Louis Azéma (Bass) (Agde, Herault / department, France 1876 - Montmorency, France 1963)

                                                                Don Basilio

He studied singing at the Paris Conservatoire under Isnardon. In 1901 he made his debut at the Opéra de Lyon in ‘’Les Huguenots’’of G. Meyerbeer. In 1903 he sang in Nantes, the next year at the Théâtre de la Haye in the Hague. He married to the mezzo-soprano Jeanne Billa-Azéma (1879-1967), who was engaged together with him by the Opéra-Comique in Paris (1905), where as a beginning role he sang Don Basilio in G. Rossini's ‘’Il Barbiere di Siviglia’’. Till 1930 he was a highly respected member of this opera house. Here he appeared in the premieres of ''Les Pêcheurs de Saint Jean'' by Ch. Marie Widor (1905), ''Ariane et barbe-blue'' by P. Dukas (1907), ‘’Macbeth’’ of  E. Bloch (1910), ‘’La Jota’’of R. Laparra (1911), ‘’La Sorcière’’ by C. Erlanger (1912), ‘’Marouf’’ of H. Rabaud (1914), ‘’Le Roi Candaule’’ of A. Bruneau (1920) and ‘’Dans l'Ombre de la Cathédrale’’ of G. Hüe (1921). His extensive repertoire included sultan in ‘’Marouf’’, Nilakantha in ‘’Lakmé’’, Arkel in ‘’Pelléas et Mélisande’’, Daland in ''Fliegenden Holländer'', Lothario in ''Mignon'', Sulpice in ''La fille du Régiment'', Louis XII in ''La Basoche''. After his retirement, he became in 1941 a manager of the Théâtre du Capitole, Toulouse. Later he lived in Paris and been active again as a painter. Several his portraits have been attached in the entrance hall of the Opéra-Comique.

Chronology of some appearances

1901 Lyon Opéra

1904 Hague Théâtre de la Haye 

1905 Paris Opéra-Comique

RECORDING FOR SALE

Ultima (later Perfectaphone, Corona, Opéra, Arya), Paris 1905?

Mignon (Thomas): Mignon (Thomas): Berceuse 429

Hubert Paty (Bass) (Seraing, Belgique 1865 - ? 1944)

He studied singing at the Paris Conservatoire. In 1896 he made his debut at the Grand Opéra in Paris as an old Hebrew in ''Samson et Dalila'' by C. Saint-Saëns. He remained engaged till 1902 in this famous opera house, where among other things he appeared as Marcel in G. Meyerbeer's ''Les Huguenots'', Zacharia in ''Le Prophet'', Don Gomez in ''Le Cid'', Gessler in G. Rossini's ''Guglielmo Tell'', Sparafucile in ''Rigoletto'', Ramphis in ''Aida'' and the king in ''Hamlet'' of A. Thomas. After 1902 he appeared at the different operatic stages of the French province and sang in the 1905-1906 season at the Théâtre de la Monnaie in Brussels. Then in the 1908-1909 season he appeared again at the Paris Grand Opéra, now as Giscon in ''Salammbô'' of E. Reyer, Grand Inquisitor in G. Meyerbeer's ''L' Africaine'', Frère Laurent in ''Roméo et Juliette'' by C. Gounod, Dan in ''Joseph'' of E. Méhul and as Fafner in ''Siegfried'' of  R. Wagner.

Chronology of some appearances

1896-1902 Paris Grand Opéra

1905-1906 Brussels Théâtre de la Monnaie

1908-1909 Paris Grand Opéra

RECORDING FOR SALE

G&T, Paris 1901

Zauberflöte (Mozart): La haine et la colère 32091 644G

Lyrophon, Paris 1905?
Sardanapale (Liszt) 453
La flûte enchantée (Mozart): Air de Sarastro 448

Berthe Auguez de Montalant (Soprano) (Baltimore 1865 – Nice 1937)

First she studied singing under Armand Chevé, then at the Conservatoire de Bordeaux. Here she won several prices. In 1899 she made her debut at the Opéra-Comique in Paris as Léonore in ‘’Fidelio’’.

Chronology of appearance

1899 Paris Opéra-Comique

RECORDINGS FOR SALE

G&T, Paris 1907
Ave Maria (Gounod) with chorus 33649 5112h
La procession, pt 1 (Franck) 33652 5117h
La procession, pt 2 (Franck) 33653 5118h

Gramophone, Paris 1908
Marie-Magdeleine (Massenet): O bien-aimé 033046 598i

Gramophone, Paris 1908-10

Africaine (Meyerbeer): Air du sommeil 33715 6486h
Porcherons (Grisar): Romance de la lettre 033067 855i
Panis angelicus (Franck) with Leon Beyle 34200 5843½h
Marie-Magdeleine (Massenet): Heureux ceux qui vivront with Leon Beyle 34220 5771h
Robert le diable (Meyerbeer): Va, dit-elle, va mon enfant 33716 6487h
Faust (Gounod): Anges purs with Antonio Roccaand Pierre d'Assy 34208 6497½h
Faust (Gounod): Choral des épées with Daniel Vigneau, Rocca and d'Assy 3-32875 6499h

Gramophone, Paris 1908-11-12
Guillaume Tell (Rossini): Sombres forêts 33720 14079u
Juive (Halévy): Il va venir 033068 0855v

Gramophone, Paris 1909-03-17
Fleuve du Tage (Pollet) 33773 14481u
Damnation de Faust (Berlioz): De l'amour, l'ardante flamme 033103 0922v
Damnation de Faust (Berlioz):  Pt 2 033104 0923v

Gramophone, Paris 1909-03-19
Damnation de Faust (Berlioz): Que l'air est étouffant 33774 14482u
Damnation de Faust (Berlioz): Autrefois un roi de Thulé 33775 14483u

Gramophone, Paris 1909-03-24
Africaine (Meyerbeer): Adieu, mon beau rivage 033105 0930v

Gramophone, Paris 1909-06-15
Roméo et Juliette (Berlioz): Premiers transports que nul n'oublier 033106 01100v

Gramophone, Paris 1910-06-09
Hérodiade (Massenet): Salomé! Jean! with Leon Beyle 034065 01536v
Hérodiade (Massenet): Ami, la mort n'est pas cruelle with Leon Beyle 034066 01537v

Berthe César (Soprano)

She studied singing under Frédéric Boyer in France. In the 1900-1905 seasons she appeared in Ghent. In Antwerp she sang in the premieres of  the operas ‘’Messaline’’ by I. de Lara and F. Cilèa’s ‘’Adriana Lecouvreur’’. Then she made guest appearances in Bordeaux and Lyon. In 1908 she made her debut at the Paris Opéra-Comique and appeared there as Manon, Lakmé, Rosina, and Violetta. At the Opéra de Marseille she sang till 1918. As a guest, she sang frequently in many French houses and also was on the Monte Carlo roster in 1916 as C. Gounod’s Mireille.

Chronology of some appearances

1900-1905 Ghent Opera

1906? Antwerp Opera

1908 Paris Opéra-Comique

RECORDINGS FOR SALE

Gramophone, Paris 1911-10-31

Manon (Massenet): Toi! Vous! with Leon Campagnola 034120 Y28

Manon (Massenet): N'est-ce plus ma main with Leon Campagnola 034111 Y28

Gramophone, Paris 1911-11-03
Manon (Massenet): J'écris à mon père with Leon Campagnola 34290 U22

Gramophone, Paris 1912-09-05

Faust (Gounod): Divine pureté with Leon Campagnola and Paul Payan 034153 Y12

Gramophone, Paris 1912-09-12

Roméo et Juliette (Gounod): Console-toi, pauvre âme with Leon Campagnola 034156  Y34

Roméo et Juliette (Gounod): Où suis-je with Leon Campagnola 034155 Y34 

Paul Aumonier (Bass) (1872 - 1944)

He studied singing at the Paris Conservatoire. In 1904 he appeared at the Opéra de Monte-Carlo in G. Verdi’s ‘’Rigoletto’’and ‘’Aida’’. In 1913 he sang at the Opéra de Rouen Haute-Normandie in the premiere of the opera ‘’Graziella’’ by J. Mazellier. In 1919 at the Paris Grand Opéra he appeared in ‘’Samson et Dalila’’ and ‘’Salammbô’’. His repertoire included Max in ‘’Le chalet’’ by A. Adam, Jacob in ‘’Joseph’’ of E. Méhul, Girto in ‘’Le Pré aux clercs’’ by F. Hérold, Marcel in G. Meyerbeer’s ‘’Huguenots’’, Frère Laurent in C. Gounod’s ‘’Roméo et Juliette’’ and Lothario in ‘’Mignon’’ by A. Thomas. 

Chronology of some appearances

1904 Opéra de Monte-Carlo

1913 Opéra de Rouen Haute-Normandie

1919 Paris Grand Opéra

RECORDINGS FOR SALE

Berliner, Paris 1901
Manon (Massenet) Epouse quelque brave fille Berliner 32985 3690G
Hérodiade (Massenet) Vision fugitive Berliner 32447 3660G

Odeon, Paris 1904-08?
Patrie (Paladilhe): Arioso du duc d'Albe 33879
Barbiere di Siviglia (Rossini): Air de la calomnie 33889
Mignon (Thomas): Berceuse 33750 XP852
Galathée (Massé): Tristes amours 33821 XP854
Guillaume Tell (Rossini): Ses jours qu'ils ont osé proscrire with. Gautier and  Weber  33859 XP910

Joachim Cerdan (Bass) (Paris 1877 - Paris 1921)

In 1907 he joined to the Grand Opéra  in  Paris and remained a member  till 1920. He appeared there in the premiere of the operas ''Monna Vanna'' (1909) by Henry Février, ''Bacchus'' of J. Massenet (1909), ''Le Miracle'' (1910) by Georges Hüe, and ''Siberia'' (1911) of U Giordano. In 1920 he made guest appearances at the Teatro Colón in Buenos Aires, then also in Rio de Janeiro and Montevideo. His best role was counted the Abimelech in ''Samson et of Dalila'' of  C. Saint-Saëns and the Athanaël in ''Thaïs'' of J. Massenet. His repertoire at the Grand Opéra included Klingsor in ''Parsifal'', Tonio in ''Pagliacci'', Oberthal in ''Le Prophète'', Mephisto in''La damnation de Faust'' , Capulet in ''Roméo et Juliette'', Horatio in ''Hamlet''. In 1917 he performed at the Opéra de Monte-Carlo as Vitellius in ''Hérodiade''. In 1921 at the same opera house he sang the role of Mephisto in ''Faust'', Saint Bris in ''Huguenots'', Colline in ''La Bohème'' and Gurnemanz in ''Parisfal''. He also sang at the Opéra de Nice. This gifted bass passed away at the height of his artistic career.

Chronology of some appearances

1907-1920 Paris Grand Opéra
1917 Monte-Carlo Opéra
1920 Buenos Aires Teatro Colón

RECORDINGS FOR SALE

Edison 2-min cylinders, Paris 1908?

Ariane (Massenet): Air de Pirithoüs 17998

Gramophone, Paris 1911-11-04

Faust (Gounod): A moi les plaisirs with Leon Campagnola 034117 Y31

Faust (Gounod): Mais ce Dieu with Leon Campagnola 034116 Y31

Gramophone, Paris 1912-12-17

Galathée (Massé): Aimons, il faut aimer with Rose Heilbronner 034173 02628v

Galathée (Massé): Et maintenant de toi j'implore with Rose Heilbronner 034190 02629v

Gramophone, Paris 1919-10-31
Noël (Adam) with Calvet and Dutreix 034204 W350

Maria Alexina (Soprano)

Here real name was Maria Asmus. She made her debut in 1905 at the Mariinsky Theatre in St. Petersburg as Lisa in P. Tchaikovsky’s ‘’The Queen of Spades’’. Later she appeared in Kharkov (1915) and Odessa (1916).

Chronology of some appearances

1909 Teatro dell'Opera Cvalleria Rusticana

1909 Amsterdam  Paleis Voor Volksvlijt Don Pasquale 

1909  Londra  Teatro Coronet Cavalleria Rusticana

1909 Don Pasquale Londra Drudy Lane Theatre Royal            

1909 Londra  Drudy Lane Theatre Royal  Trovatore

Martino Grossi (baritone)

Probably in 1910's he appeared in italian provincial opera houses.

RECORDING FOR SALE

Homokord
Don Giovanni (Mozart): Deh vieni alla finestra 2117

Clemens Andrijenko (Tenor) (Kopychyntsi, Ternopil Oblast 1885 - Rotenburg 1967)

He received his education at the Lysenko Musical Institute and from 1922 to 1926 appeared at the Lviv Opera Theatre. In 1926 he went to Berlin and concertized in Western Europe. He had a vocal instruction studio in Berlin and after the World War II continued teaching in Rotenburg.

Chronology of some appearances

1922-1926 Lviv Opera Theatre

Monsieur Berthaud (Tenor)

In 1913 he appeared at the Gaîté Lyrique in Paris in ‘’Pagliacci’’ as Beppe with Campagnola, Maguenat, Raymond, Mme Heillbronner, Amalou. 

Chronology of some appearances

1913 Paris Gaîté Lyrique

1913 Paris Gaîté Lyrique

1914 Paris Opéra-Comique 

RECORDING FOR SALE

Pathé, Paris 1909 - 1911

Châlet (Adam): Il faut me céder with Belhomme 0512

Ernest Forgeur (Tenor)

In the 1901-1906 seasons at the Théâtre de la Monnaie in Brussels he appeared as comprimario in ''Lakme'', ''Otello'', ''Hamlet'', ''Le Prophete'', ''Werther'', ''Louise'', ''Mignon'' and ''Alceste''.

Chronology of some appearances

1901-1906 Brussels Théâtre de la Monnaie

RECORDINGS FOR SALE

Edison 2-min cylinders, Paris 1904/1905

La Mascotte (Audran): Je ne sais quoi 17039

La Fille du Régiment (Donizetti): Romance 17233

Le Jour et la Nuit (Lecocq): Romance 17075

Les Cloches de Corneville (Planquette): Va, petit mousse 17036

Hendrik Drost (Tenor)

He studied singing under Cateau Esser in Amsterdam. He began his career in Holland and Belgium and was engaged seven season till 1927 by the Opera House in Antwerp. In 1928 he appeared at the Opernhaus in Nuremberg. He attained a special popularity and sang here till 1956. His repertoire included Manrico in ‘’Il Trovatore’’, Florestan in ‘’Fidelio’’, Erik in ‘’Fliegenden Holländer’’, Siegfried in ‘’ Der Ring des Nibelungen’’, Canio in ‘’Pagliacci’’, Cavaradossi in ‘’Tosca’’ and Pedro in ‘’Tiefland’’. In 1930 he appeared in Nuremberg in the premiere of the opera ‘’Der Tag im Licht’’ by H. Grimm. He gave guest performances in Munich, Coburg, Stuttgart and Graz. In 1930 he also sang in Nuremberg in the German première of R. Zandonai’s ‘’Il Cavalieri di of Ekebù’’. In 1933 he appeared there in the premiere of the opera ‘’Godiva’’ of L. Roselius. After his retirement he worked as a pedagogue in Nuremberg.

Chronology of some appearances

1927 Antwerp Opera House
1928 Nuremberg Opernhaus

RECORDINGS FOR SALE

I wish to thank Hubert Drost for providing me this record

Columbia
Guillaume Tell (Rossini): Accours dans ma nacelle D 6491 68797

Léon Ponzio (Baritone) (Pyrenées 1887 – Paris 1947)

                                                                  Figaro

                                                              Escamillo

He made his debut in 1910 at the Théâtre de la Monnaie in Brussels and remained engaged in this opera house till 1914. In 1919 he appeared in several French and Italian operas at the Opéra de Monte-Carlo. In the 1920-1922 seasons he was once more a member of the Théâtre de la Monnaie in Brussels. In 1922 he appeared at the Théâtre Lyrique of Paris in the operetta ‘’Les Mousquetaires au Couvent’’ by L. Varney. In 1930 he sang at the Grand Opéra in Paris the role of Figaro in ‘’Il Barbiere di Siviglia’’, Germont-père in ‘’La Traviata’’ and the eponymous hero in ‘’Marouf’’ by H. Rabaud. In 1932 he appeared as a guest at the Opéra-Comique in Paris. In 1935 he gave a successful guest performance at the Covent Garden as Figaro in ‘’Il Barbiere di Siviglia’’ and Marcello in ‘’La Bohème’’. Later he was active as a singing teacher in Paris.

 Chronology of some appearances

1910-1914 Brussels Théâtre de la Monnaie

1919 Monte-Carlo Opéra

1920-1922 Brussels Théâtre de la Monnaie

1922 Paris Théâtre Lyrique

1930 Paris Grand Opéra

1932 Paris Opéra-Comique

1935 London Covent Garden

RECORDINGS FOR SALE

Pathé, Paris 1923/1924
Mme Favart (Offenbach): Quand je cherche dans ma cervelle 2089

Pathé, Paris 1932?
Brigands (Offenbach): Trio des Marmitons with Luart and Balbon 92011
Brigands (Offenbach): Choeurs des Bottes with Luart and Balbon 92011

Emma Luart (Soprano) (Brussels 1892 - Brussels 1968)

Her real name was Emma Luwaert. She received her education at the Conservatoire royal de Bruxelles. She made her debut in 1914 at the Théâtre de la Haye in the Hague and created there for Holland the roles of Mélisande in ‘’Pelléas et Mélisande’’ (1916), Tatiana in ‘’Eugene Onegin’’ (1916) and the princess in ‘’Marouf’’ (1917). In 1918 she joined to the Théâtre de la Monnaie in Brussels, where she appeared as Constance in the Brussels première of W. A. Mozart’s "Entführung ais dem Serail". In 1922 she was engaged by the Opéra-Comique in Paris and made her debut in ‘’Lakme’’. In the 1923-1924 season she appeared at the Opéra de Monte-Carlo in the premiere of the opera ‘’La Hulla’’ by M. Samuel-Rousseau in the role of the Dilara as well as in a new performance of M. Mussorgsky’s ‘’The Fair at Sorochyntsi’’ in the role of the Parasha (opposite John McCormack). In 1927 she appeared at the Opéra-Comique in the premiere of the opera ‘’Sophie Arnoult’’ of G. Pierné in the title role. On 15. 1. 1930 she created at the Opéra-Comique the role of Jeanneton in the premiere of J. Ibert’s ‘’Le roi d'Yvetot’’, on 5. 12. 1927 she sang at the same opera house in the premiere of the opera ‘’Le bon Roi Dagobert’’ of M. Samuel-Rousseau. On 16. 1. 1928 she sang in the premiere of A. Bruneau’s ‘’Angelo, Tyran de Padoue’’, on 17. 12. 1928 in ‘’Riquet à la houppe’’ by G. Hüe. After her retirement she lived as a singing teacher in Brussels.

Chronology of some appearances

1914-1916 Hague Théâtre de la Haye

1918 Brussels Théâtre de la Monnaie

1922 Paris Opéra-Comique

1923-1924 Monte-Carlo Opéra

1927 Paris Opéra-Comique

1928 Paris Opéra-Comique

1930 Paris Opéra-Comique

RECORDINGS FOR SALE

Pathé, Paris 1924?
Manon (Massenet): Je suis encore tout étourdie 0419

Odeon, Paris
Contes d'Hoffmann (Offenbach): C'est une chanson d'mour PI with Micheletti 188.574 Ki-1610
Contes d'Hoffmann (Offenbach): C'est une chanson d'mour P II with Micheletti 188.574 Ki-1611
Mireille (Gounod): Mon coeur ne peut changer 188. 519 Ki. 1172 

Manon (Massenet): J'ai marqué l'heure du départ (Duo de la rencontre, pt 1) with Friant 123.657 XXP6921

Manon (Massenet): Nous vivrons à Paris tous les deux (Duo de la rencontre, pt 2) with Friant 123.657 XXP6922

Manon (Massenet): Ah! Des Grieux (La mort de Manon, pt 1) with Friant 123.658 XXP6923
Manon (Massenet): Le ciel lui même te pardonne (La mort de Manon, pt 2) with Friant  123.658 XXP6924

Pathé, Paris 1932?

Les Brigands (Offenbach): Trio des Marmitons with Balbon and Ponzio 92011

Ernest Cloérec-Maupas (Tenor)

He appeared at the Gaîté-Lyrique in Paris. He was also a composer. Mostly he sang in operettas.

Chronology of appearance

Paris Gaîté-Lyrique

RECORDINGS FOR SALE

Odeon Paris 1910/1/2/4

Les Dragons De Villars (Maillart): Ne parle pas, Rose Po 996 A 73312

Faust (Gounod): Salut demeure P I, P II 73332, 73333

Manon (Massenet): En fermant les yeux (Le rêve) A 73339 Po 1070 

Chocolate Iabel (with a black man smoking a cigarette playing a Xylophone)
Dans la vie faut pas s´en faire ("Dédé") 500

Stanislao Berini (Tenor) (Poland 1877/1878 - Phoenix 1943)

He was born in Poland in 1877 or 1878 and, according to a 1914 account, performed at the Teatro San Carlo (Naples), Royal Opera (Vienna), Theater des Westerns (Berlin), and Royal Opera (Warsaw) before coming to the U.S. to appear at the Met. He also toured on the Chautauqua circuits with his wife Tozier, a member of the Savage English Grand Opera Company of New York. (“The Berinis Tonight.” Miami News, 2/19/1914). Berini’s stage career apparently was cut short by an unspecified illness and his move to Phoenix to recuperate in 1928. While there he performed with a local theater company (“Berini to Be Singer at Play Here,” Arizona Republic, 2/6/1928), and he often returned to Phoenix in later years. During a 1933 visit to Poland he was arrested for his outspoken criticism of the Nazi regime but managed to return to the U.S., where he worked as a vocal instructor until his second wife’s death in the late 1930s. He died in Phoenix on March 12, 1943. (“Stanislaw Berini Passes in Phoenix,” Prescott Evening Courier, 3/12/1943).

Chronology of some appearances

Naples Teatro San Carlo 

Vienna Royal Opera 

Berlin Theater des Westerns

Warsaw Royal Opera 

RECORDINGS FOR SALE

I wish to thank Giovanni Berini for providing me this record

Emerson

Boheme  (Puccini): Che Gelida Manina 2033 X 4510  

Olga Simzis (Soprano) (Odessa 1887 - ?)

During her career she appeared mostly in central Italy and South America. Probably she studied in USA and made her debut there. In 1909 she sang at the Teatro Regio in Parma in ‘’Loreley’’ of A. Catalani. In 1913 she was engaged by the Western Metropolitan Opera Company in North America with which she remained during a season in San Francisco and among other things appeared as Gilda in ‘’Rigoletto’’, Musetta in ‘’La Bohème’’ and Micaela in ‘’Carmen’’. In 1918 she sang at the Teatro Genovese in Genova the role of Elvira in ‘’I Puritani’’ by V. Bellini. In 1919 she appeared at the Teatro Colón in Buenos Aires in ‘’Madama Butterfly’’. She was married to the conductor Arturo de Angelis, who directed in 1919 at the Teatro Colón. When he became a manager of the Opera House in Santiago de Chile, she followed him there. 

Chronology of some appearances

1908 New Orleans Opera Stagione Compagnia Lambardi

1909 Casalpusterlengo Teatro Sociale Mignon (Filina)

1910 Parma Teatro Regio Loreley (Anna)

1911 Ferrara Teatro Tosi Borghi Rigoletto (Gilda)

1912 Napoli Teatro Mercadante Mignon (Filina)

1913 Torino Teatro Vittorio Emanuele Pagliacci (Nedda)

1914 Lucca Teatro Del Giglio Mignon (Filina)

1915 Venezia Teatro La Fenice Rigoletto (Gilda)

1916 Genova   Politeama Genovese Figlia Del Reggimento (Maria)

1917 Padova Teatro Garibaldi Lucia di Lammermoor (Lucia)

1918 Genova   Politeama Genovese Puritani (Elvira)

1919 Buenos Ayres Teatro Marconi Barbiere di Siviglia (Rosina)

1920 Buenos Ayres Teatro Marconi Boheme (Mimì)

1921 Buenos Ayres Teatro Marconi  Amico Fritz (Suzel)

1925 Buenos Ayres Teatro Marconi  Iris (Iris)

1926 Buenos Ayres Teatro Marconi  Iris (Iris)

1929 Buenos Ayres Teatro Marconi  Stagione

RECORDING FOR SALE

Gramophone, Milano 1917

Rigoletto (Verdi) with Carlo Broccardi, Ernesto Badini, Vincenzo Bettoni and Renata Pezzatti

Tilde Matassini (Soprano)

                                                                  Mimi

In 1926 at the Teatro Regio in Torino she appeared as Lisabetta in "La cena delle beffe" opposite Franco Lo Giudice, Carmen Melis and Benvenuto Franci.

Chronology of appearance

1926 Torino Teatro Regio La cena delle beffe (Lisabetta)

RECORDING FOR SALE

Disco Grammofono

Granatieri d’amore R10590

Emilia Kristman (Soprano) (St. Petersburg 1874 - Grasse, France 1957)

                                           Gabrielle Kristman and Emilia Kristman

She studied singing at the Saint Petersburg Conservatory and probably made her debut in 1897 at the Teatro Il Comercio in Milan as Rosina in ‘’Il Barbiere di Siviglia’’. Together with her sinster made guest appearances in Warsaw (1897), Berlin, Vienna, Budapest, London and Prague. In the 1899-1903 seasons she appeared at the Bolshoi Theatre in Moscow. In 1904 she sang in Magdeburg and Leipzig. In 1906 she performed in St. Petersburg and Moscow (Opera House of S. Zimin). In 1907 made guest appearances in Nizhny Novgorod. In 1911 she sang in Mannheim. Her sister Gabrielle was a famous soprano. 

Chronology of some appearances

1897 Milan Teatro Il Comercio

1899-1903 Moscow Bolshoi Theatre

1906 Moscow S. Zimin's Opera House

RECORDING FOR SALE

Victor 1902

Sancta Maria (Faure) 91064

Columbia, St Petersburg 1903?
Ave Maria (Gounod) 35121

Rosalia Chalia (Soprano) (Havana, Cuba 1864 – Havana, Cuba ? 1948)

Her real name was Rosalia Herrera del Castillo. She studied singing under Sbriglia in Paris and Coronaro in Milan. In 1894 she joined to the Hinrichs Opera Company. In 1898 she made her debut at the Metropolitan Opera in New York as Santuzza in ‘’Cavalleria Rusticana’’, but appeared barely. Afterwards she undertook a tour with the Damrosch-Ellis Оpеrа Company and appeared 14 years at the Opera House in Mexico City. From 1900 to 1908 she travelled around Cuba, Mexico, Central America and Venezuela. In 1916 she appeared in Venezuela for the last time on the stage. Then she lived in New York and made herself deserving around the introduction of young Spanish and South American singers in the USA. In 1947 she returned in her country of birth Cuba.

Chronology of some appearances

1898 New York Metropolitan Opera Cavalleria Rusticana (Santuzza)

1898 New York Metropolitan Opera Aida (Aida)

RECORDINGS FOR SALE

Bettini cylinders, New York 1897 - 1899
Lucrezia Borgia (Donizetti): Guai se ti sfugge un moto with Dante Del Papa and Alberto De Bassini 3

Barbiere di Siviglia (Rossini): Dunque io son with Alberto De Bassini 7
Martha (Flotow): Perche, sola vergine rosa with with Dante Del Papa 13

Victor, 1900-10-30
Étoile du Nord (Meyerbeer): Barcarolla 478

Victor, 1900-12-04
Stabat Mater (Rossini): Quis est homo with Fränkel 554

Victor, 1901-05-24
Don Giovanni (Mozart): Là ci darem la mano with Francisco 3401
Carmen (Bizet): Se tu m'ami with Francisco 3406
La Borinqueña (Ramirez) 3407

Victor, 1901-06-03
Faust (Gounod): Jewel song 3431
Bohemian Girl (Balfe): I dreamt that I dwelt in marble halls 3434
Aires Criollos (Camora) 3428
La Partida (Alvarez) 3432

Zonophone, New York 1901?
La Calesera (Yradier) 9137
Aida (Verdi): O patria mia 9203
Ballo in maschera (Verdi): Ma dall'arrido stelo divulsa 9199
Carmen (Bizet): Air of Micaëla 9134
Semiramide (Rossini): Bel raggio lusinghier 9139
Barbiere di Siviglia (Rossini): Io sono docile 9204
Traviata (Verdi): Ah fors'è lui 9208
Traviata (Verdi): Addio del passato 9207
Martha (Flotow): Last rose of summer 9200
Il bacio (Arditi) 9206
Fandango (Spanish Folk Song) 9453
Polo (Spanish Folk Song) 9457
Tú, Habanera (Fuentes) 9458
Zortzico (Cuban song) 9448

Victor, Camden NJ 1912-02-09
Cantiga 'uma noite' (trad) 68400
Lungi dal caro bene (Secchi) 63674

Victor, Camden NJ 1912-03-05
Pietà Signore (adapt. Millard) 63674

Victor, Camden NJ 1912-04-18
Los ojos negros (Alvarez) 63681
Cavalleria Rusticana (Mascagni): Voi lo sapete 68400