Benvenuto Finelli (Tenor) (London, England 1910 - London, England 1987)

His real name was Bennett Fynn and he was a pupil of the pedagogue John Tobin in London. In 1941 he made his debut under his real name as Almaviva in Rossini’s ‘’Barbiere di Siviglia’’. In 1942 he became a member of the Sadler's Wells Opera, in 1945 Carl Rose Opera Company. Here he took over parts like Duke in ‘’Rigoletto’’, Pinkerton in ‘’Madama Butterfly’’ and again Almaviva. He additionally studied singing under Italian tenors Dino Borgioli in London, Romeo Berti and Amedeo Bassi in Italy. He specialized in the Italian Belcanto repertoire and accepted the  name Benvenuto Finelli. He became known in the 1950’s in England above all as a broadcasting company singer. In 1971 he finished his career and worked since then as a singing teacher in London. 

Chronology of some appearances

1942 Sadler's Wells Opera

1945 Carl Rose Opera Company

RECORDINGS FOR SALE

HMV

Figlia Del Reggimento (Donizetti): Qual Destin Qual Favor

Don Pasquale (Donizetti):  E se fia che ad altro oggetto 

Lucrezia Borgia (Donizetti): Di Pescatore Ignobile

La Favorita (Donizett): Una Vergine

I Puritani (Bellini): A una fonte afflitto e solo

I Puritani (Bellini):  Nel Mirarti

Don Sebastiano (Donizetti): Deserta In Terra

I Puritani (Bellini): A te, o cara

I Puritani (Bellini): Credeasi misera

La Sonnambula (Bellini): Prendi l'anel ti dono

L Italiana in Algeri (Rossini): languir per una bella

Virgilio Lazzari (Bass) (Assisi 1887 - Castel Gandolfo 1953)

He sang with the Vitale Operetta Company, 1908–11, then studied in Rome with Cotogni . He made his operatic début at the Teatro Costanzi, Rome, in 1914. After singing in South America, in 1917 he made his North American début at Boston. He sang with the Chicago Opera (1918–33), then made his Metropolitan début as Don Pédro (''L'Africaine''), remaining with the company until 1951 and singing 20 roles. From 1934to1939 he appeared at the Salzburg Festival, where he sang Pistol (''Falstaff''), Bartolo and Leporello, the role of his only Covent Garden appearance (1939). His most famous role was that of Archibaldo ( Italo Montemezzi's ''L'amore dei tre re''), which he sang first in 1916 in Mexico City and as late as 1953 in Genoa. Although not blessed with a great voice, Lazzari was considered one of the best singing actors in his particular repertory.

Chronology of some appearances

Il re d’Egitto 6/6/1916, Fouquier-Tinville 11/13/1916, Il cieco 11/14/1916, Colline 11/17/1916, Fouquier-Tinville 11/18/1916, Raimondo Bidebent 3/4/1919, Don Basilio 3/6/1919, Erster Nazarener 2/28/1922, Ein Coppadocier 2/28/1922, Un moine peintre 3/1/1922, Colline 2/27/1934, Ramfis 3/27/1934, Colline 3/9/1937, Leporello 3/15/1938, Il dottore Bartolo 2/28/1939, Colline 2/13/1940, Simone 1/18/1944, Oroveso 2/1/1944, Alvise Badoero 3/13/1945, Il Talpa 1/22/1946, Colline 12/7/1951 (Filadelfia)

RECORDINGS FOR SALE

Edison, New York 1916-12-17/19
Barbiere di Siviglia (Rossini): La calunnia 82555 5220-A

Vocalion, New York 1922-05?

Bohème (Puccini): Vecchia zimarra  30171

Barbiere di Siviglia (Rossini): La calunnia 52038

Simon Boccanegra (Verdi): Il lacerato spirito 70040

Concetto Paterna (Bass) (Catania 1870 - ?1940)

Probably he made his debut in 1890. He had a long and successful career and during his tage career made guest appearances in Lisbon (1891), Rio de Janeiro (1899), Alessandria (1901), Buenos Aires (1906), Montevideo (1906), Madrid (1906), New York (1908) etc. He retired from the stage in 1938.

Chronology of some appearances

1891 Lisbona  Teatro San Carlos Crispino e la comare (Don Fabrizio)

1897 Savona Teatro Chiabrera Boheme (Benoit/Alcindoro)

1900 Cagliari Teatro Civico Boheme (Benoit/Alcindoro)

1904 Torino Teatro Vittorio Emanuele Resurrezione di F.Alfano

1908 Genova  Teatro Carlo Felice Tosca (Sagrestano)

1910 Cremona Politeama Verdi  Don Pasquale (Don Pasquale)

1915 Madrid Teatro Reale  Boheme (Benoit/Alcindoro)

1918 Firenze Teatro Della Pergola Barbiere di Siviglia (Don Bartolo)

1920 Londra Covent Garden   Tosca (Sagrestano)

1925 Basilea Opera Barbiere di Siviglia (Don Bartolo)

1929 Livorno Politeama Crispino e la Comare (Crispino)

1931 Modena  Teatro Storchi Elisir d'amore (Dulcamara)

1937 Ravenna  Teatro Alighieri Matrimonio Segreto (Robinson)

1938 Chianciano Teatro Delle Terme Barbiere di Siviglia (Don Bartolo)

RECORDINGS FOR SALE

Fonotipia, Milano 1910-12-10

Tutti in maschera (Pedrotti): Don Gregorio 92769 xPh 4446

Tutti in maschera (Pedrotti): Dunque l'opera è caduta? 92770  xPh 4447

Domenico Mastronardi (Baritone) (Bari ? - ?)

He studied singing in Milan under the pedagogue Marconi and made his debut in 1928. In 1938 he went to South America, where he continued his career as tenor.

Chronology of some appearances

1928 Livorno Politeama Barbiere di Siviglia (Figaro)

1929 Malta Teatro Reale Boheme (Marcello)

1930 Bari Teatro Petruzzelli Rigoletto (Rigoletto)

1931 Bologna  Teatro Duse Rigoletto (Rigoletto)

1932 Pisa Teatro Verdi  Traviata (Germont)

1933 Torino Teatro Vittorio Emanuele Traviata (Germont)

1934 Bologna  Teatro Del Corso Barbiere di Siviglia (Figaro)

1936 Bari  Teatro Petruzzelli  Tosca (Cavaradossi)

1937 Bologna  Teatro Del Corso Madama Butterfly (Pinkerton)

1938 San Paolo Teatro Municipal  Carmen (Don Josè)

1939 Buenos Ayres Teatro Colon  Madama Butterfly (Pinkerton)

1940 Montevideo Teatro Solis Pagliacci (Canio)

RECORDINGS FOR SALE

Excelsius
I Pescatori di perle (Bizet): Del tempio al limitar with Franco Foresta  25M 891
Gioconda (Ponchielli): O grido di quest'anima with Franco Foresta M7104 25M/884
Pagliacci (Leoncavallo): Sì può? (Prologo, pt 1) M 7106 25M/881

Pagliacci (Leoncavallo): Un nido di memorie (Prologo, pt 2) M 7106 25M/882
Carmen (Bizet): Toreador M 7107 25M/887

Orville Harrold (Tenor) ( Cowan, Indiana 1878 - Norwalk, Connecticut 1933)

                                                                  Duke

                                                                 Canio

He had a notable singing voice even as a child. He sang in church choirs, singing clubs, and traveled with a boys' choir in 1893 to the World's Fair in Chicago, where he was christened "the boy wonder of Muncie" for his performance there. He also played in a band in Muncie and took violin lessons, hoping one day to become a professional violinist. Those dreams did not come true, and as an adult Orville went to work for the Ball brothers glass factory. He later became a driver for a casket company and impressed his fellow workers by singing arias as he worked. In 1906 he was "discovered" by Mme. Ernestine Shumann-Heink, a noted contralto, who was on a concert tour of her own and heard Orville singing with the Apollo Club, an amateur singing group in Muncie. She encouraged him to pursue a singing career, and, through friends in Muncie who had contacts in New York City, an audition was arranged. Orville left Muncie to begin a career in vaudeville and the musical theater, a decision that would take him to the greatest heights in his profession, but would cost him his marriage to Euphamia Evaline Kiger, who would divorce him in 1913. In 1908 he toured with a production of "Wine, Women, and Song" at which time he caught the attention of Oscar Hammerstein and Oscar Sanger. This meeting resulted in a contract with Hammerstein's Manhattan Opera Company. During the year 1910 he sang with the Manhattan company and also with Hammerstein's Philadelphia Opera Company. He toured with these groups and was invited to join the Metropolitan Opera in New York in 1919. He performed with the Met until 1924, taking the lead tenor rolls in "La Boheme," "Parsifal", "Lohengrin", "Louise", "Tosca", "The Barber of Seville," and many other productions. He made solo tours of his own, singing in cities throughout the United States, sometimes accompanied by his daughter, Adelina Patti Harrold, who had inherited her father's gifts and who would go on herself to star in musical comedy in Los Angeles. After leaving the Met, Orville toured Europe, appearing at the London Opera House as a lead tenor, and returned to America to join the Century Opera Company for a United States tour. He also authored a book of 200 songs for children titled "Nimble Bunny," that concerned a musical adventure trip around the world. At the time of his death from a cerebral hemorrhage, he had planned to join his daughter in California for a series of radio broadcasts. Orville's career was short, compared to the other great tenors of his day, perhaps due to his lack of rigorous formal training at an early age.

Chronology of some appearances

1910 Manhattan Opera House
1910 Philadelphia Opera House
1919-1924 New York Metropolitan Opera

RECORDINGS FOR SALE

Edison 4-min cylinders, New York 1912?
Favorita (Donizetti): Spirto gentil (Eng) BA 28182

Edison, New York 1913?
Martha (Flotow): Ah, so pure 82005

Victrola
Louise (Charpentier): Depuis longtemps j'habitais cette chambre with  Eva Gauthier  6151 C25555

Columbia
Jocelyn (Godard): Lullaby A 5439 36483
The snowy breasted pearl (Robinson) A5439 36422

Victor, 1920-04-16
Bohème (Puccini): Che gelida manina 74624 C23716

Marius Chambon (Bass) (1864-1945)

                                                         

His complete name was Claude Etienne Marius Chambon. He studied singing at the conservatoire of  Lyon, where he won the first price in 1889. In 1890 he made his debut at in the Opera House in Marseille as  Marcel in G. Meyerbeer's ''Huguenots''. In 1892 he was engaged by the Grand Opéra in Paris, where he sang the role of Marcel again as a beginning role. Longer than 15 years he appeared at the Grand Opéra in Paris. He sang there in the première of the opera ''Samson et Dalila'' of Saint-Saëns (14 years after the premiere in Weimar); in 1899 he performed there in the première of the opera ''La pinch de Troies'' of Berlioz. He also appeared as a guest at the famous opera houses of  the French province. He was married the soprano Anna Tanésy. Later he was active as vocal pedagogue in Paris.

Chronology of some appearances

1892-1910 Paris Grand Opéra

RECORDINGS FOR SALE

Pathé cylinders, Paris 1902?

Le pas d'armes du roi Jean (Saint-Saëns) 3153

Dutreih cylinders, Paris 1903?

Faust (Gounod): Trio with Minvielle and Tanésy 150699 13503

John Forsell (Baritone) (Stockholm 1868 - Stockholm 1941)

He made his operatic debut at the Royal Swedish Opera, Stockholm, in 1896 as Figaro in Il barbiere di Siviglia. He would remain its premiere baritone for some 30 years. He would also establish an international career, singing for example at the Metropolitan Opera in New York City in 1909/1910, performing such parts as Tonio in Pagliacci, Amfortas in Parsifal, Figaro in Il barbiere di Siviglia, Telramund in Lohengrin, Germont in La traviata and Yeletsky in The Queen of Spades. The title role in Mozart's Don Giovanni was probably his most famous interpretation. He sang the part numerous times, including during the 1909 season at the Royal Opera House, Covent Garden, London, and at the 1930 Salzburg Festival. Among the other major European cities in which Forsell sang the Don and various leading parts were Copenhagen, Berlin, Amsterdam and Vienna. Forsell become the Director (Intendant) of the Royal Swedish Opera in 1923/24, and performed less frequently on stage as a consequence. His voice, however, remained in fine condition. As late as on his 70th birthday, he sang Almaviva in Le nozze di Figaro by Mozart. He retired from his director's position in May 1939 and died in Stockholm two years later. In addition to his administrative duties at Stockholm's opera house during the 1920s and '30s, Forsell taught voice as a professor of singing at the Stockholm Conservatory of Music. His pupils included Jussi Björling, Hjördis Schymberg, Joel Berglund and Set Svanholm.

Chronology of some appearances

1896-1918 Stockholm Royal Swedish Opera 

RECORDINGS FOR SALE

G&T, Stockholm 1905-10
Don Giovanni (Mozart): Du bör ej fruktan bära (Là ci darem la mano) with Hellström 84064 2741e
Trovatore (Verdi): Ser du, af tårar (Mira d'acerbe) with Hellström 84066 2744e
Tannhäuser (Wagner): Sången till aftonstjärnan 82987 2710e
Barbiere di Siviglia (Rossini): Brevduett (Dunque io son) (w. Hellström) 84059 2745e
Nozze di Figaro (Mozart): Hur kan du grymma flicka (Crudel perché finora) (w. Hellström) 84070 2740e

G&T, Stockholm 1907-02-16/17
Faust (Gounod): Bön (Avant de quitter) 2-82528 10277u
Guillaume Tell (Rossini): Bön (Sois immobile) 2-82534 10278u
Mignon (Thomas): Svalduetten (Légères hirondelles) with Hesse 84086 10279u
Aida (Verdi): Duett (A te grave cagion) with Lyckseth-Schjerven 84083 10280u
Barbiere di Siviglia (Rossini): Faktotumsarian 082015  0717v

Gramophone, Stockholm 1907-10
Nozze di Figaro (Mozart): Grevens aria (Vedro mentr'io) 2-82614 7035e

Gramophone, Stockholm 1912-08-23
Favorita (Donizetti): Så mycken kärlek (A tanto amor) 082066
Pagliacci (Leoncavallo): Prolog 082065 449ac

Gramophone, Berlin 1913-10-28
Walküre (Wagner): Der Augen leuchtendes Paar 042475 1242s

Gramophone, Stockholm 1916-12-29
Rigoletto (Verdi): Monolog (Pari siamo) 2-082002 306p(sm)
Don Giovanni (Mozart): Finch'han dal vino (Sw & It) 7-82005 13507o(sm)
Trovatore (Verdi): Hennes skönhet öfverstrålar (Il balen) 2-082005 307p(sm)
Eugen Onegin (Tchaikovsky): Om ödet mig behagat giva 2-082006 309p(sm)

Gramophone, Stockholm 1916-12-30
Rigoletto (Verdi): Se jag gråter... Ädle herrar (Miei signori) 2-082001 310p(sm)

Walter Hyde (Tenor) (Birmingham 1875 - London 1951)

He was one of the greatest dramatic tenors in Britain in the early decades of the twentieth century. He trained in London at the Royal College of Music under Gustave Garcia and Walter Parratt, appearing in student productions of ''Euryanthe'' and ''Much Ado About Nothing'' (Stanford). His early professional career was in musical comedy, including ''Miss Hook of Holland'' (Rubens 1907) and ''Three Kisses'' (Talbot 1907). Percy Pitt then recruited him to sing Siegmund in the 1908 English language Ring cycles at Covent Garden, which were conducted by Hans Richter and directed by E C Hedmondt. He continued to work regularly at Covent Garden until 1923. One of his early appearances there was as Sali in the British premiere of Delius' ''A Village Romeo and Juliet'', conducted by Beecham (1910). He worked extensively with Beecham's company, and in the twenties became a director of BNOC, continuing to sing with them until they folded. He sang Siegmund at the New York Met, and in 1912 toured the USA in Robin Hood. After Siegmund, his most notable Wagnerian role was probably Parsifal. He later became Professor of Singing at the Guildhall School of Music, where his students included John Heddle Nash and Eric Shilling.

Chronology of some appearances

1908-1923 London Covent Garden

RECORDINGS FOR SALE

Odeon London 1908 

The nightingale/ A maiden fair to see" WH and chorus  44872 Lx2153

Odeon London 1909 

The Noble Outlaw (Bishop) The Pilgrim of Love Odeon 84222 Lxx296
Carmen (Bizet): The Flower Song XX84212

HMV, London 1910-07-27

Contes d'Hoffmann (Offenbach): Legend of Kleinsack (w. chorus) 02256 4341f

HMV, London 1921

Die Walküre (Wagner): Winter storms have waned (Winterstürme wichen dem Wonnemond) (o Byng) 02932 598 

Joseph O'Mara (Tenor) ( Limerick, Ireland 1864 – Dublin 1927)

He received his education among other things by Moratti in Milan. He made his debut at the Royal English Opera House in London (1891) in the title role of the opera ''Ivanhoe'' of Sullivan. In the 1894-95 season he appeared with great success at the Drury Lane Theatre like at the Covent Garden in London in which he performed still  in 1910. Then he became the leading tenor of the Moody Manners Opera Company. In the 1902-04 seasons he undertook as a member of the Beecham Opera Company tours through the English cities. Later he founded own opera troop under the name O'Mara Opera Company which real star singer was he himself. He counted as an excellent Wagner's interpreter, however, his extensive repertoire contained more than 70 stage roles. In 1896 he created in the premiere of the opera ''Shamus O'Brien'' of Charles Stanford in London the title role. In 1926 he retired from the stage. 

Chronology of some appearances

1891 London Royal English Opera House
1894-1895 London Drury Lane Theatre

COMPLETE PUBLISHED RECORDINGS FOR SALE

G&T, London 1901
Shamus O'Brien (Stanford): Ochone! When I used to be young 2-2567 1229b

G&T, London 1902-03?
An April Birthday (Ronald) (pf: Ronald) 2-2061 4143a
Friend and Lover (Ronald) (pf: Ronald) 2-2062 4144a

Roberto Tamanti (Bass) (1871-1940)

Probably he made his debut in 1889 at the Teatro Ventido Basso at Ascoli Piceno in G. Verdi’s ‘’Traviata’’. He made guest appearances in Cairo (1896), Bucharest (1898), Amsterdam (1898, 1921), Lisbon (1900, 1902-1903), Mexico City (1901), Oporto (1904), Alessandria (1905), Nice (1906), Buenos Aires (1907), Stockholm (1913). Probably he retired in 1921. He made two published records.

Chronology of some appearances

1889 Ascoli PicenoTeatro Ventido Basso Traviata (Grenvil)

1896 Cairo Teatro Esbekieh Ernani (Silva)

1898 Bucharest Teatro Nazionale Concert

1898 Amsterdam Paleis Voor Volksvlijt Ebrea (Ruggero)

1901 Mexico City Aida (Re)

1904 Oporto Teatro San Joao Thais (Palemone)

1905 Alessandria Teatro Finzi Adriana Lecouvreur (Principe)

1906 Nice Casino Municipale Barbiere di Siviglia (Don Bartolo)

1907 Buenos Aires Teatro Coliseo Rigoletto (Monterone)

1913 Stockholm Teatro Reale Barbiere di Siviglia (Don Bartolo)

RECORDING FOR SALE

Fonotipia, Milano 1906-07-04

Siberia (Giordano): O bella mia with Francesco Maria Bonini, Gino Martinez-Patti and Oreste Luppi 39821 XPh1974

Nazzareno Bertinelli (Baritone)

He studied singing under Antonio Cotogni and probably made his debut in 1921 at the Teatro Verdi of Salerno in G. Verdi’s ‘’Forza del Destino’’.

Chronology of some appearances

1921 Salerno Teatro Verdi Forza del Destino (Don Carlo)

1922 Roma Teatro Morgana Aida (Amonasro)

1923 Mantova Teatro Sociale Tannhauser (Wolframio)

1925 Castelsangiovanni Teatro Verdi Concerto

1927 Fano Teatro Della Fortuna Rigoletto (Rigoletto)

1931 Galatina  Teatro Comunale Cavalleria Rusticana (Alfio)

1932 Torino Teatro Vittorio Emanuele Barbiere di Siviglia (Figaro)

1933 Piombino Teatro Nuovo Trovatore (Conte)

RECORDINGS FOR SALE

Fonotipia, Milano 16-01-1931

Nerone (Boito): Vivete in pace e in concerto soave d'amor! 172169 XXP6684

Odeon, Milano 1931-10-27
Pagliacci (Leoncavallo): Sei là? with Ljuba Mirella 168779 Mo3380 
Pagliacci (Leoncavallo): Hai tempo aridimelo with Ljuba Mirella 168779 Mo3381

Brunswick

Manon Lescaut (Puccini): No pazzo son with Arturo Ferrara M35003

Fabio Ronchi (Baritone) (Este 1884 - Roma 1974)

He made his debut in 1922 at the Teatro Valle of Rome in ‘’Traviata’’. He was well known lyric baritone, who appeared mostly at the smaller opera houses. After the retirement he devoted himself to teaching.

Chronology of some appearances

1922 Roma Teatro Valle Traviata (Germont)

1924 Padova Teatro Garibaldi Aida (Amonasro)

1926 Livorno Politeama Piccolo Marat (Soldato)

1928 Genova Teatro Carlo Felice Werther (Albert)

1930 Augsburg Stadt Madama Butterfly (Sharpless)

1932 Modena  Teatro Municipale Turandot (Ping)

1934 Milano Teatro La Scala  Don Giovanni di F.Lattuada (Avellia)

1937 Barcellona  Teatro Tivoli  Boheme (Schaunard)

RECORDINGS FOR SALE

Fonotipia, Milano 1924-11-17
Nerone (Boito): Nell'antro ov'io m'ascondo 74252 XXPh5459

Fonotipia, Milano 1924-11-18
Nerone (Boito): S'avanza una gran nube di turbe 152631 Pho5460

Fonotipia, Milano 1925-09-28

Ballo in maschera (Verdi): Alla vita che t'arride 152738 Pho5667

Fonotipia, Milano 1926-04-03
Faust (Gounod): Dio possente 74258 XXPh5681
Trovatore (Verdi): Il balen 74315 XXPh5684
Ballo in maschera (Verdi): Eri tu 74316 XXPh5685

Fonotipia, Milano 1926-10-28
Barbiere di Siviglia (Rossini): All'idea di quel metallo with Salvatore Salvati  120010 XXPh5807
Barbiere di Siviglia (Rossini): Numero quindici with Salvatore Salvati 120011 XXPh5808

Leonardo Aramesco (Tenor) (Temesvár 1898 – New York 1946)

He studied singing at Vienna under Otto Iro and Kate Naether-Osten. He began his stage career appearing in the 1920-23 seasons at the Vienna State Opera. In 1926 he was engaged by the West German broadcasting company in Cologne. Here he attained a quite unusual popularity singing roles like Rodolfo in ‘’Bohème’’, Cavaradossi in ‘’Tosca’’, Don Ottavio in ‘’Don Giovanni’’, Lohengrin, Riccardo in Verdi’s ‘’Ballo in maschera’’, Jason in ‘’Medea’’ of Cherubini, Don José in ‘’Carmen’’, Almaviva in ‘’Barbiere di Siviglia’’ and Tamino in ‘’Zauberflöte’’. He also sang in other German radio stations, among other things at Frankfurt a. M., Stuttgart, Munich, Vienna and Prague. Also as an operetta singer he had a significant career. In 1933 he was dismissed as a Jew with the German broadcasting company. Then in the 1935-36 season he was engaged by the Opera House in Lucerne, in the 1937-38 season he performed at the Opera House of Teplitz-Schönau in Czech Republic. He went to Amsterdam, where he made guest appearances and then been active in the field of education. Then he emigierted to USA. Here he still gave a recitals. He died suddenly during an USA tour.

Chronology of some appearances

1920-23 Vienna State Opera

1923-24 Berlin State Opera

1924-25 Erfurt Municipal Theatre

1925-26 Bielefeld Municipal Theatre

1926-27 Erfurt Municipal Theatre

1926-28 Essen Opera House

Theodore (Tobia, Vito) Kittay (Tenor) (near St. Petersburg 1887 - USA 1965)

                                                        with Giacomo Puccini

He was of jewish origin. Since 1902 he lived at St. Petersburg and in 1905 he studied singing at the St. Petersburg Conservatory under the pedagogue Stanislav Gabel. In 1912 together with his family he went to New York, where he additionally studied privately with Pasquale Amato. He appeared almost exclusively together with Japanese soprano Tamaki Miura (1884-1946), who undertook big tours in the 1924-32 seasons appearing in G. Puccini's ''Madama Butterfly''  and ''Iris'' of P. Mascagni. Already in 1917 he appeared opposite her at the Boston Opera in P. Mascagni's ''Iris''. When Tamaki Miura began in 1920 her big European tours, he sang as her partner at the Italian opera houses. Besides, he appeared in Europe under the pseudonym Vito. After his retirement he worked at the Chicago Conservatory.

Chronology of appearances

Iris Indianapolis, Murat Th., 14 October 1916 (possible)

Iris Louisville, Keith's Th., 18 October 1916

Iris Columbus, Hartmann Th., 24 October 1916

Iris Richester, Lyceum, 28 October 1916

Iris Buffalo, Teck Th., 1 November 1916

Iris New York, Lexington Th., 9 November 1916 (2)

Iris Philadelphia, Metropolitan O. H., 14 November 1916

Iris Cleveland, Keith's Auditorium, 22 November 1916

Iris Detroit, Washington Th., 24 November 1916

Iris Baltimore, Lyric, 1 December 1916

Iris Boston, Opera House, 5 January 1917]

Iris Washington, Poli's Th., 13 January 1917

Iris Pittsburgh, Alvin Th., 17 January 1917

Iris Cincinatti, Music Hall, 24 January 1917

Iris Toledo, Valentine Th., 27 January 1917

Iris Nashville, Vendome Th., 2 February 1917

Iris New Orleans, La Fayette Th., 7 February 1917

Iris Dallas, Coliseum, 13 February 1917

Iris El Paso, Texas Grand Th., 17 February 1917

Iris Los Angeles, Cline's Th., 20 February 1917

Iris San Francisco, Cort Th., 27 February 1917

Iris Portland, 11th Street Play House, 6 March 1917

Iris Seattle, ?, 8 March 1917

Iris Spokane, Auditorium, 15 March 1917

Iris Salt Lake City, Salt Lake City Th. 20 March 1917

Iris  Denver, Auditorium, 24 March 1917

Iris Omaha, Boyd's Th., 28 March 1917

Iris Kansas City, Convention Hall, 31 March 1917

RECORDINGS FOR SALE

Columbia, New York 1917-11-09

Madama Butterfly (Puccini): Love duet with Tamaki Miura 49265

Brunswick 1921

Meierke Mein Sohn  40000-B

Emile (Emiel) van Bosch (Baritone) (Boom, Belgium 1886 - Amsterdam 1940)

He had already made epoch-making work for Flemish composers as Peter Benoit (1834-1901) and his follower Jan Blockx (1851-1912), when he leaved his country in 1914 to the Netherlands, that became his second homeland. He made his debut on December 14th in the Hollandsche Schouwburg at Amsterdam in the opera ''Miss Helyett'' from the French composer Edmond Audran (1840-1901) and build a wide repertoire, that besides opera also included operetta, lieder and songs. He sang roles as Valentijn (''Faust'', Gounod), Alfio (''Cavalleria Rusticana'', Mascagni), Tonio (''Paljas'', Leoncavallo), Scarpia (''Tosca'', Puccini), Escamillo (''Carmen'', Bizet) Sharpless (''Madame Butterfly'', Puccini) and Giorgio Germont (''La traviata'', Verdi). His last appearance on stage was on May 24th, 1926 at Amsterdam in the Theater Carré as Escamillo in ''Carmen''.

Chronology of some appearances

1914 Amsterdam Hollandsche Schouwburg Miss Helyett

1926 Amsterdam Theater Carré Carmen

RECORDINGS FOR SALE

Gramophone, den Haag 1919-08-19

Geen lenteloover ruischt zoo zoet (Sauiwen) 7-92034 20764u

Homocord, 1922-07-07

De Stomme van Portici: (La Muette de Portici) Veel liever sterven (Plutôt mourir) with Morrisson 50649

Pecheurs de perles (Bizet): Duo with Morrisson 50650

Goublier. Angelus der zee (L'Angelus de la mer) with Morrisson 50651

Faure. Le Crucifix! (in Dutch) with Morrisson 50652

Homocord, 1922-07-08

Carmen (Bizet): Duo with Morrisson 50653

Lucia van Lammermoor: (Lucia di Lammermoor) Edgard, ja ik! (O piu rapido) with Morrisson 2-50654

Homocord, 1922/1923
Rigoletto (Verdi): Geef my myn dochter weder 50657

Homocord, 1923-05-05

Thais (Massenet): Duo Thais-Athanael with Santhagens 51023

Homocord, 1923-05-07

Forza del destino (Verdi): Duo with Morrisson 51027

Madama Butterfly (Puccini): Duo with Morrisson 51028

Faust (Gounod): Trio with  Morrisson and Bouwmeester 51031

Rigoletto (Verdi): Kwartet with Morrisson, Bouwmeester and Santhagens 51032