OperaMania's photos with the keyword: Reutlinger

GEORGETTE BRÉJEAN-GRAVIÈRE Soprano (Georgette-Amélie SIXSOUT ) .Paris, September 22, 1870 - .Paris, August 30, 1951 Studied at the Paris Conservatoire, with Mangin and Crosti. Debut in 1890 at the Opera House of Bordeaux in which she appeared among other things in the local premières of the operas ‘’Sapho’’ and ‘’Esclarmonde’’of J. Massenet. In 1894 she joined to the Opéra-Comique in Paris where she sang the role of Manon in "Manon" by. Massenet’s. . She sang on 24 .5. 1899 at the Opéra-Comique in the premiere of J. Massenet’s ‘’Cendrillon’’ in the role of fairy. ; Jules Massenet wrote the ‘Fabliau’ (as an alternative to the gavotte in Act 3) specifically for her to sing in Brussels. She appeared as Manon and Lakmé at Monte Carlo the following season, adding LES PÊCHEURS DE PERLES and GUILLAUME TELL a year later. At this time she sang under the name Bréjean-Gravière, later changing it upon her marriage to the composer Charles Silver, whose opera LA BELLE AU BOIS DORMANT provided her with another leading part.

Paola Marié as Clairette in "La fille de Madame Angot".by Lecocq CREATOR in Paris Premiere PAOLA MARIE (1847-1919); French mezzo-soprano. Known for her performance as Clairette Angot in Charles Lecocq’s “La fille de Madam Angot”, a rôle she created at the Paris-première in 1873 at the Théâtre des Folies-Dramatiques. in the rôle of Clairette.Known for her interpretations of Carmen and Mignon, rôles that had been created by her sister, the famous mezzo-soprano Célèstine Galli-Marié (1840-1905). In 1877 she created the rôle of Lazuli in Chabrier’s “L’ Étoile” at the Bouffes-Parisiens

Paola Marié as Clairette in "La fille de Madame Angot" ..by Lecocq PAOLA MARIE (1847-1919); French mezzo-soprano. Known for her performance as Clairette Angot in Charles Lecocq’s “La fille de Madam Angot”, a rôle she created at the Paris-première in 1873 at the Théâtre des Folies-Dramatiques. in the rôle of Clairette.Known for her interpretations of Carmen and Mignon, rôles that had been created by her sister, the famous mezzo-soprano Célèstine Galli-Marié (1840-1905). In 1877 she created the rôle of Lazuli in Chabrier’s “L’ Étoile” at the Bouffes-Parisiens

Emilio NAUDIN. - (October 23, 1823 - may 05, 1890). Italian Tenor He began studying medicine in Parma, but then moved to Milan to study singing with Giacomo Panizza. Debut 1843 in Cremona in " Saffo", by Pacini. He began a career on leading stages in Italy (particularly in Rome and Genoa),in which he had great success singing Verdi roles.Sang at the Teatro Real in Madrid in 1857 in " I due Foscari" and " I Puritani". In 1858 he debuted in London, singing in all theaters , particularly in Covent Garden, where he sang between 1863 and 1872.In Paris he sang from 1862, where he excelled in Lucia di Lammermoor, Lucrezia Borgia, Rigoletto and Così fan tutte. At the Paris Opera he sang in the premiere, 2/4/ 1865, Vasco de Gama in "L'Africaine", Meyerbeer. After this event, , Naudin remained engaged in the Paris Opera for two years At the end of his career he began in the Wagnerian repetoire, singing Lohengrin (in Italian) in various theaters of England and Tannhäuser in Moscow. He gave up his career because of a progressive paralysis that eventually led to his death.

CELESTINE GALLI-MARIE (Marie-Célestine Laurence Marié de l'Isle) (November 1840 – 22 September 1905) French mezzo-soprano Most famous for creating the title role in the opera Carmen.Born in Paris. She was taught singing by her father, Mécène Marié de l'Isle, Her début came in 1859 in Strasbourg, and she sang in Italian in Lisbon. She sang at the Opéra-Comique until 1885, premiering in Pergolesi's La serva padrona. Her most famous roles were in Thomas's Mignon (1866) and Bizet's Carmen (1875). She created the roles of Lazarille in Don César de Bazan, Vendredi in Robinson Crusoé, the title part in Fantasio, as well as roles in Lara, Le Capitaine Henriot, Fior d'Aliza, La Petite Fadette, and Piccolino. She also sang Taven in Mireille and Rose Friquet in Les dragons de Villars. She died in Vence, near Nice. Her voice was described as being of a good timbre, with clear diction and phrasing

MARIE CONSTANCE SASSE . -Belgian soprano (Ghent, 26 January 1834 - 75016.Paris, November 07, 1907).Debut on 01 October 1859, at the Théâtre-Lyrique, 03 August 1860 at the Opera ROBERT LE DIABLE by Meyerbeer (Alice). She sang LA JUIVE by Halévy (Rachel); Verdi IL TROVATORE (Leonora). VESPERS Sicilian Verdi (Helene); THE Queen of Sheba by Gounod (Queen); DON JUAN de Mozart (Elvira, Donna Anna); THE HUGUENOTS (Valentine); HAMLET (Ophelia, 1872). She participated in the first 13 March 1861 Tannhäuser (Elisabeth) Wagner. She created April 28, 1865 L'AFRICAINE (Selika) of Meyerbeer; on March 11, 1867 DON CARLOS (Elisabeth de Valois) for Verdi. She left the Opera in 1872. She has sung under the names of Sax, Saxe, Sass-Castelmary and under his own name.

LISE TAUTIN (born Louise Vaissière) Paris in 1836, died Boulogne, May 1874), French soprano, Associated with the opéra-bouffe in Paris in the middle of the 19th century, particularly the works of Offenbach ,Having been spotted by Offenbach at the Grand Théâtre de Lyon, Tautin made her debut with the Bouffes-Parisiens as Aspasie in Une demoiselle en loterie in July 1857 and was a big success with critics and the audiences. She also sang Fanchette in Le mariage aux lanternes (1857), Crout-ou-pôt in Mesdames de la Halle (1858), Minette in La chatte métamorphosée en femme 1858 - her incarnation of both girl and cat was praised, and Eurydice in Orphée aux Enfers (1858 and 1860 revival), where her ‘Hymne a Bacchus’ was encored, or often sung three times at each performance. Then followed Rosita in Un mari à la porte (1859), Gratioso and other roles in the first version of Geneviève de Brabant (1859), Les Bouffes-Parisiens in Le carnaval des revues (1860), Catarina in Le pont des soupirs (1861), and Ernestina in M. Choufleuri restera chez lui le . . . (1861). She visited Vienna with the Bouffes-Parisiens in the summer of 1861, during which she created La Sincère in Les bergers. In the spring of 1862 she starred in La boite au lait at the Théâtre des Variétés. Tautin took over title role for some performances of La belle Hélène in 1865. She was taken ill returning from a tour to Constantinople in 1874