Marcel Génio (Tenor) (Paris, France 5. 7.1899 – Paris, France 5. 21 1980)

He studied singing at the Conservatoire de Paris under legendary opera singers André Gresse and Thomas Salignac and obtained there a few singing prizes and medals. He made his debut at the Opéra-Comique in ’’le Bon roi Dagobert’’ by Marcel Samuel-Rousseau (1927). His repertoire included Sciarrone in ‘’Tosca’’, Schmidt in ‘’Werther’’, Beppe in ‘’Pagliacci’’, Yamadori in ‘’Madama Butterfly’’, Nathanael/Spalanzani in ‘’les Contes d’Hoffmann’’, Hadji  in ‘’Lakmé‘’, Poet in ‘’Louise’’ etc.

Chronology of some appearances

1927 Paris Opéra-Comique le Bon roi Dagobert (Marcel Samuel-Rousseau) (Debut)

1928 Paris Opéra-Comique Sarati le Terrible (Francis Bousquet) (Premiere)

1928 Paris Opéra-Comique Riquet à la houppe (Georges Hüe) (Premiere)

1929 Paris Opéra-Comique la Femme et le pantin ou Conchita (Zandonai) (Premiere)

1930 Paris Opéra-Comique d'Angélique Jacques Ibert (Premiere)

1930 Paris Opéra-Comique Le Fou de la Dame (Marcel Delannoy) (Premiere)

1931 Paris Opéra-Comique Cantégril (Roger-Ducasse) (Premiere)

1932 Paris Opéra-Comique Eros vainqueur (Pierre de Bréville) (Premiere)

1932 Paris Opéra-Comique Vieux garçons (Louis Urgel) (Premiere)

1933 Paris Opéra-Comique Tarass Boulba (Marcel Samuel-Rousseau) (Premiere)

1933 Paris Opéra-Comique Frasquita (Franz Lehar)

1935 Mon Ami Pierrot (le Perroquet) (Samuel Barlow) (Premiere)

1935 Paris Opéra-Comique Gargantua (Antoine Mariotte) (Premiere)

Silvano Benedetti (Tenor) (Rome 1900 – Rome 1962)

Born Silvano Proietti, son of sculptor Vincenzo Proietti (1876-1945) and Agata Monti (1873-1948), he was baptised at S. Giovanni Laterano and changed his family name into Benedetti in 1928. The reason is still not clear.

There is evidence of public performances already since 1924 in Rome – under the name Silvano Monti (using the surname of his mother, Agata Monti) or even Silvio Monti. In an very early review from “Piccolo Giornale d’Italia”, he appears as “tenore Proietti”.

He took lessons with the famous teacher Giovanni Villa (from Rome). Between 1928-1930 (at least) he participates to the courses of Gemma Bellincioni at the “Teatro Sperimentale Internazionale della Giovane Lirica” in Rome. At some point he had also an interaction with Maestro Giulio Moreschi, tenor, the adoptive son of castrato Alessandro Moreschi.

He sang mainly romantic opera: roles (or excerpts) from Rigoletto (Duca), Luisa Miller, Boheme (Rodolfo), Lodoletta (Mascagni), Masnadieri (Verdi), Lucia di Lammermoor, Faust, Fedora, Gioconda, Traviata (Alfredo), Turandot (Calaf), Aida (Radames), L’Africana, Fanciulla del West.

His career was interrupted in the middle of the 1930s, when it was at its most promising point, due to a sudden neurological loss of hearing – which, seemingly, happened  on stage during a performance of Lucia di Lammermoor. This dramatic event would mark his life forever.

He was a Cavaliere dell’Ordine della Corona d’Italia. After participating as a volunteer to the First World War as an aviator, he was later an ufficiale of Civil Engineering during the Second World War, especially in Albania. During the escape from Albania, he was a prisoner of the German SS in the Lager of Semlin (Belgrad) – being able to return to Italy at the beginning of 1944 hidden in a wagon of cows. By this time his hearing handicap became worse.

After having to give up the musical career, he worked at the Ministero dei Lavori Pubblici in Rome until his death, a work that he started already during his musical career.

He died tragicly in the night between 27th and 28th March 1962.

His grandson Flavio Ferri-Benedetti (born 1983) is a countertenor.

Newspaper excerpts:

“Il tenore Proietti ha esordito con la sua squillante voce dando molto a sperare nella carriera che gli auguriamo brillantissima” [Piccolo Giornale d’Italia]

“il tenore Silvano Monti, una vera promessa dell’arte lirica.” [Piccolo Giornale d’Italia]

“grande promessa per l’arte” [Tribuna]

“gi® tanto applaudito nella Bohçme...” [Messaggero]

“Il giovane tenore romano S. Benedetti... fin dalle prime note, il Benedetti si impose all’attenzione del pubblico per la sua bella voce maschia, calda, estesissima, educata ad ottima scuola, per l’accento appassionato e il fraseggio impeccabile, per la signorilita del tratto e la spigliatezza dell’azione scenica. I primi consensi si manifestarono alla “gelida manina” cantata con arte mirabile e, contrariamente all’uso invalso, nel tono voluto dalla partitura: gli applausi crebbero poi via via, culminando al duetto con Mimê, al finale del primo atto [...] alla fine del terzo atto e del quarto, il Benedetti, chiamato dagli scroscianti battimani degli spettatori, dove presentarsi alla ribalta per ben cinque volte... Successo quindi schietto e caloroso che rappresenta per questo giovane tenore romano un buon battesimo d’arte e un ottimo auspicio per il suo avvenire, il quale confermera, senza dubbio, dinanzi ai migliori e pi÷ vasti pubblici, quel riconoscimento che alle magnifiche doti vocali e interpretative del Benedetti, ha dato, con vibrante entusiasmo, Ancona.” [TRIBUNA, Boheme, Ancona Teatro delle Muse, 1930]

I would like to thank Flavio Ferri-Benedetti for the information and photos.

Bernd Aldenhoff (Tenor) (Duisburg, Germany 14. 6. 1908 – München, Germany 8. 10. 1959)

                                                                            Tannhäuser

He was one of the best German heldentenors of his time. Originally he was a carpenter. He studied singing under Julius Lenz in Köln and made his debut at the Oper in Köln (1932). His repertoire included  Florestan in ‘’Fidelio’’, Lohengrin, Siegmund in ‘’Walküre’’, Matthias in ‘’Evangelimann’’ of W. Kienzl, Titelrolle in ‘’Der arme Heinrich’’ of H. Pfitzner, Pedro in ‘’Tiefland’’ of E. d'Albert, Bacchus in ‘’Ariadne auf Naxos’’, Herodes in ‘’Salome’’ and Ägisth in ‘’Elektra’’ of R. Strauss, Fabiano in ‘’Der Günstling’’ of R. Wagner-Régeny, Rodolfo in ‘’La Bohème’’, Titelrollen in ‘’ Les contes d'Hoffmann’’ of Offenbach and in ‘’Sly’’ of E. Wolf-Ferrari.

Chronology of appearances

1930-1932 Stuttgart Opernhaus (Chorist)

1932-1933 Köln Oper (Debut)

1934-1935 Darmstadt Theater

1937 Zoppot festival

1935-1938 Erfurt Theater an das

1938-1944 Düsseldorf Opernhaus

1939 Frankfurt a.M. Opernhaus

1943-1952 Dresden Staatsoper

1944 Wien Volksoper

1950 Berlin Komischen Oper

1950 Wien Staatsoper

1951-1952 Bayreuth festival

1952-1957 Frankfurt a.M. Opernhaus

1954 Florence Teatro Comunale

1954-1955 New York  Metropolitan Opera

1955 Paris Grand Opéra

1956 München Staatsoper

1957 Bayreuth festival

1957 London Covent Garden

1957 Brussels Théâtre de la Monnaie

1959 Milano La Scala

1959 Lisbon Teatro San Carlo

1959 Zurich Opernhaus

1959 Duisburg Stadttheater

Lorenz Fehenberger (Tenor) (Upper Bavaria, Germany August 24, 1912 - Munich, Germany July 29, 1984)

He studied singing under Elisabeth Wolff in München and made his debut in 1939 at the Stadttheater in Graz in R. Strauss’s ‘’Rosenkavalier’’. In the 1941-1945 seasons he was engaged by the Staatsoper in Dresden and joined in 1946 to the Bayerische Staatsoper in München. On 9. 8. 1949 at the Salzburg festival he sang the role of Haemon in the premiere of the opera ‘’Antigonae’’ by Carl Orff. Here he appeared as soloist in G. Rossini’s ‘’Stabat Mater’’ (1949/1962). He returned for the ‘’Schöpfung’’ of J. Haydn (1951), after two years sang also in ‘’Judas Makkabaeus’’ of G. F. Händel. In 1964 he guested in ‘’Christus am Ölberge’’ of L. van Beethoven, in 1967 in W. A. Mozart's ‘’Requiem’’ and took over in 1949 a small part in performances of ‘’Zauberflöte’’. Guest performances led him to the famous opera theaters of Italy, Austria, Belgium, Holland and Switzerland, also to the Scandinavian lands and South America (Teatro Colón, Buenos Aires, 1951). At the Teatro del Maggio Musicale Fiorentino he sang in 1951 the part of Golo in ‘’Genoveva’’ by R. Schumann (the Italian première of this opera). In the 1951-1952 season he appeared in several parts at the Arena di Verona. In 1953 he appeared at the Covent Garden among other things as Apollo in the première there of the opera ‘’Die Liebe der Danaë’’ of R. Strauss. Still in 1976 he performed at the Staatsoper in München in the premiere of the opera ‘’Die Versuchung’’ of  Josef Tal. In 1977 he appeared for the last time in München in ‘’Rosenkavalier’’. His repertoire included Radames in ‘’Aida’’, José in ‘’Carmen’’, Lohengrin, Duke in ‘’Rigoletto’’, Walther von Stolzing in ‘’Meistersingern’’, Alvaro in ‘’La Forza del Destino’’, Pinkertton in ‘’Madaa Butterfly’’and Cavaradossi in ‘’Tosca’’.

Chronology of some appearances

1939 Graz Stadttheater

1941-1945 Dresden Staatsoper

1946 München Bayerische Staatsoper

1949 Salzburg festival

1951 Buenos Aires Teatro Colón

1951 Firenze Teatro del Maggio Musicale Fiorentino

1951-1952 Arena di Verona

1953 London Covent Garden

1962 Salzburg festival

1964 Salzburg festival

1967 Salzburg festival

1976-1977 München Staatsoper

Hans Beirer (Tenor) (Wiener Neustadt, Austria June 23, 1911 - Berlin, Germany June 24, 1993)

                                                                                Tristan

First he studied medicine in Vienna, then vocal at the Vienna Music Academy. He was a pupil of Tino Pattiera and Paul Neuhaus. He made his debut in 1936 at the Landestheater in Linz (Danube) as Hans in B. Smetana's ‘’The Bartered Bride’’. In the 1937-1939 seasons worked at the Stadttheater in Basel and St. Gallen, then, until 1941, he appeared as an operetta singer at the Mellini-Theater in Hannover. During the World War II he sang at the Theater of Nollendorfplatz in Berlin in operetta roles (among other things as Danilo in ‘’Lustigen Witwe’’ and Barinkay in ‘’Zigeunerbaron’’). In 1943 he was engaged by the Städtische Oper (Deutsche Oper) in Berlin, where he made his debut as Nando in ‘’Tiefland’’ of E. d'Albert. He remained connected to this opera house throughout his career. In 1948 he appeared there in the world premiere of the opera ‘’Circe’’ by Werner Egk. Since 1958 he was a member of the Staatsoper in Hamburg. From 1962 to 1987 he performed at the Staatsoper  in Vienna (there took place in 1987 his last appearance as Ägisth in ‘’Elektra’’ by R. Strauss). In the 1950-1951 season he appeared at La Scala as Tannhäuser and Parsifal, the next year in ‘’Die Meistersinger von Nürnberg’’ (under  W. Furtwängler). He sang at this famous opera house also in 1957 as Tristan and again came back in 1967 for Tannhäuser. At the Teatro San Carlo in Naples he performed in the 1949-1950 season in ‘’Wozzeck’’by A. Berg. The role of Walther von Stolzing he sang at the City Center Opera of New York (1950). In 1955, 1957, 1958, in the 1960-1961 season and also in 1968 he guested at the Grand Opéra in Paris and performed in such a parts like Siegfried, Tannhäuser, Otello, Tristan, Erik, Florestan, Samson Siegmund and Tannhäuser.  At the Teatro Comunale in Bologna he was heard in 1957 as Siegfried, at the Teatro Colón in Buenos Aires as Tristan (1963), at the Teatro San Carlo in Lisbon as Samson (1961). He also appeared as a guest in Barcelona, ​​ Lyon (1964/1965), Toulouse (Otello), Brussels (1962-1963) and London (1953). At the Teatro dell'Opera in Rome he guested in 1949 as Parsifal (opposite Maria Callas and Cesare Siepi). Guest performances also took him to the Staatsoper of Munich and Stuttgart, additionally to the Opéra de Marseille and The Royal Danish Opera Housea and also Teatro Carlo Felice in Genoa. In the 1958-1962 seasons he performed at the Bayreuth Festival as Parsifal, Tristan (1959) and Tannhäuser (1961). At the Salzburg Festival of 1951 he made guest appearances in ‘’Wozzeck’’ and ‘’Zauberflöte’’. On 23. 5. 1971 he performed at the Staatsoper in Vienna in the world premiere of the opera ‘’Der Besuch der alten Dame’’ by G. von Einem. In 1972 he sang the role of Alfred in ‘’Fledermaus’’ at the Deutsche Oper in Berlin. At this house he worked over 40 years and became its honorary member. On his 75th birthday in 1986 he sang in Berlin the role of Herod in ‘’Salome’’ by R. Strauss. He was interested in many things and also worked as writer and painter.

Chronology of some appearances

1936 Linz Landestheater

1937-1939 Basel/ St. Gallen Stadttheater

1939-1941 Hannover Mellini-Theater

1942 Berlin Theater of Nollendorfplatz

1943 Berlin Städtische Oper

1949 Roma Teatro dell'Opera

1950 New York City Center Opera

1950-1952 Milano La Scala

1953 London Covent Garden

1955 Paris Grand Opéra

1957 Paris Grand Opéra

1957 Bologna Teatro Comunale

1958 Paris Grand Opéra

1958-1962 Bayreuth Festival

1960-1961 Paris Grand Opéra

1961 Lisbon Teatro San Carlo

1962-1963 Brussels La Monnaie

1963 Buenos Aires Teatro Colón

1964 Opéra National de Lyon

1965 ​​ Opéra National de Lyon

1968 Paris Grand Opéra

1958 Hamburg Staatsoper

1962-1987 Vienna Staatsoper

1972 Berlin Deutsche Oper

1986 Berlin Deutsche Oper

Ion Dumitrescu (Tenor) (Giovanni Dimitresco) (Iaşi, Romania 30 December 1860 - London, England 4 March 1913)

First he studied in Iaşi, then in Bucharest under Giuseppe Cima. In 1885 he made his debut at the National Opera in Bucharest in the title role in G. Verdi's ‘’Ernani’’. After further studies in Milan with famous pedagogue Francesco Lamperti, he sang with great success at the Teatro Filodrammatico in G. Verdi's ‘’Rigoletto’’ and ‘’Trovatore’’. In the 1888-1889 season he undertook an Australian tour as a member of Italian opera company. In 1890 and 1892 he had a huge success at the Covent Garden Opera in London; here his repertoire included Don Ottavio in ‘’Don Giovanni’’, Enzo in ‘’Gioconda’’, Radames in ‘’Aida’’ and José in ‘’Carmen’’. In the 1890-1892 seasons he was a member of the Carl Rosa Opera Company, which made guest tours through England. Later he made guest appearances in Barcelona, Zurich (1901), Warsaw, Kiev, Moscow and St. Petersburg. His interpretation of Vasco in ‘’L'Africaine’’ and Raoul in ‘’Huguenots’’ was considered unsurpassed and compared to Enrico Tamberlik’s interpretation. He retired from the stage in 1912. Probably he committed suicide. Dimitresco never made records.

Chronology of some appearances

1888 Melbourne  Her Majesty's Trovatore (Manrico)

1888 Melbourne  Her Majesty's Carmen (Jose)

1888 Melbourne  Her Majesty's Rigoletto (Duca)

1888  Rio de Janeiro  Teatro Municipal Carmen (Jose)

1889 Sidney  New Opera House Carmen (Jose)

1889 Melbourne  Her Majestic's Ballo in maschera (Riccardo)

1890  Torino  Teatro Balbo Rigoletto (Duca)

1897 Parma  Teatro Regio Cavalleria Rusticana (Turiddu)

1897 Parma  Teatro Regio Pagliacci (Canio)

1897 Santiago del Cile  Teatro Municipal Trovatore (Manrico)

1898 Napoli  Teatro Bellini Traviata (Alfredo)

1898 Rio de Janeiro  Teatro Lirico Ugonotti (Raoul)

1899  Napoli  Teatro Bellini Ballo in maschera (Riccardo)

1899 Roma  Teatro Nazionale Rigoletto (Duca)

1900 Lisbona Teatro San Carlo Robert le diable (Robert)

1901  San Paolo  Teatro Santana Pagliacci (Canio)

1901 San Paolo  Politeama Trovatore (Manrico)

1901 Rio de Janeiro  Teatro Lirico Ugonotti (Raoul)

1902 Napoli Teatro San Carlo Ernani (Ernani)

1903 Trieste Verdi Germania (Federico)

1909 Quito Teatro Sucre Ernani (Ernani)

1910 Lima Teatro  Forero Ernani (Ernani)

1910 Lima Teatro  Forero Mefistofele (Faust)

1911 Genova  Teatro Carlo Felice Madama Butterfly (Pinkerton)

1911 Lecce  Politeama Greco Madama Butterfly (Pinkerton)

1911 Carpi  Teatro Comunale Madama Butterfly (Pinkerton)

1911 Roma  Teatro Nazionale Pagliacci (Canio)

1912 Bologna  Teatro Del Corso Rigoletto (Duca)

1912 Genova Politeama Genovese Tosca (Cavaradossi)

Estalle Bloomfield (Mezzo-soprano)

                                                                             Suzuki

In 1904 she participated in the concert at Minneapolis organized by Walter Damrosch. As a member of Henry W. Savage Opera Company she appeared at the Illinois Theater in Chicago as Suzuki in ‘’Madama Butterfly’’ (1907). She made guest appearances also at the Royal Opera in Dresden.

Chronology of some appearances

1904 Minneapolis Concert

1907 Chicago Illinois Theater

1908? Dresden Royal Opera

Melanie Kurt (Soprano) (Vienna January 8, 1880 – New York City March 11, 1941)

                                                                          Brünnhilde

She was born on January 8, 1880 in Vienna. Melanie Kurt first studied to become a pianist in her native City of Vienna before starting to take singing lessons. Later she went to Berlin, where Marie Lehmann, sister of the great soprano Lilli Lehmann, became her teacher. From 1897 to 1900 she only appeared as a pianist, before she gave her début at the civic theatre in Lübeck as 'Elisabeth' in Richard Wagner's Tannhäuser in 1902. From 1903 to 1904 she was engaged at Oper Leipzig, after further studies in Berlin she worked in Braunschweig from 1905 to 1908 before returning to Berlin where she sang at the Staatsoper Unter den Linden, then (from 1912 to 1915) at the Deutsche Oper Berlin. From her Berlin base Kurt started her international career, giving successful guest performances at the Royal Opera House Covent Garden, London (since 1910) and during the Salzburg Mozart-Fest in 1910 (which would become the Salzburg Festival later). Later she added La Scala in Milan, the Vienna State Opera, the Saxon State Opera Dresden and the Bavarian State Opera to the list. Her career reached its peak when she joined the Metropolitan Opera in New York City in 1914 where she succeeded Olive Fremstad as the company's leading Wagner soprano for three years. Her contract ended when the USA joined World War I in 1917 and Wagner operas were banned as being to German. Though the situation was difficult for Kurt she didn't return to Europe at once but stayed in the US until 1919 before returning to Germany. In the following years she sang mainly in Berlin again, in Leipzig, Stuttgart, Dresden, Vienna and at the famous Wagner Festival in Zoppot (1922), then a serious rival to the Bayreuth Festival. Around 1930 the singer retreated gradually from stage and started working as a teacher in Berlin. After 1933 Kurt - who was Jewish - had to emigrate to Vienna. In 1938, when the Nazis took over Austria Kurt left the continent for good and returned to the USA. Until her death in 1941 she lived and taught in New York City.

Chronology of some apperances

1902 Lübeck Civic Theatre

1903-1904 Leipzig Oper

1905-1908 Berlin Staatsoper

1910 London Covent Garden

1912-1915 Berlin Staatsoper
1914 New York Metropolitan Opera 

Enrico Rigattieri (Tenor)

                                                                              Canio

He studied singing in Florence under Giovanni Mirabella and made his debut as Duke in ‘’Rigoletto’’. He was only 24 years old. Then he was chosen by Pietro Mascagni for appearances in ‘’Cavalleria Rusticana’’ in Cairo and Alexandria. He made guest appearances also in Berlin, where he and made a few, very rare records for Vox. In Berlin he sang opposite Titta Ruffo. He then sang the role of the Duke of Mantua in "Rigoletto" at the Teatro Dal Verme, in Milan. The late Enrico Caruso was in the audience on that occasion, and was so impressed with Rigattlert's Interpretation of the part of the Duke that he personally complimented him, and presented him with a sword which Caruso himself used in the same opera. They then for six months toured India, where he sang about 20 different roles. He appeared also in Paris, Holland, Vienna, Germany, Russia, and Poland, singing with great success. From there he came to Australia, where ho appeared at the Princess Theatre in Melbourne, and His Majesty's Theatre, Perth, with the Italo-Australlan Grand Opera Company (1920-1930’s).

Chronology of some appearances

1919 Prato  Politeama Tosca (Cavaradossi)

1919 Prato  Politeama Traviata (Alfredo)

1920 Prato Teatro Metastasio Cavalleria Rusticana (Turiddu)

1920-1930’s Australia Western Australian Grand Opera Company/ Adelaide Town Hall

Zinoviy Babii (Village Pidsadky, Lviv Region, Ukraine 1935 – Minsk, Belarus 1984)

He was one of the best Ukrainian tenors of all time. In 1954 he finished Lviv Music College. He continued his education at the Kiev Conservatory (1954-1957) and from 1957 to 1960 he performed at the Kiev Opera. In the 1960-1963 seasons he appeared at the Lviv Opera. From 1963 to 1978 he was a soloist of the Minsk Opera and gave many concerts with Minsk Philarmonic (1978-1984). his repertoire included Don Jose (‘’Carmen’’), Radames (‘’Aida’’), Canio (‘’Pagliacci’’), Pincerton (‘’Madama Batterfly’’), Cavaradossi (‘’Tosca’’), Manrico (‘’Il Trovatore’’), Rodolfo (‘’La Boheme’’), The Duke (‘’Rigoletto’’), Otello, Hermann (‘’Queen of Spades’’).

Chronology of some appearances

1957-1960 Kiev Opera

1960-1963 Lviv Opera

1963-1978 Minsk Opera

David Handerson (Tenor)

Chronology of some appearances

1900-1901 Brussels Théâtre Royal de la Monnaie

1906 Ferrara  Teatro Comunale Mefistofele (Faust)

1906 Venezia  Teatro Rossini Mefistofele (Faust)

1906 Rovereto Teatro Sociale Otello (Otello)

1907 Lisbona Teatro San Carlo Otello (Otello)

1907 Lisbona Teatro San Carlo Ugonotti (Raoul)

1907 Valencia Teatro Principal Otello (Otello)

1908 Ancona  Teatro delle Muse Ugonotti (Raoul)

1914 Toronto  Royal Alexandra Trovatore (Manrico)

Guy Fouché (Ténor) (Bordeaux, France 17 June 1921 - Annecy, France 28 May 1998)

He graduated from the Conservatoire de chant de Bordeaux with the first prize of Opéra and Opéra-comique and began his career at the Grand Théâtre de Bordeaux in 1942 in Georges Bizet's ‘’Les Pêcheurs de perles’’. He also won a second prize at the Conservatoire de Paris in 1943. From 1945 to 1953 he performed at the provincial opera houses (Toulouse, Marseille, Lyon, Lille, Nantes, Rennes and Bordeaux). In 1953 he appeared in Oran. From 1954 to 1956 he was a member of the troupe of the Opéra royal de Wallonie in Liège before being for six seasons the first tenor of La Monnaie in Brussels. Back in Oran he sang the title role of Faust opposite Henri Rivière and Adrien Legros. In 1961 he moved to Toulon, where two years later he retired from the stage.

Chronology of some appearances

1942-1945 Bordeaux Grand Théâtre

1945-1953 Tulouse, Marseille, Lyon, Lille, Nantes, Rennes and Bordeaux

1954-1956 Liège Opéra royal de Wallonie

1956-1962 Brussels Monnaie

1961-1963 Toulon Opera

Eugenia Mantelli (Florence, Italy 1860 – Lisbon, Portugal 3 March 1926)

She studied at the Milan Conservatory and made her debut in 1883 at the Teatro San Carlo in Lisbon as Urbain in G. Meyerbeer’s ‘’Huguenots’’. The same year she made guest appearances in Italy, where first she sang in Treviso as Kaled in J. Massenet’s ‘’Le Roi de Lahore’’. Successful tours followed together with legendary Spanish tenor Julián Gayarre in Germany, Italy and South America. In 1889 she appeared opposite Mattia Battistini in Buenos Aires. In 1894 she sang as a partner of Francesco Tamagno in Moscow. In 1896 she performed at the Covent Garden in London as Brünnhilde in ‘’Walküre’’ (still in French) In the 1894-1900 seasons she was a member of the Metropolitan Opera in New York. Here she made her debut in 1894 as Amneris in ‘’Aida’’. Here her repertoire included Azucena in ‘’Trovatore’’, Emilia in ‘’Otello’’, Ortrud in ‘’Lohengrin’’, Maddalena in ‘’Rigoletto’’, Lola in ‘’Cavalleria Rusticana’’, Fides in ‘’Le prophète’’, Leonora in ‘’La Favorita’’, Nancy in ‘’Martha’’, the Queen in ‘’Hamlet’’, the Queen Guinevere in ‘’Elaine’’ of Herman Bemberg (première, 1894) and Dalila in ‘’Samson et Dalila’’. In 1902 she appeared at the Manhattan Opera House in New York in the title role in P. Mascagni’s ‘’Zanetto’’. In the 1902-1903 season she was engaged again by the Metropolitan Opera, in the 1903-1904 season she went on a tour in USA tour with her own opera troupe, in the 1904-1905 season she appeared in New York in operetta performances. Since 1905 she lived in Lisbon. she guested in 1908 at the Teatro Politeama in Genoa as Carmen. In 1910 she appeared on the stage for the last time in Lisbon. She made recordings for Bettini cylinders (1899) and then for USA Zonophone (1905-1907).

Chronology of some appearances

1883 Lisbon Teatro San Carlo Huguenots (Urbain)

1883 Treviso Opera Le Roi de Lahore (Kaled)

1896 London Covent Garden Walküre (Brünnhilde)

1894-1900 New York Metropolitan Opera Aida (Amneris/Debut)

1902 New York Manhattan Opera House Zanetto (Silvia)

1902-1903 New York Metropolitan Opera

1908 Genoa Teatro Politeama Carmen (Carmen)

Roberto Silva (Bass)

                                                                              Ramfis

He began his career during the 1930’s in Italy, however, emigrated before the World War II to North America. Since 1944 he became a member of the New York New Opera Company and City Centre Opera. In the 1941-1948 seasons he made guest appearances at the Opera Philadelphia  and Chicago Opera, since 1943 also at the San Francisco Opera. He also sang at Opera National de México. In 1941 he sang at La Scala the part of King in G. Verdi’s ‘’Aida’’ and guested again in 1952 and 1953. His repertoire included Mefistofele in ‘’Faust’’, Basilio  in ‘’Barbiere di Siviglia’’, Fiesco in ‘’Simon Boccanegra’’, Colline in ‘’Boheme’’, Pistol in ‘’Falstaff’’ and Alvise in ‘’La Gioconda’’.

Chronology of some appearances

1941 Milano La Scala

1941-1948 Opera Philadelphia/Chicago Opera

1943 San Francisco Opera

1944 New York New Opera Company

1944 New York City Centre Opera

Giulio Perotti (Tenor) (Ueckermünde, Germany 13. March 1841 – Milan, Italy 28 February 1901)

                                                                                Manrico

His real name was Julius Prott. First he studied at the Stern'sche Konservatorium in Berlin, then he continued his education under Pietro Romani in Florence. Additionally he trained with Francesco Lamperti in Milan, Corsi and Deck-Servani and Gustave Roger in Paris. In 1863 he made his debut at the Opera House in Wroclaw. He made successful guest appearances in Germany, Italy, also in London, Madrid, Moscow and Constantinople. In 1870 at the Drury Lane Theatre in London he sang the part of Erik in the English première of R. Wagner’s ‘’Fliegender Holländer’’. In 1872 he appeared at La Scala as Max in ‘’Freischütz’’. Several times he visited North America, where he sang  at the operatic stages in Boston, Chicago, New York and in many other towns. In the 1888-1890 and from 1899 to 1900 seasons he was engaged by the New York Metropolitan Opera. In South America he was to be heard among other things in Buenos Aires and Montevideo. In the 1866-1868 seasons he was a member of the Hofoper in Wien. In the 1878-1888 and again from 1892 to 1900 seasons he belonged to the ensemble of the State Opera House in Budapest, where he and retired from the stage. His best roles were Raoul in ‘’Huguenots’’,  Johann von Leiden in ‘’Le prophète’’, Arnoldo in ‘’Guglielmo Tell’’, Eleazar in ‘’La Juive’’, Faust, Manrico in ‘’Trovatore’’, Otello and also Wagner repertoire (Lohengrin, Tannhäuser, Rienzi, Siegfried). Since 1879 he owned in Trieste a market garden, which was internationally known for his rose cultures. He made a few recordings for Bettini cylinders.

Chronology of some appearances

1863 Wroclaw Opera House

1866-1868 Wien Hofoper

1870 London Drury Lane Theatre

1872 Milano La Scala

1878-1888 Budapest State Opera House

1888-1890 New York Metropolitan Opera

1892-1900 Budapest State Opera House

1899-1900 New York Metropolitan Opera

Ebba Wilton (Soprano) (1896, 13/12, Rødvig - 1951, 1/4, København)

She was one of the best Danish sopranos of her time. Since 1915 she was a pupil of Paul Bank in Copenhagen, since 1919 she studied singing at the Royal Opera School in Copenhagen. From 1924 to 1949 she was a highly respected member of the Royal Opera in Copenhagen. Here she made her debut as Queen of the Night in ‘’Zauberflöte’’. Her repertoire included Olympia in ‘’Les contes d'Hoffmann’’, Zerline in ‘’Don Giovanni’’, Gilda in ‘’Rigoletto’’, Marie in ‘’La fille du régiment’’, Susanna in ‘’Figaros Hochzeit’’ and Ännchen in ‘’Freischütz’’. She made guest appearances in Berlin, Paris and Riga. From 1924 to 1928 she made a lot of recordings for Danish HMV.

Chronology of some appearances

1924-1949 Copenhagen Royal Opera

Mario Roussel (Tenor)

                                                                        as Otello

This totally forgotten tenor was the creator of Silvio in the world premiere of R. Leoncavallo’s ‘’Pagliacci’’ at the Teatro Dal Verme, Milano (1892). The next year he went to Melbourne, where again appeared in ‘’Pagliacci’’. Although he was successful in tenor repertoire (Otello (see photo) Sansone and Siegmund), but he couldn’t continue his career as tenor and until his retirement, like Oreste Milei, sang again repertoire of baritone. He retired from the stage in 1911. Roussel never made records.

Chronology of some appearances

1892 Milano Teatro Dal Verme Pagliacci (Silvio)

1893 Genova  Teatro Paganini Carmen (Escamillo)

1893  Genova  Teatro Carlo Felice Pagliacci (Silvio)

1893 Melbourne Princess Theater Pagliacci (Silvio)

1894 Casale Monferrato  Teatro Sociale Ballo in maschera (Renato)

1894 Casale Monferrato  Teatro Sociale Pagliacci (Silvio)

1894 Milano  Teatro Lirico Pagliacci (Silvio)

1896 Buenos Ayres  Teatro San Martin Boheme (Marcello)

1896 Buenos Ayres  Teatro San Martin Rigoletto (Rigoletto)

1896 Buenos Ayres  Teatro San Martin Pagliacci (Tonio)

1896 Buenos Ayres  Teatro Victoria Boheme (Marcello)

1897 Bari  Teatro Piccinni Ballo in maschera (Renato)

1897 Bari  Teatro Piccinni Boheme (Marcello)

1898 Napoli  Teatro San Carlo Boheme (Marcello)

1898  Bergamo  Teatro Donizetti Boheme (Marcello)

1898 Alessandria  Politeama Grà Boheme (Marcello)

1899 Roma Teatro Quirino Pagliacci (Tonio)

1899 Berlin  Teatro Kroll Traviata (Germont)

1891 Pavia  Teatro Guidi Carmen (Escamillo)

1901 Roma Teatro Adrian Samson et Dalila (Sansone)

1901 Milano La Scala Die Walküre (Siegmund)

1901 Foggia Teatro Dauno Otello (Otello)

1901 Novara Teatro Coccia Otello (Otello)

1902 Roma  Teatro Adriano Cavalleria Rusticana (Turiddu)

1903 Roma Teatro Adriano Rigoletto (Rigoletto)

1902 Modena  Teatro Storchi Ballo in maschera (Riccardo)

1903 Vigevano Teatro Cagnoni Otello (Jago)

1904 Venezia Rossini Andrea Chenier (Gerard)

1904 Milano Teatro Lirico Boheme (Marcello)

1904 Foggia Teatro Dauno Carmen (Escamillo)

1904 San Paolo  Teatro Santana Ballo in maschera (Renato)

1904 San Paolo Santana Andrea Chenier (Gerard)

1904 San Paolo Santana Carmen (Escamillo)

1904 Rio de Janeiro  Teatro Lirico Boheme (Marcello)

1904  Rio de Janeiro Teatro Lirico Cavalleria Rusticana (Alfio)

1905 Buenos Ayres Politeama Argentino  Ballo in maschera (Riccardo)

1905 Buenos Ayres Politeama Argentino  Cavalleria Rusticana (Alfio)

1905 Montevideo  Teatro Solis Ballo in maschera (Renato)

1905 Montevideo  Teatro Solis Cavalleria Rusticana (Alfio)

1905 Montevideo  Teatro Solis Boheme (Marcello)

1905 Torino  Teatro Vittorio Emanuele Boheme (Rodolfo) by R. Leoncavallo

1906 Città del Messico  Teatro Arbeu Boheme (Marcello)

1906 Città del Messico  Teatro Arbeau Siberia (Walitzin)

1906 Padova  Teatro Verdi Rigoletto (Rigoletto)

1908 Parma  Politeama Reinach Ballo in maschera (Renato)

1908 Parma  Politeama Reinach Ernani (Silva)

1909 Buenos Ayres  Teatro Coliseo Ballo in maschera (Renato)

1909 San Paolo  Politeama Ballo in maschera (Renato)

1909 Buenos Ayres Teatro Marconi Otello (Jago)

1909 Buenos Ayres  Teatro Coliseo Tosca (Scarpia)

1909 Montevideo  Politeama Tosca (Scarpia)

1910 Novellara  Teatro Sociale Ballo in maschera (Renato)

1910 Potenza  Teatro Stabile Boheme (Marcello)

1911 Roma  Teatro Apollo Barbiere di Siviglia (Figaro)

1911 Roma  Teatro Apollo Cavalleria Rusticana (Alfio)
1911 Cento  Teatro Sociale Tosca (Scarpia)