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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.

CELINE ANNA VAN GHELL (1847-?) Dutch mezzo-soprano. Began her “French” career in Brussels in the role of Rothomago junior in Ennery’s theatre play “Rothomago”. After Brussels she continued her career at Paris where she performed the same role at The Châtelet in 1877. In 1869 she created at the Théâtre des Folies-Dramatiques the role of Méphisto in Hervé’s “Le petit Faust” in which the composer himself (who was also a deserving tenor singer) created the role of Faust. In 1869 she also created the role of Prince Raphaël in the 3-act version of Offenbach’s “La Princesse de Trébizonde” at the Théâtre des Bouffes-Parisiens. She created the role of Gabrielle at the French première of Lecocq’s “Les cent vierges” (1872) and Bobeche in Offenbach’s “La foir Saint-Laurent” (1877

Pauline as Orphee in 'Orphee et Eurydice" Gluck Pauline Viardot [née García] :July 18, 1821 – May 18, 1910) French mezzo-soprano ,Michelle Ferdinande Pauline García was born in Paris to the Garcías, a Spanish opera family led by her father, tenor, singing teacher, composer and impresario Manuel García . She was 13 years younger than her beautiful sister, diva Maria Malibran, In 1837, 16-year-old Pauline García gave her first concert performance in Brussels and in 1839, made her opera debut as Desdemona in Rossini's Otello in London. This proved to be the surprise of the season. Despite her flaws, she had an exquisite technique combined with an astonishing degree of passion.

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.

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.

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.

Marie Miolan-Carvalho as Marguerite "Faust" Gounod CREATOR Paris 1859 MARIE CAROLINE MIOLAN-CARVAHLO (Marie Caroline Félix-Miolan) 31 December 1827, Marseille - 10 July 1895, Château-Puys, near Dieppe) French Soprano Studied first with her father, François Félix-Miolan, an oboist, and later at the Paris Conservatory with Gilbert Duprez. She made her stage debut in Brest, as Isabelle in Le prophète, in 1849. The following year, she made her debut in Paris in the title role in Lucia di Lammermoor, later singing in Le Pré aux clercs, Les Huguenots, Der Freischütz, Hamlet, etc. She appeared at the Théâtre Lyrique from 1856 to 1867, mostly in Mozart and Rossini roles, but also created there an estimated 30 roles, notably by Charles Gounod such as Marguerite in Faust, Baucis in Philémon et Baucis, the title role in Mireille and Juliette in Roméo et Juliette, but also Louis Clapisson's La Fanchonnette, Victor Massé's Les noces de Jeanette, Ambroise Thomas's La cour de Célimène. She made frequent guest appearances at the Royal Opera House in London (1859–72), also appearing in Berlin and Saint Petersburg. She retired from the stage in 1885, as Marguerite. After retirement, she taught singing in Paris.

FYODOR STRAVINSKY (Fyodor Ignatievich Stravinsky) ( 20 June 1843 – 4 December 1902) Russian Bass He studied voice at the Saint Petersburg Conservatory from 1869–73. He later studied with Camille Everardi in Kiev. Stravinsky started his solo singing career in Kiev (1873–76) before moving to Saint Petersburg, where he sang at the Mariinsky Theatre for 26 years, from 1876 to 1902. Stravinsky created a number of roles in operas by Tchaikovsky: His Royal Highness in Vakula the Smith in 1876 Dunois in The Maid of Orleans in 1881 Mamirov in The Enchantress in 1887. He also appeared in the premiere performance of Nikolai Soloviev's Cordelia (24 November 1880, St. Petersburg), and created the role of Moroz (King Frost) in Rimsky-Korsakov's opera The Snow Maiden

MARIE ROZE (born Maria Hippolyte Ponsin), (2 March 1846, Paris – 2 June 1926, Paris), was a French operatic soprano. Debut at the Opéra-Comique 1865 . Her success there led to engagements with the Paris Opéra, and later in London. From 1876 she worked with the Carl Rosa Opera Company during their UK tours and in Scotland over a ten-year period sang roles ranging from Carmen and Manon to Marguerite] In 1877, she was engaged by the Max Strakosch Opera Company and made her American debut on 8 January 1878 in Philadelphia as Leonora in Donizetti's La favorita. She later toured the United States with the Carl Rosa Opera Company from 1883 to 1889 and was particularly noted for her interpretation of the title role Bizet's Carmen. In 1890, she taught singing in Paris and made her farewell tour in 1894.

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, .

PASQUALE BRIGNOLI (b. Naples, Italy, 1824; d. New York City, 30 October 1884) Italian-born American tenor. His operatic debut was in Paris in Rossini's Mosè in Egitto but he needed training and so he entered the Paris Conservatoire. After a period of study, he appeared in L'elisir d'amore in the role of Nemorino at the Theatre des Italiens. He is also recorded as having sung at the Paris Opera in 1854 he came to the United States with Maurice Strakosch in 1855, and soon attained a popularity that lasted almost to the end of his life. His American debut was as Edgardo in Lucia di Lammermoor (1855) and soon thereafter he sang Manrico in the first American production of Il Trovatore (1855). Other permière American performances in which he appeared were La Traviata (1856), I vespri siciliani (1859) and Un ballo in maschera (1861), conducted by Brignoli's friend, Emanuele Muzio at the New York Academy of Music, as well as Luigi Arditi's La Spia (1855) and Betly (1861) at the Philadelphia Academy of Music. Brignoli's first appearance in Boston was in 1855, as Gennaro in Lucrezia Borgia.

Carey probably as Amneris 'Aida" Verdi ANNIE LOUISE CARY (October 22, 1842 – April 3, 1921) American Contralto In 1866 studied In Milan With Giovanni Corsi Until 1868. 1868 Debut In Italian Opera As A Profundo Contralto In Copenhagen . Further study with Pauline Viardot, And In The Autumn She In Paris, Studying With Giovanni Bottesini, A Conductor And Contra-bassist Made A Contract With Messrs. Maurice And Max Strakosch For Three Years In The United States. London With Henry C. Deacon, And Sang At Drury Lane Theatre. She Made Her First New York Appearance In September 1870 In Concert At Steinway Hall With Nilsson, Vieuxtemps, And Brignoli. Appearing With Carlotta Patti, Mario, Albani, f 1875/76, Visited Moscow And St. Petersburg, Returning To America For The Seasons Of 1877-78 And 1878-79, She Sang In Opera With Clara Louise Kellogg And Marie Rose,, At The Time She Retired, She Was The Most Popular Singer In America

HERMAN WINKLEMANN (8 March 1849 – 18 January 1912) German Tenor He went to Paris to study piano construction, but while there he decided to become a singer. He had his initial training in Paris, and later with Koch in Hanover. Made his debut as Manrico in Verdi's Il trovatore in the Court Theatre of Sondershausen in 1875.He created Anton Rubinstein's Néron , title role of Parsifal at the Bayreuth Festspielhaus in 1882.He was the first Tristan in Vienna (1883), and also the first Otello in that city, where he remained until 1906

ERNEST VAN DYCK (Ernst Marie Hubert VAN DIJCK ) (Anvers, 02 Aprill 1861 – Berlaar [Berlaar-lez-Lierre], province d'Anvers, 31 August 1923) Belguim Tenor First student in law at Louvain and Brussels, he became a journalist, editor of "the Scheldt" in Antwerp, from "the motherland" in Paris, where he worked with Saint-Yves-Bax singing. He was hired by Lamoureux concerts and was there cheering for five years in the music of Wagner. January 25, 1886, he created with the Concerts Lamoureux in the Eden-Théâtre le song of the Bell (Wilhelm) of Vincent d'Indy. When Lamoureux gave April 30, 1887, this theatre the memorable representation of Lohengrin in the French version of Charles Nuitter, Van Dyck was appointed to the role of Lohengrin. He was part of the cast of Bayreuth from 1888 to 1911; its beginning was resounding, and the young singer was immediately hired in Vienna, where he played in German: Parsifal, Lohengrin, the gold of the Rhine, the mastersingers of Nuremberg, then Faust, Romeo and Juliet, Manon, and finally Werther (Werther), which he created at the imperial Opera on February 16, 1892 in the German version of Kalbeck. He continued to sing annually at Bayreuth, where he became the Wagnerian tenor by excellence. Covent-Garden, its success was not less complete. March 14, 1897, he created in Monte - Carlo Moina (Patrice) of Isidore de Lara. He sang repeatedly the operas of Wagner at the Opéra de Paris in 1897, in 1908, and notably in 1914 when Parsifal was staged for the first time. On 1 April 1913, he staged the Freischütz at the Théâtre des Champs Elysées. Van Dyck was one of the most accomplished Wagnerian tenors.

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.

ITALIO CAMPANINI (June 30, 1845 – November 14, 1896) Italian Tenor Campanini studied at the Parma Conservatory before making his operatic debut as Manrico in Il trovatore, in 1869, in Odessa. Further study with Francesco Lamperti in Milan.On May 4, 1872 the tenor made his London debut as Gennaro in Lucrezia Borgia.His first American appearances at the Academy of Music, New York, in 1873 in performances of Les Huguenots .On 26 November 1873 he was Rhadames in Max Strakosch's production of Aida.

Carlotta Marchisio as Semiramis in Rossini’s Semiramide CARLOTTA MARCHISIO ( 8 December 1835 - 28 June 1872 ) Italian soprano She studied there with Luigi Fabbrica. Sources disagree about her début; one places it in Venice, another in Madrid (1856). She appeared in all the leading Italian cities, as well as in London, Paris and St. Petersburg. Rossini wrote his Petite Messe Solonnelle (1864) for her and her sister, contralto Barbara Marchisio (1833-1919), with whom she frequently appeared. She died in childbirth.