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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.

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 Valentin in "Faust" by Gounod 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 Amonasro 'Aida" by Verdi 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 Mignon 'Mignon" by Thomas 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 Manon "Manon" Massenet 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 Euridice "Orfeo et Euridice" by Gluck 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 Thais "Thais" Massenet 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 Marguerite "Faust" Gounod" 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 Iphigénie in " Iphigénie en Tauride " by Gluck ROSE CARON (Rose Lucile MEUNIER) 1857 -1930 French Soprano Studied at the Paris Conservatoire, but was not taken on at the Paris Opera; her husband, an accompanist, encouraged her to take lessons from Marie Sasse who helped her to get engagements at the opera in Brussels (having made her concert debut in 1880) First operatic appearance in Brussels was as Alice in Meyerbeer's" Robert le Diable", followed by Salomé in Massenet's Hérodiade and Marguerite in Gounod's Faust; noticed by Ernest Reyer, he chose her to create the role of Brunehild in Sigurd in 1884 (and the Paris premiere in 1885). The title roles in Benjamin Godard's Jocelyn (1888) and Reyer's Salammbo (1890) and were also created by Caron in Brussels .In 1885 she began singing at the Paris Opera, Also other roles "LOHENGRIN "(Elsa), "SALAMMBÔ" Salammbô), "Die WALKÜRE" (Sieglinde), "DJELMA "(Djelma), "HELLE " (Helle) and OTHELLO (Desdemona), LA JUIVE (Rachel), LE CID (Chimène), LES HUGUENOTS (Valentine), HENRY VIII (Catherine), FAUST (Marguerite), LE FREISCHÜTZ (Agathe), in 1895 in TANNHÄUSER (Elisabeth), in 1896 in DON JUAN (Doña Anna) and the APOTHEOSIS of BEETHOVEN in 1886 in 1909 Fourth Symphony).

as Iphigénie in " Iphigénie en Tauride " by Gluck ROSE CARON (Rose Lucile MEUNIER) 1857 -1930 French Soprano Studied at the Paris Conservatoire, but was not taken on at the Paris Opera; her husband, an accompanist, encouraged her to take lessons from Marie Sasse who helped her to get engagements at the opera in Brussels (having made her concert debut in 1880) First operatic appearance in Brussels was as Alice in Meyerbeer's" Robert le Diable", followed by Salomé in Massenet's Hérodiade and Marguerite in Gounod's Faust; noticed by Ernest Reyer, he chose her to create the role of Brunehild in Sigurd in 1884 (and the Paris premiere in 1885). The title roles in Benjamin Godard's Jocelyn (1888) and Reyer's Salammbo (1890) and were also created by Caron in Brussels .In 1885 she began singing at the Paris Opera, Also other roles "LOHENGRIN "(Elsa), "SALAMMBÔ" Salammbô), "Die WALKÜRE" (Sieglinde), "DJELMA "(Djelma), "HELLE " (Helle) and OTHELLO (Desdemona), LA JUIVE (Rachel), LE CID (Chimène), LES HUGUENOTS (Valentine), HENRY VIII (Catherine), FAUST (Marguerite), LE FREISCHÜTZ (Agathe), in 1895 in TANNHÄUSER (Elisabeth), in 1896 in DON JUAN (Doña Anna) and the APOTHEOSIS of BEETHOVEN in 1886 in 1909 Fourth Symphony).

as Salammbo 'Salammbo " by Reyer CREATOR 1890 Brussells ROSE CARON (Rose Lucile MEUNIER) 1857 -1930 French Soprano Studied at the Paris Conservatoire, but was not taken on at the Paris Opera; her husband, an accompanist, encouraged her to take lessons from Marie Sasse who helped her to get engagements at the opera in Brussels (having made her concert debut in 1880) First operatic appearance in Brussels was as Alice in Meyerbeer's" Robert le Diable", followed by Salomé in Massenet's Hérodiade and Marguerite in Gounod's Faust; noticed by Ernest Reyer, he chose her to create the role of Brunehild in Sigurd in 1884 (and the Paris premiere in 1885). The title roles in Benjamin Godard's Jocelyn (1888) and Reyer's Salammbo (1890) and were also created by Caron in Brussels .In 1885 she began singing at the Paris Opera, Also other roles "LOHENGRIN "(Elsa), "SALAMMBÔ" Salammbô), "Die WALKÜRE" (Sieglinde), "DJELMA "(Djelma), "HELLE " (Helle) and OTHELLO (Desdemona), LA JUIVE (Rachel), LE CID (Chimène), LES HUGUENOTS (Valentine), HENRY VIII (Catherine), FAUST (Marguerite), LE FREISCHÜTZ (Agathe), in 1895 in TANNHÄUSER (Elisabeth), in 1896 in DON JUAN (Doña Anna) and the APOTHEOSIS of BEETHOVEN in 1886 in 1909 Fourth Symphony).

as Salammbo 'Salammbo " by Reyer CREATOR 1890 Brussells ROSE CARON (Rose Lucile MEUNIER) 1857 -1930 French Soprano Studied at the Paris Conservatoire, but was not taken on at the Paris Opera; her husband, an accompanist, encouraged her to take lessons from Marie Sasse who helped her to get engagements at the opera in Brussels (having made her concert debut in 1880) First operatic appearance in Brussels was as Alice in Meyerbeer's" Robert le Diable", followed by Salomé in Massenet's Hérodiade and Marguerite in Gounod's Faust; noticed by Ernest Reyer, he chose her to create the role of Brunehild in Sigurd in 1884 (and the Paris premiere in 1885). The title roles in Benjamin Godard's Jocelyn (1888) and Reyer's Salammbo (1890) and were also created by Caron in Brussels .In 1885 she began singing at the Paris Opera, Also other roles "LOHENGRIN "(Elsa), "SALAMMBÔ" Salammbô), "Die WALKÜRE" (Sieglinde), "DJELMA "(Djelma), "HELLE " (Helle) and OTHELLO (Desdemona), LA JUIVE (Rachel), LE CID (Chimène), LES HUGUENOTS (Valentine), HENRY VIII (Catherine), FAUST (Marguerite), LE FREISCHÜTZ (Agathe), in 1895 in TANNHÄUSER (Elisabeth), in 1896 in DON JUAN (Doña Anna) and the APOTHEOSIS of BEETHOVEN in 1886 in 1909 Fourth Symphony).

ROSE CARON (Rose Lucile MEUNIER) 1857 -1930 French Soprano Studied at the Paris Conservatoire, but was not taken on at the Paris Opera; her husband, an accompanist, encouraged her to take lessons from Marie Sasse who helped her to get engagements at the opera in Brussels (having made her concert debut in 1880) First operatic appearance in Brussels was as Alice in Meyerbeer's" Robert le Diable", followed by Salomé in Massenet's Hérodiade and Marguerite in Gounod's Faust; noticed by Ernest Reyer, he chose her to create the role of Brunehild in Sigurd in 1884 (and the Paris premiere in 1885). The title roles in Benjamin Godard's Jocelyn (1888) and Reyer's Salammbo (1890) and were also created by Caron in Brussels .In 1885 she began singing at the Paris Opera, Also other roles "LOHENGRIN "(Elsa), "SALAMMBÔ" Salammbô), "Die WALKÜRE" (Sieglinde), "DJELMA "(Djelma), "HELLE " (Helle) and OTHELLO (Desdemona), LA JUIVE (Rachel), LE CID (Chimène), LES HUGUENOTS (Valentine), HENRY VIII (Catherine), FAUST (Marguerite), LE FREISCHÜTZ (Agathe), in 1895 in TANNHÄUSER (Elisabeth), in 1896 in DON JUAN (Doña Anna) and the APOTHEOSIS of BEETHOVEN in 1886 in 1909 Fourth Symphony).

ROSE CARON (Rose Lucile MEUNIER) 1857 -1930 French Soprano Studied at the Paris Conservatoire, but was not taken on at the Paris Opera; her husband, an accompanist, encouraged her to take lessons from Marie Sasse who helped her to get engagements at the opera in Brussels (having made her concert debut in 1880) First operatic appearance in Brussels was as Alice in Meyerbeer's" Robert le Diable", followed by Salomé in Massenet's Hérodiade and Marguerite in Gounod's Faust; noticed by Ernest Reyer, he chose her to create the role of Brunehild in Sigurd in 1884 (and the Paris premiere in 1885). The title roles in Benjamin Godard's Jocelyn (1888) and Reyer's Salammbo (1890) and were also created by Caron in Brussels .In 1885 she began singing at the Paris Opera, Also other roles "LOHENGRIN "(Elsa), "SALAMMBÔ" Salammbô), "Die WALKÜRE" (Sieglinde), "DJELMA "(Djelma), "HELLE " (Helle) and OTHELLO (Desdemona), LA JUIVE (Rachel), LE CID (Chimène), LES HUGUENOTS (Valentine), HENRY VIII (Catherine), FAUST (Marguerite), LE FREISCHÜTZ (Agathe), in 1895 in TANNHÄUSER (Elisabeth), in 1896 in DON JUAN (Doña Anna) and the APOTHEOSIS of BEETHOVEN in 1886 in 1909 Fourth Symphony).

ROSE CARON (Rose Lucile MEUNIER) 1857 -1930 French Soprano Studied at the Paris Conservatoire, but was not taken on at the Paris Opera; her husband, an accompanist, encouraged her to take lessons from Marie Sasse who helped her to get engagements at the opera in Brussels (having made her concert debut in 1880) First operatic appearance in Brussels was as Alice in Meyerbeer's" Robert le Diable", followed by Salomé in Massenet's Hérodiade and Marguerite in Gounod's Faust; noticed by Ernest Reyer, he chose her to create the role of Brunehild in Sigurd in 1884 (and the Paris premiere in 1885). The title roles in Benjamin Godard's Jocelyn (1888) and Reyer's Salammbo (1890) and were also created by Caron in Brussels .In 1885 she began singing at the Paris Opera, Also other roles "LOHENGRIN "(Elsa), "SALAMMBÔ" Salammbô), "Die WALKÜRE" (Sieglinde), "DJELMA "(Djelma), "HELLE " (Helle) and OTHELLO (Desdemona), LA JUIVE (Rachel), LE CID (Chimène), LES HUGUENOTS (Valentine), HENRY VIII (Catherine), FAUST (Marguerite), LE FREISCHÜTZ (Agathe), in 1895 in TANNHÄUSER (Elisabeth), in 1896 in DON JUAN (Doña Anna) and the APOTHEOSIS of BEETHOVEN in 1886 in 1909 Fourth Symphony).

Gemma Bellincioni (Matilda Cesira) 1864 – 1950 Italian soprano Both her parents were singers, and after receiving training from them, she made her operatic debut in “ Il Segreto della Duchessa” by Dell'Orefice at Naples in 1880. She went on to sing extensively in Europe and South America during the next two decades, although she would appear only once in London—at the Royal Opera House, Covent Garden—in 1895. Despite her fame, she never performed at America's foremost operatic venue, the New York Metropolitan Opera.On 17 May 1890, she created the role of Santuzza in Pietro Mascagni's “Cavalleria Rusticana” when it premiered in Rome. With her common-law spouse Roberto Stagno as Turiddu. She starred in the Italian premiere of Richard Strauss' Salome. She announced her retirement from the stage in 1911 to teach singing, Her roles included Violetta “ La traviata” Verdi , Dinorah “Dinorah” Meyerbeer, Amina ‘La Sonambulla” Bellini , Desdemona ‘Othello” Rossini, Elvira ‘I Puritani” Bellini , Carmen ‘Carmen” Bizet and Lucia ‘Lucia di Lammemoor” by Donizetti

Gemma Bellincioni (Matilda Cesira) 1864 – 1950 Italian soprano Both her parents were singers, and after receiving training from them, she made her operatic debut in “ Il Segreto della Duchessa” by Dell'Orefice at Naples in 1880. She went on to sing extensively in Europe and South America during the next two decades, although she would appear only once in London—at the Royal Opera House, Covent Garden—in 1895. Despite her fame, she never performed at America's foremost operatic venue, the New York Metropolitan Opera.On 17 May 1890, she created the role of Santuzza in Pietro Mascagni's “Cavalleria Rusticana” when it premiered in Rome. With her common-law spouse Roberto Stagno as Turiddu. She starred in the Italian premiere of Richard Strauss' Salome. She announced her retirement from the stage in 1911 to teach singing, Her roles included Violetta “ La traviata” Verdi , Dinorah “Dinorah” Meyerbeer, Amina ‘La Sonambulla” Bellini , Desdemona ‘Othello” Rossini, Elvira ‘I Puritani” Bellini , Carmen ‘Carmen” Bizet and Lucia ‘Lucia di Lammemoor” by Donizetti