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Adelian Patti as Lucia 'Lucia de Lammermoor" Domizetti 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

Adelina Patti as Rosina "Barber of Saville" Rossini 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

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

ZELIA TREBELLI - BETTINI (Gloria Caroline Gillebert) (1838-1892) French Mezzo Soprano Madame Trebelli-Bettini began to sing under the name Trebelli, which was derived from her real surname. On her marriage to the tenor Alessandro Bettini (1825-98) she added his name to hers. Her debut role was Azucena (Madrid 1859) and she continued to sing it throughout her career. In 1884 she was the first performer of Carmen at the Met. She was always a notable exponent of 'trouser' roles such as Cherubino, Siébel, Maffio Orsini (Lucrezia Borgia) and Urbain. her roles included Zerlina Don Giovanni ,Fatima Oberon ,Urbain Huguenots ,Azucena Trovatore ,Third Lady Magic Flute Cherubino Marriage of Figaro Nancy Martha ,Siébel Faust ,Carmen

ZELIA TREBELLI - BETTINI (Gloria Caroline Gillebert) (1838-1892) French Mezzo Soprano Madame Trebelli-Bettini began to sing under the name Trebelli, which was derived from her real surname. On her marriage to the tenor Alessandro Bettini (1825-98) she added his name to hers. Her debut role was Azucena (Madrid 1859) and she continued to sing it throughout her career. In 1884 she was the first performer of Carmen at the Met. She was always a notable exponent of 'trouser' roles such as Cherubino, Siébel, Maffio Orsini (Lucrezia Borgia) and Urbain. her roles included Zerlina Don Giovanni ,Fatima Oberon ,Urbain Huguenots ,Azucena Trovatore ,Third Lady Magic Flute Cherubino Marriage of Figaro Nancy Martha ,Siébel Faust ,Carmen

JOHN SIMS REEVES (21 October 1821[1] – 25 October 1900), ( Sims Reeves) English operatic, oratorio and ballad tenor Reeves began his singing career in 1838 but continued his vocal studies until 1847 In summer 1843 Reeves studied in Paris under the tenor and pedagogue Marco Bordogni of the Paris Conservatoire From October 1843 to January 1844 Reeves appeared in a very varied programme of musical drama, including the roles of Elvino in "La Sonnambula" and Tom Tug in Charles Dibdin's "The Waterman", at the Manchester theatre, and over the next two years performed in Dublin, Liverpool and elsewhere in the provinces .In oratorio, Reeves first sang "The Messiah" in Glasgow, Scotland, during 1844 . His debut in Italian opera was made on 29 October 1846 at La Scala in Milan as Edgardo in Donizetti's "Lucia di Lammermoor", partnered by Catherine HayesHis first principal role on the English operatic stage was with Louis Jullien's English Opera company at Drury Lane Theatre in December 1847 in "Lucia", in English text, with Mme Doras Gras and Willoughby Weiss, winning winning immediate and near-universal acclaim, not least from Hector Berlioz, who conducted the performance 1848In February 1848 he sang Handel's "Judas Maccabaeus", at Exeter Hall for John Hullah, "Acis and Galatea" in March and "Jephtha" in April and May. He was, meanwhile establishing himself as the leading ballad-singer in England . In May 1848 he joined Benjamin Lumley's company at Her Majesty's Theatre and sang "Linda di Chamounix" with Eugenia Tadolini, but he severed the connection when Italo Gardoni was brought in to sing Edgardo in "Lucia" opposite Jenny Lind . In September 1848 at the Worcester festival he took a solo in "Elijah", and sang in Beethoven's "Christ on the Mount of Olives", and packed the hall in a recital of "Oberon" His London Covent Garden Italian debut was in 1849, as "Elvino" in Bellini's "La sonnambula", opposite Fanny Tacchinardi Persiani : he made a great effect of full lyrical declamation in "Tutto e sciolto In the winter of 1849 he returned to English opera, and in 1850 at Her Majesty's he made a further great success in Verdi's "Ernani", opposite the "Elvira" of Mdlle Parodi and "Carlo" of Giovanni Belletti, who was about to embark on an American tour at the invitation of Jenny Lind Reeves toured in Dublin at Theatre Royal in 1849, for Mr Calcraft .During the 1850s, Reeves's career moved away from the stage and increasingly focused upon concert work 1851In 1851 Reeves sang Florestan in "Fidelio" to Sophie Cruvelli's Leonore, and some thought he outshone her.In February 1851 they returned to Dublin, where Reeves was to have performed with the soprano Giulia Grisi: she, however, was indisposed, .

Charles Santley as Valentin in 'Faust" Gounod CHARLES SANTLEY British Baritone (28 February 1834 – 22 September 1922) was an English-born opera and oratorio . He was a Choirboy and then appeared as an amateur singer, but finally decided to train his voice. He graduated in 1855, first at Gaetano Nava in Milan, then in Manuel Garcia in London. In 1857 he was heard in London for the first time as a soloist in the "creation" of J.Haydn. He debuted on stage in 1857 at the Municipal Theatre of Pavia as Dr. Grenvil in "La Traviata". Guest performances at leading theaters in Italy, England and France brachtem his first successes. He appeared especially at the Grand Opera of Paris and London at the Covent Garden Opera. He appeared in 1859 as Hoël in the English premiere of the opera "Dinorah" by Meyerbeer (with Mme Miolan-Carvalho as a partner), on 23.02.1860 in the world premiere of the opera "Lurline" by Vincent Wallace, on 11/30/1861 in the of "The Puritan's Daughter" by Michael Balfe, on 08/02/1862 in "The Lily of Killarney" by Julius Benedict (in the role of Danny Man). In 1863 he sang at Her Majesty's Theatre in London in the British premiere of Gounod's "Faust" in the presence of the composer Valentin. After this performance, Gounod composed for him the prayer of Valentin "Avant de quitter ces lieux" that is not found in the original score of the opera and is still not sung in Paris. In 1864 he participated in the British premieres of the operas "Mireille" by Gounod and "The Merry Weibner of Windsor" by Nicolai (in Italian) at the same theater. In 1870 he sang at Drury Lane Theatre in London, the title character in the British premiere of Wagner's "Flying Dutchman" (also still in Italian). In the years 1871 and 1891 he undertook glorious North American tours. In the 1875-76 season he was heard at the Carl Rosa Opera Company. He also made guest appearances at La Scala and the Teatro Liceo Barcelona. Until 1900, he regularly appeared on the stage, but gave up after that concert. He was considered the most significant English oratorio singers of his generation; his interpretation of the title role in "Elijah" by Mendelssohn was classified as completely incomparable. Since 1858 he sang at the Leeds Festival, since 1861 the Birmingham Festival, from 1863 to 1906 at each Three Choirs Festival, since 1862 also in the Handel Festival in London. In 1890 he toured Australia and New Zealand, 1893 and 1903, South Africa. In 1907, he was (to his 50th jubilee singers) knighted by King Edward VII. Than "Sir Charles Santley". In 1911 he was at the Covent Garden Opera London his farewell performance in "The Waterman" of Dibdin. He has some autobiographical writings written (Student and Singer, London 1892; Reminiscence of My Life, London, 1909) .Other Lit .: J.Mewburn Levien: "Sir Charles Santley" (London, 1930) .His daughter Edith Santley (* 1860) began a very successful career as a concert singer (soprano), but they completely aufgab.Sowohl was in opera as in concert singing his voice awarded after her marriage in 1884 by their consummate vocal technique as their high musicality; his best roles on the stage were the Don Giovanni and Valentin in "Faust

JEAN-BAPTISTE FAURE (15 January 1830 – 9 November 1914)French operatic baritone Faure was born in Moulins. A choirboy in his youth, he entered the Paris Conservatory in 1851 and made his operatic debut the following year at the Opéra-Comique, as Pygmalion in Victor Massé's Galathée. He remained at the Opéra-Comique for over seven years, singing baritone roles such as Max in Adolphe Adam's Le chalet and Michel in Thomas's Le caïd. During this time he also created the Marquis d'Erigny in Auber's Manon Lescaut (1856) and Hoël in Meyerbeer's Le pardon de Ploërmel (1859; later known as Dinorah), among seven premieres at that house. He made his debut at the Royal Opera House, London, in 1860 as Hoël, and at the Paris Opera in 1861. He would sing at the Opera every season until 1869 and then again in 1872-76 and 1878. In addition, he continued to perform off and on in London until 1877 at venues such as Her Majesty's Theatre and the Theatre Royal, Drury Lane. Among the many operas in which he appeared in Paris were Wolfgang Amadeus Mozart's Don Giovanni as well as L'étoile du nord, Les Huguenots and La favorite. He also made history by creating several important operatic roles written by such prominent composers as Giacomo Meyerbeer, Giuseppe Verdi and Ambroise Thomas. They included the leading baritone parts in L'Africaine, Don Carlos and Hamlet (in 1865, 1867, and 1868 respectively). His last stage appearances are recorded as taking place in Marseilles and Vichy in 1886.

Jean-Baptiste Faure as Hamlet "Hamletl" Thomas a role he performed in the Premiere at Palais Garnier,9 March 1865 JEAN-BAPTISTE FAURE (15 January 1830 – 9 November 1914)French operatic baritone Faure was born in Moulins. A choirboy in his youth, he entered the Paris Conservatory in 1851 and made his operatic debut the following year at the Opéra-Comique, as Pygmalion in Victor Massé's Galathée. He remained at the Opéra-Comique for over seven years, singing baritone roles such as Max in Adolphe Adam's Le chalet and Michel in Thomas's Le caïd. During this time he also created the Marquis d'Erigny in Auber's Manon Lescaut (1856) and Hoël in Meyerbeer's Le pardon de Ploërmel (1859; later known as Dinorah), among seven premieres at that house. He made his debut at the Royal Opera House, London, in 1860 as Hoël, and at the Paris Opera in 1861. He would sing at the Opera every season until 1869 and then again in 1872-76 and 1878. In addition, he continued to perform off and on in London until 1877 at venues such as Her Majesty's Theatre and the Theatre Royal, Drury Lane. Among the many operas in which he appeared in Paris were Wolfgang Amadeus Mozart's Don Giovanni as well as L'étoile du nord, Les Huguenots and La favorite. He also made history by creating several important operatic roles written by such prominent composers as Giacomo Meyerbeer, Giuseppe Verdi and Ambroise Thomas. They included the leading baritone parts in L'Africaine, Don Carlos and Hamlet (in 1865, 1867, and 1868 respectively). His last stage appearances are recorded as taking place in Marseilles and Vichy in 1886.

Achille Montaubry as Lara in the eponymous opera by Aimé Maillart ACHILLE-FELIX MONTAUBRY (12 November 1826- 2 October 1898) French Tenor At the Paris Conservatoire as a student of Panseron and Moreau-Sainti. European debut at the Salle Favart on 16 December 1858 in Les trois Nicolas by Clapisson, playing Nicolas Dalayrac In Le joaillier de Saint-James (17 February 1862) he created the role of Bernard He was also the first Bénédict in Berlioz's Béatrice et Bénédict, which premiered on 9 August 1862 in Baden-Baden. Eugène Gautier's Le trésor de Pierrot (5 November 1864

FEODOR IVANOVICH CHALIAPIN (February 13 ,1873 – April 12, 1938) Russian Bass Largely self-taught, he began his career at Tbilisi and the Imperial Opera, St. Petersburg in 1894. He was then invited to sing at the Mamontov Private Opera (1896–1899); his first role there was as Mephistopheles in Gounod's Faust, At Mamontov he also met Sergei Rachmaninoff, who was serving as an assistant conductor there and with whom he remained friends for life. Rachmaninoff taught him much about musicianship, including how to analyze a music score, and insisted that Chaliapin learn not only his own roles but also all the other roles in the operas in which he was slated to appear. With Rachmaninoff he learned the title role of Mussorgsky's Boris Godunov, which became his signature character , On the strength of his Mamontov appearances, the Bolshoi Theatre in Moscow engaged Chaliapin, where he appeared regularly from 1899 until 1914. During the First World War, Chaliapin also appeared regularly at the Zimin Private Opera in Moscow. In addition, from 1901, Chaliapin began touring in the West, making a sensational debut at La Scala that year as the devil in a production of Boito's Mefistofele, under the baton of one of the 20th century's most dynamic opera conductors, Arturo Toscanini Chaliapin's last stage performance took place at the Monte Carlo Opera in 1937, as Boris. He died the following year of leukemia, aged 65, in Paris, where he was interred

FEODOR IVANOVICH CHALIAPIN (February 13 ,1873 – April 12, 1938) Russian Bass Largely self-taught, he began his career at Tbilisi and the Imperial Opera, St. Petersburg in 1894. He was then invited to sing at the Mamontov Private Opera (1896–1899); his first role there was as Mephistopheles in Gounod's Faust, At Mamontov he also met Sergei Rachmaninoff, who was serving as an assistant conductor there and with whom he remained friends for life. Rachmaninoff taught him much about musicianship, including how to analyze a music score, and insisted that Chaliapin learn not only his own roles but also all the other roles in the operas in which he was slated to appear. With Rachmaninoff he learned the title role of Mussorgsky's Boris Godunov, which became his signature character , On the strength of his Mamontov appearances, the Bolshoi Theatre in Moscow engaged Chaliapin, where he appeared regularly from 1899 until 1914. During the First World War, Chaliapin also appeared regularly at the Zimin Private Opera in Moscow. In addition, from 1901, Chaliapin began touring in the West, making a sensational debut at La Scala that year as the devil in a production of Boito's Mefistofele, under the baton of one of the 20th century's most dynamic opera conductors, Arturo Toscanini Chaliapin's last stage performance took place at the Monte Carlo Opera in 1937, as Boris. He died the following year of leukemia, aged 65, in Paris, where he was interred

VICTOR CAPOUL (27 February 1839 – 18 February 1924) French Tenor He began his studies in 1859 at the Conservatoire of Paris . He debuted in 1861 at the Opéra-Comique Paris as Daniel in 'Le chalet' of Adam. By 1870, he remained at the Opéra-Comique as principal tenor until the outbreak of the Franco-Prussian war in 1870 .during which he sought asylum in England , There he joined the Mapelson Company at Drury Lane , making his debut as Faust in Gounod's "'Faust " then 1871-75 at the Italian Opera London At London he appeared at Covent Garden for the first time in 1877 , as Fra Diavolo . Lionel 'Marta" , Faust , Elvino ,and Ernesto.With Mapelson he went to the USA where he was regular visitor until 1884 , again at the New York Metropolitan Opera 1891-1892 ; He made his debut there as Gounod's Faust and sang seven roles: the Edgardo in "Lucia di Lammermoor ', in Wilhelm Meister' Mignon 'of A.Thomas, Count Almaviva in" The Barber of Sevbilla', the Alfredo in "La Traviata 'Tybalt in' Romeo et Juliette 'by Gounod, the Enzo in "La Gioconda" by Ponchielli and worked among others in 1891 in the Metropolitan premiere of Verdi's' Othello' as Cassio with. In the years 1892-97 he lived as a singing teacher in New York; then he became a director of the Grand Opera of Paris. In 1905 he gave up this activity.

VICTOR CAPOUL (27 February 1839 – 18 February 1924) French Tenor He began his studies in 1859 at the Conservatoire of Paris . He debuted in 1861 at the Opéra-Comique Paris as Daniel in 'Le chalet' of Adam. By 1870, he remained at the Opéra-Comique as principal tenor until the outbreak of the Franco-Prussian war in 1870 .during which he sought asylum in England , There he joined the Mapelson Company at Drury Lane , making his debut as Faust in Gounod's "'Faust " then 1871-75 at the Italian Opera London At London he appeared at Covent Garden for the first time in 1877 , as Fra Diavolo . Lionel 'Marta" , Faust , Elvino ,and Ernesto.With Mapelson he went to the USA where he was regular visitor until 1884 , again at the New York Metropolitan Opera 1891-1892 ; He made his debut there as Gounod's Faust and sang seven roles: the Edgardo in "Lucia di Lammermoor ', in Wilhelm Meister' Mignon 'of A.Thomas, Count Almaviva in" The Barber of Sevbilla', the Alfredo in "La Traviata 'Tybalt in' Romeo et Juliette 'by Gounod, the Enzo in "La Gioconda" by Ponchielli and worked among others in 1891 in the Metropolitan premiere of Verdi's' Othello' as Cassio with. In the years 1892-97 he lived as a singing teacher in New York; then he became a director of the Grand Opera of Paris. In 1905 he gave up this activity.

EUPHROSYNE PAREPA-ROSA (7 May 1836 – 21 January 1874) British Soprano Her operatic début was at the age of 16 in Malta as Amina in La Sonnambula, followed by engagements in Naples, Genoa, Rome, Florence, Madrid, and Lisbon. She sang at the Lyceum Theatre, London, for the 1857 season (the year after the Royal Opera House in Covent Garden burnt down), and between 1859 and 1865 appeared in opera at both Covent Garden and Her Majesty's Theatre. During this time, she participated in two operatic premieres, creating the title role in Alfred Mellon's Victorine on 19 December 1859, and the role of Mabel in George Alexander Macfarren's opera Helvellyn on 5 November 1864. Established the Parepa-Rosa English Opera Company there, In 1870, the Parepa-Rosa Opera Company returned to Britain and then appeared in Italian opera at Cairo, Egypt, followed by a return to America for another successful tour in 1871-71. In 1872, they returned to Britain. In September 1873, the company changed its name to Carl Rosa's English Opera, since Parepa was pregnant Parepa-Rosa died in childbirth in London at the age of 37 while preparing a production of an English version of Richard Wagner's Lohengrin.

EUPHROSYNE PAREPA-ROSA (7 May 1836 – 21 January 1874) British Soprano Her operatic début was at the age of 16 in Malta as Amina in La Sonnambula, followed by engagements in Naples, Genoa, Rome, Florence, Madrid, and Lisbon. She sang at the Lyceum Theatre, London, for the 1857 season (the year after the Royal Opera House in Covent Garden burnt down), and between 1859 and 1865 appeared in opera at both Covent Garden and Her Majesty's Theatre. During this time, she participated in two operatic premieres, creating the title role in Alfred Mellon's Victorine on 19 December 1859, and the role of Mabel in George Alexander Macfarren's opera Helvellyn on 5 November 1864. Established the Parepa-Rosa English Opera Company there, In 1870, the Parepa-Rosa Opera Company returned to Britain and then appeared in Italian opera at Cairo, Egypt, followed by a return to America for another successful tour in 1871-71. In 1872, they returned to Britain. In September 1873, the company changed its name to Carl Rosa's English Opera, since Parepa was pregnant Parepa-Rosa died in childbirth in London at the age of 37 while preparing a production of an English version of Richard Wagner's Lohengrin.

CLARA LOUISE KELLOGG (July 9, 1842 – May 13, 1916) American Soprano She received her musical training in New York City and first sang in opera there in 1861.She appeared as prima donna in Italian opera in London and at concerts in 1867 and 1868, and from that time till 1887 was one of the leading public singers. She appeared at intervals in London,but was principally engaged in America

CLARA LOUISE KELLOGG (July 9, 1842 – May 13, 1916) American Soprano She received her musical training in New York City and first sang in opera there in 1861.She appeared as prima donna in Italian opera in London and at concerts in 1867 and 1868, and from that time till 1887 was one of the leading public singers. She appeared at intervals in London,but was principally engaged in America