Forgotten Opera Singers

Forgotten Opera Singers

Oct 31, 2014

Nadezhda Van-Brandt (Soprano) (Kiev 1882 - Nice 1948)

In 1890's she appeared at the Teatro Olimpia in St. Petersburg. Then from 1898 to 1901 studied under Désirée Artôt de Padilla in Paris, later here additionally took lessons with Mathilde Marchesi. 

Chronology of some appearances

1901-1902 Paris Opera-Comique
1901-1902 Kharkov Teatro Municipale
1902 St. Petersburg Italian Opera (as a partner of Angelo Masini)
1905 Moscow Nuovo Opera
1906 Berlin, Vienna, London, Barcelona, Budapest, Prague
1906 St. Petersburg Nuovo Opera
1906-1907 St. Petersburg Italian Opera
1907 Tbilisi
1907 Athens
1907 Venezia Teatro Carlo Felice
1908 Roma, Palermo, Lyon
1907-1908 Kharkov Teatro Municipale
1907-1908 Rostov-on-Don 
1909 Moscow Italian Opera
1909 St. Petersburg Teatro Aquarium
1910-1911 Barcelona Gran Teatre del Liceu
1911 Paris Opera-Comique
1911 Athens
1911 Brussels
1912 Vienna
1913 Brussels
1913 Amsterdam
1914 Warsaw
1915-1916 St. Petersburg National House
1916 China
1917 Irkutsk


G&T, Paris 1907
La Villanelle (dell'Acqua) 023031 6727p

Jean Athanasiou (Athanasiu) (Baritone) (Bucharest, Romania 1885 - Bucharest, Romania 1938)


First he studied in Bucharest, then under Ernesto Colli and Manlio Bavagnoli in Milan. He made his debut in 1912 at the Teatro Sociale in Salò as Silvio in ''Pagliacci''. He was promoted by the famous baritone Mattia Battistini and appeared in 1913 at the Teatro Regio in Turin as Amonasro in ''Aida''. In 1914 he created for Palermo the role of Amfortas in ''Parsifal''. After outbreak of the First World War he went back to his native roumanian country, sang there in Bucharest and Jassy as well as in 1917 in Odessa. In 1919 he belonged in Bucharest to the founders of the Roumanian National Opera in which he was celebrated in roles like Rigoletto, Scarpia, Amonasro and Don Giovanni. In 1921 he made guest appearances in Brescia and Ferrara and then belonged in the 1921-1930 seasons to the most popular singers of the Teatro Costanzi in Rome. In Italy he sang under the name Giovanni Atanasio. In the 1923-1925 seasons, as a partner of Roumanian tenor  Trajan Grosavescu, he appeared with great success at the Vienna People's Opera. He also sang at the Berlin State Opera as a guest. He died at the height of his career from typhoid fever.

Chronology of some appearances

1912 Salò Teatro Sociale Pagliacci (Silvio)
1913 Turin Teatro Regio Aida (Amonasro) 
1914 Palermo (-) Parsifal (Amfortas)
1917 Odessa Teatro Municipale (-)
1923 Roma Teatro Costanzi Tristan und Isolde (Kurwenal)


Vox, Berlin 1926
Traviata (Verdi) Di Provenza 03576 2748A
Ballo in maschera (Verdi) Alla vita che t'arride 03578
Rigoletto (Verdi) Cortigiani, vil razza dannata 03578
Forza del destino (Verdi): Solenne in quest'ora with Costa Milona 04177 2745A
Faust (Gounod): Avant de quitter ces lieux 03576 2750A
Tosca (Puccini): Sei la gurata fede 03576 2750B

Odeon, Bukarest 1920's
Cei doi grenadiri (Schumann) XX127411 xxJo1524
Crucifix (Faure) AA17522 xxJo1948
Noaptea (Tchaikovsky) AA17522 xxJo1949
Cinen'are dor XX127411 xxJo1525

Emilia Vergeri (Soprano) (? - ?)

Her full name was Emilia Sanchez  Vergeri. In 1917 she sang at the Teatro Colon in San Juan de Puerto Rico in G. Verdi’s ‘’Otello’’ as a partner of Enrico Arenson and Roberto Viglione. In 1919 again as a partner of the baritone Roberto Viglione she appeared at the Teatro Colon in Santo Domingo in G. Verdi’s ‘’Aida’’. In 1925 as a meber of the Philadelphia La Scala Opera Company she appeared as Santuzza in ‘’Cavalleria Rusticana’’ at the Academy of Music in Philadelphia

Chronology of some appearances

1917 San Juan de Puerto Rico Teatro Colon Otello (Desdemona)
1919 Santo Domingo Teatro Colon Aida (Aida)
1925 Philadelphia Academy of Music Cavalleria Rusticana (Santuzza)


Edison 4-min cylinders, USA? 1911?
Graf von Luxemburg (Lehár): Dúo with Pedro Vinart 8070

Umberto Sacchetti (Tenor) (San Pietro in Casale, Bologna 1874 - ? 1944)

He studied singing in Bologna under the vocal pedagogues Corsi and Verati and made his debut in 1903 at the Teatro Sociale of Argenta in P. Mascagni’s ‘’Cavalleria Rusticana’’. In 1906, as a mamber of the Operetta Company "Gordini e Marchetti", he appeared at the Teatro Olimpia in Milan.  In 1908 he sang at the Teatro Vittorio Emanuele in Messina as Turiddu in P. Mascagni’s ‘’Cavalleria Rusticana’’. In 1906 he went to USA, where he returned again in 1911, to continue his career, during which he performed both in Vaudeville and opera. He appeared with success in New Orleans, Washington, Boston, Fitchburg and Winnipeg. Probably for the last time he sang the role of Edgardo in G. Donizetti’s ‘’Lucia di Lammermoor’’ at the Teatro Morgana in Rome (1920).

Chronology of some appearances

1903 Argenta Teatro Sociale
1906 Milano Teatro Olimpia
1908 Messina Teatro Vittorio Emanuele
1920 Roma Teatro Morgana


Columbia, Milano 1905?
Cavalleria Rusticana (Mascagni): Siciliana 10515

Camilla Rota (Mezzo-Soprano) (Milano 1897 - Milano 1977)

She made her debut in 1920 at the Teatro Dal Verme in Milan as Urbain in G. Meyerbeer's ''Les Huguenots''. In 1921 she guested at the Teatro Carcano in Milan as Maddalena in G. Verdi's ''Rigoletto''. In 1924 she went to Alessandria, where at the Teatro Municipale sang the role of Azucena in G. Verdi's ''Il Trovatore''. In 1926 she made guest appearances at the Palais Voor Volksvlijt in Amsterdam. She guested in Venice, Mantua, Trieste, Lucca, Padua, Modena and Verona and in South America. In 1937 at the Teatro Alla Scala she sang the role of mother in ''Hansel and Gretel'' by E. Humperdinck. Married with the tenor Luigi Marletta. She spent her last years at the Casa di Riposo G. Verdi in Milan.

Chronology of some appearances

1920 Milan Teatro Dal Verme
1921 Milan Teatro Carcano
1924 Alessandria Teatro Municipale
1926 Amsterdam Palais Voor Volksvlijt
1937 Milan Teatro Alla Scala


Columbia, Milano 1930
Gioconda (Ponchielli): E cantan su lor tombe with Gaetano Viviani and Giannina Arangi-Lombardi LKX 5092 BX 111

Oct 30, 2014

Theodor Wilke (Tenor) (Annen 1873 - Sienno 1915)

He began his stage career in 1900 at the Court Theatre in Detmold, joined from there in 1902 to the Municipal Theatre of Rostock and was engaged in the 1904-05 season by the Municipal Theatre of Mülhausen/Alsace (Mulhouse). In 1905 he appeared at the Municipal Theatre of Strasbourg, where he enjoyed a great popularity and remained till 1913. His repertoire included roles like Tamino in "Zauberflöte", Faust in C. Gounod's ''Faust'', Turiddu in ''Cavalleria Rusticana'', Florestan in ''Fidelio'', Max in ''Freischütz'', Erik in "Fliegenden Holländer", Lohengrin, Tannhäuser, Walther von Stolzing in "Meistersingern". He appeared as a guest among other things at the Court Theaters of Karlsruhe and Hannover. In 1913 he appeared with great success in BerlinHe participated in World War I voluntarily and died during the war.

Chronology of some appearances

1900 Detmold Court Theatre
1902 Rostock Municipal Theatre
1904-1905 Mülhausen/Alsace (Mulhouse) Municipal Theatre
1905-1913 Strasbourg Municipal Theatre


Zonophone, Frankfurt-am-Main 1906
Evangelimann (Kienzl): Selig sind die Verfolgung leiden X-22455

Juan García (Tenor) ( Sarrión 1896 - Buenos Aires 1969)

His full name was Juan Francisco García Muñoz. He was born in 1896 in Sarrión, Spian. In 1924 he went to Italy and studied singing under  Arnaldo Galliera. In 1925 he made his debut at the Teatro del Casino Municipal de San Remo as Duke in ‘’Rigoletto’’. The same year he made his spanish debut at the Teatro Tívoli de Barcelona in ‘’Manon’’ opposite Genoveva Vix. Then he made guest appearances in Egypt with the opera company of Pietro Mascagni, then again performed in Italy as a partner of Toti Dal Monte at the Teatro La Fenice de Venecia. In 1927 he sang at the Teatro de la Zarzuela in Madrid as Almaviva in ‘’Il Brbiere di Siviglia’’opposite Conchita Supervía. In 1929 at the Tatro Marín de Teruel he again appeared in ‘’Manon’’  and ‘’Il Barbiere di Siviglia’’. At the beginning of the 1930’s opera almost is not represented in Spain and he devoted himself especially to the Zarzuelas. In 1935 he initiated a short cinematographic career. In 1936, his spectacle was hired by Radio Belgrano, of  Buenos Aires. Despite leaving more than two hundred recordings, he died in the negligence in the Argentine capital on August 14, 1969 of a heart attack.

Chronology of some appearances

1925 San Remo Teatro del Casino Municipal
1925 Barcelona Teatro Tívoli 
1926 Venecia Teatro La Fenice
1927 Madrid Teatro de la Zarzuela


Parlophon, Barcelona 1930
Barbiere di Siviglia (Rossini): Se il mio nome B 26007-I  76195
Manon (Massenet): En fermant les yeux 26007-II 76213

Oct 27, 2014

Noria Mazzi (Soprano)

Probably she made her debut in 1891 at the Teatro Ristori in Verona as Margherita in ‘’Faust’’.

Chronology of some appearances

1891 Verona Teatro Ristori Faust (Margherita)
1896 Novara Teatro Coccia Ernani (Elvira)
1897 San Francisco Opera Forza del destino (Leonora)
1899 Brescia Teatro Guillaume Ernani (Elvira)
1900 Crema Teatro Sociale Faust (Margherita)
1902 Atene Teatro Olimpia Aida (Aida)
1904 Venezia Teatro Rossini   Andrea Chenier (Maddalena)
1905 Marsala Teatro Garibaldi Gioconda (Gioconda)


Pathé, Milano 1906?
Ernani (Verdi): Da quel dì with Aristide Anceschi 86175

Vittorio Girardi (Bass)

He made his debut in Italy. In 1897 he went to USA, where at the Opera House in San Francisco appeared in ‘’Faust’’, ‘’Favorita’’ and ‘’Ballo in maschera’’.

Chronology of appearance

1897 Los Angeles Opera House Faust (Mefistofele)
1897 Los Angeles Opera House Favorita (Baldassarre)
1897 Los Angeles Opera House Ballo in maschera (Samuil)
1897 San Diego Fisher’s Ballo in maschera (Samuil)
1899 Milano Dal Verme Africana (Inquisitore)
1899 Milano Dal Verme Ballo in maschera (Samuil)


Bettini cylinder, New York 1899?
Guglielmo Tell (Rossini): Troncar suoi di with Alberto De Bassini and Dante Del Papa

Oct 26, 2014

Salvatore Baccaloni (Bass) (Rome 1900 – New York City 1969)

After attending the Sistine Chapel choir school from age seven, he studied voice with the celebrated baritone Giuseppe Kaschmann (Josip Kašman, 1847–1925) and cast aside his initial ambitions to become an architect. He made his professional debut as Bartolo in The Barber of Seville, at Rome's Teatro Adriano, in 1922. He sang for the first time at La Scala, Milan, in 1926, in Ildebrando Pizzetti's Debora e Jaele. Initially, he performed the standard bass parts there, such as Raimondo in Lucia di Lammermoor and Sparafucile in Rigoletto. However, on the advice of La Scala's principal conductor, Arturo Toscanini, he decided to specialise in comic roles. He thus went on to make an indelible impression as Leporello in Don Giovanni, Dulcamara in L'elisir d'amore, the title character in Don Pasquale, Varlaam in Boris Godunov, the title character in Falstaff and the title character in Gianni Schicchi. Baccaloni also sang supporting roles such as Benoit in La bohème and the sacristan in Tosca, infusing them with a lot of humorous stage business. He created several operatic roles, too, including that of L'uomo di legge (the Lawyer) in Umberto Giordano's Il re (at La Scala in 1929) and parts in Riccardo Zandonai's La Farsa amorosa (Rome, 1933) and Vigna by Guerrini (Rome, 1935). Baccaloni enjoyed a successful international career as well, making his debut at London's Royal Opera House, Covent Garden, as Timur in Turandot in 1928; at the Lyric Opera of Chicago as Melitone in La forza del destino in 1930; at the Glyndebourne Festival as Alfonso in Così fan tutte in 1936; at the San Francisco Opera as Leporello in 1938; and, at the Metropolitan Opera, on 7 December 1940, as Bartolo in The Marriage of Figaro. He was to remain at the Met until 1962. Baccaloni had his own opera company which toured the United States in the 1940s, Baccaloni Co. Baccaloni also sang often in Philadelphia with a succession of opera companies from 1951 through to 1966. He made his debut with the Philadelphia Civic Grand Opera Company in 1951 in the title role of Don Pasquale, his debut with the Philadelphia Grand Opera Company in 1956, as Benoît/Alcindoro La Bohème, and his debut with the Philadelphia Lyric Opera Company in 1959, as Benoît/Alcindoro. Salvatore Baccaloni is generally considered to have been the finest comic bass of his era. Rotund in build (at times he weighed more than 300 pounds), he possessed a rich and resonant voice, coupled with impeccable diction and, during the years of his prime in the 1925–50 period, a commendable degree of musicianship. However, he could also display a lack of artistic restraint from time to time when 'live' on stage, owing to the abundance and the exuberance of his comedic talent. He also appeared in several movies during the 1950s and '60s. On 27 April 1959, he appeared as himself on Make Room for Daddy starring Danny Thomas.

Chronology of some appearances

1922 Rome Teatro Adriano
1926 Milan La Scala
1928 London Covent Garden
1929 Milan La Scala
1930 Chicago Lyric Opera
1938 San Francisco Opera
1940 New York Metropolitan Opera


Columbia, Milano
Don Pasquale (Donizetti): Cheti cheti immantinente P.I° II° with Emilio Ghirardini D 5963/D 5963 b 2255/b 2256
Ballo in maschera (Verdi): V'è se di notte pt 1, 2 with Enrico Molinari, Giannina Arangi-Lombardi and Attilio Bordonoali D 14591, D 14591 bx 652, bx 656        
Lucia di Lammermoor (Donizetti): Chi mi frena with Gino Vanelli, Dino Borgioli, Maria Gentile, Giuseppe Nessi and Ida Mannarini D 18016  bx 104
Crispino e la comare (Ricci): Fermo là with Irma Mion CQX16451    
Aida (Verdi): Quest’assisa with Maria Pia Pagliarini, Mariano Stabile and Erminia  Rubadi b 1160 82599
Un ballo in maschera (Verdi): E scherzo with Aurora Rettore, Alessandro Bonci, Giuseppe Menni and Erminia Rubadi GQX 10148 bx 70      
L'elisir d'amore (Donizetti): Quanto amore! P.I° II°  with Aurora Rettore DQ 244 DQ 244 b 3199/wb 3200    

Columbia, New York 1941-02-06  
Ah! Pietà Signori miei (-); Don Giovanni (Mozart): Madamina, pt 1 71048-D xCo29733
Don Giovanni (Mozart): Madamina, pt 2 71048-D xCo29734

Arturo Franceschini (Tenor) (Montecchio 1869 - ? 1929)

He studied singing at Parma Conservatory under the pedagogue and composer Auteri Manzocchi. He made his debut in 1893 at Sociale of Broni in ‘’Forza del Destino’’. In 1904 he perfomed at the Teatro Lirico of Milan in the absolute first premiere of the opera ‘’David’’ by A.Galli. He retired in 1911 after some perfomances at the Teatro Petruzzelli in Bari.

Chronology of some appearances

1893 Broni Teatro Sociale Forza del Destino (Don Alvaro)
1899 Bologna Arena Azeglio  Forza del Destino (Don Alvaro)
1900 Napoli Teatro Bellini Attila (Floresto)
1901 Venezia Teatro Rossini  Ballo in Maschera (Riccardo)
1903 Lisbona Teatro San Carlos Aida (Radames)
1905 Genova Teatro Carlo Felice Mose' di G.Orefice
1907 Napoli Teatro San Carlo Aida (Radames)
1908 Lisbona Teatro San Carlos Ernani (Ernani)
1911 Bari Teatro Petruzzelli Norma (Pollione)


Edison 2-min cylinders, Milano 1907?
Samson et Dalila (Saint-Saëns): Figli miei v'arrestate B60

Giuseppe Flamini (Bass) (Torgiano/Perugia 1897 - Perugia 1955)

He made his debut in Rome at Teatro dell'Opera as Monterone in ''Rigoletto''.

Chronology of some appearances

1924 Roma Teatro dell'Opera Rigoletto (Monterone)
1927 Verona Arena Aida (Re)
1930 'S-Gravenhage Gebouw Voor Kunsten en Wetenschappen Sansone e Dalida (Abimelecco)
1932 Catania Teatro Bellini Lohengrin (Re Enrico)
1935 Novara Teatro Coccia Aida (Ramfis)
1937 Trieste Teatro Verdi Boris Godunov (Pimen)
1940 Messina  Teatro Savoia  Rigoletto (Sparafucile)
1943 Lisbona  Coliseo Recrejos Aida (Ramfis)
1947 Livorno Teatro Goldoni Adriana Lecouvreur (Principe)


Musiche Italiane Antiche/Columbia, Milano 1935
Discioglietevi in pianto (Marcello) 4 WBX1379
Serse (Cavalli): Beato chi può Xerxes 4 WBX1380

Gino Tessari (Baritone) (Trieste ? - ?)

He studied singing at the Milan Conservatory under the pedagogue A. Giovannini. In 1897 he made his debut at the Teatro Prince Amedeo in Sanremo in ‘’Il Padrone’’ by D. Bolognesi. In 1901 he made guest appearances at the Teatro Nazionale in Bucharest performing in A. Ponchielli’s ‘’La Gioconda’’ and ‘’La Traviata’’ by G. Verdi. In 1903 he went to Barcelona, where at the Teatro  Liceo he sang the role of Amonasro in G. Verdi’s ‘’Aida’’. In the 1912-1913 season he performed at the Teatro Coliseo in Buenos Aires, the next season he appeared at the Coliseo Recrejos in Lisbon. Probably he retired from the stage in 1915 and started to appear in movies.

Chronology of some appearances

1896 Milano Conservatorio La Figlia di Jefte di E. Pozzoli (Jefte)
1898 Palermo Teatro Massimo Aida (Amonasro)
1900 Varese Teatro Sociale Faust (Valentino)
1903 Novara Teatro Coccia Germania (Worms)
1905 Cremona Teatro Ponchielli Iris (Kyoto)
1908 Milano Teatro Fossati Il Pipistrello (Compagnia Operette Marchetti)
1911 Desenzano sul Garda Teatro Alberti Manon Lescaut (Lescaut)
1913 Roma Teatro Costanzi Stagione Compagnia di Operette Scognamiglio Caramba
1915 Lisbona   Coliseo Recrejos Stagione Compagnia di Operette Scognamiglio Caramba


G&T, Milano 1902-11
Roi de Lahore (Massenet): O casto fior 52457 2858b

Odeon, Milano 1905/1906
Andrea Chénier (Giordano): Un di m'era di gioia 37282

Emma Lattuada (Soprano)

Her name appears for the first time in 1920, when she sang the role of Elsa in ‘’Lohengrin’’ as a partner of the tenor Italo Cristallo in Ancona. She appeared at the famous Italian provincial theatres. She married the conductor Buratti. 

Chronology of some appearances

1921 Palazzolo sull'Oglio Teatro Sociale Boheme (Mimì)
1923 Torino Teatro Balbo Boheme (Mimì)
1925 Lucca Teatro Del Giglio Edelweiss di L.Baldi (Edelweiss)
1927 Malta Teatro Reale Carmen (Micaela)
1929 Parma Politeama Reinach Madama Butterfly (Cio-Cio-San)
1930 Bari Teatro Petruzzelli Andrea Chenier (Maddalena)


HMV, Milano 1928-02-21
Manon Lescaut (Puccini): Tu, tu amore with Alessandro Valente C1503 2-054214

HMV, Milano 1928-02-22
Manon Lescaut (Puccini): O tentatrice with Alessandro Valente C1503 2-054215

HMV, Milano 1928-10-08
Trovatore (Verdi): Di quella pira with Pertile, Nessi & chorus DB1198 2-054245

HMV, Milano 1928-11-21
Andrea Chénier (Giordano): La mamma morta S10056 0253010

Beatrice Costa Marrugat (Mezzo-Soprano)

Probably she made her debut at the Teatro Pizarro in Valencia as Amneris in ‘’Aida’’. In 1909 she appeared in Pesaro, Venezia and Ostiglia. In the 1911-1912 season she sang at the Teatro Liceo in Barcelona in ‘’Les Huguenots’’, ‘’Carmen’’, and ‘’Tannhäuser’’. In 1912 she played a prominent part in the repertoire at the Coliseo Recrejos in Lisbon, singing in ‘’Andrea Chenier’’, ‘’Il Trovatore’’, and ‘’La Gioconda’’. In 1914 she performed again in Barcelona, but this time sang at the Teatro Tivoli  in ‘’Favorita’’. Probably she retired from the stage in 1917. 

Chronology of some appearances

1909 Valencia Teatro Pizarro 
1911-1912 Barcelona Teatro Liceo
1912 Lisbon Coliseo Recrejos
1914 Barcelona Teatro Tivoli


Phonodisc, Milano 1908?
Carmen (Bizet): Là sul bastion di Siviglia 109
Ballo in maschera (Verdi) Re dell'abisso 110

Edison 2-min cylinders, 1912?
Aida (Verdi): Ohimè! Morir mi sento unpubl. 44556

Oct 25, 2014

Enrique de la Vara (Tenor) (? 1911 - ?)

Estudió canto en su ciudad natal, con Eladio Chao. Sorprendentemente debutó como barítono en el año 1930. Alternó ópera y zarzuela, pero la primera constituyó su más clara ambición. Con el consiguiente cambio de registro en su voz, y durante la segunda mitad de los años cuarenta, cantó obras tan variopintas como ‘’Il Barbiere di Siviglia’’, ‘’Rigoletto’’ o ‘’Madama Butterfly’’. En 1950 le fue concedida la medalla de oro del Círculo de Bellas Artes de Madrid. Contratado para actuar en Puerto Rico, visitó varios países de Hispanoamérica y fijó su residencia en Venezuela donde siguió actuando en conciertos y en la televisión del país. Hombre polifacético, se dedicó también a la pintura y a la enseñanza musical, siendo un enamorado de su pueblo, que en el año 1951 le concedió el título de "hijo predilecto".

Chronology of some appearances

1946 Barcelona Teatro Calderón Il Barbiere di Siviglia (Almaviva)


Yo sol el contrabandista (E. de la Vara/F. Gravina): Cancion P18226 C9312


Rosa Olitzka (Mezzo-Soprano) (Berlin 1873 - Chicago 1949)

Her family was of Polish descent. She studied singing under Julius Hey in Berlin and with Désirée Artôt de Padilla in Paris. Already in 1889 she gave in Berlin a concert. She made her debut in 1892 at the Opera House in Brünn (Brno). Then she was engaged by the Court Theatre in Hannover (1892-1893) and in the 1893-1894 season at the Municipal Theatre in Hamburg. In 1894 she made guest appearance at the Court Opera in Dresden. In 1894 she appeared at the Covent Garden, where she sang the role of Urbain in ‘’Gli Ugonotti’’ by G. Meyerbeer. Till 1897 she worked constantly at this opera house, where she also guested again in 1901, 1905 and 1907. In 1894 she took part in an USA tour of the Damrosch Opera Company. In  the 1895-1901 seasons she was a member of the Metropolitan Opera in New York (beginning part: Siebel in ‘’Faust’’ of C. Gounod). At the Metropolitan Opera she appeared in a huge number of roles, among other things as Fricka, Brangäne in ‘’Tristan und Isolde’’, Ortrud in ‘’Lohengrin’’, Maddalena in ‘’Rigoletto’’, Amneris in ‘’Adia’’, Stéphano in ‘’Roméo et Juliette’’ by C. Gounod and as Lola in ‘’Cavalleria Rusticana’’. In 1898 with great successf she performed at the Court Opera in St. Petersburg. In 1902 she sang th role of  Waltraute at the Théâtre Château d'Eau in Paris in the French première of "Götterdämmerung". This role she repeated later also at the Paris Grand Opéra. In 1902 she made guest appearance at the Teatro Alla Scala as Amneris in ‘’Aida’’. In 1903 she sang at the Théâtre de la Monnaie in Brussels. Till 1910 she guested primarily at the famous German opera houses and sang also at the Grand Opéra and at the Opéra-Comique in Paris. In  the 1910-1911 season she was engaged by the Chicago Opera, later she sang at the Boston Opera and made guest performances and concerts in Europe like in North America. Then she sat down in Chicago as a pedagogue. Her nephew Walter Olitzki (1899-1949) had a successful career as baritone and sang among other things in the 1939-1947 seasons  at the Metropolitan Opera in New York.

Chronology of some appearances

Ein Hirtenknabe 12/28/1899 (in Filadelfia)Siébel 2/1/191900, Wellgunde 2/6/191900, Schwertleite 2/8/191900, Zweite Norn 2/15/191900, Floßhilde 2/15/191900, Ein Hirtenknabe 12/27/191900, Fricka 1/10/191901, Waltraute 1/10/191901, Wellgunde 1/24/191901, Grimgerde 1/29/191901, Floßhilde 2/5/191901, Ein Hirtenknabe 2/14/191901, La cieca 12/30/1907, Azucena 1/1/1908 (Filadelfia)


G&T, London 1901-06
Morgenhymne (Henschel) 43766
Ich liebe dich (Grieg) 43776 3994h

Edison 2-min cylinders, Berlin 1907?
Trovatore (Verdi): Lodernde Flammen 15861

Columbia, New York 1911-09
Prophète (Meyerbeer): Ah! mon fils A5340 30838

Columbia, New York 1911-09-18
Tannhäuser (Wagner): Frau Holda kam aus dem Berg hervor 30849 A5340

The Historic Record Society
Lucrezia Borgia (Donizetti): Brindisi HRS 1032-A