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as Marion in "La Vivandiere" by Godard CREATOR opera Comique 1895 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.

as Marion in "La Vivandiere" by Godard CREATOR opera Comique 1895 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.

as Walther in "Die Meistersinger von Nürnberg" By Wagner Heinrich Knote 1870-1953 German Tenor Studied in Munich with Kirschner.Debut 1892 in “Die Waffenschmied” by Lortzing and Munich remained his base for the rest of his career.He performed at Covent Garden London in 1901 and again in 1903,1907-08, 1913 singing Wagner roles.His American debut in 1904 at the Metropolitan opera New York was as Walther in “Die Meistersangers” by Wagner and he remained principally as a Wagner tenor for three seasons.He sang at Dresden, Hamburg and other major cities throughout Germany and made guest appearances in Europe,His roles were mainly Wagner , Tristan , Siefried,Tannhauser , Erik, Walther and Lohengrin

as Lohengrin in "Lohengrin" by Wagner Heinrich Knote 1870-1953 German Tenor Studied in Munich with Kirschner.Debut 1892 in “Die Waffenschmied” by Lortzing and Munich remained his base for the rest of his career.He performed at Covent Garden London in 1901 and again in 1903,1907-08, 1913 singing Wagner roles.His American debut in 1904 at the Metropolitan opera New York was as Walther in “Die Meistersangers” by Wagner and he remained principally as a Wagner tenor for three seasons.He sang at Dresden, Hamburg and other major cities throughout Germany and made guest appearances in Europe,His roles were mainly Wagner , Tristan , Siefried,Tannhauser , Erik, Walther and Lohengrin

with Joy Clara Rumford 1901-1976 Robert Henry Kennerley Rumford 1872-1957 English Baritone Studied with Sbriglia and Jacques Bouhy in Paris and London with Sir George Henschel . he took further study with Blume, Lierhammer and Jean de Reszke.Professional debut was at St James Hall in London in 1896.He sang at the Birmingham and Handel Festivals . He performed in concert and Oratario And made no appearances on the opera stage . Later in his career he frequently appeared in recitals together with his wife, the contralto Clara Butt Clara Butt 1872-1936 English Contralto Studied with Daniel Rootham in Bristol and John Hnery Blower at The Royal Academy of Music and also took studied in Paris with Jacques Bouhy ,and Etelka Gerster in Berlin and Italy.professional debut at Royal Albert Hall in “the Golden Legend” by Sullivan in 1895.She performed mostly in concert and Oratario. Her only Covent Garden performace was as Orfeo in “Orfeo et Euridice” by Gluck in 1920. Her voice, both powerful and deep, impressed contemporary composers such as Saint-Saëns and Elgar; the latter composed a song-cycle with her in mind as soloist. Camille Saint-Saëns heard her, and wanted her to study his opera Dalila, but at the time the representation of biblical subjects on the British stage was forbidden, and nothing came of it.Later in her career she frequently appeared in recitals together with her husband, the baritone Kennerley Rumford

Robert Henry Kennerley Rumford 1872-1957 English Baritone Studied with Sbriglia and Jacques Bouhy in Paris and London with Sir George Henschel . he took further study with Blume, Lierhammer and Jean de Reszke.Professional debut was at St James Hall in London in 1896.He sang at the Birmingham and Handel Festivals . He performed in concert and Oratario And made no appearances on the opera stage . Later in his career he frequently appeared in recitals together with his wife, the contralto Clara Butt Clara Butt 1872-1936 English Contralto Studied with Daniel Rootham in Bristol and John Hnery Blower at The Royal Academy of Music and also took studied in Paris with Jacques Bouhy ,and Etelka Gerster in Berlin and Italy.professional debut at Royal Albert Hall in “the Golden Legend” by Sullivan in 1895.She performed mostly in concert and Oratario. Her only Covent Garden performace was as Orfeo in “Orfeo et Euridice” by Gluck in 1920. Her voice, both powerful and deep, impressed contemporary composers such as Saint-Saëns and Elgar; the latter composed a song-cycle with her in mind as soloist. Camille Saint-Saëns heard her, and wanted her to study his opera Dalila, but at the time the representation of biblical subjects on the British stage was forbidden, and nothing came of it.Later in her career she frequently appeared in recitals together with her husband, the baritone Kennerley Rumford

with Joy Clara Rumford 1901-1976 & Roy Kennerley Rumford 1904-1923 Robert Henry Kennerley Rumford 1872-1957 English Baritone Studied with Sbriglia and Jacques Bouhy in Paris and London with Sir George Henschel . he took further study with Blume, Lierhammer and Jean de Reszke.Professional debut was at St James Hall in London in 1896.He sang at the Birmingham and Handel Festivals . He performed in concert and Oratario And made no appearances on the opera stage . Later in his career he frequently appeared in recitals together with his wife, the contralto Clara Butt

Clara Butt 1872-1936 English Contralto Studied with Daniel Rootham in Bristol and John Hnery Blower at The Royal Academy of Music and also took studied in Paris with Jacques Bouhy ,and Etelka Gerster in Berlin and Italy.professional debut at Royal Albert Hall in “the Golden Legend” by Sullivan in 1895.She performed mostly in concert and Oratario. Her only Covent Garden performace was as Orfeo in “Orfeo et Euridice” by Gluck in 1920. Her voice, both powerful and deep, impressed contemporary composers such as Saint-Saëns and Elgar; the latter composed a song-cycle with her in mind as soloist. Camille Saint-Saëns heard her, and wanted her to study his opera Dalila, but at the time the representation of biblical subjects on the British stage was forbidden, and nothing came of it.Later in her career she frequently appeared in recitals together with her husband, the baritone Kennerley Rumford

Clara Butt 1872-1936 English Contralto Studied with Daniel Rootham in Bristol and John Hnery Blower at The Royal Academy of Music and also took studied in Paris with Jacques Bouhy ,and Etelka Gerster in Berlin and Italy.professional debut at Royal Albert Hall in “the Golden Legend” by Sullivan in 1895.She performed mostly in concert and Oratario. Her only Covent Garden performace was as Orfeo in “Orfeo et Euridice” by Gluck in 1920. Her voice, both powerful and deep, impressed contemporary composers such as Saint-Saëns and Elgar; the latter composed a song-cycle with her in mind as soloist. Camille Saint-Saëns heard her, and wanted her to study his opera Dalila, but at the time the representation of biblical subjects on the British stage was forbidden, and nothing came of it.Later in her career she frequently appeared in recitals together with her husband, the baritone Kennerley Rumford

Clara Butt 1872-1936 English Contralto Studied with Daniel Rootham in Bristol and John Hnery Blower at The Royal Academy of Music and also took studied in Paris with Jacques Bouhy ,and Etelka Gerster in Berlin and Italy.professional debut at Royal Albert Hall in “the Golden Legend” by Sullivan in 1895.She performed mostly in concert and Oratario. Her only Covent Garden performace was as Orfeo in “Orfeo et Euridice” by Gluck in 1920. Her voice, both powerful and deep, impressed contemporary composers such as Saint-Saëns and Elgar; the latter composed a song-cycle with her in mind as soloist. Camille Saint-Saëns heard her, and wanted her to study his opera Dalila, but at the time the representation of biblical subjects on the British stage was forbidden, and nothing came of it.Later in her career she frequently appeared in recitals together with her husband, the baritone Kennerley Rumford

Clara Butt 1872-1936 English Contralto Studied with Daniel Rootham in Bristol and John Hnery Blower at The Royal Academy of Music and also took studied in Paris with Jacques Bouhy ,and Etelka Gerster in Berlin and Italy.professional debut at Royal Albert Hall in “the Golden Legend” by Sullivan in 1895.She performed mostly in concert and Oratario. Her only Covent Garden performace was as Orfeo in “Orfeo et Euridice” by Gluck in 1920. Her voice, both powerful and deep, impressed contemporary composers such as Saint-Saëns and Elgar; the latter composed a song-cycle with her in mind as soloist. Camille Saint-Saëns heard her, and wanted her to study his opera Dalila, but at the time the representation of biblical subjects on the British stage was forbidden, and nothing came of it.Later in her career she frequently appeared in recitals together with her husband, the baritone Kennerley Rumford

Ada Crossley 1871-1929 Australian Contralto Studied Melbourne with Fanny Simonsen , First stage appearance 1889 in Melbourne concert . Went to London for further study with Sir Charles Santley and in Paris with mathilde Marchesi. Concert and Oratorio singer never appeared in opera

Ada Crossley 1871-1929 Australian Contralto Studied Melbourne with Fanny Simonsen , First stage appearance 1889 in Melbourne concert . Went to London for further study with Sir Charles Santley and in Paris with mathilde Marchesi. Concert and Oratorio singer never appeared in opera

Ada Crossley 1871-1929 Australian Contralto Studied Melbourne with Fanny Simonsen , First stage appearance 1889 in Melbourne concert . Went to London for further study with Sir Charles Santley and in Paris with mathilde Marchesi. Concert and Oratorio singer never appeared in opera

Ada Crossley 1871-1929 Australian Contralto Studied Melbourne with Fanny Simonsen , First stage appearance 1889 in Melbourne concert . Went to London for further study with Sir Charles Santley and in Paris with mathilde Marchesi. Concert and Oratorio singer never appeared in opera

Lina Cavalieri 1874-1944 Italian soprano Worked as a café singer before taking voice lessons in Paris.Debut as Nedda in “Pagliacci” by Leoncavallo in Lisbon in 1900,She was singing at the Monte Carlo Opera in 1904 and at the Sarah Bernhardt theatre in Paris in 1905 & sang Fedora with Caruso in “Fedora” by Giordano,Made her American debut at the Metropolitan Opera New York in 1906 and remained for two seasons , From 1909-10 she was at the Manhattan Opera after which she returned to Europe in 1912.She created L’Ensoleilland in Cherubin” by Massenet in 1905 .She also sang in Russia and the Ukraine . Her third husband was the tenor Lucien Muratore.Her roles included Manon “Manon Lescaut” , Tosca “Tosca” , Mimi ‘La Boheme” l by Puccini, Thais “Thais”, Salome “Herodide” by Massenet , Violetta ‘La Traviata” , Gilda ‘Rigoletto” by Verdi and both Elena and Margarita ‘Mefistofele” by Boito

Lina Cavalieri 1874-1944 Italian soprano Worked as a café singer before taking voice lessons in Paris.Debut as Nedda in “Pagliacci” by Leoncavallo in Lisbon in 1900,She was singing at the Monte Carlo Opera in 1904 and at the Sarah Bernhardt theatre in Paris in 1905 & sang Fedora with Caruso in “Fedora” by Giordano,Made her American debut at the Metropolitan Opera New York in 1906 and remained for two seasons , From 1909-10 she was at the Manhattan Opera after which she returned to Europe in 1912.She created L’Ensoleilland in Cherubin” by Massenet in 1905 .She also sang in Russia and the Ukraine . Her third husband was the tenor Lucien Muratore.Her roles included Manon “Manon Lescaut” , Tosca “Tosca” , Mimi ‘La Boheme” l by Puccini, Thais “Thais”, Salome “Herodide” by Massenet , Violetta ‘La Traviata” , Gilda ‘Rigoletto” by Verdi and both Elena and Margarita ‘Mefistofele” by Boito

Lina Cavalieri 1874-1944 Italian soprano Worked as a café singer before taking voice lessons in Paris.Debut as Nedda in “Pagliacci” by Leoncavallo in Lisbon in 1900,She was singing at the Monte Carlo Opera in 1904 and at the Sarah Bernhardt theatre in Paris in 1905 & sang Fedora with Caruso in “Fedora” by Giordano,Made her American debut at the Metropolitan Opera New York in 1906 and remained for two seasons , From 1909-10 she was at the Manhattan Opera after which she returned to Europe in 1912.She created L’Ensoleilland in Cherubin” by Massenet in 1905 .She also sang in Russia and the Ukraine . Her third husband was the tenor Lucien Muratore.Her roles included Manon “Manon Lescaut” , Tosca “Tosca” , Mimi ‘La Boheme” l by Puccini, Thais “Thais”, Salome “Herodide” by Massenet , Violetta ‘La Traviata” , Gilda ‘Rigoletto” by Verdi and both Elena and Margarita ‘Mefistofele” by Boito