19TH CENTURY OPERA SINGERS

LOUISA BODDA-PYNE (27 August 1832 – 20 March 1904) was an English soprano and opera company manager. ( Louisa Fanny Pyne), she was the youngest daughter of the alto George Pyne (1790–1877). Her elder sister Susan Pyne was also an accomplished singer and her uncle James Kendrick Pyne (1785–1857) was a tenor Louisa Pyne was the manager, with the tenor William Harrison, of the Pyne & Harrison Opera Company which toured the Americas in the 1850s. In 1857 she and Harrison founded the Pyne and Harrison English Opera Company at the Lyceum Theatre, London. The company later moved to the Theatre Royal, Drury Lane and, in 1858, under the shortened name of the Royal English Opera, gained a lease at what is now the Royal Opera House in Covent Garden from December 1858 until 1864. The following year, Pyne, along with William Harrison, W. H. Weiss and Madame Weiss, formed a new company under E.T. Smith at Astley's Theatre Royal.[9] On 12 October 1868, she married the singer Frank H. Bodda remaining so until his death aged 69 on 14 March 1892. Pyne died at her home Cambridge Gardens, North Kensington on 20 March 1904

SARAH EDITH WYNNE (Eos Cymru) (11 March 1842 – 24 January 1897) was a Welsh operatic soprano and concert singer. She was born in Holywell, Flintshire, and studied singing with Scarisbrick in Liverpool and Pinsuti at the Royal Academy of Music, where she was Westmorland Scholar from 1863 to 1864. She subsequently studied with Romani and Vannuccini in Florence. Her first appearances were in provincial concert halls and theatres. She made her London debut on 4 July 1862 at St. James's Hall in John Thomas's Welsh concert. Wynne sang in the United States with the Janet and John Patey and Charles Santley in 1871-1872, and at the Boston Festival of 1874. She also appeared in opera at The Crystal Palace between 1869 and 1871 as Arline in Wallace's Maritana and as Lady Edith in Randegger's Rival Beauties, but she was chiefly noted for her singing of art song and ballads. She married an Armenian barrister, Aviet Agabeg, in 1875 and after her marriage increasingly devoted herself to teaching oratorio and ballad singing. She died on 24 January 1897, and was buried in Hampstead Cemetery.

FORTUNATA TEDESCO Fortunata Tedesco (Mantua, 14 December 1826 – after 1866) was an Italian operatic soprano. In 1846 tallied Elvira in Giuseppe Verdi's first opera, which performs in Cuba: Ernani. The success of the play and his singers had a great impact on the cultural world of Havana. Especially the soprano received numerous compliments, among which, a famous quadrille of Manuel Saumell, who play some passages of his entrance aria: Ernani involami. in 1848, the Italian Opera Company of Francisco Marty celebrates a function to the benefit of its music director, Luigi Arditi, where it premiered his opera Gulnara, Fortunata Tedesco creates the role of Gulnara. In January 1859 Pacini Saffo played at the Teatro Nacional de São Carlos in Lisbon. Was Venus in Tannhäuser revised version premiered on March 13, 1861 in the Paris Opera

Milka Ternina as Isolde 'Tristan& Isolde" Wagner MILKA TERNINA 1861-1941 Croation Soprano She began her vocal studies at age twelve. First formed by Ida Winterberg in Zagreb, then 1882-84 by Joseph Gänsbacher in Vienna. She debuted in 1882 in Agram (Zagreb), while she was still studying, as Amelia in "Masked Ball" by Verdi. 1883-84 she was engaged at the Opera House Leipzig, 1884-86 at the City Theater of Graz, 1886-89 at the Municipal Theatre of Bremen, then 1890-99 at the Munich Court Opera, where she had great success and was still performing until 1906 as a guest. 1897 she worked there with the premiere of the opera "Sarema" of A.Zemlinsky in the title role. In 1896 she sang in Moscow at a concert on the occasion of the coronation of Tsar Nicholas II. In 1896 she undertook the German Opera Company, a North American tour. 1899 was admired at the Festival of Bayreuth their Kundry in "Parsifal". In 1900 she created at the Covent Garden Opera, where she was a regular guest from 1898 to 1906 (commencement role: Isolde in "Tristan"), the title role in the premiere of Puccini's "Tosca". Further appearances at the Court Opera in Berlin (1887), the Municipal Theatre of Zurich (1897) and the Municipal Theatre (Opera House) from Hamburg (1901). In 1890 it got its North American debut when she sang Elsa at the Opera of Boston in "Lohengrin". In 1899 she was appointed to the Metropolitan Opera New York, where she began her involvement with the game of Elisabeth in "Tannhäuser". In 1900 she sang again the title role in the premiere of Puccini's "Tosca", 1903 Kundry in the Forbidden Bayreuth American premiere of "Parsifal". She went to the Metropolitan Opera for four seasons until 1904 in 74 performances and 15 games in, including as Isolde, Brünnhilde, as Sieglinde, as Elsa, as Santuzza in "Cavalleria Rusticana" and as Leonore in "Fidelio". In addition to her work on stage, they also exhibited a concert career on an international level. 1909-12 she worked as a teacher at the New York College of Music. Because of progressive facial nerve paralysis she had to end her career in 1916 final. She lived ever since as a singing teacher in Zagreb, where she perceived a professor at the Conservatory since 1933. Among her pupils was the famous soprano Zinka Milanov.Ihr repertoire contained 85 large lots from all walks of soprano compartment; their Isolde as their Leonore in "Fidelio" were considered special excellence within their artistic generation.

JANET MONARCH PATEY (Janet Monach Whytock ) (1 May 1842 – 28 February 1894) English contralto. Studied singing under J. Wass, Ciro Pinsuti and Mrs Sims Reeves (Emma Lucombe).Her first regular engagement was in 1865, in the provinces. From 1866, in which year she sang at the Worcester Festival, and married John Patey, a bass singer, she was recognized as one of the leading contraltos; and on the retirement of Helen Sainton-Dolby in 1870 Patey was without a rival whether in oratorio or in ballad music. She toured in America in 1871, sang in Paris in 1875, Australia in 1890, and New Zealand in 1891.

Lucy Bertrand & Jean Bartet as Zerlina and Masetto "Don Giovanni" Lucie Bertrand (Berthet) 1866 Belguim Soprano studied until 1892 at the Conservatoire National de Paris. She was immediately committed to the Paris Grand Opera, where she debuted in 1892 as Ophélie in 'Hamlet' by A.Thomas. ; on 02.19.1897 she performed at the Grand Opera in the world premiere of the opera 'Messidor' of A.Bruneau as Hélène with, in 1895 in the 'La Montagne noire' of Augusta Holmès. In the years of their engagement, she sang at the Grand Opera roles such as Juliette in 'Roméo et Juliette' by Gounod, the Marguerite in his' Faust ', the title role in' Thaïs' by Massenet, the Marguerite de Valois in Meyerbeer's "Huguenots' , the title roles in 'Gwendoline' and 'Briseis' of E.Chabrier (1899 in the Paris premiere of this opera), Gilda in 'Rigoletto', the Zerlina in Don Giovanni and the Elsa in 'Lohengrin'. JEAN BARTET b 1862 French Baritone Jean-Arriet Bartet was, went through his vocal training at the Paris Conservatoire, where he was a pupil of Barbot and Giraudet. In 1893 he debuted at once at the Grand Opéra Paris as Nelusco in Meyerbeer's "Africaine '. He remained until (about) 1910 where the commitment and went to the Opera in a variety of roles: as Nevers in the 'Huguenots' by Meyerbeer, as Valentin in' Faust 'by Gounod and as Grand-Prêtre in' Samson et Dalila 'by Saint-Saëns, as William Tell by Rossini and as Alphonse in La Favorite' by Donizetti, as Masetto in Don Giovanni and as Amonasro in 'Aida', as Gunther in 'Sigurd' of Reyer and as Mathias in ' messidor 'of A.Bruneau, as Telramund in' Lohengrin ', as Kurvenal in' Tristan ', as Kothner in the' Meistersinger 'and as Wotan in the' Valkyrie '. He also worked at the Grand Opéra in several world premieres, including in 'La Cloche du Rhin' of S.Rousseau (1898) and in 'Lancelot' of V.Joncières (1900), 1899 in the premiere of 'Briseis' of E .Chabrier. In addition to his work at the Paris Opéra, he also had a successful career at the major opera houses in the French provinces

Hortense Schneider as Duchess in "La Grande-Duchesse de Gérolstein " Offenbach (Creator role) HORTENSE CATHERINE SCHNEIDER, La Snédèr, (30 April 1833 – 6 May 1920) was a French soprano, one of the greatest operetta stars of the 19th century, particularly associated with the works of composer Jacques Offenbach. ]Born in Bordeaux, where she studied with Schaffner, she made her debut in Agen in 1853, as Inés in La favorite. She came to Paris and was turned down by the director of the Théâtre des Variétés but was noticed by Jacques Offenbach who invited her to the Théâtre des Bouffes Parisiens, where she made her debut in 1855 in Le violoneux. She enjoyed immediate success and created for Offenbach the role of Boulotte in Barbe-bleue and the title roles in La belle Hélène, La Grande-Duchesse de Gérolstein and La Périchole, all resounding triumphs. She also appeared in London and Saint Petersburg, to great acclaim. An accomplished singer and actress, she was much admired for her brio and verve on stage, was the toast of the Second Empire and a favourite of royal visitors to Paris. La Snédèr was reputedly one of King Edward VII's mistresses (because of the favours which she liberally granted to the members of the nobility, she was known as Le Passage des Princes.). She retired in 1878, after her marriage, and died in Paris over forty years later at age 87.

LOUIS ALPHONSE EDMOND HOLTZEM French Bass (Paris, 26 juin 1827 – .Lyon, 1896). Débute Opera Comique in 1860 Photo autographed to Soprano Leontine Maësen 1860

EMMA ALBANI (1 November 1847 – 3 April 1930) Canadian soprano (Marie Louise Cecilia Emma Lajeunesse.) Vocal studies in Europe, and she became a student of Gilbert Louis Duprez in Paris, then by Francesco Lamperti in Milan. Debut in 1870 at the Opera House of Messina as Amina in 'La Sonnambula'. Covent Garden début 1872. First Covent Garden Senta (Der fliegende Holländer), 1877. NY Met début 1891; first Desdemona at NY Met 1894. Sang Isolde, Covent Garden 1896, retiring from stage a month later, but continuing to sing in oratorio. Retired to teach in 1911. DBE 1925.

ANNA DE BELOCCA (née de Bellokh) (4 January 1854 – unknown ), was a Russian-born operatic contralto. born in St.Petersburg, where her father was an Imperial Russian Councilor of State. After studying in St. Petersburg with Henriette Nissen-Saloman and in Paris with Nicolas Lablache and Maurice Strakosch, she made her stage debut in Paris at the Théâtre Italien as Rosina The Barber of Seville. She also appeared there in the title role of La Cenerentola and as Arsace in Semiramide. She appeared in various cities in Europe, including London, where she made her debut with Mapleson's company. She then became a member of the Strakosch Opera Company with whom she made her American debut on 17 April 1876 as Rosina at New York's Academy of Music. She also appeared in concerts in Boston, Chicago, Philadelphia and San Francisco. With the Mapleson company, she continued to sing leading roles in New York and Philadelphia through the 1880s.

MADELEINE BROHAN 21 October 1833 - 24 February 1900 French Actress Madeleine is the daughter of Suzanne Augustine Brohan and the sister of Augustine Brohan. Married Mario Uchard in 1853, and divorced two years later, she was the mistress of Louis-Napoléon Bonaparte and the prince of Joinville, and had a long relationship with Paul Déroulède (whom she had a child) She entered very young the Conservatory, attended Samson and won a second prize for comedy in 1839 and the first in 1840. She was admitted to the Comédie-Française in 1850. She spent a few years in Russia, where she played the french Saint Petersburg Theatre.

MARIE CABEL ( Marie-Josèphe Dreulette[in Liège) (31 January 1827 – 23 May 1885) Belgian Soprano. Autographed 1866 She is probably best remembered for having created the role of Philine in Ambroise Thomas' opera Mignon. Cabel first studied voice in Liège with Bouillon, and, her father having died, gave music lessons to help support her mother. Cabel's younger brother Edmond also became a singer and in 1863 created the role of Hylas in Hector Berlioz' Les Troyens. Cabel studied voice in Brussels with Ferdinand Cabel and Louis-Joseph Cabel. In 1847 she gave a concert in Paris and continued her studies at the Paris Conservatory in 1848–1849. Cabel made her operatic debut in Paris at the Théâtre Chateau des Fleurs in 1848, and in 1849 sang the roles of Georgette in Halévy's Le val d'Andorre and Athénaïs in Halévy's Les mousquetaires de la reine at the Opéra-Comique, where she went almost unnoticed. Moving back to Brussels, she sang at the Théâtre de la Monnaie from 1850 to 1853 with greater success In 1852 she also appeared in Lyon,

ENRICO CAMPOBELLO (Henry McLean Martin )(1848-?); Scottish bass-baritone. Married Clarice Sinco 2nd May 1874 London, both who worked along side many well known Operatic Singers of that time and Toured all over the World, and some of Enrico's roles in Emir he sang and performed Saladin in 1874. Maurevet Huguenots in 1874. Count Arnheim Govenor of Pressburg 1877. Count Almaviva in the Mariage of Figaro. Clarice performed in the first Magic Flute as Papagena an Old Woman. They also Staged their Own Opera's and worked with Colonel James Henry Mapleson Impresario's Italian Opera.

CAROLINE ALEXANDRINE LEOPOLDINE MARIE DUPREZ ( Caroline DUPREZ) french soprano (Florence, April 10, 1832 - 64.Pau, April 17, 1875) Her father was the famous opera singer Gilbert Duprez, with whom she sometimes appeared. A soprano, she made her Paris début at the Théâtre Italien in La Somnambula in 1850. The following year she helped to produce the world première of her father’s opera Joanita in Brussels. In 1852 she created the role of Angela in Marco Spada. She also appeared in Lyon (1856-1858), Bordeaux, London, St Petersburg, and at the Théâtre-Lyrique in Paris. She died on 17 April 1875 (her father outlived her by twenty-one years.)

Jeanne Granier as Jacquette "La Bearnaise" Messager CREATOR Paris 12/12/1885 JEANNE GRANIER (31 March 1852 – 18 or 19 December 1939) was a French soprano, born and died in Paris, Granier was a pupil of Madame Barthe-Banderali, studying both opéra-comique and Italian music. Her debut was in 1873 at the Théâtre de la Renaissance, replacing at short notice Louise Théo as Rose Michon in the opening run of La jolie parfumeuse. Thus noticed by Offenbach, she went on to create Giroflé-Girofla (Paris premiere), title role in La Marjolaine, the title role in Le petit duc, Janot, Ninella, Mme le Diable, Belle Lurette and Fanfreluche. At the Théâtre des Variétés Granier appeared in major roles in revivals of La belle Hélène, Barbe-bleue, and La Grande-Duchesse de Gérolstein. Her other premieres at various Paris theatres included Mlle Gavroche (at the Variétés), Jacquette-Jaquet in La Béarnaise (Bouffes), Therèse in La cigale et la fourmi (Gaité) and Les saturnales (Nouveautés).

LEONTINE de MAESEN (15 July 1835 – 1906) was a Belgian coloratura soprano Active on the opera stages of France from 1858 to 1868. She is most remembered today for having created the role of Leïla in Bizet's 1863 opera, Les pêcheurs de perles Born Léontine Van der Maësen d'Avionpuits in Esneux, Belgium, she was the daughter of the crown prosecutor in Verviers. Her father died when she was still a young girl, and after his death she entered the Royal Conservatory of Liège where she studied singing with Théophile Vercken. She then continued her studies at the Paris Conservatory with Laure Cinti-Damoreau and later with Gilbert Duprez. De Maësen made her stage debut in Marseille during the 1858 season and subsequently sang there as Marguerite in Faust and Lucie in Lucie de Lammermoor. She returned in the 1861-62 season and sang with great success the title role in Massé's La reine Topaze for its first Marseille performance. During that season, she also sang in revivals of The Marriage of Figaro and Der Freischütz. After performances in Lille, she was engaged by Léon Carvalho for his Théâtre Lyrique company in Paris, where in 1863 she created the role of Leïla in Bizet's Les pêcheurs de perles. Her performance in the premiere was a sensation with the audience, according to the critic in Le Guide musical, who went on to praise "the beauty of her voice, the perfection of her singing, her personal charm, and her talent as actress." Bizet would later dedicate his 1868 mélodie, "Rêve de la bien-aimée" (Dream of the beloved), to

ROSINE BLOCH (7 November 1844 – 1 February 1891) was a French operatic mezzo-soprano Most of her career was spent performing at the Opéra in Paris, she also appeared in stages in Belgium, Monaco, and England. She studied at the Paris Conservatoire with Nicolas Levasseur and Charles-Amable Battaille and in 1865 won the Conservatoire's first prize for singing and the first prize for opera.] She made her professional opera debut on 13 November 1865 at the Opéra's Salle Le Peletier as Azucena in Giuseppe Verdi's Le trouvère and continued singing in that theatre, where her most notable roles included Lelia in Félicien David's Herculanum and Léonore in Gaetano Donizetti's La favorite. She also sang Edwige in Gioacchino Rossini's Guillaume Tell (with Jean-Baptiste Faure as Guillaume and Marie Battu as Mathilde in 1868 and with Caroline Carvalho as Mathilde in 1870), and Fidès in Giacomo Meyerbeer's Le prophète in 1872. Although Bloch was striking in appearance with an ample, rich-timbred voice, it had become apparent over time that her portrayals lacked the "human quality" necessary for her to become a major star. Nevertheless, in the ensuing years she remained an honorable and respected member of the company. She also created two roles, Lysis in the world premiere of Jules-Laurent Duprato's 1-act La Fiancée de Corinthe, which had a libretto by Camille du Locle and was first performed on 21 October 1867, but was an opera that would soon fall into obscurity after only 14 representations, and Claribel in Eugène Diaz's 3-act La Coupe du Roi de Thulé, which had a libretto by L. Gallet and Edouard Blau and premiered on 10 January 1873, but would only be performed 21 times. The latter had won a competition which had been held by the Ministry of Fine Arts in 1869.

THERESE TIETJENS 1831-1877 Soprano (Carolina Johanna Alexandra Tiejens) She studied at the Hamburg Schmidt educators and then in Vienna with Dellessie, Babing and H.Proch. In 1848 she made her debut at the municipal theater (opera house) of Hamburg as Irma in "Le Ma ¢ on" ("Mason and Schlosser") by Auber. 1849 there had particular success in the title role of Donizetti's "Lucrezia Borgia". 1850-53 she was engaged at the Opera House of Frankfurt aM and sang during this time the theater of Brünn (Brno). On 20.01.1851 she performed in Frankfurt in the world premiere of Lortzings "Opera Rehearsal" on the eve of the death of the composer. 1853-59 Member of the Vienna Court Opera. In 1858 she appeared for the first time in London, and though at Her Majesty's Theatre as Valentine in "Les Huguenots" by Meyerbeer. Since 1859 she performed until her death in London, where she moved, and both at Her Majesty's Theatre as the Drury Lane Theatre, often also at the Covent Garden Opera. She appeared in a large number of important premieres in London with: 1865 at Her Majesty's Theatre in the title role in the opera "Medea" by Cherubini, 1859 at the Drury Lane Theatre as Elena in "I Vespri Siciliani" by Verdi, 1861 at the Lyceum Theatre London as Amelia in Verdi's "Un Ballo in Maschera", in 1867 at Her Majesty's Theatre as Leonora in "La forza del destino" by Verdi, 1863 in the same house as Marguerite in "Faust" by Gounod, 1864 again there in the title role of Gounod's "Mireille "and as Mistress Ford in Nicolai's" Merry Wives of Windsor "(in Italian). She sang constantly in the English metropolis, apart from a stint in Paris in 1863 and an extensive and very successful North American tour 1875-76. Other highlights in her wide-ranging repertoire were the Norma, Donna Anna in "Don Giovanni", the Lucrezia Borgia and Agathe in "Der Freischütz" by Weber. She sang a technically difficult role as Semiramide in Rossini's opera, an old role as the Fides in Meyerbeer's "Le A Prophet" as well as the only Wagner role Ortrud in "Lohengrin". Under the 5/26/1864 offered her Richard Wagner in a letter to take over the Isolde in his opera "Tristan and Isolde" and was willing to take some cuts in the score, but did not materialize this project. She could not decide which to take Sieglinde in "Die Walküre" also. Even as a concert and oratorio singer Therese Tietjens enjoyed the highest reputation. In 1876 she gave her last concert in London, the 1877 one still followed in Dublin. On several occasions she sang in court concerts in front of Queen Victoria, who was very fond of her. She had a rich educated, powerful voice, which ranged from c to d three-painted, and their ability to express it as well as their admired virtuoso agility. At the beginning of her career in England they represented a very attractive, elegant stage presence, but was subsequently very corpulent. In September 1877 she suffered during a performance of "Lucrezia Borgia" in which she sang the title role on the stage of Her Majesty's Theatre a serious collapse attack and died of cancer two months later.