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THOEDOR LATTERMANN 1886-1929 German Bass-Baritone Studied in Frankfurt with Andreas Dippel . Debut at Barman in 1907 .In 1908he became a member of the Hamburg Opera and remained until his death.Sang Gurnemanz 'Parsifal" in the Hamburg premiere.Made guest appearances in Berlin,Cologne, Amsterdam , Brussels, Vienna . He and his wife contralto Ottilie Metzger made an extensive tour of North America 1922-1924 .He also sang in New York and Chicago. Roles included Teramund "Lohengrin" , Figaro 'the Marriage of Figaro"

Muratore as Prinzivalle "Monna Vanna" by Février CREATOR ROLE Palais Garnier Paris 10/1/1909 LUCIEN MURATORE 1878-1954 French Tenor Studied at the Paris Music Conservatory, and made his operatic debut in 1902, at the Opéra-Comique opposite Emma Calve , creating the King in Reynaldo Hahn's La carmélite.Debut at La Monnaie in 1904, as Werther, and the following year at the Palais Garnier, as Renaud in Lully Created several Massenet operas such as Ariane and Bacchus, at the Opéra, and Roma, in Monte Carlo. He also took part in the creation of La Catalane by Le Borne, Monna Vanna by Henry Février, Déjanire by Camille Saint-Saëns, and Pénélope by Gabriel Fauré. He became principal French tenor with the Boston Opera Company, the Chicago Grand Opera Company (1913–1914), the Chicago Opera Association (1915–1921), and the Chicago Civic Opera (1922). He also appeared at the Teatro Colón in Buenos Aires. Muratore retired from the stage in 1931. Returned to Paris and was made Director of Opera Comique

MINNA PESCHKA-LEUTNER 25/10/1839-1/12/1890 Austrian Soprano Student of Proch in Vienna . Debut at Stadtheater Breslau as Agathe " Die Freischute" Weber followed by Alice " Robert de Diable" Meyerbeer in 1856.Became a member of the court opera Dessau . 1868-1876 performed at Leipzig city theater .1876-1883 at Cologne and then Hamburg until her retirement in 1887. Made guest appearances in USA 1872 and 1881 also appeared in London and Netherlands. After her retirement taught singing in Koln and Wiesbaden.

MARCELLA SEMBRICH (Prakseda Marcelina Kochańska) (February 15, 1858 – January 11, 1935) Polish Soprano She entered the Vienna Conservatory in Autumn 1875. It was only then that her remarkable voice was discovered. She studied violin with Joseph Hellmesberger, Sr., piano with Julius Epstein, and voice with Viktor Rokitansky. After a year it was decided to give up study of the violin and piano and fully devote the young student to voice lessons. She arrived in Milan in September 1876 to study with one of the best vocal teachers on the continent, namely, Giovanni Battista Lamperti, son of the eminent teacher Francesco Lamperti, with whom she would later study in 1885. Made her debut in opera at Athens as Elvira in Bellini's I Puritani on June 3, 1877. She not only sang Puritani, but also Dinorah, Lucia di Lammermoor, Robert le Diable and La Sonnambula! She continued her vocal studies, this time with Marie Seebach and Richard Lewey in Vienna. At Covent Garden and signed a contract there for five seasons. In June 1880 she created a sensation in her debut at Covent Garden as Lucia in Donizetti's Lucia di Lammermoor. She became a great favorite in the characters of Zerlina, Don Giovanni; Susanna, The Marriage of Figaro; Konstanze, The Abduction from the Seraglio; Lady Harriet/Martha, Martha; and, of course, Lucia. She made her Met debut as Lucia in the company premiere of Lucia di Lammermoor on October 24, 1883, she was also the Met's first Elvira in I Puritani, Violetta in La Traviata, Amina in La Sonnambula, Gilda in Rigoletto, Marguerite in Les Huguenots and Rosina in Il Barbiere di Siviglia.

MARCELLA SEMBRICH (Prakseda Marcelina Kochańska) (February 15, 1858 – January 11, 1935) Polish Soprano She entered the Vienna Conservatory in Autumn 1875. It was only then that her remarkable voice was discovered. She studied violin with Joseph Hellmesberger, Sr., piano with Julius Epstein, and voice with Viktor Rokitansky. After a year it was decided to give up study of the violin and piano and fully devote the young student to voice lessons. She arrived in Milan in September 1876 to study with one of the best vocal teachers on the continent, namely, Giovanni Battista Lamperti, son of the eminent teacher Francesco Lamperti, with whom she would later study in 1885. Made her debut in opera at Athens as Elvira in Bellini's I Puritani on June 3, 1877. She not only sang Puritani, but also Dinorah, Lucia di Lammermoor, Robert le Diable and La Sonnambula! She continued her vocal studies, this time with Marie Seebach and Richard Lewey in Vienna. At Covent Garden and signed a contract there for five seasons. In June 1880 she created a sensation in her debut at Covent Garden as Lucia in Donizetti's Lucia di Lammermoor. She became a great favorite in the characters of Zerlina, Don Giovanni; Susanna, The Marriage of Figaro; Konstanze, The Abduction from the Seraglio; Lady Harriet/Martha, Martha; and, of course, Lucia. She made her Met debut as Lucia in the company premiere of Lucia di Lammermoor on October 24, 1883, she was also the Met's first Elvira in I Puritani, Violetta in La Traviata, Amina in La Sonnambula, Gilda in Rigoletto, Marguerite in Les Huguenots and Rosina in Il Barbiere di Siviglia.

Sembrich as Queen of the Night "Magic Flute" Mozart MARCELLA SEMBRICH (Prakseda Marcelina Kochańska) (February 15, 1858 – January 11, 1935) Polish Soprano She entered the Vienna Conservatory in Autumn 1875. It was only then that her remarkable voice was discovered. She studied violin with Joseph Hellmesberger, Sr., piano with Julius Epstein, and voice with Viktor Rokitansky. After a year it was decided to give up study of the violin and piano and fully devote the young student to voice lessons. She arrived in Milan in September 1876 to study with one of the best vocal teachers on the continent, namely, Giovanni Battista Lamperti, son of the eminent teacher Francesco Lamperti, with whom she would later study in 1885. Made her debut in opera at Athens as Elvira in Bellini's I Puritani on June 3, 1877. She not only sang Puritani, but also Dinorah, Lucia di Lammermoor, Robert le Diable and La Sonnambula! She continued her vocal studies, this time with Marie Seebach and Richard Lewey in Vienna. At Covent Garden and signed a contract there for five seasons. In June 1880 she created a sensation in her debut at Covent Garden as Lucia in Donizetti's Lucia di Lammermoor. She became a great favorite in the characters of Zerlina, Don Giovanni; Susanna, The Marriage of Figaro; Konstanze, The Abduction from the Seraglio; Lady Harriet/Martha, Martha; and, of course, Lucia. She made her Met debut as Lucia in the company premiere of Lucia di Lammermoor on October 24, 1883, she was also the Met's first Elvira in I Puritani, Violetta in La Traviata, Amina in La Sonnambula, Gilda in Rigoletto, Marguerite in Les Huguenots and Rosina in Il Barbiere di Siviglia.

Sembrich as Mimi "La Boheme" Puccini MARCELLA SEMBRICH (Prakseda Marcelina Kochańska) (February 15, 1858 – January 11, 1935) Polish Soprano She entered the Vienna Conservatory in Autumn 1875. It was only then that her remarkable voice was discovered. She studied violin with Joseph Hellmesberger, Sr., piano with Julius Epstein, and voice with Viktor Rokitansky. After a year it was decided to give up study of the violin and piano and fully devote the young student to voice lessons. She arrived in Milan in September 1876 to study with one of the best vocal teachers on the continent, namely, Giovanni Battista Lamperti, son of the eminent teacher Francesco Lamperti, with whom she would later study in 1885. Made her debut in opera at Athens as Elvira in Bellini's I Puritani on June 3, 1877. She not only sang Puritani, but also Dinorah, Lucia di Lammermoor, Robert le Diable and La Sonnambula! She continued her vocal studies, this time with Marie Seebach and Richard Lewey in Vienna. At Covent Garden and signed a contract there for five seasons. In June 1880 she created a sensation in her debut at Covent Garden as Lucia in Donizetti's Lucia di Lammermoor. She became a great favorite in the characters of Zerlina, Don Giovanni; Susanna, The Marriage of Figaro; Konstanze, The Abduction from the Seraglio; Lady Harriet/Martha, Martha; and, of course, Lucia. She made her Met debut as Lucia in the company premiere of Lucia di Lammermoor on October 24, 1883, she was also the Met's first Elvira in I Puritani, Violetta in La Traviata, Amina in La Sonnambula, Gilda in Rigoletto, Marguerite in Les Huguenots and Rosina in Il Barbiere di Siviglia.

Breval as Vita " L'Estranger" d'Indy LUCIENNE BREVAL (Bertha Agnès Lisette Schilling) (4 November 1869, Zürich- 15 August 1935, Neuilly-sur-Seine) Swiss Soprano She studied voice with Victor Warot at the Paris Conservatoire before making her debut at the Opéra National de Paris in 1892 as Selika in l'Africaine by Giacomo Meyerbeer .Bréval became a principal soprano at the Paris Opéra and remained there until 1919.[3] Her roles with the company included several world premières including Augusta Holmès's La Montagne Noire (1895), Camille Erlanger's Le fils de l' étoile' (1904), Dukas’ Ariane et Barbe-bleue (1907), Massenet's Bacchus (1909), and the title roles in Massenet's Ariane (1906) and Henry Février’s Monna Vanna (1909). She also was Kundry in France's first performance of Wagner's Parsifal (1914). Her other notable roles at the Paris Opera included Brünnhilde in Richard Wagner's Die Walküre (1893), Venus in Wagner's Tannhäuser (1895), Marguerite in Hector Berlioz's La damnation de Faust (1897), and the title role in Rameau's Hippolyte et Aricie (1908). Bréval also occasionally appeared in productions at the Opéra-Comique in Paris. Most notably she portrayed the title role in the world premiere of Massenet’s Grisélidis in 1901, and in 1910 she sang Lady Macbeth in the première of Ernst Bloch’s Macbeth, which he dedicated to her. In 1899, Bréval made her first appearance at the Royal Opera, Covent Garden as Valentine in Meyerbeer's Les Huguenots. Two years later she made her American début at the Metropolitan Opera as Chimène in Le Cid, singing also in Die Walküre and the American première of Ernest Reyer’s Salammbô. Five years later she returned to Covent Garden for the second and last time in the title role of Gluck’s Armide. In 1913 she created the title role in Fauré’s Pénélope at the Opéra de Monte-Carlo; her other title roles there had been in Isidore De Lara's Amy Robsart and in Bizet's Carmen

Breval as Ariane "Ariane" Massenet CREATOR Palais Garnier 31/10/1906 LUCIENNE BREVAL (Bertha Agnès Lisette Schilling) (4 November 1869, Zürich- 15 August 1935, Neuilly-sur-Seine) Swiss Soprano She studied voice with Victor Warot at the Paris Conservatoire before making her debut at the Opéra National de Paris in 1892 as Selika in l'Africaine by Giacomo Meyerbeer .Bréval became a principal soprano at the Paris Opéra and remained there until 1919.[3] Her roles with the company included several world premières including Augusta Holmès's La Montagne Noire (1895), Camille Erlanger's Le fils de l' étoile' (1904), Dukas’ Ariane et Barbe-bleue (1907), Massenet's Bacchus (1909), and the title roles in Massenet's Ariane (1906) and Henry Février’s Monna Vanna (1909). She also was Kundry in France's first performance of Wagner's Parsifal (1914). Her other notable roles at the Paris Opera included Brünnhilde in Richard Wagner's Die Walküre (1893), Venus in Wagner's Tannhäuser (1895), Marguerite in Hector Berlioz's La damnation de Faust (1897), and the title role in Rameau's Hippolyte et Aricie (1908). Bréval also occasionally appeared in productions at the Opéra-Comique in Paris. Most notably she portrayed the title role in the world premiere of Massenet’s Grisélidis in 1901, and in 1910 she sang Lady Macbeth in the première of Ernst Bloch’s Macbeth, which he dedicated to her. In 1899, Bréval made her first appearance at the Royal Opera, Covent Garden as Valentine in Meyerbeer's Les Huguenots. Two years later she made her American début at the Metropolitan Opera as Chimène in Le Cid, singing also in Die Walküre and the American première of Ernest Reyer’s Salammbô. Five years later she returned to Covent Garden for the second and last time in the title role of Gluck’s Armide. In 1913 she created the title role in Fauré’s Pénélope at the Opéra de Monte-Carlo; her other title roles there had been in Isidore De Lara's Amy Robsart and in Bizet's Carmen

Breval as Brunhilde "Die Walkure" Wagner LUCIENNE BREVAL (Bertha Agnès Lisette Schilling) (4 November 1869, Zürich- 15 August 1935, Neuilly-sur-Seine) Swiss Soprano She studied voice with Victor Warot at the Paris Conservatoire before making her debut at the Opéra National de Paris in 1892 as Selika in l'Africaine by Giacomo Meyerbeer .Bréval became a principal soprano at the Paris Opéra and remained there until 1919.[3] Her roles with the company included several world premières including Augusta Holmès's La Montagne Noire (1895), Camille Erlanger's Le fils de l' étoile' (1904), Dukas’ Ariane et Barbe-bleue (1907), Massenet's Bacchus (1909), and the title roles in Massenet's Ariane (1906) and Henry Février’s Monna Vanna (1909). She also was Kundry in France's first performance of Wagner's Parsifal (1914). Her other notable roles at the Paris Opera included Brünnhilde in Richard Wagner's Die Walküre (1893), Venus in Wagner's Tannhäuser (1895), Marguerite in Hector Berlioz's La damnation de Faust (1897), and the title role in Rameau's Hippolyte et Aricie (1908). Bréval also occasionally appeared in productions at the Opéra-Comique in Paris. Most notably she portrayed the title role in the world premiere of Massenet’s Grisélidis in 1901, and in 1910 she sang Lady Macbeth in the première of Ernst Bloch’s Macbeth, which he dedicated to her. In 1899, Bréval made her first appearance at the Royal Opera, Covent Garden as Valentine in Meyerbeer's Les Huguenots. Two years later she made her American début at the Metropolitan Opera as Chimène in Le Cid, singing also in Die Walküre and the American première of Ernest Reyer’s Salammbô. Five years later she returned to Covent Garden for the second and last time in the title role of Gluck’s Armide. In 1913 she created the title role in Fauré’s Pénélope at the Opéra de Monte-Carlo; her other title roles there had been in Isidore De Lara's Amy Robsart and in Bizet's Carmen

LUCIENNE BREVAL (Bertha Agnès Lisette Schilling) (4 November 1869, Zürich- 15 August 1935, Neuilly-sur-Seine) Swiss Soprano She studied voice with Victor Warot at the Paris Conservatoire before making her debut at the Opéra National de Paris in 1892 as Selika in l'Africaine by Giacomo Meyerbeer .Bréval became a principal soprano at the Paris Opéra and remained there until 1919.[3] Her roles with the company included several world premières including Augusta Holmès's La Montagne Noire (1895), Camille Erlanger's Le fils de l' étoile' (1904), Dukas’ Ariane et Barbe-bleue (1907), Massenet's Bacchus (1909), and the title roles in Massenet's Ariane (1906) and Henry Février’s Monna Vanna (1909). She also was Kundry in France's first performance of Wagner's Parsifal (1914). Her other notable roles at the Paris Opera included Brünnhilde in Richard Wagner's Die Walküre (1893), Venus in Wagner's Tannhäuser (1895), Marguerite in Hector Berlioz's La damnation de Faust (1897), and the title role in Rameau's Hippolyte et Aricie (1908). Bréval also occasionally appeared in productions at the Opéra-Comique in Paris. Most notably she portrayed the title role in the world premiere of Massenet’s Grisélidis in 1901, and in 1910 she sang Lady Macbeth in the première of Ernst Bloch’s Macbeth, which he dedicated to her. In 1899, Bréval made her first appearance at the Royal Opera, Covent Garden as Valentine in Meyerbeer's Les Huguenots. Two years later she made her American début at the Metropolitan Opera as Chimène in Le Cid, singing also in Die Walküre and the American première of Ernest Reyer’s Salammbô. Five years later she returned to Covent Garden for the second and last time in the title role of Gluck’s Armide. In 1913 she created the title role in Fauré’s Pénélope at the Opéra de Monte-Carlo; her other title roles there had been in Isidore De Lara's Amy Robsart and in Bizet's Carmen

Breval as Griseldis "Griseldis" Massenet CREATOR Opera Comique 20/11/1901 LUCIENNE BREVAL (Bertha Agnès Lisette Schilling) (4 November 1869, Zürich- 15 August 1935, Neuilly-sur-Seine) Swiss Soprano She studied voice with Victor Warot at the Paris Conservatoire before making her debut at the Opéra National de Paris in 1892 as Selika in l'Africaine by Giacomo Meyerbeer .Bréval became a principal soprano at the Paris Opéra and remained there until 1919.[3] Her roles with the company included several world premières including Augusta Holmès's La Montagne Noire (1895), Camille Erlanger's Le fils de l' étoile' (1904), Dukas’ Ariane et Barbe-bleue (1907), Massenet's Bacchus (1909), and the title roles in Massenet's Ariane (1906) and Henry Février’s Monna Vanna (1909). She also was Kundry in France's first performance of Wagner's Parsifal (1914). Her other notable roles at the Paris Opera included Brünnhilde in Richard Wagner's Die Walküre (1893), Venus in Wagner's Tannhäuser (1895), Marguerite in Hector Berlioz's La damnation de Faust (1897), and the title role in Rameau's Hippolyte et Aricie (1908). Bréval also occasionally appeared in productions at the Opéra-Comique in Paris. Most notably she portrayed the title role in the world premiere of Massenet’s Grisélidis in 1901, and in 1910 she sang Lady Macbeth in the première of Ernst Bloch’s Macbeth, which he dedicated to her. In 1899, Bréval made her first appearance at the Royal Opera, Covent Garden as Valentine in Meyerbeer's Les Huguenots. Two years later she made her American début at the Metropolitan Opera as Chimène in Le Cid, singing also in Die Walküre and the American première of Ernest Reyer’s Salammbô. Five years later she returned to Covent Garden for the second and last time in the title role of Gluck’s Armide. In 1913 she created the title role in Fauré’s Pénélope at the Opéra de Monte-Carlo; her other title roles there had been in Isidore De Lara's Amy Robsart and in Bizet's Carmen

Breval as Griseldis "Griseldis" Massenet CREATOR Opera Comique 20/11/1901 LUCIENNE BREVAL (Bertha Agnès Lisette Schilling) (4 November 1869, Zürich- 15 August 1935, Neuilly-sur-Seine) Swiss Soprano She studied voice with Victor Warot at the Paris Conservatoire before making her debut at the Opéra National de Paris in 1892 as Selika in l'Africaine by Giacomo Meyerbeer .Bréval became a principal soprano at the Paris Opéra and remained there until 1919.[3] Her roles with the company included several world premières including Augusta Holmès's La Montagne Noire (1895), Camille Erlanger's Le fils de l' étoile' (1904), Dukas’ Ariane et Barbe-bleue (1907), Massenet's Bacchus (1909), and the title roles in Massenet's Ariane (1906) and Henry Février’s Monna Vanna (1909). She also was Kundry in France's first performance of Wagner's Parsifal (1914). Her other notable roles at the Paris Opera included Brünnhilde in Richard Wagner's Die Walküre (1893), Venus in Wagner's Tannhäuser (1895), Marguerite in Hector Berlioz's La damnation de Faust (1897), and the title role in Rameau's Hippolyte et Aricie (1908). Bréval also occasionally appeared in productions at the Opéra-Comique in Paris. Most notably she portrayed the title role in the world premiere of Massenet’s Grisélidis in 1901, and in 1910 she sang Lady Macbeth in the première of Ernst Bloch’s Macbeth, which he dedicated to her. In 1899, Bréval made her first appearance at the Royal Opera, Covent Garden as Valentine in Meyerbeer's Les Huguenots. Two years later she made her American début at the Metropolitan Opera as Chimène in Le Cid, singing also in Die Walküre and the American première of Ernest Reyer’s Salammbô. Five years later she returned to Covent Garden for the second and last time in the title role of Gluck’s Armide. In 1913 she created the title role in Fauré’s Pénélope at the Opéra de Monte-Carlo; her other title roles there had been in Isidore De Lara's Amy Robsart and in Bizet's Carmen

Malten as Brunhilde THERESE MALTEN (Therese Müller) (21 June 1855 – 2 January 1930) German dramatic soprano. Studied with Gustav Engel in Berlin.Début in 1873 in Dresden as Pamina in "The Magic Flute". In 1882 Richard Wagner selected her as the original Kundry in Parsifal. From that time on till her retirement in 1903, she remained a member of the Dresden Opera, with frequent leaves of absence for appearances in the principal European opera houses . She Began in the lyric repertoire and mainly in Italian opera, From 1881 she turned the Wagner singing and was one of the greatest Wagnerian singers of her generation. In 1874, she was at Dresden in the world premiere of "The Folkunger" by Kretschmar . 1882, she sang at the Bayreuth Festival in the first "Parsifal" performances alternating with Amalie Materna and Marianne Brandt the role of Kundry. By 1894, she performed at the Bayreuth Festival, Isolde "Tristan & Isolde " 1886 at he first performance of Wagner's opera admired in Bayreuth. She appeared in London in the roles appeared as Elsa in "Lohengrin", as Elisabeth in "Tannhäuser", as Eva in "Die Meistersinger" and as Leonore in Beethoven's "Fidelio" . In 1893 she starred in the world premiere of "Evanthia" by Paul Umlauff at the court theater of Gotha. Her repertoire included outside the Wagner repertoire Armida Gluck's "Iphigenia in Tauris", Leonore in "Fidelio", Genoveva in the opera by R. Schumann,"The Queen of Sheba" by Goldmark, the title role in of Sheba by Goldmark, the title role in "Jessonda" by L.Spohr and Leonore in "Troubadour".

BLANCH BOIDIN-PUISAIS (Blanch Marie Estelle Rosalie Puisais) (14/7/1854 -????) French Mezzo Soprano Born Bordeaux France daughter of Sylvain and Estelle Puisais. Studied at the Conservatoire Nationale De Musique Paris .Married Charles Amable Boidin 1876 in Paris .Sang with Van Dyck as Brangaene "Tristan & Isolde" Wagner . Created The Countess "Gilles of Bretagne" Kowalski in 1878 Sang on the concert platform .

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.

CARLOTTA MARIA PATTI ( 1840 – 27 June 1889) operatic soprano Sister to famed soprano Adelina Patti. . Born into a musical family, Patti studied the piano in her youth before following her younger sister's inclination toward singing. As a child, Carlotta developed a handicap which caused a noticeable limp in her walk. Due to this condition she mostly avoided operatic performances and preferred to sing on the concert stage. While not able to achieve her sister's level of acclaim, Carlotta nonetheless received top billing in concerts in the United States of America, Great Britain, and Australia. She was known for her extensive vocal range, reportedly being able to reach a G sharp in altissimo.[4] She often sang songs such as Der Hölle Rache kocht in meinem Herzen that highlighted this extensive range. Carlotta Patti died of cancer in Paris on 27 June 1889.

WILLIAM CASTLE (J.C.Reeves) (1836-1909) English Tenor Started in Chicago singing with several prominent minstrel organisations notably Hooley & Campbells 1861-62 and George Christy's 1862.Performing in Chicargo and Philadelphia he was an artist in the Gottschalk Instrumental and Vocal concerts in October 1862 and in November 1862 he was in "la Traviata" for the Grau Opera Company.Performed in 1863 in Carlotta Patti Farewell concert , In 1864 he was leading tenor with Harrison English Opera troupe performing in "Bohemian Girl" , "Maritana" & "Frau Diavolo" .1864 He worked on the concert platform and was a member of The Draper English Opera.