19th century opera singers

Christine Nilsson (1843-1921); Swedish soprano.In 1864 she had her debut as Violetta in “La Traviata” at the Theâtre-Lyrique in Paris. After this success she sang at major opera houses in London, Saint Petersburg, Vienna and New York In 1868 she created the role of Ophélie in Ambroise Thomas’ “Hamlet” at the Grand Opéra Paris and she sang the same role in the English première of Hamlet at Covent Garden in 1869. She also appeared in the Metropolitan Opera's inaugural performance on 22 October 1883 in Gounod's Faust.

Christine Nilsson (1843-1921); Swedish soprano.In 1864 she had her debut as Violetta in “La Traviata” at the Theâtre-Lyrique in Paris. After this success she sang at major opera houses in London, Saint Petersburg, Vienna and New York In 1868 she created the role of Ophélie in Ambroise Thomas’ “Hamlet” at the Grand Opéra Paris and she sang the same role in the English première of Hamlet at Covent Garden in 1869. She also appeared in the Metropolitan Opera's inaugural performance on 22 October 1883 in Gounod's Faust.

Antonie Link (1853-1931); Hungarian soprano. As a child she already sang in 1864 in Budapest the soprano part in the oratorium "Die Legende von der heiligen Elisabeth" by Franz Liszt. When her family moved to Austria, she performed children's roles at the Viennese Burgtheater. She studied singing with Laroche and became a singer in the choir of the Wiener Hofoper. There she drew the attention of Franz Jauner, the director of the Carl-Theater, who engaged her as an operetta singer for his company. Here she made her debut in 1872 as Frincke in Von Suppé's "Flotte Bursche". She was very successful and her succes even increased when she performed the role of Ganymede in Offenbach's "Die schöne Helena", with Marie Geistinger as Helena. In 1876 she created the role of Wladimir Dimitrowitsch Samoiloff in "Fatinitza" and in1879 the title role in "Boccaccio", both works of Franz von Suppé. In 1877 she created the title role in "Prinz Methusalem" by Johann Strauss II. In 1879 she retired from the stage. Her sister Sophie Link (1860-1900) was a well known mezzo-soprano.

Antonie Link (1853-1931); Hungarian soprano. As a child she already sang in 1864 in Budapest the soprano part in the oratorium "Die Legende von der heiligen Elisabeth" by Franz Liszt. When her family moved to Austria, she performed children's roles at the Viennese Burgtheater. She studied singing with Laroche and became a singer in the choir of the Wiener Hofoper. There she drew the attention of Franz Jauner, the director of the Carl-Theater, who engaged her as an operetta singer for his company. Here she made her debut in 1872 as Frincke in Von Suppé's "Flotte Bursche". She was very successful and her succes even increased when she performed the role of Ganymede in Offenbach's "Die schöne Helena", with Marie Geistinger as Helena. In 1876 she created the role of Wladimir Dimitrowitsch Samoiloff in "Fatinitza" and in1879 the title role in "Boccaccio", both works of Franz von Suppé. In 1877 she created the title role in "Prinz Methusalem" by Johann Strauss II. In 1879 she retired from the stage. Her sister Sophie Link (1860-1900) was a well known mezzo-soprano.

Ernesto Nicolini, born Ernest Nicolas (1834-1898); French tenor. He studied at the Conservatoire National de Paris and made his debut in 1857 at the Opéra-Comique (under the name Ernest Nicolas) in Halevy's "Les mousquetaires de la reine". After further study in Italy he appeared in 1859 in Florence under the name of Ernesto Nicolini where he debuted as Alfredo in Verdi's "La Traviata". The following years he had great successes at various important Italian theaters including La Scala Milan.On his return to France he sang at the Théâtre-Italien from 1862 until 1869. He made his debut at Covent Garden in London in 1866 as Edgardo in "Lucia di Lammermoor". Five years later he returned to London to sing the title roles in "Faust" and "Robert le diable" at the Drury Lane Theatre. From 1872 until 1884 he appeared every season at the Royal Opera House Covent Garden and very often the world famous soprano Adelina Patti was his partner. In 1882 he created the role of Coelius at the premiere of Charles Lenepveu's "Velléda". Adelina Patti created the role of Velléda in this opera that was dedicated to her by the composer ("A Madame Adelina Patti-Hommage de profonde admiration et d'affectueuse reconnaissance"). During the season 1874/75 he appeared in St Petersburg and Moscow, opposite Adelina Patti, whom he would partner in almost all her appearances thereafter, accompanying her on concert tours to the major western European capitals (Vienna, Milan, Venice, Brussels, Berlin), as well as on tours through the United States and South America. While together in Paris in 1886, singing in Faust at the Grand Opéra, the two created something of a scandal by getting married; Patti had divorced her first husband, the Marquis de Caux, shortly before her wedding with Nicolini. He now also became the impresario of his wife. Nicolini appeared on stage for the last time at Drury Lane in 1897 as Almaviva in "Il barbiere di Siviglia". He died the following year in Pau (France) at the age of 64.

Adelina Patti (1843-1919); Italian soprano. She came from a very musical family. Her father was the Italian tenor Salvatore Patti and her mother the soprano Catarina Chiesa Barilli. Her older sisters Amelia (1831-1915) and Carlotta (1835-1889) were also famous sopranos. Her brother Carlo (1842-1873) was a well known violinplayer and conductor. As a child Adelina moved to New York where her father worked at the Italian Opera as a stage-manager. At the age of 16 she made her debut as Lucia di Lammermoor at the Academy of Music in New York. In 1861 she came to Europa (London) and in 1862 to Paris. That was the beginning of a long and very successful career and she sang in all the leading cities of Europa (Milano, Bruxelles, Monte Carlo, Vienna, Berlin, St. Petersburg and Moscow). She was the best paid singer of her time. Her last public performance was in 1914 at a charity-concert. She left about 32 gramophone recordings (from 1905 and 1906) of songs and arias.

Adelina Patti (1843-1919); Italian soprano. She came from a very musical family. Her father was the Italian tenor Salvatore Patti and her mother the soprano Catarina Chiesa Barilli. Her older sisters Amelia (1831-1915) and Carlotta (1835-1889) were also famous sopranos. Her brother Carlo (1842-1873) was a well known violinplayer and conductor. As a child Adelina moved to New York where her father worked at the Italian Opera as a stage-manager. At the age of 16 she made her debut as Lucia di Lammermoor at the Academy of Music in New York. In 1861 she came to Europa (London) and in 1862 to Paris. That was the beginning of a long and very successful career and she sang in all the leading cities of Europa (Milano, Bruxelles, Monte Carlo, Vienna, Berlin, St. Petersburg and Moscow). She was the best paid singer of her time. Her last public performance was in 1914 at a charity-concert. She left about 32 gramophone recordings (from 1905 and 1906) of songs and arias.

Adelina Patti (1843-1919); Italian soprano. She came from a very musical family. Her father was the Italian tenor Salvatore Patti and her mother the soprano Catarina Chiesa Barilli. Her older sisters Amelia (1831-1915) and Carlotta (1835-1889) were also famous sopranos. Her brother Carlo (1842-1873) was a well known violinplayer and conductor. As a child Adelina moved to New York where her father worked at the Italian Opera as a stage-manager. At the age of 16 she made her debut as Lucia di Lammermoor at the Academy of Music in New York. In 1861 she came to Europa (London) and in 1862 to Paris. That was the beginning of a long and very successful career and she sang in all the leading cities of Europa (Milano, Bruxelles, Monte Carlo, Vienna, Berlin, St. Petersburg and Moscow). She was the best paid singer of her time. Her last public performance was in 1914 at a charity-concert. She left about 32 gramophone recordings (from 1905 and 1906) of songs and arias.

Adelina Patti (1843-1919); Italian soprano. She came from a very musical family. Her father was the Italian tenor Salvatore Patti and her mother the soprano Catarina Chiesa Barilli. Her older sisters Amelia (1831-1915) and Carlotta (1835-1889) were also famous sopranos. Her brother Carlo (1842-1873) was a well known violinplayer and conductor. As a child Adelina moved to New York where her father worked at the Italian Opera as a stage-manager. At the age of 16 she made her debut as Lucia di Lammermoor at the Academy of Music in New York. In 1861 she came to Europa (London) and in 1862 to Paris. That was the beginning of a long and very successful career and she sang in all the leading cities of Europa (Milano, Bruxelles, Monte Carlo, Vienna, Berlin, St. Petersburg and Moscow). She was the best paid singer of her time. Her last public performance was in 1914 at a charity-concert. She left about 32 gramophone recordings (from 1905 and 1906) of songs and arias. The photo is a double portrait of Adelina Patti.

Adelina Patti (1843-1919); Italian soprano. She came from a very musical family. Her father was the Italian tenor Salvatore Patti and her mother the soprano Catarina Chiesa Barilli. Her older sisters Amelia (1831-1915) and Carlotta (1835-1889) were also famous sopranos. Her brother Carlo (1842-1873) was a well known violinplayer and conductor. As a child Adelina moved to New York where her father worked at the Italian Opera as a stage-manager. At the age of 16 she made her debut as Lucia di Lammermoor at the Academy of Music in New York. In 1861 she came to Europa (London) and in 1862 to Paris. That was the beginning of a long and very successful career and she sang in all the leading cities of Europa (Milano, Bruxelles, Monte Carlo, Vienna, Berlin, St. Petersburg and Moscow). She was the best paid singer of her time. Her last public performance was in 1914 at a charity-concert. She left about 32 gramophone recordings (from 1905 and 1906) of songs and arias.

Adelina Patti (1843-1919); Italian soprano. She came from a very musical family. Her father was the Italian tenor Salvatore Patti and her mother the soprano Catarina Chiesa Barilli. Her older sisters Amelia (1831-1915) and Carlotta (1835-1889) were also famous sopranos. Her brother Carlo (1842-1873) was a well known violinplayer and conductor. As a child Adelina moved to New York where her father worked at the Italian Opera as a stage-manager. At the age of 16 she made her debut as Lucia di Lammermoor at the Academy of Music in New York. In 1861 she came to Europa (London) and in 1862 to Paris. That was the beginning of a long and very successful career and she sang in all the leading cities of Europa (Milano, Bruxelles, Monte Carlo, Vienna, Berlin, St. Petersburg and Moscow). She was the best paid singer of her time. Her last public performance was in 1914 at a charity-concert. She left about 32 gramophone recordings (from 1905 and 1906) of songs and arias.

Adelina Patti (1843-1919); Italian soprano. She came from a very musical family. Her father was the Italian tenor Salvatore Patti and her mother the soprano Catarina Chiesa Barilli. Her older sisters Amelia (1831-1915) and Carlotta (1835-1889) were also famous sopranos. Her brother Carlo (1842-1873) was a well known violinplayer and conductor. As a child Adelina moved to New York where her father worked at the Italian Opera as a stage-manager. At the age of 16 she made her debut as Lucia di Lammermoor at the Academy of Music in New York. In 1861 she came to Europa (London) and in 1862 to Paris. That was the beginning of a long and very successful career and she sang in all the leading cities of Europa (Milano, Bruxelles, Monte Carlo, Vienna, Berlin, St. Petersburg and Moscow). She was the best paid singer of her time. Her last public performance was in 1914 at a charity-concert. She left about 32 gramophone recordings (from 1905 and 1906) of songs and arias.

Adelina Patti (1843-1919); Italian soprano. She came from a very musical family. Her father was the Italian tenor Salvatore Patti and her mother the soprano Catarina Chiesa Barilli. Her older sisters Amelia (1831-1915) and Carlotta (1835-1889) were also famous sopranos. Her brother Carlo (1842-1873) was a well known violinplayer and conductor. As a child Adelina moved to New York where her father worked at the Italian Opera as a stage-manager. At the age of 16 she made her debut as Lucia di Lammermoor at the Academy of Music in New York. In 1861 she came to Europa (London) and in 1862 to Paris. That was the beginning of a long and very successful career and she sang in all the leading cities of Europa (Milano, Bruxelles, Monte Carlo, Vienna, Berlin, St. Petersburg and Moscow). She was the best paid singer of her time. Her last public performance was in 1914 at a charity-concert. She left about 32 gramophone recordings (from 1905 and 1906) of songs and arias.

Adelina Patti (1843-1919); Italian soprano. She came from a very musical family. Her father was the Italian tenor Salvatore Patti and her mother the soprano Catarina Chiesa Barilli. Her older sisters Amelia (1831-1915) and Carlotta (1835-1889) were also famous sopranos. Her brother Carlo (1842-1873) was a well known violinplayer and conductor. As a child Adelina moved to New York where her father worked at the Italian Opera as a stage-manager. At the age of 16 she made her debut as Lucia di Lammermoor at the Academy of Music in New York. In 1861 she came to Europa (London) and in 1862 to Paris. That was the beginning of a long and very successful career and she sang in all the leading cities of Europa (Milano, Bruxelles, Monte Carlo, Vienna, Berlin, St. Petersburg and Moscow). She was the best paid singer of her time. Her last public performance was in 1914 at a charity-concert. She left about 32 gramophone recordings (from 1905 and 1906) of songs and arias. On the photo she is seen in the title role of the opera "Esmeralda" by Fabio Campana. The title role had been written specially for her, but she could not make the Saint Petersburg premiere in 1869. In June of the following year it was performed in London at Covent Garden, this time with Adelina Patti as Esmeralda.

Adelina Patti (1843-1919); Italian soprano. She came from a very musical family. Her father was the Italian tenor Salvatore Patti and her mother the soprano Catarina Chiesa Barilli. Her older sisters Amelia (1831-1915) and Carlotta (1835-1889) were also famous sopranos. Her brother Carlo (1842-1873) was a well known violinplayer and conductor. As a child Adelina moved to New York where her father worked at the Italian Opera as a stage-manager. At the age of 16 she made her debut as Lucia di Lammermoor at the Academy of Music in New York. In 1861 she came to Europa (London) and in 1862 to Paris. That was the beginning of a long and very successful career and she sang in all the leading cities of Europa (Milano, Bruxelles, Monte Carlo, Vienna, Berlin, St. Petersburg and Moscow). She was the best paid singer of her time. Her last public performance was in 1914 at a charity-concert. She left about 32 gramophone recordings (from 1905 and 1906) of songs and arias. On the photo she is seen as Juliette in Gounod's "Roméo et Juliette".

Adelina Patti (1843-1919); Italian soprano. She came from a very musical family. Her father was the Italian tenor Salvatore Patti and her mother the soprano Catarina Chiesa Barilli. Her older sisters Amelia (1831-1915) and Carlotta (1835-1889) were also famous sopranos. Her brother Carlo (1842-1873) was a well known violinplayer and conductor. As a child Adelina moved to New York where her father worked at the Italian Opera as a stage-manager. At the age of 16 she made her debut as Lucia di Lammermoor at the Academy of Music in New York. In 1861 she came to Europa (London) and in 1862 to Paris. That was the beginning of a long and very successful career and she sang in all the leading cities of Europa (Milano, Bruxelles, Monte Carlo, Vienna, Berlin, St. Petersburg and Moscow). She was the best paid singer of her time. Her last public performance was in 1914 at a charity-concert. She left about 32 gramophone recordings (from 1905 and 1906) of songs and arias. On the photo she is seen as Desdemona in Rossini's "Otello".

Ludwig Schnorr von Carolsfeld (1836-1865); German tenor who created the role of Tristan in Wagner’s “Tristan und Isolde” at the Munich Hofoper on June 10, 1865. He was the son of the famous painter Julius Schnorr von Carolsfeld (1794-1872). In 1854 he made his debut at Karlsruhe as Naphtali in Méhul’s “Joseph”, but his big success came with his performance of Robert le Diable in Meyerbeer’s eponymous opera. Next there were engagements in Wiesbaden, Frankfurt a.M. and Düsseldorf. In 1860 he was engaged as first tenor at the “Hofoper Dresden”, where he stayed until his death. He was chosen by Richard Wagner to sing the première of “Tristan und Isolde” on June 10, 1865. In July the opera was repeated 4 times. His last performance was on July 9. 1865 as Erik in “Der fliegende Holländer”. At July 21, 1865 he died just 29 years old. He was married to the soprano Malvina Garrigues (1825-1904), who created the role of Isolde in “Tristan und Isolde”.

Malvina Garrigues-Schnorr von Carolsfeld (1825-1904); Portuguese soprano who created the role of Isolde in Wagner’s “Tristan und Isolde” at the Munich Hofoper on June 10, 1865. The dedication is to her cousin Felice, dated 16 December 1865 and signed by her as Malvina Schnorr von Carolsfeld, gebürtig (born) Garrigues.. I thank Josef Hasmueller for his attempt to decipher her difficult handwriting. The dedication might be read as follows: Meinem lieben Felice ........ Mit herzlichem Gruß und Segen Von seiner ihn herzlich liebenden Tante Malvina Schnorr von Carolsfeld geb. Garrigues 16/12 65