Bialystok-Stavenuiter's photos

Gaetano Ferri (1816-1881); Italian baritone who created the role of Egberto in Verdi's "Aroldo" (1857). He was one of the first European opera singers to sing in America.

Emilio Pancani (1830-1898); Italian tenor who created the title role in Verdi's "Aroldo" in 1857. He was a pupil of Borzacchi in Florence and began his career as a chorister. After singing comprimario roles in Italian provincial theatres, he had his first successes at the Odessa Opera House in 1851. When he returned to Italy he was engaged in Naples, Milan and Genua for more important roles. In 1857 he created the title role in Verdi's "Aroldo" at the Teatro Nuovo Comunale in Rimini. From 1858/60 he appeared at La Scala in Milan, where he returned during the seasons 1864/65 and 1868/70. In 1860/61 he made guest appearances in Paris as well as in Germany (Berlin, Hannover and Königsberg). His voice was a dramatic tenor; the title role in Rossini's "Otello" and Manrico in Verdi's "Il Trovatore" were considered his greatest creations.

Emilio Naudin (1823-1890); Italian tenor. In 1843 he made his debut at Cremona in Pacini’s opera “Saffo”. In the following years he performed successfully at the leading Italian opera houses, especially at Genua and Rome. He also made a successful international career and sang at Vienna, St. Petersburg, London, Paris, Berlin, Lisbon and Cairo. In 1865 he created the rôle of Vasco da Gama in Meyerbeer's "L'Africaine". At Covent Garden he performed in 1867 the role of Don Carlos in the English première of Verdi’s eponymous opera. Also at Covent Garden he sang at the première of Poniatowski’s “Gelmina” (1872), an opera that was dedicated to Adelina Patti who sang the lead role.

Rita Bernardi-Fabbrica (1822-1902); Italian soprano who had a successful career in Russia (St. Petersburg and Moscow). Rita Bernardi married Luigi Fabbrica who was a famous conductor and (also her) voice-teacher.

Virginia Whiting Lorini ( ?-1865); American soprano. She made her New York debut in 1850 at Tripler Hall. In the early 1850s she sang at the Astor Place Opera House and appeared in "Norma" and "Don Giovanni." During a long absence from the stage, she married the Italian tenor Domenico Lorini. Under the name of Whiting Lorini she returned to the New York stage in 1862. She was best known for her performances in "Norma," "Il Trovatore," "Lucrezia Borgia" and "Ernani". Her obituary below was published on March 15, 1865 in The New York Times Virginia Lorini Whiting, the once favorite prima donna, died on the 28th of February last at Santiago de Cuba, of an attack of hemorrhage. Madame Lorini was the wife of Mr. Lorini, now with Maretzek's company, and the daughter of Whiting the comedian. As an artist the deceased enjoyed a wide reputation. After making her debut in this city, she went to Europe, where she won an enviable position as an artist. Though not a great tragic actress, Madame Lorini was capable of playing such parts as Norma and Lucrezia Borgia in an acceptable manner. She leaves a large family, to whom she was devotedly attached.

Giuseppine Vitali-Augusti (1846-1915); Italian soprano. Her father Raffaele Vitali and her mother Claudia Vitali-Zerlotti were also well known operasingers. She made her debut at the age of 17 as Gilda in Verdi’s “Rigoletto”. She performed in the leading opera-houses of Italy and made a successful international career by singing in Germany, Austria, France, Spain and England. She was married to the Italian tenor Paolo Augusti.

Enrico Tamberlick (1820-1889); Italian tenor who created the role of Don Alvaro in Verdi's "La forza del destino" in St. Petersburg (1862). Enrico Tamberlick, who flourished during the middle of the 19th century was a tenor of high rank. He belonged to the class of "tenore di forza" and used to make a tremendous effect with his high C, which he produced with immense power. His voice was one of great richness of tone and volume. His delivery was grand and noble, his phrasing perfect and he sang with a great depht of expression. His elocution was so fine that every word was delivered with full effect and his dramatic power was unusually great. He was seen to best advantage in heroic parts, in which his fine figure and majestic bearing, together with the power and resonance of his voice, were displayed. Such parts as Jean de Leyde in "Le Prophète", Arnold in "Guillaume Tell", Manrico in "Il Trovatore", Otello in Rossini's "Otello", Pollione in "Norma", Poliuto in "Les Martyrs" and Robert in "Robert le Diable". In 1841 he made his debut at the Teatro Fondo in Naples as Tybalt in Bellini’s "I Capuleti ed i Montecchi" under the name of Enrico Danieli (his mother's name). The following two years he continued his career in Naples at the Teatro Fondo and at the Teatro San Carlo (under the name of Tamberlick). His voice was not yet develloped into the tenor it would become later. From 1843 on he performed in Spain ( Madrid, Barcelona etc.) and Portugal (Lisbon). In 1850 he appeared in London and made his Covent Garden debut as Masaniello in Auber’s "La Muette de Portici". He became so great a favourite that he was engaged there every season until 1864, with the exception of the season 1857/58 when he was engaged at the Théâtre-Italien in Paris. Of equal importance during the years 1850/63 was St. Petersburg (the Mariinsky Theatre) where he made guest guest appearances. Here he created the role of Don Alvaro in Verdi's "La forza del destino" on 10 November 1862. He made his initial guest appearance at the Théâtre-Italien in Paris in 1858, returning there many times until 1877. In 1874 he made a tour of the USA and he was the first tenor of importance who visited South America, singing at Rio de Janeiro, Buenos Ayres and Montevideo. He performed Alfredo in "La Traviata" -with Sofia Vera Lorini as Violetta- for the opening of the original Teatro Colón opera house in Buenos Aires in 1857. He retired from the stage with a tour through Spain in 1881, but he continued giving occasional concerts.

Enrico Tamberlick (1820-1889); Italian tenor who created the role of Don Alvaro in Verdi's "La forza del destino" in St. Petersburg (1862). Enrico Tamberlick, who flourished during the middle of the 19th century was a tenor of high rank. He belonged to the class of "tenore di forza" and used to make a tremendous effect with his high C, which he produced with immense power. His voice was one of great richness of tone and volume. His delivery was grand and noble, his phrasing perfect and he sang with a great depht of expression. His elocution was so fine that every word was delivered with full effect and his dramatic power was unusually great. He was seen to best advantage in heroic parts, in which his fine figure and majestic bearing, together with the power and resonance of his voice, were displayed. Such parts as Jean de Leyde in "Le Prophète", Arnold in "Guillaume Tell", Manrico in "Il Trovatore", Otello in Rossini's "Otello", Pollione in "Norma", Poliuto in "Les Martyrs" and Robert in "Robert le Diable". In 1841 he made his debut at the Teatro Fondo in Naples as Tybalt in Bellini’s "I Capuleti ed i Montecchi" under the name of Enrico Danieli (his mother's name). The following two years he continued his career in Naples at the Teatro Fondo and at the Teatro San Carlo (under the name of Tamberlick). His voice was not yet develloped into the tenor it would become later. From 1843 on he performed in Spain ( Madrid, Barcelona etc.) and Portugal (Lisbon). In 1850 he appeared in London and made his Covent Garden debut as Masaniello in Auber’s "La Muette de Portici". He became so great a favourite that he was engaged there every season until 1864, with the exception of the season 1857/58 when he was engaged at the Théâtre-Italien in Paris. Of equal importance during the years 1850/63 was St. Petersburg (the Mariinsky Theatre) where he made guest appearances. Here he created the role of Don Alvaro in Verdi's "La forza del destino" on 10 November 1862. He made his initial guest appearance at the Théâtre-Italien in Paris in 1858, returning there many times until 1877. In 1874 he made a tour of the USA and he was the first tenor of importance who visited South America, singing at Rio de Janeiro, Buenos Ayres and Montevideo. He performed Alfredo in "La Traviata" -with Sofia Vera Lorini as Violetta- for the opening of the original Teatro Colón opera house in Buenos Aires in 1857. He retired from the stage with a tour through Spain in 1881, but he continued giving occasional concerts.

Enrico Tamberlick (1820-1889); Italian tenor who created the role of Don Alvaro in Verdi's "La forza del destino" in St. Petersburg (1862). Enrico Tamberlick, who flourished during the middle of the 19th century was a tenor of high rank. He belonged to the class of "tenore di forza" and used to make a tremendous effect with his high C, which he produced with immense power. His voice was one of great richness of tone and volume. His delivery was grand and noble, his phrasing perfect and he sang with a great depht of expression. His elocution was so fine that every word was delivered with full effect and his dramatic power was unusually great. He was seen to best advantage in heroic parts, in which his fine figure and majestic bearing, together with the power and resonance of his voice, were displayed. Such parts as Jean de Leyde in "Le Prophète", Arnold in "Guillaume Tell", Manrico in "Il Trovatore", Otello in Rossini's "Otello", Pollione in "Norma", Poliuto in "Les Martyrs" and Robert in "Robert le Diable". In 1841 he made his debut at the Teatro Fondo in Naples as Tybalt in Bellini’s "I Capuleti ed i Montecchi" under the name of Enrico Danieli (his mother's name). The following two years he continued his career in Naples at the Teatro Fondo and at the Teatro San Carlo (under the name of Tamberlick). His voice was not yet develloped into the tenor it would become later. From 1843 on he performed in Spain ( Madrid, Barcelona etc.) and Portugal (Lisbon). In 1850 he appeared in London and made his Covent Garden debut as Masaniello in Auber’s "La Muette de Portici". He became so great a favourite that he was engaged there every season until 1864, with the exception of the season 1857/58 when he was engaged at the Théâtre-Italien in Paris. Of equal importance during the years 1850/63 was St. Petersburg (the Mariinsky Theatre) where he made guest appearances. Here he created the role of Don Alvaro in Verdi's "La forza del destino" on 10 November 1862. He made his initial guest appearance at the Théâtre-Italien in Paris in 1858, returning there many times until 1877. In 1874 he made a tour of the USA and he was the first tenor of importance who visited South America, singing at Rio de Janeiro, Buenos Ayres and Montevideo. He performed Alfredo in "La Traviata" -with Sofia Vera Lorini as Violetta- for the opening of the original Teatro Colón opera house in Buenos Aires in 1857. He retired from the stage with a tour through Spain in 1881, but he continued giving occasional concerts.

Marie Caroline Miolan-Carvalho, born Marie Caroline Félix-Miolan (1827-1895); French soprano who sang in various premières. The best known are in opera's by Charles Gounod: Marguerite in "Faust" (1859), Baucis in "Philemon et Baucis" (1860) , Sylvie in "La colombe" (1860), the title-role in "Mireille" (1864) and Juliette in "Roméo et Juliette"(1867). She studied singing at the Conservatoire National de Paris where she was a pupil of the famous tenor Gilbert Duprez. In 1849 she made her debut at the Opéra in Brest as Isabella in Meyerbeer's "Robert le Diable". In that same year she was engaged in Paris at the Opéra-Comique where she debuted very successfully in the title role of "Lucia di Lammermoor". Here she remained until 1855. In 1853, she married Léon Carvalho, a French impresario and director of the Théâtre-Lyrique. After their marriage, she began to use the name Caroline Carvalho instead of Marie Miolan and became the prima donna at the Théâtre-Lyrique from 1856 to 1867. From 1868 until her retirement from the stage in 1885 she performed at the Opéra-Comique and at the Grand Opéra Paris. She made international guest appearances at London, Berlin, Brussels and St. Petersburg.

Marie Caroline Miolan-Carvalho, born Marie Caroline Félix-Miolan (1827-1895); French soprano who sang in various premières. The best known are in opera's by Charles Gounod: Marguerite in "Faust" (1859), Baucis in "Philemon et Baucis" (1860) , Sylvie in "La colombe" (1860), the title-role in "Mireille" (1864) and Juliette in "Roméo et Juliette"(1867). She studied singing at the Conservatoire National de Paris where she was a pupil of the famous tenor Gilbert Duprez. In 1849 she made her debut at the Opéra in Brest as Isabella in Meyerbeer's "Robert le Diable". In that same year she was engaged in Paris at the Opéra-Comique where she debuted very successfully in the title role of "Lucia di Lammermoor". Here she remained until 1855. In 1853, she married Léon Carvalho, a French impresario and director of the Théâtre-Lyrique. After their marriage, she began to use the name Caroline Carvalho instead of Marie Miolan and became the prima donna at the Théâtre-Lyrique from 1856 to 1867. From 1868 until her retirement from the stage in 1885 she performed at the Opéra-Comique and at the Grand Opéra Paris. She made international guest appearances at London, Berlin, Brussels and St. Petersburg. On the photo she is seen as Juliette in Gounod's "Roméo et Juliette".

Marie Caroline Miolan-Carvalho, born Marie Caroline Félix-Miolan (1827-1895); French soprano who sang in various premières. The best known are in opera's by Charles Gounod: Marguerite in "Faust" (1859), Baucis in "Philemon et Baucis" (1860) , Sylvie in "La colombe" (1860), the title-role in "Mireille" (1864) and Juliette in "Roméo et Juliette"(1867). She studied singing at the Conservatoire National de Paris where she was a pupil of the famous tenor Gilbert Duprez. In 1849 she made her debut at the Opéra in Brest as Isabella in Meyerbeer's "Robert le Diable". In that same year she was engaged in Paris at the Opéra-Comique where she debuted very successfully in the title role of "Lucia di Lammermoor". Here she remained until 1855. In 1853, she married Léon Carvalho, a French impresario and director of the Théâtre-Lyrique. After their marriage, she began to use the name Caroline Carvalho instead of Marie Miolan and became the prima donna at the Théâtre-Lyrique from 1856 to 1867. From 1868 until her retirement from the stage in 1885 she performed at the Opéra-Comique and at the Grand Opéra Paris. She made international guest appearances at London, Berlin, Brussels and St. Petersburg.

Pierre-Jules Michot (1832-1896); French tenor. In 1856 he made his debut at the Théâtre-Lyrique in the opera “Richard Coeur-de- Lion” by Grétry. In 1859 he sang at the première of “La fée Carabosse” by Victor Massé and he created the role of Scopas in Reyer’s “Erostrate” (1862). From 1859-1865 he was engaged by the Grand-Opéra Paris, but then returned to the Théâtre-Lyrique. Here he created in 1867 the role of Roméo in Gounod's "Roméo et Juliette" with Marie Caroline Miolan Carvalho as Juliette. His career did not last long because his last (guest)performance was in 1868 at the Marseille Opera in Verdi’s “Vêpres Siciliennes”.

Pierre-Jules Michot (1832-1896); French tenor. In 1856 he made his debut at the Théâtre-Lyrique in the opera “Richard Coeur-de- Lion” by Grétry. In 1859 he sang at the première of “La fée Carabosse” by Victor Massé and he created the role of Scopas in Reyer’s “Erostrate” (1862). From 1859-1865 he was engaged by the Grand-Opéra Paris, but then returned to the Théâtre-Lyrique. Here he created in 1867 the role of Roméo in Gounod's "Roméo et Juliette" with Marie Caroline Miolan Carvalho as Juliette. His career did not last long because his last (guest)performance was in 1868 at the Marseille Opera in Verdi’s “Vêpres Siciliennes”. On the photo he is seen as Admète in Gluck's opera "Alceste".

Pierre-Jules Michot (1832-1896); French tenor. In 1856 he made his debut at the Théâtre-Lyrique in the opera “Richard Coeur-de- Lion” by Grétry. In 1859 he sang at the première of “La fée Carabosse” by Victor Massé and he created the role of Scopas in Reyer’s “Erostrate” (1862). From 1859-1865 he was engaged by the Grand-Opéra Paris, but then returned to the Théâtre-Lyrique. Here he created in 1867 the role of Roméo in Gounod's "Roméo et Juliette" with Marie Caroline Miolan Carvalho as Juliette. His career did not last long because his last (guest)performance was in 1868 at the Marseille Opera in Verdi’s “Vêpres Siciliennes”. On the photo he is seen as Tamino in Mozart’s “Die Zauberflöte”.

José Dupuis (1831-1900); Belgian tenor who sang at various Offenbach-premières. He performed the role of Pâris in "La belle Hélène" (1864), the title-role in "Barbe-Bleue" (1866), Fritz in "La Grande-Duchesse de Gérolstein" (1867), Malatromba in "Le Pont des Soupirs" (1868), Piquillo in "La Périchole" (1868), Falsacappa in "Les Brigands" (1869), the Baron de Gondremarck in the second version of "La Vie parisienne" (1873) and the title-role in "Le docteur Ox" (1877). On the photo he is seen as Fritz in Offenbach's “La Grande-Duchesse de Gérolstein"

José Dupuis (1831-1900); Belgian tenor who sang at various Offenbach-premières. He performed the rôle of Pâris in "La belle Hélène" (1864), the title-rôle in "Barbe-Bleue" (1866), Fritz in "La Grande-Duchesse de Gérolstein" (1867), Malatromba in "Le Pont des Soupirs" (1868), Piquillo in "La Périchole" (1868), Falsacappa in "Les Brigands" (1869), the Baron de Gondremarck in the second version of "La Vie parisienne" (1873) and the title-role in "Le docteur Ox" (1877). On the photo he is seen as Robert Mouton in "Le trône d'Ecosse" by Hervé.

José Dupuis (1831-1900); Belgian tenor who sang at various Offenbach-premières. He performed the role of Pâris in "La belle Hélène" (1864), the title-role in "Barbe-Bleue" (1866), Fritz in "La Grande-Duchesse de Gérolstein" (1867), Malatromba in "Le Pont des Soupirs" (1868), Piquillo in "La Périchole" (1868), Falsacappa in "Les Brigands" (1869), the Baron de Gondremarck in the second version of "La Vie parisienne" (1873) and the title-role in "Le docteur Ox" (1877).