‘Tosca” Puccini , Elsa “Lohengrin “ Wagner and Tamara ‘The Demon” Rubenstein

as Herman in "Pique Dame" by Tchaikovsky Aleksander Davidov 1872-1944 Russian Tenor Debut Tiflis opera in 1893 and then sang at the Odessa opera.In 1896 her joined Mamontov’s opera in Moscow.From 1900-1912 he was at the Imperial Opera St Petersburg.He made guest appearances in Paris.His career ended due to deafness .He sang Sadko in “Sadko” by Rimsky-Korsakoff at the premiere at St. Petersburg, 26 January 1901.

Aleksander Davidov 1872-1944 Russian Tenor Debut Tiflis opera in 1893 and then sang at the Odessa opera.In 1896 her joined Mamontov’s opera in Moscow.From 1900-1912 he was at the Imperial Opera St Petersburg.He made guest appearances in Paris.His career ended due to deafness .He sang Sadko in “Sadko” by Rimsky-Korsakoff at the premiere at St. Petersburg, 26 January 1901.

Aleksander Davidov 1872-1944 Russian Tenor Debut Tiflis opera in 1893 and then sang at the Odessa opera.In 1896 her joined Mamontov’s opera in Moscow.From 1900-1912 he was at the Imperial Opera St Petersburg.He made guest appearances in Paris.His career ended due to deafness .He sang Sadko in “Sadko” by Rimsky-Korsakoff at the premiere at St. Petersburg, 26 January 1901.

as Don Jose & Carmen in "Carmen" by Bizet 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). MEDEA MEI FIGNER (1859–1952), Italian mezzo-soprano, later soprano Studied with Bianchi, Carozzi-Zucchi and Panofka. Sang the mezzo-soprano role in Verdi's Requiem at the young age of 16, made her operatic debut soon afterwards, as Azucena in Il trovatore, at Sinaluga.Her repertoire then included Ulrica in Un ballo in maschera, Amneris in Aida, Gertrude in Ambroise Thomas's Hamlet, Leonora in Donizetti's La favorite, and the title role in Bizet's Carmen. She latter added soprano roles such as Charlotte in Massenet's Werther, and Margherita in Boito's Mefistofele.