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as Mignon 'Mignon" Thomas GERALDINE FARRAR 1882-1967 American Soprano Started her vocal lessons with Mrs. J. H. Long in Boston in 1894. The 12-year-old Farrar also studied operatic acting and deportment with Victor Capoul, By the time she was 13 Farrar was living in New York City and studying with Emma Thursby , she was in Paris from 1899 to 1900, stuying with Trabadelo, a Spanish vocal coach, she went to Berlin to study with Francesco Graziani, In 1900 Farrar auditioned and won a three-year contract with the Berlin Hofoper Making her debut as Marguerite in Faust in 1901,After her contract in Berlin was up, Farrar moved to the Monte Carlo Opera, where she sang from about 1904 to 1906, making her Monte Carlo debut in Puccini's La Bohéme alongside costar Enrico Caruso. In 1905, Farrar sang in the premiere of " Amica" by Mascagni. She also appeared in Paris, Munich, Warsaw, and Salzburg,While she lived in Europe, Farrar continued to study with Lilli Lehmann.On opening night of the 1906-1907 season at the Metropolitan Opera House in New York City, Farrar made her debut with the company with which she would be associated for the rest of her career. In her debut, sher sang in "Roméo et Juliette" by Gounod. She appeared in the Met's first production of Puccini's Madama Butterfly, In 1910 at the world premiere of German composer Engelbert Humperdinck's " Köngiskinder" creating the role of the Goose Girl. In 1911, Farrar sang in the American premiere of Ariane et Barbe-bleue.Her final performance at the Met was in April 1922. She sang in Zazá by Leoncavallo

BAPTIST PIERRE MARTY 4th January 1822-25th February 1905 French Tenor Debut 1871 . At l’opera de Paris he sang in "Robert le Diable " Meyerbeer 1876 ( a Chevalier) -"Le Comte Ory " Rossini (a Chevalier) ,Sang also at the Concerts du Conservatoire (member from September 30, 1871 to June 10, 1884).

GEORG ANTHES 12 March 1863 - 23 Feb 1922 German Tenor Studied with Julius Stockholm in Frankfurt and Cesare Galliera in Milan . Debut as Max 'Die Freischutz" in Frieburg 1888. Guest appearance at Dresden opera 1889 where he remained until 1902 becoming the successor of Henry Gudhaus at Dresden in sang in many world premiers..He sang Walther von Stolzing ' 'Meistersingers' at Bayreuth . In1892 . Lohengin at New York Metropolitan in 1902 at the Metropolitan again 1908-1909.Budapest opera 1903-1913 with gues tappearance at London Covent Garden., Germany , Austria , holland and Sweden.His roles included Lionel 'Marta" Flowtow , Siegfried 'The Neibelungen Ring" Wagner , Assad 'The Queen of Sheeba" Golmark , Manrico 'Ill Trovatore" Verdi , Rhadames 'Aida" Verdi , Don Jose 'Carmen" Bizet.1913 appointed a professor at the Budapest Conservatore and in 1920 was made the 1st director of the Budapest Opera House

MARIE RAPPOLD Marie Winterroth (17 August 1874 – 12 May 1957) American Soprano She was born in Berlin , travelled with her parents to Brooklyn when a child.She took later studied with Oscar Saenger and sang with the Amberg German Opera Company.Debut 22 November 1905, at the Metropolitan Opera as Sulamith in Karl Goldmark's Die Königin von Saba (The Queen of Sheba, 1875). She continued to appear at the Met until 1920, during which time, she gave a total of 198 performances in 23 roles and 22 operas. Her second husband was the tenor Rudolf Berger

Destinn as Carmen "Carmen" Bizet Emmy Destinn (Emílie Pavlína Věnceslava Kittlová) 1878-1930 Czech Soprano Her voice teacher since age thirteen had been Marie Maria von Dreger Loewe-Destinn, and the young singer began using her teacher's surname as a tribute. Debut 19 July 1898 at the Berlin Court Opera as Santuzza in "Cavalleria Rusticana" .London debut at Covent Garden's Royal Opera House on 2 May 1904, as Donna Anna in Don Giovanni. She appeared there in several operas for the next two seasons, including the London premiere of Madama Butterfly with Caruso. Her Metropolitan Opera debut came in 1908 with an acclaimed performance of Aida, she created the role of Minnie in the premiere of Puccini's La fanciulla del West, again opposite Caruso, While she was highly successful in the lighter roles of Wagner's operas, her voice,excelled in the French part of Carmen, in which she was said to rival Calvé, and in the Italian roles of Aida, Madama Butterfly and Leonora (in Il trovatore).

Destinn as Carmen "Carmen" Bizet Emmy Destinn (Emílie Pavlína Věnceslava Kittlová) 1878-1930 Czech Soprano Her voice teacher since age thirteen had been Marie Maria von Dreger Loewe-Destinn, and the young singer began using her teacher's surname as a tribute. Debut 19 July 1898 at the Berlin Court Opera as Santuzza in "Cavalleria Rusticana" .London debut at Covent Garden's Royal Opera House on 2 May 1904, as Donna Anna in Don Giovanni. She appeared there in several operas for the next two seasons, including the London premiere of Madama Butterfly with Caruso. Her Metropolitan Opera debut came in 1908 with an acclaimed performance of Aida, she created the role of Minnie in the premiere of Puccini's La fanciulla del West, again opposite Caruso, While she was highly successful in the lighter roles of Wagner's operas, her voice,excelled in the French part of Carmen, in which she was said to rival Calvé, and in the Italian roles of Aida, Madama Butterfly and Leonora (in Il trovatore).

Destinn as Carmen "Carmen" Bizet Emmy Destinn (Emílie Pavlína Věnceslava Kittlová) 1878-1930 Czech Soprano Her voice teacher since age thirteen had been Marie Maria von Dreger Loewe-Destinn, and the young singer began using her teacher's surname as a tribute. Debut 19 July 1898 at the Berlin Court Opera as Santuzza in "Cavalleria Rusticana" .London debut at Covent Garden's Royal Opera House on 2 May 1904, as Donna Anna in Don Giovanni. She appeared there in several operas for the next two seasons, including the London premiere of Madama Butterfly with Caruso. Her Metropolitan Opera debut came in 1908 with an acclaimed performance of Aida, she created the role of Minnie in the premiere of Puccini's La fanciulla del West, again opposite Caruso, While she was highly successful in the lighter roles of Wagner's operas, her voice,excelled in the French part of Carmen, in which she was said to rival Calvé, and in the Italian roles of Aida, Madama Butterfly and Leonora (in Il trovatore).

Destinn as Carmen "Carmen" Bizet Emmy Destinn (Emílie Pavlína Věnceslava Kittlová) 1878-1930 Czech Soprano Her voice teacher since age thirteen had been Marie Maria von Dreger Loewe-Destinn, and the young singer began using her teacher's surname as a tribute. Debut 19 July 1898 at the Berlin Court Opera as Santuzza in "Cavalleria Rusticana" .London debut at Covent Garden's Royal Opera House on 2 May 1904, as Donna Anna in Don Giovanni. She appeared there in several operas for the next two seasons, including the London premiere of Madama Butterfly with Caruso. Her Metropolitan Opera debut came in 1908 with an acclaimed performance of Aida, she created the role of Minnie in the premiere of Puccini's La fanciulla del West, again opposite Caruso, While she was highly successful in the lighter roles of Wagner's operas, her voice,excelled in the French part of Carmen, in which she was said to rival Calvé, and in the Italian roles of Aida, Madama Butterfly and Leonora (in Il trovatore).

Destinn as Carmen "Carmen" Bizet Emmy Destinn (Emílie Pavlína Věnceslava Kittlová) 1878-1930 Czech Soprano Her voice teacher since age thirteen had been Marie Maria von Dreger Loewe-Destinn, and the young singer began using her teacher's surname as a tribute. Debut 19 July 1898 at the Berlin Court Opera as Santuzza in "Cavalleria Rusticana" .London debut at Covent Garden's Royal Opera House on 2 May 1904, as Donna Anna in Don Giovanni. She appeared there in several operas for the next two seasons, including the London premiere of Madama Butterfly with Caruso. Her Metropolitan Opera debut came in 1908 with an acclaimed performance of Aida, she created the role of Minnie in the premiere of Puccini's La fanciulla del West, again opposite Caruso, While she was highly successful in the lighter roles of Wagner's operas, her voice,excelled in the French part of Carmen, in which she was said to rival Calvé, and in the Italian roles of Aida, Madama Butterfly and Leonora (in Il trovatore).

Destinn as Elisabeth "Der Roland von Berlin" Leoncavallo Emmy Destinn (Emílie Pavlína Věnceslava Kittlová) 1878-1930 Czech Soprano Her voice teacher since age thirteen had been Marie Maria von Dreger Loewe-Destinn, and the young singer began using her teacher's surname as a tribute. Debut 19 July 1898 at the Berlin Court Opera as Santuzza in "Cavalleria Rusticana" .London debut at Covent Garden's Royal Opera House on 2 May 1904, as Donna Anna in Don Giovanni. She appeared there in several operas for the next two seasons, including the London premiere of Madama Butterfly with Caruso. Her Metropolitan Opera debut came in 1908 with an acclaimed performance of Aida, she created the role of Minnie in the premiere of Puccini's La fanciulla del West, again opposite Caruso, While she was highly successful in the lighter roles of Wagner's operas, her voice,excelled in the French part of Carmen, in which she was said to rival Calvé, and in the Italian roles of Aida, Madama Butterfly and Leonora (in Il trovatore).

Emmy Destinn (Emílie Pavlína Věnceslava Kittlová) 1878-1930 Czech Soprano Her voice teacher since age thirteen had been Marie Maria von Dreger Loewe-Destinn, and the young singer began using her teacher's surname as a tribute. Debut 19 July 1898 at the Berlin Court Opera as Santuzza in "Cavalleria Rusticana" .London debut at Covent Garden's Royal Opera House on 2 May 1904, as Donna Anna in Don Giovanni. She appeared there in several operas for the next two seasons, including the London premiere of Madama Butterfly with Caruso. Her Metropolitan Opera debut came in 1908 with an acclaimed performance of Aida, she created the role of Minnie in the premiere of Puccini's La fanciulla del West, again opposite Caruso, While she was highly successful in the lighter roles of Wagner's operas, her voice,excelled in the French part of Carmen, in which she was said to rival Calvé, and in the Italian roles of Aida, Madama Butterfly and Leonora (in Il trovatore).

Destinn as Coi Coi San "Madama Butterfly" Puccini Emmy Destinn (Emílie Pavlína Věnceslava Kittlová) 1878-1930 Czech Soprano Her voice teacher since age thirteen had been Marie Maria von Dreger Loewe-Destinn, and the young singer began using her teacher's surname as a tribute. Debut 19 July 1898 at the Berlin Court Opera as Santuzza in "Cavalleria Rusticana" .London debut at Covent Garden's Royal Opera House on 2 May 1904, as Donna Anna in Don Giovanni. She appeared there in several operas for the next two seasons, including the London premiere of Madama Butterfly with Caruso. Her Metropolitan Opera debut came in 1908 with an acclaimed performance of Aida, she created the role of Minnie in the premiere of Puccini's La fanciulla del West, again opposite Caruso, While she was highly successful in the lighter roles of Wagner's operas, her voice,excelled in the French part of Carmen, in which she was said to rival Calvé, and in the Italian roles of Aida, Madama Butterfly and Leonora (in Il trovatore).

Francell as Fortunio "Fortunio" Messager CREATOR 1907 Opera Comique Fernand Francell 1880-1966 French Tenor He studied singing at the Paris Conservatoire. He made his debut in 1906 at the Opéra-Comique in Paris as Vincent in ‘’Mireille’’ of Gounod. 1908 he sang at the Théâtre Gaîté Lyrique in Paris as Wilhelm Meister in ‘’Mignon’. He remained at the Opéra-Comique, where he appeared in many important premieres. Paco in ‘’La vida breve’’ by de Falla; ‘’Le Bonhomme Jadis’’ by É. Jacques-Dalcroze ( 1906), ‘’Fortunio’’ of Messager (1907), ‘’La Habanéra’’ by Raoul Laparra ( 1908), ‘’Chiquito’’ (1909) and ‘’La Danseuse de Pompéi’’ (1912) by Jean Nouguès, ‘’Le Mariage de Télémaque’’ by Claude Terrasse (1910), ‘’Le voile du Bonheur’’ by Charles Pons ( 1911) ‘’Francesca da Rimini’’ by Franco Leoni ( 1913). he performed mostly in France . After his retirement he became a professor at the Paris Conservatoire.

Francell as Hiacynthe ‘’La Danseuse de Pompéi’’ by Jean Nouguès, CREATOR Opera Comique 1912 Fernand Francell 1880-1966 French Tenor He studied singing at the Paris Conservatoire. He made his debut in 1906 at the Opéra-Comique in Paris as Vincent in ‘’Mireille’’ of Gounod. 1908 he sang at the Théâtre Gaîté Lyrique in Paris as Wilhelm Meister in ‘’Mignon’. He remained at the Opéra-Comique, where he appeared in many important premieres. Paco in ‘’La vida breve’’ by de Falla; ‘’Le Bonhomme Jadis’’ by É. Jacques-Dalcroze ( 1906), ‘’Fortunio’’ of Messager (1907), ‘’La Habanéra’’ by Raoul Laparra ( 1908), ‘’Chiquito’’ (1909) and ‘’La Danseuse de Pompéi’’ (1912) by Jean Nouguès, ‘’Le Mariage de Télémaque’’ by Claude Terrasse (1910), ‘’Le voile du Bonheur’’ by Charles Pons ( 1911) ‘’Francesca da Rimini’’ by Franco Leoni ( 1913). he performed mostly in France . After his retirement he became a professor at the Paris Conservatoire.

Fernand Francell 1880-1966 French Tenor He studied singing at the Paris Conservatoire. He made his debut in 1906 at the Opéra-Comique in Paris as Vincent in ‘’Mireille’’ of Gounod. 1908 he sang at the Théâtre Gaîté Lyrique in Paris as Wilhelm Meister in ‘’Mignon’. He remained at the Opéra-Comique, where he appeared in many important premieres. Paco in ‘’La vida breve’’ by de Falla; ‘’Le Bonhomme Jadis’’ by É. Jacques-Dalcroze ( 1906), ‘’Fortunio’’ of Messager (1907), ‘’La Habanéra’’ by Raoul Laparra ( 1908), ‘’Chiquito’’ (1909) and ‘’La Danseuse de Pompéi’’ (1912) by Jean Nouguès, ‘’Le Mariage de Télémaque’’ by Claude Terrasse (1910), ‘’Le voile du Bonheur’’ by Charles Pons ( 1911) ‘’Francesca da Rimini’’ by Franco Leoni ( 1913). he performed mostly in France . After his retirement he became a professor at the Paris Conservatoire.

Francell as Wilhelm Meister in ‘’Mignon’. by Thomas Fernand Francell 1880-1966 French Tenor He studied singing at the Paris Conservatoire. He made his debut in 1906 at the Opéra-Comique in Paris as Vincent in ‘’Mireille’’ of Gounod. 1908 he sang at the Théâtre Gaîté Lyrique in Paris as Wilhelm Meister in ‘’Mignon’. He remained at the Opéra-Comique, where he appeared in many important premieres. Paco in ‘’La vida breve’’ by de Falla; ‘’Le Bonhomme Jadis’’ by É. Jacques-Dalcroze ( 1906), ‘’Fortunio’’ of Messager (1907), ‘’La Habanéra’’ by Raoul Laparra ( 1908), ‘’Chiquito’’ (1909) and ‘’La Danseuse de Pompéi’’ (1912) by Jean Nouguès, ‘’Le Mariage de Télémaque’’ by Claude Terrasse (1910), ‘’Le voile du Bonheur’’ by Charles Pons ( 1911) ‘’Francesca da Rimini’’ by Franco Leoni ( 1913). he performed mostly in France . After his retirement he became a professor at the Paris Conservatoire.

Scaremberg as Faust "Faust" Gounod Emil Scaremberg 1863-1938 French tenor Studied with Perron and then with Charles Nicot.Debut at the national theater in the Opéra-Comique in 1893 with "Richard C ur-de-Lion" remained for two years.He also began to appear in opera houses in the cities of Bordeaux, Lyon (where he sang Werther), Marseille, Nantes, Nice and Vichy and in 1894, he sang Turiddu in Monte-Carlo He sang LOHENGRIN (Lohengrin) Wagner, ROMEO and Juliet (Romeo), FAUST (Faust) and RIGOLETTO (Duke); in 1904, the HUGUENOTS (Raoul), TANNHÄUSER (Tannhäuser), LE FILS DE L'ETOILE (Bar-Kokeba), SALAMMBÔ (Shahabarim), DON JUAN (Ottavio); in 1905, ARMIDE (Danish Knight), AIDA (Radames). . He performed in London and Belgium Sudden vocal difficulties forced him back to Besançon where he taught singing.

Titta Ruffo (Ruffo Titta Cafiero) 1877-1953 Italian Baritone Studied voice with several teachers .Debut in 1898 at the Teatro Constanzi in Rome as the Herald in Wagner's Lohengrin .His other major debuts occurred in the following venues and years: Buenos Aires (1902), London (1903), Milan (1904), Lisbon (1907), the Paris Opéra (1911) and São Paulo [Teatro Municipal] (1911). Ruffo made his American debut in Philadelphia in 1912 and sang extensively in Chicago. He reached the New York Metropolitan Opera relatively late in his career, in 1922, as Figaro in The Barber of Seville, having enlisted in the Italian army during World War I. He would give a total of 46 performances at the Met from 1922 through to 1929. His repertoire included most of the major baritone roles in French and Italian opera, including among others Rigoletto, Di Luna, Amonasro, Germont, Tonio, Rossini's Figaro, Valentin, Iago, Carlo (in both Ernani and La forza del destino), Nabucco, Vasco, Don Giovanni, Barnaba, Scarpia, Marcello, and Renato in Un ballo in maschera. He was also renowned for his interpretations of several baritone parts in operas that are largely forgotten today, namely, the title roles in Ambroise Thomas's Hamlet and Franchetti's Cristoforo Colombo plus Cathcart in Leoncavallo's Zazà and Neri in Giordano's La cena delle beffe.