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ENRICO CARUSO ( February 25, 1873 – August 2, 1921) Italian Tenor Stage debut March 15, 1895 at the Teatro Nuovo in Naples. L'Amico Francesco, by the amateur composer Domenico Morelli. He received instruction from the conductor and voice teacher Vincenzo Lombardi .Caruso's 25-year career, stretching from 1895 to 1920, included 863 appearances at the New York Metropolitan Opera sang at such venues as La Scala in Milan, the Royal Opera House, Covent Garden, in London, the Mariinsky Theatre in Saint Petersburg, and the Teatro Colón in Buenos Aires, he was also the leading tenor of the Metropolitan Opera in New York City for 18 consecutive seasons. It was at the Met, in 1910, that he created the role of Dick Johnson in Giacomo Puccini's La fanciulla del West. Caruso's voice extended up to high C in its prime and grew in power and weight as he grew older. He sang a broad spectrum of roles, ranging from lyric, to spinto, to dramatic parts, in the Italian and French repertoires. In the German repertoire, Caruso sang only two roles, Assad (in Karl Goldmark's The Queen of Sheba) and Richard Wagner's Lohengrin, both of which he performed in Italian in Buenos Aires in 1899 and 1901, respectively

ENRICO CARUSO ( February 25, 1873 – August 2, 1921) Italian Tenor Stage debut March 15, 1895 at the Teatro Nuovo in Naples. L'Amico Francesco, by the amateur composer Domenico Morelli. He received instruction from the conductor and voice teacher Vincenzo Lombardi .Caruso's 25-year career, stretching from 1895 to 1920, included 863 appearances at the New York Metropolitan Opera sang at such venues as La Scala in Milan, the Royal Opera House, Covent Garden, in London, the Mariinsky Theatre in Saint Petersburg, and the Teatro Colón in Buenos Aires, he was also the leading tenor of the Metropolitan Opera in New York City for 18 consecutive seasons. It was at the Met, in 1910, that he created the role of Dick Johnson in Giacomo Puccini's La fanciulla del West. Caruso's voice extended up to high C in its prime and grew in power and weight as he grew older. He sang a broad spectrum of roles, ranging from lyric, to spinto, to dramatic parts, in the Italian and French repertoires. In the German repertoire, Caruso sang only two roles, Assad (in Karl Goldmark's The Queen of Sheba) and Richard Wagner's Lohengrin, both of which he performed in Italian in Buenos Aires in 1899 and 1901, respectively

ENRICO CARUSO ( February 25, 1873 – August 2, 1921) Italian Tenor Stage debut March 15, 1895 at the Teatro Nuovo in Naples. L'Amico Francesco, by the amateur composer Domenico Morelli. He received instruction from the conductor and voice teacher Vincenzo Lombardi .Caruso's 25-year career, stretching from 1895 to 1920, included 863 appearances at the New York Metropolitan Opera sang at such venues as La Scala in Milan, the Royal Opera House, Covent Garden, in London, the Mariinsky Theatre in Saint Petersburg, and the Teatro Colón in Buenos Aires, he was also the leading tenor of the Metropolitan Opera in New York City for 18 consecutive seasons. It was at the Met, in 1910, that he created the role of Dick Johnson in Giacomo Puccini's La fanciulla del West. Caruso's voice extended up to high C in its prime and grew in power and weight as he grew older. He sang a broad spectrum of roles, ranging from lyric, to spinto, to dramatic parts, in the Italian and French repertoires. In the German repertoire, Caruso sang only two roles, Assad (in Karl Goldmark's The Queen of Sheba) and Richard Wagner's Lohengrin, both of which he performed in Italian in Buenos Aires in 1899 and 1901, respectively

ENRICO CARUSO ( February 25, 1873 – August 2, 1921) Italian Tenor Stage debut March 15, 1895 at the Teatro Nuovo in Naples. L'Amico Francesco, by the amateur composer Domenico Morelli. He received instruction from the conductor and voice teacher Vincenzo Lombardi .Caruso's 25-year career, stretching from 1895 to 1920, included 863 appearances at the New York Metropolitan Opera sang at such venues as La Scala in Milan, the Royal Opera House, Covent Garden, in London, the Mariinsky Theatre in Saint Petersburg, and the Teatro Colón in Buenos Aires, he was also the leading tenor of the Metropolitan Opera in New York City for 18 consecutive seasons. It was at the Met, in 1910, that he created the role of Dick Johnson in Giacomo Puccini's La fanciulla del West. Caruso's voice extended up to high C in its prime and grew in power and weight as he grew older. He sang a broad spectrum of roles, ranging from lyric, to spinto, to dramatic parts, in the Italian and French repertoires. In the German repertoire, Caruso sang only two roles, Assad (in Karl Goldmark's The Queen of Sheba) and Richard Wagner's Lohengrin, both of which he performed in Italian in Buenos Aires in 1899 and 1901, respectively

ENRICO CARUSO ( February 25, 1873 – August 2, 1921) Italian Tenor Stage debut March 15, 1895 at the Teatro Nuovo in Naples. L'Amico Francesco, by the amateur composer Domenico Morelli. He received instruction from the conductor and voice teacher Vincenzo Lombardi .Caruso's 25-year career, stretching from 1895 to 1920, included 863 appearances at the New York Metropolitan Opera sang at such venues as La Scala in Milan, the Royal Opera House, Covent Garden, in London, the Mariinsky Theatre in Saint Petersburg, and the Teatro Colón in Buenos Aires, he was also the leading tenor of the Metropolitan Opera in New York City for 18 consecutive seasons. It was at the Met, in 1910, that he created the role of Dick Johnson in Giacomo Puccini's La fanciulla del West. Caruso's voice extended up to high C in its prime and grew in power and weight as he grew older. He sang a broad spectrum of roles, ranging from lyric, to spinto, to dramatic parts, in the Italian and French repertoires. In the German repertoire, Caruso sang only two roles, Assad (in Karl Goldmark's The Queen of Sheba) and Richard Wagner's Lohengrin, both of which he performed in Italian in Buenos Aires in 1899 and 1901, respectively

ENRICO CARUSO ( February 25, 1873 – August 2, 1921) Italian Tenor Stage debut March 15, 1895 at the Teatro Nuovo in Naples. L'Amico Francesco, by the amateur composer Domenico Morelli. He received instruction from the conductor and voice teacher Vincenzo Lombardi .Caruso's 25-year career, stretching from 1895 to 1920, included 863 appearances at the New York Metropolitan Opera sang at such venues as La Scala in Milan, the Royal Opera House, Covent Garden, in London, the Mariinsky Theatre in Saint Petersburg, and the Teatro Colón in Buenos Aires, he was also the leading tenor of the Metropolitan Opera in New York City for 18 consecutive seasons. It was at the Met, in 1910, that he created the role of Dick Johnson in Giacomo Puccini's La fanciulla del West. Caruso's voice extended up to high C in its prime and grew in power and weight as he grew older. He sang a broad spectrum of roles, ranging from lyric, to spinto, to dramatic parts, in the Italian and French repertoires. In the German repertoire, Caruso sang only two roles, Assad (in Karl Goldmark's The Queen of Sheba) and Richard Wagner's Lohengrin, both of which he performed in Italian in Buenos Aires in 1899 and 1901, respectively

SIGRID ARNOLDSON (20 March 1861 – 7 February 1943) Swedish Soprano Daughter of Oscar Arnoldson a noted tenor . Studied with her father and baritone Fritz Arlberg , Took further study in Paris . Debut in 1885 at the Prague National Theatre as Rosina in Rossini's "The Barber of Seville".London debut in 1887 in Rossini's "The Barber of Seville" at the Theatre Royal, Drury Lane.Arnoldson's . Engaged in 1890 by the Max Strakosch for an American tour . Debut at the Metropolitan Opera in New York as Baucis in "Philémon et Baucis" in 1893. She toured Spain and Russia.Her other roles included Elsa Wagner's "Lohengrin", Nedda in " Pagliacci" ,Susanna in " The Marriage of Figaro", Papagena in "The Magic Flute", Oscar in "Un ballo in maschera", Marguerite de Valois in "Les Huguenots", and Sophie in "Werther" , also portrayed both Micaëla and Carmen in Bizet's "Carmen".By 1910 she was a member of the Royal Swedish Academy of Music. She retired from the stage in 1911, after which she taught singing in Vienna for over 25 years. She moved to Stockholm in 1938 where she continued to teach up until her death in 1943.

as Marguerite 'Faust" by Gounod SIGRID ARNOLDSON (20 March 1861 – 7 February 1943) Swedish Soprano Daughter of Oscar Arnoldson a noted tenor . Studied with her father and baritone Fritz Arlberg , Took further study in Paris . Debut in 1885 at the Prague National Theatre as Rosina in Rossini's "The Barber of Seville".London debut in 1887 in Rossini's "The Barber of Seville" at the Theatre Royal, Drury Lane.Arnoldson's . Engaged in 1890 by the Max Strakosch for an American tour . Debut at the Metropolitan Opera in New York as Baucis in "Philémon et Baucis" in 1893. She toured Spain and Russia.Her other roles included Elsa Wagner's "Lohengrin", Nedda in " Pagliacci" ,Susanna in " The Marriage of Figaro", Papagena in "The Magic Flute", Oscar in "Un ballo in maschera", Marguerite de Valois in "Les Huguenots", and Sophie in "Werther" , also portrayed both Micaëla and Carmen in Bizet's "Carmen".By 1910 she was a member of the Royal Swedish Academy of Music. She retired from the stage in 1911, after which she taught singing in Vienna for over 25 years. She moved to Stockholm in 1938 where she continued to teach up until her death in 1943.

as Carmen 'Carmen" by Bizet SIGRID ARNOLDSON (20 March 1861 – 7 February 1943) Swedish Soprano Daughter of Oscar Arnoldson a noted tenor . Studied with her father and baritone Fritz Arlberg , Took further study in Paris . Debut in 1885 at the Prague National Theatre as Rosina in Rossini's "The Barber of Seville".London debut in 1887 in Rossini's "The Barber of Seville" at the Theatre Royal, Drury Lane.Arnoldson's . Engaged in 1890 by the Max Strakosch for an American tour . Debut at the Metropolitan Opera in New York as Baucis in "Philémon et Baucis" in 1893. She toured Spain and Russia.Her other roles included Elsa Wagner's "Lohengrin", Nedda in " Pagliacci" ,Susanna in " The Marriage of Figaro", Papagena in "The Magic Flute", Oscar in "Un ballo in maschera", Marguerite de Valois in "Les Huguenots", and Sophie in "Werther" , also portrayed both Micaëla and Carmen in Bizet's "Carmen".By 1910 she was a member of the Royal Swedish Academy of Music. She retired from the stage in 1911, after which she taught singing in Vienna for over 25 years. She moved to Stockholm in 1938 where she continued to teach up until her death in 1943.

as Lakme in "Lakme" by Delibes SIGRID ARNOLDSON (20 March 1861 – 7 February 1943) Swedish Soprano Daughter of Oscar Arnoldson a noted tenor . Studied with her father and baritone Fritz Arlberg , Took further study in Paris . Debut in 1885 at the Prague National Theatre as Rosina in Rossini's "The Barber of Seville".London debut in 1887 in Rossini's "The Barber of Seville" at the Theatre Royal, Drury Lane.Arnoldson's . Engaged in 1890 by the Max Strakosch for an American tour . Debut at the Metropolitan Opera in New York as Baucis in "Philémon et Baucis" in 1893. She toured Spain and Russia.Her other roles included Elsa Wagner's "Lohengrin", Nedda in " Pagliacci" ,Susanna in " The Marriage of Figaro", Papagena in "The Magic Flute", Oscar in "Un ballo in maschera", Marguerite de Valois in "Les Huguenots", and Sophie in "Werther" , also portrayed both Micaëla and Carmen in Bizet's "Carmen".By 1910 she was a member of the Royal Swedish Academy of Music. She retired from the stage in 1911, after which she taught singing in Vienna for over 25 years. She moved to Stockholm in 1938 where she continued to teach up until her death in 1943.

as Violetta 'La Traviata" by Verdi SIGRID ARNOLDSON (20 March 1861 – 7 February 1943) Swedish Soprano Daughter of Oscar Arnoldson a noted tenor . Studied with her father and baritone Fritz Arlberg , Took further study in Paris . Debut in 1885 at the Prague National Theatre as Rosina in Rossini's "The Barber of Seville".London debut in 1887 in Rossini's "The Barber of Seville" at the Theatre Royal, Drury Lane.Arnoldson's . Engaged in 1890 by the Max Strakosch for an American tour . Debut at the Metropolitan Opera in New York as Baucis in "Philémon et Baucis" in 1893. She toured Spain and Russia.Her other roles included Elsa Wagner's "Lohengrin", Nedda in " Pagliacci" ,Susanna in " The Marriage of Figaro", Papagena in "The Magic Flute", Oscar in "Un ballo in maschera", Marguerite de Valois in "Les Huguenots", and Sophie in "Werther" , also portrayed both Micaëla and Carmen in Bizet's "Carmen".By 1910 she was a member of the Royal Swedish Academy of Music. She retired from the stage in 1911, after which she taught singing in Vienna for over 25 years. She moved to Stockholm in 1938 where she continued to teach up until her death in 1943.

As Manon "Manon" Massenet SIGRID ARNOLDSON (20 March 1861 – 7 February 1943) Swedish Soprano Daughter of Oscar Arnoldson a noted tenor . Studied with her father and baritone Fritz Arlberg , Took further study in Paris . Debut in 1885 at the Prague National Theatre as Rosina in Rossini's "The Barber of Seville".London debut in 1887 in Rossini's "The Barber of Seville" at the Theatre Royal, Drury Lane.Arnoldson's . Engaged in 1890 by the Max Strakosch for an American tour . Debut at the Metropolitan Opera in New York as Baucis in "Philémon et Baucis" in 1893. She toured Spain and Russia.Her other roles included Elsa Wagner's "Lohengrin", Nedda in " Pagliacci" ,Susanna in " The Marriage of Figaro", Papagena in "The Magic Flute", Oscar in "Un ballo in maschera", Marguerite de Valois in "Les Huguenots", and Sophie in "Werther" , also portrayed both Micaëla and Carmen in Bizet's "Carmen".By 1910 she was a member of the Royal Swedish Academy of Music. She retired from the stage in 1911, after which she taught singing in Vienna for over 25 years. She moved to Stockholm in 1938 where she continued to teach up until her death in 1943.

as Mignon in "Mignon" by Thomas SIGRID ARNOLDSON (20 March 1861 – 7 February 1943) Swedish Soprano Daughter of Oscar Arnoldson a noted tenor . Studied with her father and baritone Fritz Arlberg , Took further study in Paris . Debut in 1885 at the Prague National Theatre as Rosina in Rossini's "The Barber of Seville".London debut in 1887 in Rossini's "The Barber of Seville" at the Theatre Royal, Drury Lane.Arnoldson's . Engaged in 1890 by the Max Strakosch for an American tour . Debut at the Metropolitan Opera in New York as Baucis in "Philémon et Baucis" in 1893. She toured Spain and Russia.Her other roles included Elsa Wagner's "Lohengrin", Nedda in " Pagliacci" ,Susanna in " The Marriage of Figaro", Papagena in "The Magic Flute", Oscar in "Un ballo in maschera", Marguerite de Valois in "Les Huguenots", and Sophie in "Werther" , also portrayed both Micaëla and Carmen in Bizet's "Carmen".By 1910 she was a member of the Royal Swedish Academy of Music. She retired from the stage in 1911, after which she taught singing in Vienna for over 25 years. She moved to Stockholm in 1938 where she continued to teach up until her death in 1943.

Emile Bertin (Antione Emile Bertin) 8 May 1847-30 October 1906 French Tenor Student of Duvernoy and Nathan, he took acting lessons with Boudeville, then went quietly to try the Bouffes-Parisiens. From there he went to sing at l’opera Comique in Rochefort, then to Brussels, where he started in 1875 in the role of Vincent in “ Mireille”. He stayed three years at la Monnaie , His first debut at the Opéra-Comique,Paris was on 20 May 1878 in ” Postilion” by Longjumeau. He accepted a commitment to Marseille , he sang in “Rigoletto” ,” La Traviata” and “Faust “as well as “ la Dame Blanche”. At his debut at l’opera Paris he sang August 29, 1879 in Faust (Faust) and in 1885, he sang ‘la Juive”(Leopold) and Rigoletto (the Duke).Then in June 1882, he returned to the Opera Comique with a three-year commitment and sang in la Bohème (Saint-Phar) ; le Caïd (Birotteau) ; la Carmélite (le Musicien) ; le Chalet (Daniel) ; la Dame Blanche (Georges) ; le Domino noir (Juliano) ; Carmen (le Dancaïre) ; les Dragons de Villars (Sylvain) ; la Fille de Tabarin (de Surgères) ; Fra Diavolo (Fra Diavolo) ; Galathée (Ganymède) ; Joseph (Nephtali) ; le Pardon de Ploërmel (Corentin) ; Philémon et Baucis (Philémon). In 1899 he was appointed general manager of the Opéra-Comique, and November 16, 1901, lyrical declamation teacher (comic opera) at the Paris Conservatoire, positions he held until his death.

HENRY SELLIER (François Alfred Alexander Sellier) (26 March 1849 - 26 June 1899). As a young man of very poor ancestry he came to Paris looking for work. When he worked as an errand boy for a merchant his voice was discovered and with financial help he was able to study at the Conservatoire National de Paris. In 1876 he finished his vocal studies by winning the "Prix du Conservatoire". After that he was immediately engaged by the Grand-Opéra, where in 1878 he made his debut as Arnold in Rossini's "Guillaume Tell". Here he created the role of Manoël at the première in Gounod's "Le Tribut de Zamora" (1881) and the role of Paolo at the première of "Françoise de Rimini" by Ambroise Thomas (1882). He was widely admired for the balanced beauty of his tenor voice and the dramatic force of his performance. After a hunting accident he ended his career at the Grand-Opéra in 1888. The season 1889/90 he was engaged at Brussels at "The Théâtre de la Monnaie" , where he created the role of Mathô at the première of Ernest Reyer's opera "Salammbô". The season 1890/91 he was engaged at the Opéra of Marseille and the following years he was engaged by various French provincial theaters.

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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. + add a comment Comments

ALEXANDRE NARASSE MARIA GOURDIN 6 July 1842-28 July 1865 French baritone Debut Opera Comique Paris 1860 . Sang in the premieres of many opera's at Comique Paris. In 1861 he sang Claude in "Maitre Claude" by Cohen , 'Les Rises de M de Malesherbes " by Beer , 'Les Recruiters" by Lefebure-Wely , 'Aus travers dy mur" by Joseph , "Royal Cravate" by Massa . In 1862 he sang Baskir in "Lalla Roukh" by David , In 1863 'La deesse et le Berger" by Duprato . In 1864 'Lara" by Maillart . In 1865 'Le Sapher" by Carre . He died at the young age of 23.