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Mademoiselle MONROSE (Eugénie Chollet ) 1819-1893 French Soprano She studied voice with Gilbert Duprez Her debut at the Opéra-Comique was on 24 September 1859 in Ambroise Thomas's Le songe d'une nuit d'été (with Giacomo Meyerbeer in the audience), and she created the role of La Marquise de Villa-Bianca in Thomas's Le roman d'Elvire, premiered on 4 February 1860 by the Opéra-Comique at the second Salle Favart in Paris. She also sang Dinorah in a revival of Giacomo Meyerbeer's Le pardon de Ploërmel, Another creation was Olga in Daniel Auber's La circassienne, premiered on 2 February 1861 by the Opéra-Comique at the second Salle Favart, Another role was La Marquise de Richmond in the Opéra-Comique's revival of Albert Grisar's Le joaillier de Saint-James on 17 February 1862. She also created the role of Héro in Hector Berlioz's Béatrice et Bénédict on 9 August 1862 at the Theater der Stadt, Baden-Baden . She was later associated with the Théâtre du Parc in Brussels and the Théâtre des Galeries, Brussels. She retired from singing c. 1880, receiving a pension of 500 francs in 1883 (at age 65).

as Carmen in "Carmen" by Bizet Mariya Slavina 1858–1951 Russian Mezzo Soprano. Soloist at the Mariinsky Theatre in 1879-1917 (debut as Amneris in “Aida”). Created Hanna in "the may night" by Rimsky-Korsakov (1880) at the Marinsky, Princess in "The Enchantress" by Tchaikovsky (1887) at St Petersburg , Countess in 'Queen of Spades" Tchaikovsky (1890) at St Petersburg ,Clytemnestra in 'Oresteia" Taneyev (1895) at the Marinsky, First performance on the Russian stage as Carmen 1885 , Fricke in 'Valkyrie" 1900 , Clytemnestra in 'Electra" . Among her best roles Olga 'Eugene Onegin" , Seibel in 'Faust" , Fides in "The Prophet" After her marriage she was known as Baroness Mariia Aleksandrovna Medem

Mariya Slavina 1858–1951 Russian Mezzo Soprano. Soloist at the Mariinsky Theatre in 1879-1917 (debut as Amneris in “Aida”). Created Hanna in "the may night" by Rimsky-Korsakov (1880) at the Marinsky, Princess in "The Enchantress" by Tchaikovsky (1887) at St Petersburg , Countess in 'Queen of Spades" Tchaikovsky (1890) at St Petersburg ,Clytemnestra in 'Oresteia" Taneyev (1895) at the Marinsky, First performance on the Russian stage as Carmen 1885 , Fricke in 'Valkyrie" 1900 , Clytemnestra in 'Electra" . Among her best roles Olga 'Eugene Onegin" , Seibel in 'Faust" , Fides in "The Prophet" After her marriage she was known as Baroness Mariia Aleksandrovna Medem

Mariya Slavina 1858–1951 Russian Mezzo Soprano. After studying at the Saint Petersburg Theatrical School and Conservatory, she performed with the Imperial Opera and the Mariinsky Theatre from 1877 to 1917, and was a professor a the Petrograd Conservatory from 1919 to 1920. (debut as Amneris in “Aida”). Created Hanna in "the may night" by Rimsky-Korsakov (1880) at the Marinsky, Princess in "The Enchantress" by Tchaikovsky (1887) at St Petersburg , Countess in 'Queen of Spades" Tchaikovsky (1890) at St Petersburg ,Clytemnestra in 'Oresteia" Taneyev (1895) at the Marinsky, First performance on the Russian stage as Carmen 1885 , Fricke in 'Valkyrie" 1900 , Clytemnestra in 'Electra" . Among her best roles Olga 'Eugene Onegin" , Seibel in 'Faust" , Fides in "The Prophet" After her marriage she was known as Baroness Mariia Aleksandrovna Medem

Piotr Sergeevich Olenin 1871-1922 Russian Baritone He studied medicine at Moscow University (graduated in 1895) and singing in Nikolayev,with Leonova Krzyzanowski and Kommissarzhevsky ,, where he performed with Sobinov in a amateur performance "Pagliacci." in 1895 he went to Italy to perfect his voice study Petz .Debut In 1897, as Tonio ("Pagliacci" ) in Genoa , Valentine ( "Faust" ) in La Spezia ,In 1898 he made his Bolshoi debut as Prince Igor ,also in 1898 he made his Moscow debut with Mamontov Private Opera as Onegin in “Eugene Onegin “ by Tchaikovsky . In 1900 he sang in the Private Opera (Theatre Solodovnikova ). In 1900-03 and 1915-18 he was soloist of the Bolshoi Theatre, in 1904-15 – he sang in Moscow with Zimin’s Opera Company, 1907-15 –he was chief director of Zimin opera ; in 1918, he moved from the Bolshoi Theater in the Mariinsky , and moved with his family from Moscow to Petrograd .Also performed with great success in operettas

Maria Michalova Guschina 1873-19?? Russian Soprano

as Chrysa in "Neron" by Rubinstein Maria Michalova Guschina 1873-19?? Russian Soprano

Mikhail Karakash 1887-1937 Russian Baritone Studied at Conservatoire St Petersburgh with Natayla Iretzksaya and Stanislaw Gabel. Debut 1911 as Onegin in “Eugene Onegin” by Tchaikovsky at the Marinsky after which he continued his studies in Milan with Vittorio Vanza and Nicolai. He toured throughout Russia and sang in Spain , Italy , Paris and at Belgrade.He retired in 1926 and taught voice and became the Director of the Bucharest Opera. His roles included Figaro in “Barber of Saville” by Rossini, Nevers in “Le Huguenots” by Meyerbeer , Sharpless in “Madam Butterfly” by Puccini and Escamillo in ‘Carmen” by Bizet.

Mikhail Karakash 1887-1937 Russian Baritone Studied at Conservatoire St Petersburgh with Natayla Iretzksaya and Stanislaw Gabel. Debut 1911 as Onegin in “Eugene Onegin” by Tchaikovsky at the Marinsky after which he continued his studies in Milan with Vittorio Vanza and Nicolai. He toured throughout Russia and sang in Spain , Italy , Paris and at Belgrade.He retired in 1926 and taught voice and became the Director of the Bucharest Opera. His roles included Figaro in “Barber of Saville” by Rossini, Nevers in “Le Huguenots” by Meyerbeer , Sharpless in “Madam Butterfly” by Puccini and Escamillo in ‘Carmen” by Bizet.

as Nero in "Nero" by Rubinstein Lev Klementiev (Lev Mikhalovich Klementiev) 1868-1910 Russian Tenor Studied in St Petersburgh with Kijijnovsky and with Olivieri in Paris And Petz in Milan,He began in operetta in Russiaand made his opera debut at the Bolshoi as Herman in ‘Queen of Spades” by Tchaikovsky in 1892 he remained at the Bolshoi until 1902 and appeared at other theatre throughout Russia.He also appeared in Paris , United States and Sofia.He created The Gypsy in “Aleko” by Rubenstein in 1893 , Rodolf in “Angelo” by Kui 1901 and Ruzov in “Potemkins Feast” by Ivanov in 1902

Lev Klementiev (Lev Mikhalovich Klementiev) 1868-1910 Russian Tenor Studied in St Petersburgh with Kijijnovsky and with Olivieri in Paris And Petz in Milan,He began in operetta in Russiaand made his opera debut at the Bolshoi as Herman in ‘Queen of Spades” by Tchaikovsky in 1892 he remained at the Bolshoi until 1902 and appeared at other theatre throughout Russia.He also appeared in Paris , United States and Sofia.He created The Gypsy in “Aleko” by Rubenstein in 1893 , Rodolf in “Angelo” by Kui 1901 and Ruzov in “Potemkins Feast” by Ivanov in 1902

Anna Makletskaya 1880-1951 Russian Mezzo

as Tili in " La Lepreuse" by Lazzari CREATOR Opera Comique 1912 MARIE DELNA (Marie Ledant) 1875 -932 French contralto Studied with Rosine Laborde. In June 1892, she made a debut, as Didon in Les Troyens à Carthage. Massenet chose her as his first Charlotte in Werther in Paris, in January 1893, and later that year she created Marceline in Bruneau’s L'attaque du Moulin. She created Marion in Godard's La Vivandière 1895 at the Opéra-Comique In 1896, Delna sang Orphée in the first Opéra-Comique production of the Berlioz-Viardot version of Gluck’s opera, Delna took part in the first Covent Garden performance of L’attaque du moulin in 1894. Her Italian debut was in 1897 in Milan. In May 1898 she moved for a short while from the Opéra-Comique for the Paris Opéra, where she was Fidès in Le prophète and returned to Berlioz as Cassandre in the Paris premiere of La prise de Troie. She also sang La favorite and Samson et Dalila, as well as creating Ginèvra in Victorin de Joncières's Lancelot. 1900 she Carmen for the first time, April 1901 saw her creating Marianne in Bruneau’s L’Ouragan. And she portrayed Fée Grignotte (the witch) in Hänsel und Gretel. In 1902 she sang Margaret in the revival of Le roi d'Ys.In 1903, while taking part as Carmen at the Théâtre de la Monnaie in Brussels, she married and retired from the stage. She later resumed her career with several concerts then productions at the Théâtre-Lyrique de la Gaîté as La Vivandière, Orphée and in L'attaque du moulin. The following season she sang Fidès and Léonore (La favorite). Delna made her Metropolitan Opera début as Orfeo conducted by Toscanini, but other appearances were curtailed for various reasons. The next stage of her career included , the creation of Tilli in La Lépreuse by Lazzari (1912), During her career Delna performed at major houses such as La Monnaie, Covent Garden, La Scala, Teatro Lirico Milan, Metropolitan New York, Opera de Monte-Carlo and the Teatro Regio (Parma). During the First World War she sang widely in concerts for troops, then in November 1925 appeared in the premiere of Maurin des Maures by Léo Puget (Miss Rabasse) at the Folies-Dramatiques.

Vanni Marcoux (Jean Emile Diogene Marcoux) 1877-1962 French Bass-baritone Studed in Turin with Collini.Debut 1894 as Sparafucille in “Rigoletto” by Verdi 1894 at Turin.After further studies with Frederic Boyer he made his first his operatic debut as Frer Laurent in “Romeo et Juliette” by Gounod at Bayonne in 1899.He toured the provincial theatres in France.He sang Basilio in ‘Barber of Saville” by Rossin at Covent Garden London in 1905 , at the Monnaie Brussells as Bertram “Robert le Diable” by Meyerbeer in 1906.Paris opera debut as Mephisto in “Faust” by Gounod in 1908 , La Scala as old Hebrew “ Samson et Delilah” by Saint-Saens in 1910. Sang at the Boston Opera Goulard in “Pelleas et Melisande” by Debussy 1912 , Chicago opera 1913,,He created Guido in “monna Vanna: by Fevrier in 1909 , Panurge in “Panurge” by Massenet 1913 , Arlequin in “l’Arlequin” by d’Ollone 1924 , Bernier in “La Femme Nue” by Fevrier 1929 , His many roles included Don Quichotte in “Don Quichotte” by Massenet , Phillipe II in “Don Carlos” by Verdi , Iago in “Otello” by Verdi , Flastaff in ‘Falstaff” by Verdi and Rafael in “ I gioielli della Madonna “ by Wolf-Ferrari

ANGELO MASINI 1844-1926 Italian tenor. Masini began studying voice with G. Minguzzi in 1862. In 1867 he made his debut in Modena, and later performed in Mantua, Bologna, Venice, and Palermo. He toured many countries (appearing in Russia in 1877). From 1879 to 1903, Masini sang in the Italian Opera during its guest tours in St. Petersburg. He performed lyrical and dramatic parts including Radames in Aïda by Verdi, Almaviva in The Barber of Seville by Rossini, Fernando in La Favorita and Nemorino in L’Elisir d’Amore, both by Donizetti, and Turiddu in Cavalleria Rusticana by Mascagni. One of the outstanding Italian artists of the 19th century, he continued the tradition of the bel canto school. He left the stage in 1905.

ANGELO MASINI 1844-1926 Italian tenor. Masini began studying voice with G. Minguzzi in 1862. In 1867 he made his debut in Modena, and later performed in Mantua, Bologna, Venice, and Palermo. He toured many countries (appearing in Russia in 1877). From 1879 to 1903, Masini sang in the Italian Opera during its guest tours in St. Petersburg. He performed lyrical and dramatic parts including Radames in Aïda by Verdi, Almaviva in The Barber of Seville by Rossini, Fernando in La Favorita and Nemorino in L’Elisir d’Amore, both by Donizetti, and Turiddu in Cavalleria Rusticana by Mascagni. One of the outstanding Italian artists of the 19th century, he continued the tradition of the bel canto school. He left the stage in 1905.

ANGELO MASINI 1844-1926 Italian tenor. Masini began studying voice with G. Minguzzi in 1862. In 1867 he made his debut in Modena, and later performed in Mantua, Bologna, Venice, and Palermo. He toured many countries (appearing in Russia in 1877). From 1879 to 1903, Masini sang in the Italian Opera during its guest tours in St. Petersburg. He performed lyrical and dramatic parts including Radames in Aïda by Verdi, Almaviva in The Barber of Seville by Rossini, Fernando in La Favorita and Nemorino in L’Elisir d’Amore, both by Donizetti, and Turiddu in Cavalleria Rusticana by Mascagni. One of the outstanding Italian artists of the 19th century, he continued the tradition of the bel canto school. He left the stage in 1905. Mattia Battistini 1856 – 1928 Italian baritone. Battistini dropped out of law school to study singing, first with Emilio Terziani and then with Venceslao Persichini. Battistini worked with conductor Luigi Mancinelli and the composer Augusto Rotoli, and he consulted with baritone Antonio Cotogni, in an effort to refine his technique. Début at the Teatro Argentina, Rome, as Alfonso in “ La favorite” by Donizetti 1878 1883, he undertook his first visit to the Royal Opera House at London's Covent Garden, where he appeared as Riccardo in “ I Puritani “ by Bellini . . Debut at the Teatro San Carlo in Naples in 1886 . From 1892 onwards, Battistini established himself at Russia's two imperial theatres in Saint Petersburg and Moscow: the Mariinsky and the Bolshoi . Returned London Covent Garden for appearances in 1905–1906,He sang at Warsaw, Saint Petersburg, Moscow ,Odessa , Milan, Lisbon, Barcelona, Madrid, Berlin, Vienna, Prague, Budapest and Paris. Principal rôles included Don Carlo “ La forza del destino” Di Luna “ Il trovatore” Rigoletto “, Rigoletto,”, Amonasro “Aïda”, Don Carlo “Ernani” all by Verdi, Gonzales “il Guarany” Gomes, Riccardo “ I Puritani” Bellini, and Ashton “Lucia di Lammermoor” by Donizetti.

as Don Giovanni in "Don Giovanni" by Mozart Mattia Battistini 1856 – 1928 Italian baritone. Battistini dropped out of law school to study singing, first with Emilio Terziani and then with Venceslao Persichini. Battistini worked with conductor Luigi Mancinelli and the composer Augusto Rotoli, and he consulted with baritone Antonio Cotogni, in an effort to refine his technique. Début at the Teatro Argentina, Rome, as Alfonso in “ La favorite” by Donizetti 1878 1883, he undertook his first visit to the Royal Opera House at London's Covent Garden, where he appeared as Riccardo in “ I Puritani “ by Bellini . . Debut at the Teatro San Carlo in Naples in 1886 . From 1892 onwards, Battistini established himself at Russia's two imperial theatres in Saint Petersburg and Moscow: the Mariinsky and the Bolshoi . Returned London Covent Garden for appearances in 1905–1906,He sang at Warsaw, Saint Petersburg, Moscow ,Odessa , Milan, Lisbon, Barcelona, Madrid, Berlin, Vienna, Prague, Budapest and Paris. Principal rôles included Don Carlo “ La forza del destino” Di Luna “ Il trovatore” Rigoletto “, Rigoletto,”, Amonasro “Aïda”, Don Carlo “Ernani” all by Verdi, Gonzales “il Guarany” Gomes, Riccardo “ I Puritani” Bellini, and Ashton “Lucia di Lammermoor” by Donizetti.