Forgotten Opera Singers

Forgotten Opera Singers

Aug 31, 2014

Fernand Ansseau (Tenor) ( Boussu-Bois, Mons 1890 - Bruxelles 1972)

He studied singing with Désiré Demest and Ernest van Dijk in Brussels and made his debut in 1913 in Dijon as Jean in ‘’Hérodiade’’ of J. Massenet. 

Chronology of some appearances

Hérodiade-Dijon, Municipal, 1913 - Carmen-Dijon, Municipal, 1913-4 - Cavalleria rusticana-Dijon, Municipal, 1913-4 - La Favorite-Dijon, Municipal, 1913-4 - Rigoletto-Dijon, Municipal, 1913-4 - Faust-Dijon, 1913-4 - Louise-Dijon, 1913-4 - Les Barbares-Dijon, 1913-4 - Paillasse-Brussels, Th. Des galeries, 1914-8 - Samson et Dalila-Brussels, Th. Des galeries, 1914-8 - Messaline-Brussels, Th. Des galeries, 1914-8 - Manon-Brussels, Th. Des galeries, 1914-8 - Werther-Brussels, Th. Des galeries, 1914-8 - Tosca-Brussels, Th. Des galeries, 1914-8 - La Muette de Portici-Brussels, Monnaie, 1918 - Roméo et Juliette-Brussels, Monnaie, 1918-20 - Alceste-Brussels, Monnaie, 1918-20 - Aida-Brussels, Monnaie, 1918-20 - Les contes d'Hoffmann-Monte Carlo, Garnier, 12 February 1921 - La damnation de Faust-Monte Carlo, Garnier, 15 February 1921 - Orphée-Paris, Opéra-Comique, 11 October 1921 - Le cantique des cantiques-Monte Carlo, Garnier, 18 February 1922 - Lohengrin-Paris, Opéra, 1922 - Tannhäuser-Paris, Opéra, 1922 - Grisélidis-Paris, Opéra, 29 November 1922 - Monna Vanna- Chicago, Auditorium, 1923 - L'amour des trois rois- Chicago, Auditorium, 1924-5 - Resurrection- Chicago, Auditorium, 1925-6 - Sapho- Chicago, Auditorium, 1927-8 - La force du destin-Brussels, Monnaie, 24 October 1931 - Judas Macchabée-Brussels, Palais des Beaux-Arts, 1935.

Aug 29, 2014

Margarete Matzenauer (Mezzo-Soprano) ( Timișoara, Romania 1881 – Van Nuys, California 1963)

An extraordinary singer and a force unto herself, Margarete Matzenauer sang dramatic roles in both the mezzo-soprano and soprano registers. Although many felt that her large, weighty instrument was at its best in the mezzo fach, she sang through a fairly long career with her voice essentially intact despite the considerable number of Wagnerian soprano performances she gave. Upon retirement, she became a respected teacher.
The daughter of two professional musicians, Matzenauer began her voice training with Georgine von Januschowsky in Graz before undertaking further study with Franz Emerich and Antonia Mielke in Berlin and Ernst Preuse (whom she later married) in Munich. She made her debut as Puck in Weber's Oberon at the Strasbourg Stadttheater in 1901. Her success in that production led to an offer from Munich's Hofoper and from 1905 to 1911, Matzenauer sang there, building her repertoire of dramatic roles. In 1911, she appeared at the Bayreuth Festival and, later that year, she made her Metropolitan Opera debut, singing Amneris in a November 13 Aida, a season-opening performance conducted by Arturo Toscanini. Her performance won the admiration of both the audience and the critics. Several mentioned the size and beauty of her voice and the artistry with which it was deployed.
Matzenauer remained at the Metropolitan for 20 years, heard in both mezzo and soprano roles, co-mingling them week-to-week. In 1914, Matzenauer was again in the opening night cast, this time as Ulrica to Emmy Destinn's Amelia and Caruso's Riccardo. Toscanini once more conducted, his final opening night at the theater. For the third successive year, Matzenauer opened the season when she joined Caruso in Samson et Delilah on November 18, 1915. She was praised for the warmth of her singing, even if it was somewhat removed from authentic French style. January 1917 brought an outright failure as Matzenauer sang the Figaro Countess, transposing much of the music and being described as "stolid."
Matzenauer's repertoire grew to encompass such other roles as Leonore in Fidelio, Isolde, all three Brünnhildes, Kundry, Sélika, Orfeo, Carmen, Princess Eboli, Marina in Boris Godunov, Fidès in Le Prophète, and Donna Elvira. Critic Philip Hale lavished this praise on her Isolde: "Her tones are of unusual the most passionate moments, she did not shriek, she was not explosive. She constantly sang and in her singing expressed the emotions of Isolde."
During her years at the Metropolitan Opera, Matzenauer performed elsewhere as well, singing in Boston from 1912 to 1914, in Buenos Aires (1912), and in London where she first appeared as Ortrud in 1914, winning recognition as one of the leading German mezzo-sopranos of the day. Her Kundry during her single London season was deemed a sensation and only the outbreak of the First World War prevented her having a longer relationship with that theater. Late in her career, she appeared in Philadelphia where she sang Clitemnestre in 1930.
Matzenauer retired from the Metropolitan in 1930, her farewell role that of her debut two decades before. She taught in Los Angeles, then emerged from retirement to sing Delilah in an open-air performance at New York's Lewisohn Stadium. A few more years of retirement followed before she gave a recital at Carnegie Hall in 1938. Although she was then 56, the New York Times could still write of her "sumptuous timbre and opulent resonance" and the "force and sensitivity of her musicianship." Following that event, she taught in New York and California.

Chronology of some appearances

Erda 1/16/1912, Ortrud 1/23/1912, Brünnhilde 2/15/1912, 3/9/1912, Amneris 11/25/1913, Laura Adorno 12/1/1914, Ortrud 12/8/1914, Fricka 2/9/1915, Ortrud 12/7/1915, Amneris 6/6/1916, Carmen 1/9/1917, Brünnhilde 3/27/1917, Amneris 11/20/1917, Sophie 1/8/1918, Dalila 4/9/1918, Azucena 4/16/1918, Dalila 1/21/1919, Azucena 3/4/1919, 3/16/1920, Isolde 1/18/1921, Ortrud 12/27/1921, Marina Mnishek 1/24/1922, La principessa d’Eboli 2/7/1922, Dalila 4/18/1922, Brünnhilde 1/9/1923, Ortrud 1/8/1924, Kostelnic¡ka Buryjovka 12/16/1924, Amneris 2/17/1927, Dalila 2/2/1928, Amneris 2/16/1928, Orfeo 3/1/1928, Fricka 11/27/1928, Orfeo 4/4/1929, Dalila 4/18/1929, Ortrud 11/12/1929, 2/6/1930, Jocasta 4/10/1931, Klytämnestra 10/29/1931, 3/3/1932 (Filadelfia)


G&T, Berlin 1907
Rienzi (Wagner): In seiner Blüte (Arie des Adriano) 43957 4968h
Mignon (Thomas): Styrienne 43951 4969h

Gramophone, Berlin 1910-12-07
Prophète (Meyerbeer): Ein armer Pilger naht with Kurt 044175 2118c

Victor, 1912-03-22
Favorita (Donizetti): Ah l'alto ardor with Amato 89062 C11786

EdisonNew York 1915-04-15?
Stabat Mater (Rossini): Quis est homo with Alice Verlet PA 29036 3689-A

Columbia, New York 1915-05-05
Kiss me, love (Tosti) A5698 37264
Aprile (Tosti) A5698 37265

Edison, New York 1916-03-06
Gioconda (Ponchielli): Suicidio! 83049 4558-A

Edison, New York 1916-12-20
Lucia di Lammermoor (Donizetti): Chi mi frena with Rappold, Zenatello, Middleton, Chalmers and Baroni 82266 5224-A 

Elena Teodorini (Theodorini) (Krajowa, Romania 1857 – Bucharest 1926)

Her real name was Elena De Monzunu. She was born into a theatrical family. She studied piano with Ratti and voice with Sangiovanni, both at the Milan Conservatory. Her debut as a mezzo-soprano, was in 1877 when she sang Conde in Donizetti's ‘’Maria di Rohan’’ at Cuneo. For the next two years she undertook mezzo-soprano roles in Alexandria, Bucharest, Chieti, Livorno and Pisa. Her soprano debut took place in 1879, when she sang Marie in ‘’La Figlia del Reggimento’’, followed by Rachel, in ‘’La Juive’’ (probably given as ‘’L'Ebrea’’) at the Dal Verme, Milan. At La Scala, Milan in 1880 she sang Margherita in ‘’Faust’’, and in 1881 the part of Valentine in ‘’Gli Ugonotti’’. In 1882 she appeared there in the world premiere of Smareglia's ‘’Bianca da Cervia’’. For ten years from 1884, when she appeared with Tamagno, at the old Teatro Colon, Buenos Aires, her career flourished: Covent Garden (1886 in ‘’Don Giovanni’’ (Donna Anna), ‘’La Gioconda’’ and ‘’Ugonotti’’); La Scala (Gastaldon's ‘’Mala Pasqua’’, based on the same Verga source as ‘’Cavalleria Rusticana’’); Lisbon, and Bucharest, in concert as in opera. In 1909 she founded the Accademia Teodorini in Buenos Aires, and from 1916 to 1923 she taught singing in Brazil. Among her pupils was Bidu Sayao. In 1924 she returned to Romania, where in 1925 she became Professor of Singing in the Academy of Music. In 1902 she made 6 records for G&T in Milano.

Chronology of some appearances

1877 Bucharest Opera Italiana Favorita (Leonora)
1877 Bucharest Opera Italiana Barbiere di Siviglia (Rosina)
1877 Cuneo Civico Barbiere di Siviglia (Rosina)
1877 Alessandria Municipale  Barbiere di Siviglia (Rosina)
1879 Bucharest Nazionale Favorita (Leonora)
1879 Bucharest Nazionale Barbiere di Siviglia (Rosina)
1880 Bologna Comunale Favorita (Leonora)
1880 Cremona Concordia Favorita (Leonora)
1880 Piacenza Municipale Favorita (Leonora)
1880 Warsaw Imperiale Favorita (Leonora)


G&T, Milano 1903-02
Carmen (Bizet): Habanera 53298 3085b
Lucrezia Borgia (Donizetti): Rondo  53299 3087b
Lucrezia Borgia (Donizetti): M'odi, ah m'odi 53300 3088b
Gioconda (Ponchielli): Preghiera 53301 3089b
Parla! Valzer (Arditi) 53302 3091b

Bernardo Olshansky (Baritone) (Russia 1885 - ?)

Driven by political persecution  to seek the protection of America, he arrived in New York about the year 1905, at the age of twenty. He worked hard at various trades, but during all his straggles he kept before him his desire and determination to become a grand opera singer. A few months after landing in New York he began to take lessons with Giacomo Ginsburg, and worked with rare diligence. Three years later his teacher pronounced him equipped for opera and advised him to go to Italy for his debut. Lacking worldly goods, and not familiar with other languages Olshansky nevertheless set out for Italy, and overcame all professional difficulties. He made his debut in ''Rigoletto'' at Monza, and engagements from other towns were offered to him, but he decided to return to America and complete his studies. Then he was invited to sing at a musicale at the house of Mrs. B. Guinness, where his excellent diction, perfect phrasing, convincing rendition and his beautiful voice, deeply impressed the audience. Among them was Mr. R. L. Cottenet, a director of the Metropolitan Opera House, who at once arranged for Olshansky to sing before Toscanini. Mrs. Guinness, however, engaged him for the following season and sent him to Paris to study French roles under Andre Caplet, one of the conductors of the Boston Opera Company. Thus, after a romantic career, Olshansky was a member of an opera company. Olshansky made his debut there in 1911. It would be nice to say that he went on to a big career, but such does not seem to be the case. After singing a few minor roles in Boston and making some recordings for several companies, Olshansky seems to have   disappeared from sight. Nothing more about him is known. However, he did leave us some beautiful recordings, which make one wonder why a singer with such a fine voice did not go on to a successful career.

Chronology of some appearances

1908/1909 Monza Opera House
1911 Boston Opera


Victor,  3/6/1917
Demon (Rubinstein): Romance  B-19243
The Prisoners  (Bleichman) B-19244

Victor, 4/12/1917
Dubinushca B-19471

Victor,  11/15/1918
Elegie (Glinka) B-22424
Ye who have yearned alone (Tchaikovsky) B-22423

Victor,  3/11/1919
The Red Scarf  B-22618

Aug 28, 2014

Ada Sari (Soprano) (Wadowice, Poland 1886 - Ciechocinek, Poland 1968)

Her real name was Jadwiga Szajerówna. She studied singing in Milan and made her debut in 1909 at the Teatro Nazionale in Rome as Marguerite in ‘’Faust’’ of C. Gounod. In  the 1912-1914 seasons she appeared with success at the Teatro San Carlo in Napoli, then at the Teatro Dal Verme in Milano and in Trieste and Parma. During her activity in Italy she sang also at the opera houses in Brescia and Lucca. In 1914 she sang with great success in Warsaw as Thaïs in J. Massenet’s opera of the same name and as a partner of Mattia Battistini in A. Rubinstein’s ‘’Demon’’. In 1914 she made guest appearance at the Court Opera in St. Petersburg. At the beginning of her career  she sang lyrical roles, but since 1914 she specialized in coloratura roles. After the First World War she sang a lot in South America, especially since 1918 at the Teatro Colón in Buenos Aires, and undertook a concert tour through North America and appeared among other things at the Carnegie Hall in New York and alos in Chicago. In 1923 she performed at the Teatro Alla Scala in Milano as Queen of the Night in ‘’Magic flute’’. During the following years she often sang at the Vienna State Opera and at the opera houses in Budapest and Prague. She also sang at the Grand Opéra in Paris, guested in Zurich (1920 and 1924) and Cologne (1925), at the Royal Opera in Stockholm (1926) and Copenhagen (1929). As a concert singer and as an oratorio singer she stood in high respect, in particular as a soloist in Beethoven's 9-th symphony. She appeared among other things in concerts in Berlin (1924, 1927, 1931) and Budapest (1927). Since 1939 she lived in Warsaw, but in 1947 she guested again at the Vienna State Opera as Gilda in ‘’Rigoletto’’. Late she worked as a vocal pedagogue at the conservatoire in Warsaw

Chronology of some appearances

1912 Rome  Teatro Nazionale
1914 Warsaw Opera House
1914 St. Petersburg Court Opera
1918 Buenos Aires Teatro Colón
1923 Milano Teatro Alla Scala
1926 Stockholm Royal Opera
1947 Vienna State Opera


Polydor, 1925?
Roméo et Juliette (Gounod): Nella calma 73009
Faust (Gounod): Aria dei gioielli 73009

Polydor, 1927?
Bohème (Puccini): Quando m'en vo' 73070 61bo
Mefistofele (Boito): L'altra notte 73070 64bo

Aug 27, 2014

Agrippina Eremeeva (Soprano) (St. Petersburg ? - ?)


Her real name was Markova. From 1893 to 1898 she studied singing at the St. Petersburg Conservatory. In the 1899-1900 season she appeared in Perm, St. Petersburg (National House. 1900, 1902, 1913-1914), Moscow (Russian Private Opera, Solodovnikov's Theatre. 1903-1904). In 1901 she made guest appearance in Riga.

Chronology of some appearances

1899/1900 Perm
1900 St. Petersburg National House
1901 Riga
1902 St. Petersburg National House
1903/1904 Moscow Solodovnikov's Theatre
1913-1914 St. Petersburg National House


Gramophone, -3-01
The Enchantress (Tchaikovsky): Where art thou, my beloved 23068 2644a 

Vasili Ostrowski (Baritone) (? - ?)

Thanks to Pyotr Tchaikovsky he studied at the Saint Petersburg Conservatory under E. Tagliabue, ddditionally, since 1887, by the advice of  Pyotr Tchaikovsky, he take a few vocal lessons from Fedor Komisarjevsky and A. Uspensky. He graduated from the Saint Petersburg Conservatory in 1892. His voice was appreciated Pyotr Tchaikovsky. He appeared at the Opera House in Warsaw.

Chronology of appearance

Warsaw Opera House


Premier Record, Warsaw
Amleto (Thomas): Brindisi 21236
Don Juan (Mozart): Serenata 21234

Wiktor Grąbczewski (Baritone) (1863 - 1924)

He studied singing under J.Quattrini in Warsaw. In 1888 he made his debut as a concert singer in Warsaw, then went to Paris and became a pupil of the famous tenor Jean de Reszke. After Additional Education in Milan he made his debut there under the artistic name Vittorio Edmondi as Germont in G. Verdi’s ‘’La Traviata’’. Since 1890 under the name Victor De Gromzeski he appeared at the famous italian opera houses, among other things at the Teatro Comunale in Florence, at the Teatro Comunale in Bologna and at the Teatro San Carlo in Naples. Since 1895 he appeared temporarily as tenor, however, returned soon again to the baritone field. He performed with international success and made guest appearances at the Covent Garden in London (1892, 1897 and 1903) and at the Court Opera in St. Petersburg (1904). In 1892 he sang in Chicago, Philadelphia, Boston and New York. In the 1893-1895 seasons he was a member of the New York Metropolitan Opera. In 1911 he performed in Moscow, Kiev and Odessa. Since 1915 he was active as a director of the National Opera in Warsaw, however, appeared still as a concert singer, but in 1924 sang the role of Escamillo in ‘’Carmen’’. His stage roles included the Rigoletto, Nevers in ‘’Gli Ugonotti’’ of G. Meyerbeer, Valentin in ‘’Faust’’ of C. Gounod, Silvio in ‘’Pagliacci’’, Alfonso in G. Donizetti’s ‘’La Favorita’’ and his special star role, the Janusz in ‘’Halka’’ of  S. Moniuszko.

Chronology of some appearances

1892 London Covent Garden
1897 London Covent Garden
1896 Warsow  Teatr Wielki
1903 London Covent Garden
1904 St. Petersburg Court Opera


G&T, Warsaw 1901
Verbum Nobile (Moniuszko) Aria  22759 1824 B 

Favorite, Warsaw 1909
Anioł Pasterzom (Koleda) with Adam Ostrowski 1-79664

Giuseppe Danise (Baritone) (Naples 1883 - New York 1963)

He studied singing under the pedagogues Luigi Colonnesi and Abramo Petillo in Naples and made his debut in 1906 at the Teatro Bellini in Naples as Alfio in ‘’Cavalleria Rusticana’’. He was very successful in 1913 at the Teatro Massimo in Palermo in P. Mascagni’s ‘’Isabeau’’ and ‘’La Bohème’’ of R. Leoncavallo. The same year he sang at the  Verdi centennial celebrations at the Teatro Regio in Parma as Posa in ‘’Don Carlo’’ and in the first festival at the Arena di Verona in the role of Amonasro in G. Verdi’s ‘’Aida’’. In 1915 he performed at the Teatro Costanzi in Rome in the premiere of the opera ‘’Una Tragedia Fiorentina’’ of Mario Mariotti. Since 1915 he guested almost annually at the Teatro Colón in Buenos Aires. In the 1915-1917 seasons he appeared with great success at the Teatro Alla Scala in Milan, among other things sang there in 1915 in the premières of A. Borodin’s ‘’Prince Igor’’ (in the title role, the same time his debut at the Teatro  Alla Scala), R. Zandonai’s ‘’Francesca da Rimini’’ (1916), V. De Sabata’s ‘’Macigno’’ (1917). In 1918 he took part at the Teatro Costanzi in Rome in the premiere of the opera ‘’Maria di Magdala’’ by Vincenzo Michetti. In 1920 he joined to the ensamble of the Metropolitan Opera in New York (beginning role: Amonasro in ‘’Aida’’), where he remained till 1932, and where he sang in 1921 in the première of U. Giordano’s ‘’Andrea Chénier’’. In 1922 he appeared there in the premières of E. Lalos ‘’Le roi d'Ys’’ and A. Catalani’s ‘’Loreley’’, R.  Laparra’s ‘’La Habanéra’’ (1924). In 1932 when the management of the Metropolitan Opera shortened the fees of the soloists as a result of the economic crisis, he revoked his contract with the Metropolitan Opera. In the 1922-1931 he appeared at the Ravinia Summer Opera near Chicago. Since 1932 he sang again with success at the Teatro Alla Scala in Milan, now among other things as Scarpia in ‘’Tosca’’ and as Alfonso in G. Donizetti’s ‘’La Favorita’’. In 1933 at the Teatro Regio in Turin he sang the role of Telramund in R. Wagner’s ‘’Lohengrin’’ under Max von Schillings. The same year at the Teatro Massimo in Palermo he performed in G. Puccini’s ‘’Tosca’’. In 1935 at the Teatro Carlo Felice in Genua he sang in G. Donizetti’s  ‘’La Favorita’’. In the 1935-1937 seasons he appeared at the Opera House in Rio de Janeiro in ‘’Tosca’’, Rigoletto’’ and ‘’Francesca da Rimini’’ by R. Zandonai, last as Germont in G. Verdi’s ‘’Traviata’’ (together with Bidu Sayão). After the Second World War he went again to North America. In 1947 he married the Brazilian soprano Bidu Sayão and lived temporarily in Brazil, then in New York. He was among other things the teacher of Regina Resnik. 

Chronology of some appearances

Carlo Gérard 3/1/1921, Valentin 4/12/1921, Lord Enrico Asthon 11/29/1921, Don Carlo 12/13/1921, Karnac 1/10/1922, Carlo Gérard 3/21/1922, Herrmann 12/26/1922, Rigoletto 2/6/1923, Nélusko 4/17/1923, David 11/27/1923, Nélusko 1/22/1924, Ramón 3/4/1924, Guillaume Tell 3/25/1924, Giorgio Germont 4/1/1924, Barnaba 12/9/1924, Carlo Gérard 1/20/1925, Marcello 2/24/1925, Rivegas 3/24/1925, Amonasro 4/14/1925, Nélusko 12/1/1925, Amonasro 12/15/1925, Figaro 1/12/1926, Rafaele 1/19/1926, Barnaba 3/23/1926, Nélusko 11/9/1926, Rigoletto 1/18/1927, Barnaba 11/1/1927, Amonasro 11/22/1927, Marcello 11/29/1927, Valentin 1/17/1928, Rigoletto 3/20/1928, Carlo Gérard 10/30/1928, Don Carlo 12/11/1928, Tonio 12/18/1928, Amonasro 2/12/1929, Lord Enrico Asthon 1/7/1930, Amonasro 4/1/1930, Tonio 4/8/1930, Barnaba 10/28/1930, Jack Rance 11/4/1930, Guillaume Tell 4/7/1931, Tonio 12/8/1931 (in Filadelfia)


Gramophone, Milano 1916
Rigoletto (Verdi): with Carlo Broccardi, Ayres Borghi-Zerni and Vincenzo Bettoni

Brunswick, New York 1921-04?
Andrea Chénier (Giordano): Nemico della patria! 50004 X5447
Barbiere di Siviglia (Rossini): Largo al factotum 50013 X5450
Pagliacci (Leoncavallo): Prologo 50006 X5325
Ballo in maschera (Verdi): Eri tu 30012 X5355

Brunswick, New York 1922-01?
Ernani (Verdi): O de' verd'anni miei 50013 X7264

Brunswick, New York 1922-03?
Hérodiade (Massenet): Vison fugitive 15045 7613

Brunswick, New York 1922-04?
Forza del destino (Verdi): Urna fatale 15045 7808

Brunswick, New York 1922-10?
Voi ed io (de Curtis) 10108 8995

Brunswick, New York 1925-03-11
Pietà Signore! (Stradella) 30109 X15120

Aug 25, 2014

Edmond Clément (Tenor) (Paris 1867 - Nice 1928)

                                                                Don Jose

                                                                Don Jose

                                                                 Don Jose

He made his debut (1889) at the Opéra-Comique in Gounod's ‘’Mireille’’ (as Vincent). He sang in several world premieres, including Breaneau's ‘’L'attaque du moulin’’ and Saint-Saëns's ‘’Phryné’’. He also appeared in the first Paris performances of ‘’Madama Butterfly’’ and ‘’Falstaff’’ and the first Don Juan at the Opéra-Comique. In 1909 he traveled to the United States for a series of appearances, including two season (1909-11) at the Metropolitan Opera. In 1912 he was part of the Boston Opera Company, where he was commended for his sensitive portrayal of Don José in ‘’Carmen’’. Clément was last heard at the age of sixty in a concert performance.

Chronology of some appearances

Werther 12/21/1909, Ange Pitou 1/25/1910, Dominique 2/24/1910, Fra Diavolo 3/1/1910, 11/18/1912 (in Filadelfia)


Pathé, Paris 1916?
Il neige (Bemberg); Bergère légère (Weckerlin) 3098 2984
Cavalleria Rusticana (Mascagni): Sicilienne 0120 2985
Plaisir d'amour (Martini) 3098  2986
Les filles de la Rochelle (trad) 3099 2989
Dame Blanche (Boïeldieu): Viens, gentile dame 0121 3401
Manon (Massenet): Le rêve 0121 3402
Werther (Massenet): Pourquoi me réveiller 0119 3403
Lakmé (Delibes): Fantaisie aux ailes d'or 0119 3404
Mai (Hahn) 3100 3406
Manon (Massenet): Ah, fuyez, douce image 0120 3407
En passant par la Lorraine (Tiersot) 3099
Je ne veux que des fleurs (Barbirolli) 3100

Pathé, Paris 1919?
Green (Debussy) 3165
Clair de lune (Fauré) 3165
Amadis de Gaule (Lully): Bois épais 3166 1926
Le mariages des roses (Franck) 3166 1928
Sonnet matinale (Massenet); Venez, agréable printemps (Weckerlin) 3167 1927
Jeunes fillettes (Weckerlin); Rondel (Dubois) 3167 1929
Werther (Massenet): Invocation 2021 1939
L'absence (Berlioz) 2021 1945
Il est d'étranges soirs (Roubaud) 2022 1947
Lakmé (Delibes): Ah, viens dans la forêt 2022 1948
Basoche (Messager): A ton amour simple 0279 2381
Basoche (Messager): Villanelle 0279 2382
Basoche (Messager): Chanson ancienne 0280
Le Mage (Massenet): Air de Zarêstre 0280

Pathé, Paris 1921?
Adieu du matin (Pessard); Si tu le veux (Koechlin) 3202
Romance (Debussy) 3202
Cimetière de campagne (Hahn) 3203 2712
Il primo amore (Widor) 3270
L'amour s'envole (Weckerlin) 3203 2716
Je t'aime (Grieg) 3204 2717
Hélas! c'est près de vous (Paër) 3204 2718

Pathé, Paris 1926?
D'une prison (Hahn) 3318
Fuyez, jeunes filles (Cavalli) 3318
La truite (Schubert) 3319 200185
Les adieux (Fauré) 3319 200186

Aug 23, 2014

Georgette Bréjean-Silver (Soprano) (Paris 1870 - Courbevois 1951)

Her real name was Georgette-Amélie Sisout. She was trained at the Paris Conservatoire, where she was a pupil of Mangin and Crosti. She made her 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 (still under the name Mme Bréjean-Gravières), where she sang the role of Manon in J. Massenet’s opera of the same name. This was her star role. She sang on 24 .5. 1899 at the Opéra-Comique in the premiere of  J. Massenet’s ‘’Cendrillon’’ in the role of fairy. At Monte Carlo she performed in 1895 in J.  Massenet’s ‘’Manon’’' and ''Lakme'' by L. Delibes, in 1896 as Marguerite de Valois in ‘’Gli Ugonotti' of G. Meyerbeer and as Leila in ‘’Pêcheurs de perles’’ of G. Bizet. Later she appeared at the Théâtre de la Monnaie in  Brussels. Her repertoire included roles like Angéla in ‘’Le Domino nor’’ of D. Auber, Philine in ‘’Mignon’’ of A.Thomas, Euridice in ‘’Orpheus’’of C. W. Gluck, Rosina in ‘’Barbierei di Siviglia’’, Mathilde in G. Rossini’s ‘’Wilhelm Tell’’ and Rosenn in ‘’Le Roi d'Ys’’ of E. Lalo. Then she lived as a pedagogue in Paris. In the first marriage she was married with the manager of the Opera House of Bordeaux Mr Gravières, in the second marriage with the composer Charles Silver. 

Chronology of some appearances

1890 Bordeaux  Opera House
1894 Paris Opéra-Comique
1895 Monte Carlo Opera House
1896 Monte Carlo Opera House
1899 Paris Opéra-Comique


Fonotipia, Paris 1904/5
Rigoletto (Verdi): Caro nome 39325 Xph 624
Pêcheurs de perles (Bizet): Comme autrefois dans la nuit sombre 56005 Xph 625
Boheme (Puccini): On m'appelle Mimi 39181 Xph 650
Manon (Massenet): Oui, dans les bois (Fabliau) 39225 Xph 679
Faust (Gounod): Laisse-moi…Eternelle…O nuit d'amour with Emile Scaramberg 86001  XXph 691
Romeo et Juliette (Gounod): Ange adorable 56051 Xph 728

Aug 22, 2014

Edouard Cotreuil (Bass) (France 1874 - ?)


In  the 1902-1905 seasons he appeared at the Théâtre de la Monnaie in Brussels. Here he sang in several opera premieres, in ‘’L'Étranger’’ of Vincent d'Indy (7. 1. 1903) and in ‘’Le Roi Arthus’’ of Ernest Chausson (30. 11. 1903 as Merlin). In 1908 he took part at the Opera House in Lyon in the premiere of the opera ‘’Salomé’’ by A. Mariotte. At the Covent Garden in London he appeared with success in  the 1904-1905, 1919-20 and 1924-27 seasons. On 1. 4. 1913 he sang at the Casino Municipal in Nice in the premiere of the opera ‘’La Vida breve’’ of Manuel de Falla in the part of the uncle Salvador. In 1920 he was engaged by the Chicago Opera and sang there till 1929 again with success. He appeared here in 1920 in the American première of Ravel’s ‘’L'Heure espagnole’’ and on 30. 12. 1921 in the premiere of the opera ‘’L'Amour trois oranges’’ by Prokofiev in the part of the Celio. His repertoire included parts like Golo in ‘’Pelléas et Mélisande’’ by Debussy, Basilio in ‘’Il barbiere di Siviglia’’, Raimondo in ‘’Lucia di Lammermoor’’, Mephistofele in ''Faust'' of Gounod, Sparafucile in ''Rigoletto'', Césaire in ''Sapho'' of Massenet, Hunding in ''Die Walkure'' and the Prior in ''Le Jongler de Notre Dame'' of Massenet.

 Chronology of some appearances

1902-1905 Brussels Théâtre de la Monnaie
1904-1905 London Covent Garden
1908 Lyon Opera House
1913 Nice Casino Municipal
1919-1920 London Covent Garden
1920-1929 Chicago Opera
1924-1927 London Covent Garden


Odeon, Paris? 1904-08?
Mignon (Thomas): Berceuse 33783 XP771

HMV, London 1926-06-17 (actual performance)
Otello (Verdi): Niun mi tema with Zenatello, Cilla and Sampieri DB955 2-054168

Peter Unkel (Tenor) (Köln 1880 - Berlin 1942)

                                                               Don Jose

In 1912 he made his debut at the Municipal Theatre in Aachen as  Siegmund  in ‘’Walkure’’ and appeared here till 1914. In the 1916-18 seasons he was a member of the Berlin Court Opera. From 1918 to 1924 he sang at the State Theatre in Brunswick and then till 1928 at the Opera House in Wroclaw. After 1928 he still gave isolated guest performances. His repertoire included roles like Siegmund, Lohengrin, Walther von Stolzing in the ‘’Meistersingers’’, Samson in ‘’Samson et Dalila’’ by Saint-Saëns, Otello of Verdi, sang, however, also the role of Tamino in the ‘’Magic flute’’, Duke in ‘’Rigletto’’ and Florestan in ‘’Fidelio’’.

Chronology of some appearances

1912-1914 Aachen Municipal Theatre
1916-1918 Berlin Court Opera
1918-1924 Brunswick State Theatre
1924-1928 Wroclaw Opera House


Gramophone, Berlin 1913-08-27
Meistersinger von Nürnberg (Wagner): Am stillen Herd 942547 12861r
Meistersinger von Nürnberg (Wagner): Morgenlich leuchtend 0942012 1154½s
Lohengrin (Wagner): Höchstes Vertrauen 0942013 1155s

Aug 21, 2014

Edgardo De Marco (Baritone)

Probably he made his debut in 1905 at the Teatro Umberto I ° Oneglia in ‘’Carmen’’. During his career he made guest appearances in Alessandria (1910), Athens (1910), Barcelona (1910/1911), Odessa (1911), Constantinopol (1911), St. Petersburg (1912) and Lisbon (1914). In 1922 he went to São Paulo, Brazil, where he continued his career. He made two records for Phonodisc Mondial.

Chronology of some appearances

1905 Oneglia Teatro Umberto I° Carmen (Escamillo)
1910 Alessandria d'Egitto Teatro Alhambra  Carmen (Escamillo)
1910 Atene Teatro Arniottis Ballo in Maschera (Renato)
1910 Barcellona Teatro Liceo La Vestale
1911 Barcellona Teatro Liceo Boheme (Marcello)
1911 Odessa Teatro Municipale Aida (Amonasro)
1911 Costantinopoli Teatro Petit Champs Aida (Amonasro)
1912 San Pietroburgo  Nuovo Conservatorio  Stagione
1914 Lisbona  Coliseo Recrejos Aida (Amonasro)
1932 San Paolo Teatro Santana Boheme (Marcello)


Phonodisc, Milano 1907/1908?
Rigoletto (Verdi): Tutte le feste al tempio with Linda Brambilla 163
Rigoletto (Verdi): Si vendetta, tremenda vendetta with Linda Brambilla 164