Berthe Lowelly (Soprano) (Paris, France 1884 - ?)

Originally she wanted to become violinist for which she studied until M. Berthelier at the Conservatoire National de Paris until her singing voice was discovered. She began vocal training Mme Pierron-Danbé and made her debut in 1908 at the Théâtre Gaîté-Lyrique in Paris as Anna in "La Dame blanche" of Boieldieu. Her appearance was so successful, that she was engaged by this theater to perform next three seasons. Here among other things her repertoire included Lucia di Lammermoor, Queen Marguerite in ‘’Huguenots’’, Françoise in ‘’L'Attaque du moulin’’, parts in ‘’Quo vadis?’’, ‘’La Vivandière’’ and ‘’L'Africaine’’. She married the baritone Raymond Boulogne who also appeared at the Théâtre Gaîté-Lyrique. After successful appearances in Toulouse and Aix-les-Bains she joned in 1913 to the Opéra-Comique in Paris, where she had a shining debut as Philine in ‘’Mignon’’. She remained at this opera house many seasons and guested among other things in 1924 at the Opera House in Ghent as Marguerite de Valois in ‘’Huguenots’’. After her retirement she worked as pedagogue in Paris.

Chronology of some appearances

1908-1911 Paris Théâtre Gaîté-Lyrique

1913 Paris Opéra-Comique

1924 Ghent Opera House 

RECORDINGS FOR SALE

Edison 2-min cylinder, Paris 1908?
Fille du Régiment (Donizetti): Salut à la France 18033
Noces de Jeannette (Massé): Cours mon aiguille 18053

Edison 4-min cylinder, Paris 1909?
Manon (Massenet): Je suis encore tout étourdie 17037 BA 27029
Rigoletto (Verdi): Air de Gilda 17062 BA 27050

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Iris Adami Corradetti (Soprano) (Milano 14. 3. 1903 - Padova 26. 6. 1998)

She studied singing under her mother Bice Adami, a famous soprano. Her father was also very popular baritone Ferruccio Corradetti. She made her debut in 1927 at the Teatro Dal Verme in Milano as Rosalina in F. Vittadini’s opera ‘’Anima allegra’’. She retired from the stage in 1948. She became a highly respected vocal pedagogue. First she taught in Trieste, then since 1959 she was as a professor of the Conservatorio Benedetto Marcello in Venice, last in Padua. She was among other things the teacher of Katia Ricciarelli, Margherita Roberti and Katharina Ikonomou.

Chronology of some appearances

1926 Milano Teatro Dal Verme Anima allegra (Carolita)

1927 Milano La Scala Sly (Rosalina) (Debut)

1929 Milano La Scala The Tale of Tsar Saltan di N. Rimsky-Korsakov (-) (Premiere)

1931 Milano La Scala Bacco in Toscana M. Castelnuovo-Tedesco (-) (Premiere)

1931 Milano La Scala La Notte di Zoraima di I. Montemezzi (-) (Premiere)

1936 Milano La Scala Il Campiello di E. Wolf-Ferrari (Lucieta) (Premiere)

1938 Milano La Scala Madama Butterfly (Cio-Cio-San)

1939 Roma Opera Monte Ivnor (-) di L. Rocca (Premiere)

1942 Firenze Teatro Comunale Madama Butterfly (Cio-Cio-San)

Siegfried Adler (Tenor) (Kosova Hora, Czech Republic 21. 2. 1873 – ?)

He was born into a jewish family. First he was active as an officer, then he studied singing under Wallerstein in Prague and continued his education with Kroupa in Munich. In 1893 he made his debut at the Theater in Pilsen as Manrico in ‘’Trovatore’’,  then  in the 1894-1895 season he sang at the Municipal Theater in Ulm. From 1895 to 1897 he appeared at the Theater in Teplice, in the 1897-1898 season made guest appearances at the Theater in Vienna, where completely sang operetta repertoire. From there he joined to the Munich Theater (1898-1901). In the 1901-1903 seasons he was a soloist of the Berlin West Theater, where he was to be heard again in opera parts. In 1903-04 he performed at the Municipal Theater of Frankfurt a. M., in the 1904-1905 season he sang at the New Operetta Theater of Hamburg. In the 1907-1908 season he made guest appearances at the Rembrandt-Theater in Amsterdam, in the 1909-1910 season at the Apollo-Theater in Vienna, 1910-1911 season again at the Theater in Vienna. During of Russia tour he joined to the Viennese operetta ensemble. Numerous guest performances followed in German and Austrian operetta stages, for a short time he appeared at the theater in Wroclaw. Then he lived in Munich and undertook guest performances. His repertoire included Tamino in ‘’Zauberflöte’’, Wilhelm Meister in ‘’Mignon’’, Bellamy in ‘’Glöckchen des Eremiten’’, Lohengrin and many other parts. It's unknown where he died. He made a few records for Edison, Kalliope and Gramophone, which are very rare.

Chronology of some appearances

1893 Pilsen Theater

1894-1895 Ulm Municipal Theater

1895-1897 Teplice Theater

1897-1898 Vienna Theater

1898-1901 Munich Theater

1901-1903 Berlin West Theater   

1903-1904 Frankfurt a. M. Municipal Theater

1904-1905 Hamburg  New Operetta Theater

1907-1908 Amsterdam  Rembrandt-Theater

1909-1910 Vienna Apollo-Theater

1910-1911 Vienna Theater

Bice Adami (Soprano) (Sandona 1875 - Padova 1969)

From an early age she came to Argentina and studied in Buenos Aires with the pedagogue Stiattesi. She made her debut in 1896 at Politeama Argentino of Buenos Aires in ‘’Cavalleria Rusticana’’ and ‘’Pagliacci’’. Already in 1898 she was engaged to sing in the italian opera in Amsterdam. She appeared there in ‘’Pagliacci’’, ‘’Cavalleria rusticana’’ and ‘’Manon Lescaut’’. In Netherlands she met her husband, the baritone Ferruccio Corradetti. After the turn of the twenth century Adami sang primarily in Italian opera houses, among other things in Trieste, Venice, Catania and Rome. She sang also in the premiere of P. Mascagni’s ‘’Le Maschere’’ (Rome. Teatro Costanzi, 1901). After her retirement, she lived as a pedagogue in Padua and Alba Damonte belonged to her pupils. Her daughter, Iris Adami-Corradetti, was known as a successful opera singer.

Chronology of some appearances

1896 Buenos Aires Politeama Argentino Cavalleria rusticana (Santuzza)
1901 Rome Teatro Costanzi Le Maschere (Colombina)
1903  Venezia Teatro Fenice Cendrillon (Cendrillon)
1905 Torino Teatro Vittorio Emanuele Boheme (Musetta)
1908 Sassari Politeama Verdi Adriana Lecouvreur (Adriana)
1910 Castiglione delle Stiviere Teatro Sociale Tosca (Tosca)
1916 Milano Teatro Carcano Adriana Lecouvreur (Adriana)

Gaston de Poumayrac (Tenor) (Toulouse, France 1877 - ?)

His real name was Gaston de Poumayrac de Masredon. From 1897 to 1899 he studied singing at the Toulouse Conservatory and won the first prizes. Under Paul Lhérie, Numa Auguez, and Théophile-Adolphe Manoury he continued his education at the Paris Conservatory (1900-1904). He made his debut at Paris Opéra-Comique on 9 October 1904 as Vincent in C. Gounod’s ‘’Mireille’’. He remained there until 1912, appearing mostly as Comprimario. In 1908 he made guest appearances at the Paris Gaîté Lyrique, performing in ‘’La fille du régiment’’ and ‘’Les dragons de Villars’’. Since 1912 he was the principal tenor of the Paris Folies-Dramatiques. He was an exclusive Pathé Company artist (1910-1912).

Chronology of some appearances

1904 Paris Opéra-Comique Mireille (Vincent)

1908 Paris Opéra-Comique La fille du régiment (Tonio)

1908 Paris Théâtre de la Gaîté-Lyrique Mireille (Andreloun)

RECORDINGS FOR SALE

Pathé, Paris 1910 - 1912
Le régiment de Sambre-et-Meuse (Planquette) with Belhomme, Dangès & Devriès 0840
Un peu d' tout (Bernon) with Belhomme, Dangès & Devriès 0847
Les allobroges (Desaix) with Belhomme, Dangès & Devriès 0858
Carmen (Bizet): Je suis Escamillo with Albers 0976
Agnus Dei (Bizet) with Albers 2493

Pathé, Paris 1912?
Complete Rigoletto (Verdi): with K. Lapeyrette, R. Marvini, J. Noté, R. Lassalle, Dupré, H. Belhomme & chorus
Complete Traviata (Verdi): with M. Trosselli, J. Morlet, H. Belhomme, Gantéri, Dupré & chorus

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Irene Abendroth (Soprano) ( Lviv, Ukraine 1872 - Weidling, Vienna 1932)

Her parents were jewish. She showed quite early a special musical talent. At the age of eight she already appeared in a concert, then studied singing under Francesco Lamperti and Campanini in Milan, with Mampe-Babnigg and Aurelie Wilczek in Wien. In 1888 she made her concert debut in Karlsbad. Her opera debut was happened in 1889 at the Hofoper in Wien as Amina in ‘’La Sonnambula’’. In the 1889-1890 season she appeared at the Hofoper in Wien, from 1890 to 1891 season at the Latvijas Nacionālā Opera in Riga, in the 1891-1894 seasons at the Hofoper in München, from 1894 to 1899 seasons again at the Hofoper in Wien, where she performed in the premiere of the opera ‘’Das Heimchen am Herd’’ by Goldmark (21. 3. 1896). Since 1899 she was engaged by the the Hofoper in Dresden, where her career lasted till 1909 and reached her climax. She made guest appearances at the Hofopern of Berlin (several times between 1905 and 1907) and Stuttgart, at the Opernhaus in Frankfurt a.M. (1907), at the Deutschen Theater in Prag (1907) and at the Opernhaus in Leipzig. In Dresden she sang in 1902 in the German première of G. Puccini’s ‘’Tosca’’, on 30. 10. 1903 she took part there in the premiere of the opera ‘’Odysseus Tod’’ by August Bungert. Later she still appeared in the concert hall, however, worked since 1910 in Vienna as vocal pedagogue. Since 1900 she was married to Austrian Federal Railroad manager Thomas Joseph Taller, but during the inflation, after the First World War, she lost nearly her whole property and lived in poor relations in Vienna. She found her last place of rest on the cemetery of Weidling, not far from the grave of the poet Nikolaus Lenau. Her repertoire included Norma, Traviata, Philine in ‘’Mignon’’of A. Thomas, Rosina in ‘’Il Barbiere di Siviglia’’, Donna Elvira in ‘’ Don Giovanni’’, Isabella in ‘’Robert le Diable’’, Marguerite de Valois in ‘’Les Huguenots’’, Selika in L’ Africaine’’, Gilda in ‘’Rigoletto’’, Leonora in ‘’Il Trovatore’’, Amelia in ‘’Un Ballo in maschera’’, Desdemona in ‘’Otello’’, Nedda in ‘’Pagliacci’’ and Rezia in ‘’Oberon’’. In 1902 she made 11 records for G&T in Dresden.

Chronology of some appearances

1889-1890 Wien Hofoper
1890-1891 Latvijas Nacionālā Opera
1891-1894 München Hofoper
1894-1899 Wien Hofoper
1899 Dresden Hofoper
1905 Berlin Hofoper
1907 Frankfurt a.M. Opernhaus
1907 Prag Deutschen Theater

Georges Felisaz (Tenor) (Casteljaloux, France 14 Jul 1881 - ?)

In 1910's he appeared in Lyon (Grand Théatre), Monpellier (Théâtre Municipal) and Havre (Grand Thêatre) as Duca in  ''Rigoletto'' by G. Verdi, Werther in J. Massenet's ''Werther'' and as De Grieux in ''Manon'' of the same composer. 

Chronology of some appearances

Lyon Grand-Théatre

Monpellier Théâtre Municipal

Havre Grand Thêatre

RECORDINGS FOR SALE

Edison 4-min cylinders, Paris 1909?
Myrella la jolie (Berniaux) BA 27044
Rêverie du soir bleu  18133
Mireille (Gounod): Anges du paradis 17065 BA 27052

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Madeleine Sibille (Paris, France February 25, 1895 – Paris, France July 19, 1984)

She studied under Engel in Paris and made her debut in 1919 at the Opéra-Comique in Paris. For more than twenty years she remained a member of this opera house and had her most important success in dramatic repertoire. At the Opéra-Comique she appeared in several operatic premieres: ‘’Lorenzaccio’’ of Ernest Moret (19. 5. 1920),  ‘’L'Appel de la Mer’’ by Henri Rabaud (10. 4. 1924), ‘’Le pauvre matelot’’ of Darius Milhaud (16. 12. 1927), ‘’Le Peau de Chagrin’’ by Charles Lavadé (24. 4. 1929). In 1939 still there she appeared as the first dramatic soprano. Her repertoire included Santuzza in ‘’Cavalleria Rusticana’’, Charlotte in ‘’Werther’’ of  J. Massenet, Carmen, Margared in ‘’Le Roi d'Ys’’ of E. Lalo and Tosca. Later she taught singing in Paris.

Chronology of some appearances

1919-1939 Paris Opéra-Comique

RECORDINGS FOR SALE

Pathé, Paris 1926 - 1931
Tosca (Puccini): D'art et d'amour 0667 N201425-1-R
Roi d'Ys (Lalo): Air de Margared 7150 N201291-1
Cavalleria Rusticana (Mascagni): Romance de Santuzza 7150 N201290-1
Thérèse (Massenet): Jour de juin 3411 N201971-A-1
Carmen (Bizet): Habanera 7133
Marche Lorraine (Ganne) 3454 N202410
Roi d'Ys (Lalo): Margared, ô ma soeur with Vallin 7233
Roi d'Ys (Lalo): En silence, pourquoi souffrir with Vallin 7233
Contes d'Hoffmann (Offenbach): Barcarolle with Vallin 2622

Pathé, Paris 1932-07
Fille de Mme Angot (Lecocq): Jours fortunés with Ninon Vallin X90058 250286-MC1

Pathé, Paris 1932?
Bohème (Puccini): Quatuor, act 3 with Vallin, Villabella & Baugé X90056 N250274

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John Brownlee (Baritone) (Geelong, Victoria 7 January 1900 – New York 10 January 1969)

His real name was Donald Mackenzie Brownlee. During the First World War he served as naval cadet, then studied at the Geelong College and became an auditor. In 1924 his voice was discovered by Nellie Melba, when during the second Australian tour in Melbourne he sang the part of Baßsolo in ‘’Messiah’’. Then he continued his education in Paris under the famous baritone Dinh Gilly. He made his second debut in 1926 at the Théâtre Trianon-Lyrique in Paris in ‘’Lakmé’’ of L. Delibes. The same year he appeared opposite Nellie Melba at the London Covent Garden. In the 1927-1936 seasons he worked at the Grand Opéra in Paris (debut: Athanaël in ‘’Thaïs’’ of J. Massenet). During this time he made guest appearances in London, Brussels (1939), Antwerp, Buenos Aires (1931) and in Rio de Janeiro. In 1929, as a member of Nellie Melba’s opera troupe, he sang again in Australia. At the Royal Opera House, Covent Garden he appeared between 1930 and 1949 as Mercutio in ’’Roméo et Juliette’’, Golo in ‘’Pelléas et Mélisande’’, Jago in ‘’Otello’’, Amonasro in ‘’Aida’’ and as Scarpia in ‘’Tosca’’. In 1935 he performed there in the English première of the opera ‘’Koanga’’ by Delius. In the 1949-1950 season he had at Covent Garden a huge success as Papageno in ‘’Zauberflöte’’. In 1930 he made guest appearances at the Opéra de Monte-Carlo as Athanaël, Rigoletto, Peter in ‘’Quo vadis?’’ bt Nouguès, Escamillo in ‘’Carmen’’, Valentin in ‘’Faust’’ and as Wolfram in ‘’Tannhäuser’’. From 1935 to 1939 seasons he appeared at the Glyndebourne festival as Don Giovanni, Alfonso in ‘’Così fan tutte’’, Speaker in ‘’Zauberflöte’’ and as Count in ‘’Figaros Hochzeit’’. In 1947 he again sang there in ‘’Figaros Hochzeit’’, in 1949 in ‘’Così fan tutte’’. In the 1948-1949 season he appeared at the Edinburgh festival. In the 1937-1957 seasons he was a member of the New York Metropolitan Opera. Here he made his debut as Rigoletto and sang in 1948 in the première of the opera ‘’Peter Grimes’’ of B. Britten.At the Metropolitan Opera his repertoire included Count in ‘’Figaros Hochzeit’’, Don Giovanni, Alfonso in ‘’Così fan tutte’’, Papageno, Kothner in ‘’ Meistersingern’’, Escamillo in ‘’Carmen’’, Marcello in ‘’La Bohème’’. In the 1937-1938 and 1945 seasons he was to be found at the Chicago Opera, in the 1940-1950 seasons almost annually at San Francisco Opera. In 1957 he retired from the stage and since 1960 he was a president of the Manhattan Institute of Music. From 1953 to 1967 he was a president of the American Guild of musical Artists. Later he became a respected vocal pedagogue (among other things teacher of Ezio Flagello and Johanna Meier).

Chronology of some appearances

Marcello 3/9/1937, Il marito 3/3/1938, 3/8/1938, Lescaut 12/13/1938, Il marito 1/11/1939, Valentin 1/2/1940, Il conte d’Almaviva 12/3/1940, Sharpless 3/4/1941, Pan 1/20/1942, Golaud 3/21/1944, Marcello 1/16/1945, Dottor Malatesta 1/22/1946, La père 1/6/1948, Captain Balstrode 2/17/1948, Il conte d’Almaviva 1/18/1949, Marcello 12/20/1949, Herr von Faninal 1/9/1951, Dr. Falke 4/3/1951, Don Alfonso 1/27/1953, Fritz Kothner 2/14/1956, Sharpless 2/14/1957 (in Filadelfia).

RECORDINGS FOR SALE

HMV, 6-3-29
Hamlet (Thomas): Comme une pâle fleur 2-032154 D1654

Hamlet (Thomas): Le vin dissipe la tristesse 2-032153 D1654
Invictus (Huhn) 6-2618 E 442

HMV, 1925-12-17
Traviata (Verdi): Dite alla giovine with Nellie Melba  DB987 Cc 9550

Columbia, 1935-12-09
Bohème (Puccini): Oh! Come e belle e morbide with Lisa Perli (Dora Labbette), Stella Andreva, Heddle Nash, Robert Alva and Robert Easton LX 526 CAX 7690

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Robert Leonhardt (Baritone) (Linz, Austria 1877 – New York City February 2, 1923)

He made his debut in 1898 at the Theater in Linz (Donau) and in the 1899-1900 season he was engaged by the Theater des Westens in Berlin. In the 1900-1903 seasons he appeared at the Theater in Teplitz-Schönau (Teplice). In the 1904-1905 season he again sang at the Theater des Westens. In the 1905-1909 seasons he was a member of the Deutschen Theater in Prague. Here among other things in 1905 he performed in the premieres of the operas "Flauto solo" by Eugen d'Albert and "Zierpuppen" of Anselm Goetzl. In the 1909-1911 seasons he stayed at the Opernhaus in Brünn (Brno), in the 1911-1913 seasons he joined to the Volksoper in Wien. In 1909 he appeared as a guest at the Hofoper in Wien. In 1910 he was active at the Gura-Sommer-Oper in Berlin, where he sang the parts of Beckmesser in "Meistersingern" and Alberich in Nibelungenring. At the Volksoper in Wien he sang in 1911 the part of Minstrel in the Viennese première of "Königskinder" by E. Humperdinck. On 23. 11. 1911 he appeared there in the premiere of the opera "Der Kuhreigen" by W. Kienzl. In 1913 he was engaged by the  Metropolitan Opera in New York, where he made his debut as father in ‘’Hansel und Gretel’’ by E. Humperdinck. Here on 25. 2. 1915 he performed in the premiere of the opera ‘’Madame Sans-Gêne’’ of U. Giordano.  In 1917 he participated in the premiere of the opera "The Canterbury Pilgrims" by R. de Koven. By the entry of the USA into the First World War he changed the manner of writing of his name into Robert Leonard, but in 1918 forced to retire from the stage, because of his Austrian nationality. In 1920, shortly before his death, he again joined to the same opera house. On 19. 11. 1921, as a partner of Maria Jeritza, he sang there the part of Fritz in the première of the opera "Toten Stadt" by Korngold. At the Metropolitan Opera he sang for the last time in the 1922-1923 season in G. Puccini’s ‘’Tosca’’.

Chronology of some appearances

1898 Linz Theater
1899-1900 Berlin Theater des Westens
1900-1903 Teplitz-Schönau Theater
1904-1905 Berlin Theater des Westens
1905-1909 Prague Deutschen Theater
1909 Wien Hofoper
1909-1911 Brünn Opernhaus
1910 Berlin Gura-Sommer-Oper
1911-1913 Wien Volksoper
1913-1923 New York Metropolitan Opera

RECORDINGS FOR SALE

Zonophone, Berlin 1904-08/09
Zauberflöte (Mozart): Pa-Pa-Pa-Pa-Pa-Papageno with Runge X-24064

G&T, Berlin 1905-01
Zauberflöte (Mozart): Der Vogelfänger bin ich ja 3-42167 2660L

Homokord, Berlin 1907-07-26
Don Giovanni (Mozart): Reich mir die Hand with Runge 1501
Trovatore (Verdi): Befreit, o welche Seligkeit! with Runge 1507

Homokord, Berlin 1907-07-29
Zauberflöte (Mozart): Der Vogelfänger bin ich ja 1214

Homokord, Berlin 1909-07-03
Don Giovanni (Mozart): Treibt der Champagner 11364

Homokord, Berlin 1909-07-05
Contes d'Hoffmann (Offenbach): Leuchte, heller Spiegel, mir 11367
Tannhäuser (Wagner): Blick' ich umher  11369

Homokord, Berlin 1909-07-23
Alessandro Stradella (Flotow): An dem linken Strand der Tiber with Lichtenstein 11388
Zar und Zimmermann (Lortzing): Darf ich wohl den Worten trauen with Lichtenstein 11389

Gramophone, Berlin 1911-08-04
Bohème (Puccini): Will ich allein des Abends in Paris mich ergeh'n with Runge 944244 15572b
Mignon (Thomas): Ihr Schwalben in den Lüften with Runge 944245 15573b

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Pavel Andreev (Baritone) (1874, 25/2 (9/3), Osimin, St Petersburg - 1950, 15/9, Leningrad)

                                                                         Demon

                                                                         Demon

In 1903 he graduated from the St. Petersburg Conservatory. Here he studied under S. Gabel. The same year he made his debut as Demon at the St. Petersburg National House. In this same year he made his debut on the opera stage. Beginning in 1907 (for approximately 40 years) Andreev was a performer at the Mariinskii Theater (since 1920 known as the Academic Theater of Opera and Ballet). His roles included Ruslan (Glinka’s ‘’Ruslan and Liudmila’’), Prince Igor (Borodin’s ‘’Prince Igor’’), Boris Godunov (Mussorgsky’s ‘’Boris Godunov’’),the Demon (Rubinstein’s ‘’The Demon’’), Holofernes (Serov’s ‘’Judith’’), Petr (Serov’s ‘’Enemy Force’’), Mizgir’ (Rimsky-Korsakov’s ‘’The  Snow Maiden’’), Tomskii (Tchaikovsky’s ‘’The Queen of Spades’’), Escamillo (Bizet’s ‘’Carmen’’), and Peter 1 (Lortzing’s ‘’The Tsar and the Carpenter’’). Andreev also appeared in concert recitals, performing operatic arias, art songs, and Russian folksongs. Andreev’s voice was resonant, with a beautiful timbre, and distinguished by a wide range. He performed baritone roles as well as bass parts. His most successful roles were those of the Russian repertoire, especially the epic ones. From 1919 he engaged in teaching, and, beginning in 1926, was a professor at the Leningrad Conservatory. He was awarded the Order of Lenin.

Chronology of some appearances

1903 St. Petersburg National House
1904-1905 St. Petersburg Lyric Opera
1906  St. Petersburg New Oper
1907 St. Petersburg National House

1907-1930's St. Petersburg Mariinskii Theater

Odette Le Fontenay (Soprano) (Paris, France 1885 - Broward County, Florida 1965)

She made her debut in France. She appeared at the Paris Opéra Comique and left France in 1913 with her husband Philip (Philippe) Coudert, a baritone and vocal pedagogue, a pupil of Jean De Reszke. They went to New York and in the 1916-1917 season she became a member of the New York Metropolitan Opera. Here she sang only in three operas: ‘’Zauberflöte’’, ‘’Hansel and Gretel’’ and "Figaros Hochzeit". She appeared on stage with her husband in various recitals during next 15 years. She had 3 children with her husband, but they divorced in the thirties. She made a few recordings for Edison and Victor. From 1935 to 1943 she taught singing at the School of Ethel Walker in Simsbury, Connecticut.

Chronology of some appearances

1916-1917  New York Metropolitan Opera

RECORDINGS FOR SALE

Victor, New York 1917-03-29
La Paimpolaise (Botrel-Feautrier) 69431 B19423
Le petit Grégoire (Botrel) 69431 B19424

Edison, New York 1917-04
Coeur et la Main (Lecocq): Par toi, divine créature with Langevin 74006 BA 28290
Coeur et la Main (Lecocq): Pardonne, et ne sois pas fâchée with Langevin 74006 BA 28274

Victor, New York 1917-05-31
Vous êtes jolie! (Delmet) 69695 B19966
Stances à Manon (Delmet) 69695 B19967

Edison, New York 1917-07-20/25
Chant hindou (Bemberg) 82125 5702-A
Le Nil (Leroux) 82125 BA 28287

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Gabrielle Ritter-Ciampi (Soprano) (Paris, France November 2, 1886 – Paimpol, France July 18, 1974)

She came from an artistic French-Italian family, her father was the tenor Ezio Ciampi (1855-1927), her uncle, Théodor Ritter was a known pianist. Her mother Cécile Ritter-Ciampi (1859-1939) had a successful career as soprano at the Paris Opera. At first she wanted to become a pianist and already at the age of 16 she gave a piano concerts, then she studied singing at the Conservatoire of Paris and with her parents. She made her debut in 1917 at the Théâtre Lyrique in Paris as Virginie in "Paul et Virginie" (a part which her mother had created forty years before) by Massé. In 1919 she was engaged by the Paris Opéra-Comique, after she had excited a sensation in Mozart’s "Schauspieldirektor" at the Théâtre Lyrique. Since 1921 she sang at the same time also at the Grand Opéra. In 1932 she sang at the Salzburg festival the part of Constance in Mozart’s "Entführung aus dem Serail". Reynaldo Hahn wrote the part of Dona Irène in "Le Oui des Jeunes Filles" for her, which she created on 21. 6. 1949 at the Opéra-Comique. After her retirement, she taught singing in Paris.

Chronology of some appearances

1917 Paris Théâtre Lyrique

1919 Paris Opéra-Comique

1921 Paris Grand Opera

RECORDINGS FOR SALE

Pathé, Paris 1923?
Nozze di Figaro (Mozart): Viens, cher amant 0383 382
Zauberflöte (Mozart): Ah, l'ingrat 0393
Roméo et Juliette (Gounod): Je veux vivre 0393

Pathé, Paris 1924?
Fille du Régiment (Donizetti): Salut à la France  0416 949
Mireille (Gounod): O légère hirondelle 0416 944
Contes d'Hoffmann (Offenbach): Les oiseaux dans la charmille 0404, 917
Huguenots (Meyerbeer): Nobles Seigneurs 0404, 925

Polydor, Paris? 1928
Barbiere di Siviglia (Rossini) Una voce poco fà, pt 166842 1503BM I
Barbiere di Siviglia (Rossini) Una voce poco fà, pt 2 66842 1504BM I
Faust (Gounod) Air des bijoux 66884 1485BM I
Faust (Gounod) Ballade du roi de Thulé 66998 1921BM
Il Pensieroso (Händel) Aria 66841 1494BM I
Il Re Pastore (Mozart) L'amerò, sarò costante 66841 1493½BM I I
Louise (Charpentier) Depuis le jour 66840 1486BM I
Nozze di Figaro (Mozart) Deh vieni, non tardar 66884 1489BM I
Zauberflöte (Mozart) Air de Pamina 66998 1920BM

Pathé, Paris 1929?
Traviata (Verdi): Quel est donc ce trouble charmant 7191
Traviata (Verdi): Pour jamais ta destinée 7191

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Gerhard Stehmann (Bass/Baritone) (Seiffen, Germany 1866, 8/5 - Wien, Austria 1926, 5/7)

First he studied singing under Lilli Lehmann in Berlin, then continued with Karl Ress in Leipzig. He made his debut in 1889 at the  Hoftheater in Altenburg as Admiral Lefort in "Zar und Zimmermann". In 1890 he went to North America, where first he sang in St. Louis, then in the 1895-1896 season at the Metropolitan Opera in New York. He remained a member of the Damrosch Opera Company till 1897 and undertook in the 1898-1899 season an America tour with an opera troupe created by Nellie Melba. In 1899 he was engaged by the Hofoper in Wien, where he made his debut as an Army Caller in ‘’Lohengrin’’ and worked here up to his death. His repertoire included Wotan in Nibelungenring, Kothner and Beckmesser in "Meistersingern", Valentin in ‘’Faust’’, Kurwenal in ‘’Tristan und Isolde’’ and Germont-père in ‘’La Traviata’’.

Chronology of some appearances

1889 Altenburg Hoftheater Zar und Zimmermann (Lefort)
1899 Wien Hofoper Lohengrin (Army Calle)

RECORDINGS FOR SALE

G&T, Wien 1906
Carmen (Bizet): Quintett with Elizza, Forst, Kittel & Preuss 2-44121 4286L
Guillaume Tell (Rossini): Er fiel, er starb with Schmedes & Hesch 2-44109 4272L

G&T, Wien 1907
Lucia di Lammermoor (Donizetti): Sextett with Kurz, Kittel, Preuss, Demuth & Hesch 044076 0742v
Aida (Verdi): Tempelszene with Forst & chorus 2-44322 11756u

Gramophone, Wien 1908
Traviata (Verdi): Finale, act 2 with Kurz, Preuss & chorus 2-44463 13259½u

Zonophone, Wien 1908
Lucia di Lammermoor (Donizetti): Sextett with Kiurina, Melms, von Kellersperg, Reinhardt & Ritter X-24393

Gramophone, Wien 1909-10-02 
Aida (Verdi): Zu des Niles heil'gen Ufern with Elizza, Forst, Slezak, Mayr & chorus 3-44055 01212v

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