19th century opera singers

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 in 1865. She was the daughter of the Portuguese consul in Copenhagen and a pupil of the famous voice teacher Manuel Garcia Jr. in Paris. In 1847 she made her debut at Breslau as Isabella in Meyerbeer’s “Robert le Diable”. In the years 1849/54 she was engaged at the opera of Coburg und Gotha and Hamburg. From 1854/60 she was engaged at the Hofoper Karlsruhe and in 1860 she followed her husband Ludwig Schnorr von Carolsfeld to the “Hofoper Dresden”. She was chosen by Richard Wagner to sing the première of “Tristan und Isolde” on June 10, 1865 with her husband in the role of Tristan. After Ludwig's untimely death she gave up her career.

Ludwig Schnorr von Carolsfeld (1836-1865); German tenor who created the role of Tristan in Wagner’s “Tristan und Isolde” at the Munich Hofoper in 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 in 1865. She was the daughter of the Portuguese consul in Copenhagen and a pupil of the famous voice teacher Manuel Garcia Jr. in Paris. In 1847 she made her debut at Breslau as Isabella in Meyerbeer’s “Robert le Diable”. In the years 1849/54 she was engaged at the opera of Coburg und Gotha and Hamburg. From 1854/60 she was engaged at the Hofoper Karlsruhe and in 1860 she followed her husband Ludwig Schnorr von Carolsfeld to the “Hofoper Dresden”. She was chosen by Richard Wagner to sing the première of “Tristan und Isolde” on June 10, 1865 with her husband in the role of Tristan. After Ludwig's untimely death she gave up her career.

Pauline Lucca (1841-1908); Austrian soprano. She made her debut in 1859 as Elvira in Verdi's "Ernani". In 1861 the composer Meyerbeer -a great admirer of Lucca- made her sign a contract with the Royal Court Opera in Berlin where she stayed several years. During her career she performed in England, France and Russia and she also undertook several tours in America. From 1874-1889 she was associated with the Vienna State Opera. Important roles of her were Zerlina in "Fra Diavolo", Cherubino in "Le noze di Figaro", Selika in "L'Africaine" and Carmen in Bizet's eponymous opera. She retired in 1889. Albert Niemann (1831-1917); German tenor. He made his debut in 1851 in Meyerbeer’s “Le Prophète" and continued his studies e.g. with the famous French tenor Gilbert Duprez. His first marriage –which lasted only two years- was with the soprano Marie Seebach (1830-1897). It is said they divorced after he threw her out of a first floor window. In 1871 he remarried, this time with the actress Hedwig Raabe (1844-1905) who kept the windows shut. On 13-3-1861 he sang at the Grand Opera the for Paris revised version of Tannhäuser with Marie Sasse as Elisabeth and Fortunata Tedesco as Venus. From 1866 till 1888 Niemann was a member of the “Hofoper Berlin”. In 1886 he sang in New York at the Metropolitan the rôle of Tristan in the American première of “Tristan und Isolde” with Lilli Lehmann as Isolde. In 1888 he sang at the same house the rôle of Siegfried in the American première of “Götterdämmerung” with Lilli Lehmann as Brünhilde. The first complete production of “Der Ring des Nibelungen” was played at Bayreuth from 13 august to17 august 1876 and in the second opera “Die Walküre” Niemann performed the rôle of Siegmund. His son Oscar Niemann (1862-1894) -from his first marriage- was a very promising tenor but died early.

Pauline Lucca (1841-1908); Austrian soprano. She made her debut in 1859 as Elvira in Verdi's "Ernani". In 1861 the composer Meyerbeer -a great admirer of Lucca- made her sign a contract with the Royal Court Opera in Berlin where she stayed several years. During her career she performed in England, France and Russia and she also undertook several tours in America. From 1874-1889 she was associated with the Vienna State Opera. Important roles of her were Zerlina in "Fra Diavolo", Cherubino in "Le noze di Figaro", Selika in "L'Africaine" and Carmen in Bizet's eponymous opera. She retired in 1889. On the photo she is seen as Marguerite in Gounod's "Faust".

Franz Nachbaur (1830-1902); German tenor. He created the role of Walther von Stolzing at the première of Wagner’s “Die Meistersinger von Nürnberg” (1868) and the role of Froh in Wagner’s “Das Rheingold”(1869). He studied with the famous Francesco Lamperti in Milan and in 1857 he made his debut in Passau. In the years 1858/67 he was engaged at Meiningen, Hannover, Prague, Darmstadt and made guest appareances at Munich and Berlin. In 1868 he was engaged by the “Münchner Hofoper” where he remained “ first tenor” for a period of 22 years. In 1890 he gave his last performance in Munich as Chapelou in Adam’s “Der Postillon von Lonjumeau”. On the photo he is seen as Walther von Stolzing in Wagner's "Die Meistersinger von Nürnberg".

Lodovico Graziani (1820-1885); Italian tenor who created the role of Alfredo in Verdi's "La Traviata" at the Teatro La Fenice in Venice on 6 March1853. He was born into a musical family. Three of his brothers (baritone Francesco 1828-1901, baritone Vincenzo 1836-1906 and bass Giuseppe 1819-1905) also became professional singers. He studied with Cellini and made his debut in 1845 in Bologna in Cambiaggio's "Don Procopio". In 1846 he was heard at the Regio Teatro degli Avvalorati in Livorno as Elvino in Bellini's "La sonnambula". In 1847 he made his debut at La Scala Milan in the title role of Donizetti's "Dom Sébastien". In 1851 he sang in Paris at the Théâtre-Italien and in 1852 he was engaged in Venice at the Teatro La Fenice. Here he created the role of Alfredo at the première of Verdi's "La Traviata" in 1853. For the season 1854/55 he returned to Paris to sing again for the Théâtre-Italien. In 1855 Graziani returned to La Scala in Milan. He sang the role of Vasco da Gama in the first Italian performance of Meyerbeer's "L'Africaine" in Bologna in 1865. On the photo he is seen as The Duke of Mantua in Verdi's "Rigoletto" (1864).

Albert Niemann (1831-1917); German tenor. He made his debut in 1851 in Meyerbeer’s “Le Prophète" and continued his studies e.g. with the famous French tenor Gilbert Duprez. His first marriage –which lasted only two years- was with the soprano Marie Seebach (1830-1897). It is said they divorced after he threw her out of a first floor window. In 1871 he remarried, this time with the actress Hedwig Raabe (1844-1905) who kept the windows shut. On 13-3-1861 he sang at the Grand Opera the for Paris revised version of Tannhäuser with Marie Sasse as Elisabeth and Fortunata Tedesco as Venus. From 1866 till 1888 Niemann was a member of the “Hofoper Berlin”. In 1886 he sang in New York at the Metropolitan the rôle of Tristan in the American première of “Tristan und Isolde” with Lilli Lehmann as Isolde. In 1888 he sang at the same house the rôle of Siegfried in the American première of “Götterdämmerung” with Lilli Lehmann as Brünhilde. The first complete production of “Der Ring des Nibelungen” was played at Bayreuth from 13 august to17 august 1876 and in the second opera “Die Walküre” Niemann performed the rôle of Siegmund. His son Oscar Niemann (1862-1894) -from his first marriage- was a very promising tenor but died early. On the photo he is seen as Tannhäuser in Wagner's eponymous opera.

Bertha Ehnn (1845-1932); Hungarian soprano/mezzo-soprano. Her first appearances were as a concert singer in Vienna. In 1864 she made her debut on stage in Linz as Nancy in Von Flotow's "Martha". In the season 1864/65 she was engaged at the "Theater von Graz". In 1865/66 she made very successful appearances at Hannover, Nürnberg, Darmstadt and Graz. From 1866/68 she was engaged at the "Stuttgarter Hofoper". Only with great difficulty and after having paid a high penalty of 5000 Florins she could terminate this contract and join the "Wiener Hofoper" in 1868. Here in Vienna she debuted as Marguerite in Gounod's "Faust" and until the year of her retirement in 1885 she had a brilliant career. Highlights in her stage repertoire included roles such as Cherubino and the Countess in "Le nozze di Figaro", Pamina in "Die Zauberflöte", Agathe in "Der Freischütz", Orsini in "Lucrezia Borgia", Leonore in "La Favorita" and Rachel in "La Juive".

Bertha Ehnn (1845-1932); Hungarian soprano/mezzo-soprano. Her first appearances were as a concert singer in Vienna. In 1864 she made her debut on stage in Linz as Nancy in Von Flotow's "Martha". In the season 1864/65 she was engaged at the "Theater von Graz". In 1865/66 she made very successful appearances at Hannover, Nürnberg, Darmstadt and Graz. From 1866/68 she was engaged at the "Stuttgarter Hofoper". Only with great difficulty and after having paid a high penalty of 5000 Florins she could terminate this contract and join the "Wiener Hofoper" in 1868. Here in Vienna she debuted as Marguerite in Gounod's "Faust" and until the year of her retirement in 1885 she had a brilliant career. Highlights in her stage repertoire included roles such as Cherubino and the Countess in "Le nozze di Figaro", Pamina in "Die Zauberflöte", Agathe in "Der Freischütz", Orsini in "Lucrezia Borgia", Leonore in "La Favorita" and Rachel in "La Juive".

Bertha Ehnn (1845-1932); Hungarian soprano/mezzo-soprano. Her first appearances were as a concert singer in Vienna. In 1864 she made her debut on stage in Linz as Nancy in Von Flotow's "Martha". In the season 1864/65 she was engaged at the "Theater von Graz". In 1865/66 she made very successful appearances at Hannover, Nürnberg, Darmstadt and Graz. From 1866/68 she was engaged at the "Stuttgarter Hofoper". Only with great difficulty and after having paid a high penalty of 5000 Florins she could terminate this contract and join the "Wiener Hofoper" in 1868. Here in Vienna she debuted as Marguerite in Gounod's "Faust" and until the year of her retirement in 1885 she had a brilliant career. Highlights in her stage repertoire included roles such as Cherubino and the Countess in "Le nozze di Figaro", Pamina in "Die Zauberflöte", Agathe in "Der Freischütz", Orsini in "Lucrezia Borgia", Leonore in "La Favorita" and Rachel in "La Juive".

Therese Vogl, born Therese Thoma (1845-1921); German soprano who created the role of Wellgunde in Wagner's "Das Rheingold" (1869) and Sieglinde in Wagner's "Die Walküre" (1870). She studied singing with Hauser at Munich and in 1865 she made her debut at the Karlsruhe Hoftheater as Casilda in Auber's "La part du diable". The next year she received an engagement at the Hofoper von München. In 1868 she married the famous "first tenor" of this opera house, Heinrich Vogl (1845-1900). On 26 June 1870 she performed the role of Sieglinde in Wagner's "Die Walküre" with her husband Heinrich Vogl performing the role of Siegmund. Both were considered outstanding Wagner singers and were regarded as the successors of the married couple Ludwig and Malvina Schnorr von Carolsfeld, who had sung the title roles at the world premiere of Wagner's "Tristan and Isolde" in 1865 in Munich. She was the first to perform the role of Brünhilde in England –at a performance of the Ring Cycle staged at London's Her Majesty's Theatre- with Anton Seidl conducting and her husband singing Loge and Siegfried. She made many guest appearances in Germany and Europe. In 1892 she retired from the stage as her voice had begun showing signs of deterioration. Her final performance was in Munich as Isolde. She was appointed an honorary member of the Munich Opera. On the photo she is seen as Brünhilde in Wagner's "Die Walküre" (Munich 1870).

Amalie Materna (1844-1918); Austrian soprano. In 1865 she made her operetta debut at the "Thalia Theater" in Graz. She made her opera debut at the Vienna State Opera in 1869, singing the role of Selika in Meyerbeer’s “L'Africaine”. She stayed a regular performer at this theatre for the next 25 years. She created the title role at the première of Goldmark’s “Die Königin von Saba” (1875). She sang the role of Brünnhilde (in “Walküre”, “Siegfried” and “Götterdämmerung”) in Wagner’s first complete production of “Der Ring des Nibelungen” that was performed at Bayreuth from 13 august to17 august 1876. Her performances as Brünnhilde in “Siegfried” and “Götterdämmerung” in this Ring cycle were worldpremières.In 1882 she created the role of Kundry in “Parsifal” at Bayreuth. After her retirement she taught singing in Vienna. On the photo she is seen in the title role of Goldmark's "Die Königin von Saba" (Queen of Sheba), a role she created at the première on10 March 1875.

Franz Betz (1835-1900); German bass-baritone who created the role of Hans Sachs in Wagner's "Die Meistersinger von Nürnberg" (1868 /Munich) and the role of The Wanderer in Wagner's "Siegfried" (1876/Bayreuth). He studied singing at Karlsruhe and in 1856 he made his debut at the Hoftheater von Hanover as the King's Herald in Wagner's "Lohengrin". In the following years he sang at various provincial German Opera Houses (Altenburg, Gera, Bernburg, Köthen and Rostock). In 1859 he made a guest appearance at the Hofoper Berlin as Don Carlo in Verdi's "Ernani". His succes led to a permanent contract with this leading German Opera House. He remained there until the end of his career in 1897; at his retirement he received the title of "Honorary Member". He became one of Wagner's most valued singers. In 1868 he created the role of Hans Sachs in Wagner's "Die Meistersinger von Nürnberg" in Munich. He sang the role more than a hundred times and was closely identified with the character. He also sang Wotan in "Das Rheingold" and "Die Walküre" and The Wanderer in "Siegfried" for the first complete performance of Der Ring des Nibelungen (Bayreuth Festspielhaus, 1876). In 1876 on the occasion of the opening of the Bayreauth Festspielhaus he was one of the four soloists in the performance of Beethoven's Ninth Symphony with Richard Wagner as conductor. On the photo he is seen as Wanderer in Wagner's "Siegfried", the role he created in 1876 during the first Ring Cycle at Bayreuth.

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.

Gustave Roger (1815-1879); French tenor. The dedication is to Mr. Tony Hubert, dated 24 October 1864 and signed by Gustave Roger. The dedication reads as follows: à Mr Tony Hubert souvenir affectueux G. Roger Charleville 24 X. 1864

Gustave Roger (1815-1879); French tenor who sang in numerous premières. The most known are: Jean de Leyde in Meyerbeer's "Le prophète" (1849), Azaël in Auber's "L'enfant prodigue" (1850), Léon in Halevy's "Le juif errant" (1852) and Horace in Gounod's "La colombe" (1860). In 1838 he made his debut at the Opéra-Comique Paris as George in Halévy's "L'Éclair". During the following ten years, he was one of the most famous singers of the Opéra-Comique. In 1849 he was engaged by the Grand Opéra Paris where he made his debut as Jean de Leyde in Meyerbeer's "Le Prophète" with Pauline Viardot as Fidès. In the 1850s he undertook numerous guest appearances in Germany where he also sang in the German language. In 1851 and 1859 he appeared at the Berliner Hofoper, in 1851/52, 1854 and 1857 at the Stadttheater von Hamburg, in 1851 at the Hofoper von Dresden and in many other German cities. Due to a hunting accident in 1859 he lost his right arm. Until 1862 he remained at the Opéra-Comique and until 1868 he made guest appearances (Brussels, Prague etc). In 1868 he received his appointment as professor at the Conservatoire National in Paris. In 1880 his memories were published under the title "Le Carnet d'un Ténor".

Emilio Pancani (1830-1898); Italian tenor who created the title role in Verdi's "Aroldo" in 1857. The dedication is to Signorina Brunetti, dated 22 October 1861 and signed by Emilio Pancani. The dedication reads as follows: Alla gentile compagna d'arte, Sig:na Brunetti in segno di stima ed amicizia Emilio Pancani Berlino 22 9bre 1861

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.