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Jeanette Ludwig as Amneris "Aida" Verdi JEANETTE LUDWIG 1849-???? German Mezzo-soprano

MARIE DESCLAUZAS (Malvina-Ernestine Armand ) 1840-1912 French Soprano She created the rôle of Mademoiselle Lange in Charles Lecocq’s “La fille de Madame Angot” (1872); the rôle of La belle cousine in Hervé’s “Alice de Nevers” (1875) and the rôle of Diane de Chateau-Lansac in Lecocq’s “Le petit Duc” (1878).

MATILDE SESSI (Mathilde Gabriele Alexander) (1846-1934) Austrian soprano. She started her career in Vienna and then got engagements in Berlin, Frankfurt and Brussels.In 1870 she had her debut in London at Covent Garden as Lucia in “Lucia di Lammermoor” and in that same year in Paris, at La Salle Ventadour, as Alina in Donizetti’s “Alina, Regina di Golconda”. She sang several seasons at Covent Garden and her most famous rôles were Zerlina in “Don Giovanni”, Marguerite in “Faust”, Marie in “La fille du regiment”, Ophélie in “Hamlet”, Violetta in “La Traviata”, the Countess in “Le nozze di Figaro”, the Queen of the Nigt in “Die Zauberflöte”, Marzelline in “Fidelio” and Cecilia in “Il Guarany”.

GUISEPPE VERDI (Giuseppe Fortunino Francesco Verdi ) ( 9 or 10 October 1813 – 27 January 1901) Italian Composer Composed 37 opera's between 1839-1893 . Verdi in about 1850

ADELAIDE BORGHI-MAMO (9 August 1826 – 29 September 1901) Italian Mezzo-soprano studied singing in Milan with Francesca Festa before making her professional opera debut in 1843 at the opera house in Urbino as Bianca in Saverio Mercadante's Il giuramento. The following year she joined the roster of singers at the Teatro Vittorio Emanuele in Messina.In 1851 she portrayed the role of Morna in the world premiere of Giovanni Pacini's Malvina di Scozia at the Teatro di San Carlo. She returned there in 1853 to create the role of Olimpia in the premiere of Saverio Mercadante's Statira and the role of Odetta in the premiere of Pacini's Romilda di Provenza. She was also heard at that house that year as Azucena in Giuseppe Verdi's Il trovatore and in the title role in Gaetano Braga's Alina. On 23 August 1853 she performed in the world premiere of Lauro Rossi's L'alchimista at the Teatro del Fondo in Naples. She was also heard in Vienna in 1853. In 1854 she sang in another premiere at the Teatro di San Carlo: the role of Tremacoldo in Errico Petrella's Marco Visconti.

CHARLOTTE HELEN SAINTON-DOLBY (17 May 1821 – 18 February 1885), English Contralto & Composer Born in London, and studied at the Royal Academy of Music from 1832 to 1837, Domenico Crivelli being her principal singing-master. In 1837 she was elected to a King's scholarship, and first appeared at a Royal Philharmonic Society concert in 1841. In October 1845 she sang at the Gewandhaus, Leipzig, through the influence of Mendelssohn, who had been delighted by her singing in his oratorio St. Paul. The contralto music in his Elijah was written for her voice, but she did not appear in that work until the performance at Exeter Hall on 16 April 1847. She was a principal soloist in the first English performance of Bach's St Matthew Passion, directed by William Sterndale Bennett at the Hanover Square Rooms London on 6 April 1854. She married the violinist Prosper Sainton in 1860, and in 1870 she retired from the career of a public singer, but two years afterwards started a vocal academy in London. She made various successful attempts as a composer, and the cantatas The Legend of St Dorothea (1876), The Story of the Faithful Soul (1879), and Florimel (1885), enjoyed considerable success. Her last public appearance was at her husband's farewell concert in June 1883, and she died in 1885

GIOACHINO ROSSINI (29 February 1792 – 13 November 1868) Italian Composer

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

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.

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. She then toured the United States with cornetist Levy and violinist Carl Rosa, the latter of whom she married in New York City in 1867. Together they quickly established the Parepa-Rosa English Opera Company there, which became popular, and which introduced opera to places in America that had never staged it before. They opened at the French Theatre on Fourteenth Street, New York City in September 1869 with a performance of Bale's opera The Puritan's Daughter, with Parepa singing the title role. The subsequent tour of the eastern and midwestern states included a repertoire that ranged from The Bohemian Girl and Maritana to Weber's Der Freischütz and Oberon 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.

FRANCESCO TAMAGNO (28 December 1850 – 31 August 1905) Italian Tenor Best known as the creator of the protagonist's part in Verdi's Otello at La Scala, Milan in 1887, he also was the first Gabriele Adorno in Verdi's 1881 revision of Simon Boccanegra, a far more lyrical assignment than the "Moor of Venice". He participated, too, in the premiere of Verdi's Italian-language version of Don Carlos when it was staged at La Scala in 1884, singing the eponymous role of the Infante of Spain. Five other operas in which Tamagno created leading roles were Carlos Gomes' Maria Tudor (in 1879), Amilcare Ponchielli's Il figliuol prodigo (1880) and Marion Delorme (1885), Ruggero Leoncavallo's I Medici (1893) and Isidore de Lara's Messaline (1899). He was lauded for his performances of such established parts as Manrico in Il trovatore, Don Alvaro in La forza del destino, the titles role in Ernani and Poliuto, Arnold in Guillaume Tell, John of Leyden in Le prophète, Raoul in Les Huguenots, Vasco in L'Africaine, Robert in Robert le diable and Eleazar in La Juive. He excelled in the newer dramatic parts of Radames in Aida, Samson in Samson et Dalila, Alim in Le roi de Lahore and John the Baptist in Hérodiade. Yet, in his younger days, before his voice grew too robust, he was able to negotiate a role as light and graceful as that of Edgardo in Lucia di Lammermoor due to his accomplished mezza-voce singing.

MARGUERITE PRIOLA (Marguerite Marie Sophie Polliart) (Paris, 02/10/1849-13.Marseille, 27/10/1876) French Soprano Daughter of Jules - César Patrick, general manager of the theatre of the Folies-Dramatiques Debut as The Messanger of Peace "Reinzi" Wagner April 06, 1869 at the Théâtre-Lyrique. Debuted at the Opéra-Comique in 1869 in Rêve d'amour. . She created on 30 November 1872 Don César of Bazán (Maritana) by Jules Massenet. Giving a representation of Mignon in 1876 in Marseille, Her voice apparently broke and she was hissed from the stage. The impression of the hostile event she took to heart and caused her to go become physically and mentally ill, she died a few days later, at the age of 26.

NINA FRIEDE 1859-???? Russian Mezzo Took lessons at the St Petersburg Conservatory unde Iretskaya , In 1880 she went to Vienna to study with Mathilde Marchesi . Was engaged for a season at Teatro Nicolini im Florence . Made her debut as Pieretto ' Linda di Chamounix ". She sang at the Liceo Barcelona and made concert appearances at Moscow and St Petersburg . She was a principal at the Marinsky 1884-1891 . She sang among others Amneris (Aida) , Pauline (Queen of Spades) , Khontchakovna (Prince Igor) and Olga (Eugen Onegin)

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.

CHRISTINE NILSSON (Sjöabol near Växjö, Sweden, August 20, 1843 - Stockholm, 22 November 1921). Swedish Soprano Debut October 27, 1864, Théâtre-Lyrique. Debuted at l'Opéra de la salle Le Peletier on 09 March 1868 by creating Opehlia in HAMLET ,Sang in the premiere on 03 March 1869 Marguerite in Faust at the Palais Garnier. She sang LA LEGENDE DE SAINTE CECILE , oratorio by Benedict; ROBERT LE DIABLE (Alice). Meyerbeer

MARGUERITE CHAPUY 1850-???? French Soprano She undertook lessons with Arnoldi (her first teacher having been Belloni), In 1870 she moved to Brussels, where she continued her vocal studies, In 1872, Chapuy sang Susanna in Le nozze di Figaro, and Haydée by Auber at the Opéra Comique. She created the role of Philomène in Le roi l'a dit by Delibes on 24 May 1873. In March 1874 she sang Mignon. She was invited by Mapleson to sing in London, where her repertoire included Zerlina, Susanna, Rosina and Lucia Most notably Chapuy was the first Micaëla in Bizet's Carmen on 3 March 1875. Chapuy sang Rosina in The Barber of Seville in July 1875 at the Drury Lane Theatre, London She sang in the premiere of Henri Maréchal's opéra-comique Les amoureux de Catherine on 8 May 1876, Chapuy sang Catherine. She then sang Baucis in the first performance of the 2-act version Gounod's of Philémon et Baucis (16 May 1876). In 1876 she married Louis Joseph Nicolas André a major general of the French army and shortly after retired from the stage.

MATHILDE DE CARPONNE (Mathilde Albertine Craponne) 14th May 1871 - French Soprano (born Algeria) Studied with Emilie Ambre-Bouichere, .Created on 24 may 1899 a spirit in “Cendrillon” by Massenet ,le Gavroche and Elise in “ Louise” by Gustave Charpentier. 1900 , Zerlina in “la Fille de Tabarin “ by Gabriel Pierné 1901 ,Lisette in “le Légataire universel “ by Georges Pfeiffer 1901, Madame Dugazon in “Madame Dugazon” by Charles Hess 1902 , Loustic in “la Troupe Jolicœur” by Arthur Coquard 1902 , Melka in “Muguette” by Edmond Missa 1903, Robin in “ Titania “ by Georges Hüe 1903. Potachin in “ Feminissima” by Gaston Lemaire 1904.She participated in the premiere, on May 30, 1900 of Hansel and Gretel (Hansel) by Engelbert Humperdinck [French version of Catulle Mendès].Roles included Catherine in “les Amoureux de Catherine” by Marechal , Bettly in “Le Chalet “ by by Adam ,Jenny in “ Le Dame blanche” by Boieldieu ,Brigitte in “ le Domino noir “ by Jolivet ,Gertrude in Le Maitre de Chappelle” by Cimarosa and Paisiello, Mignon in “Mignon” by Thomas , Vincenette, Andreloun in “ Mireille” by Gounod , Rosette in “ Manon “ by Massenet .Nicette in “ Le Pré - aux-clercs “ by Herold and Lampito in “ Phryne” by Saint-Saens

ANNA CARLOWNA FRIEDEBOURG 25 December 1829- 11 May 1903 Russian Contralto Wife of pianist Theodore (Fedor) Leshetitsky. She was born in St. Petersburg in the family of a doctor, she showed bright musical abilities from her childhood. The attention of Grand Duchess Elena Pavlovna attracted attention, which took her in 7-year-old7-year-old age for education in the Mikhailovsky Palace. In 1848 she graduated from the Mariinsky Institute, she studied singing. She performed in opera with Italian singers. Repeatedly played with A.G. Rubinstein. Since 1856, together with her husband, she has performed concerts in the cities of Russia and in Europe. She participated in the creation of the Russian Musical Society (1859), performed (until 1863) in his concerts. She finished her performances in 1891. From 1871 she was teaching, giving private lessons, teaching at music schools. She was buried at the Nikolsky Cemetery of the Alexander Nevsky Lavra. A pupil of Viardot, Garcia, her method was perfect, and as for the depth of sentiment she expressed, I can only repeat what Anton Rubinstein said: “That voice was a tear.” It was the grand duchess’ wish that her gifted young protégée should become acquainted with the songs of Schubert, Schumann, Mendelssohn, and others of the German school; and it was with great zeal that pianist Theodor Leschetizsky undertook his task. They married 1856 and remained together until 1871 when they divorced