Opera's Golden Age In Postcards

as Don Jose in "Carmen" by Bizet Joseph O'Mara 1864-1927 Irish Tenor Studied in Milan, Italy, London stage debut in 1891 as Ivanhoe in "Ivanhoe" by Arthur Sullivan In 1894 he first appeared at Covent Garden Theatre. For three years, he was the principal tenor at Theatre Royal, Drury Lane, also appearing in the pantomime there and elsewhere. In 1896, he created the Mike Murphy, in "Shamus O'Brien" by Charles Villiers Stanford's After a series of concert engagements in London, Travelled again to America to create the tenor lead in Reginald De Koven's "The Highwayman". Leading tenor with the Moody-Manners Opera Company in London from 1902 to 1908, also performing extensively in Ireland with the company. Returned to Britain and joined the Thomas Beecham Company, singing tenor leads over the next few years, while also continuing to perform in concerts. In 1912, he founded O'Mara's Travelling Opera Company, in which he was the principal tenor until his farewell performance as Lohengrin in 1926. In all, O'Mara sang 67 tenor roles.

AINO ACKTE (originally Achte) 23 April 1876 – 8 August 1944) Finnish soprano. studied singing under her mother'( mezzo-soprano Emmy Achté (née Strömer) until 1894 when she entered the Paris Conservatory, studying under Edmond Duvernoy and Alfred Girodet. Her debut at the Paris Grand Opera was in 1897 as Margurite in "Faust" by Gounod .In 1904 she was engaged by the New York Metropolitan Opera where she remained until 1906 . In 1911, Ackté, Oskar Merikanto, and Edvard Fazer founded the Kotimainen Ooppera (renamed in 1914 Finnish Opera)and was to act as its director in 1938-39. After parting ways with the National Opera, Ackté organized an international Savonlinna Opera Festival beginning on 3 July 1912;[9] it was held 1912-14, 1916 and 1930.1906. She created the title role of Richard Strauss's " Salome" at its local premieres in Leipzig (1907) and London (1910).She ended her international travels in 1914 and returned to Finland, where she gave her farewell performance in 1920. Her final public performances took place at the Savonlinna Opera Festival in 1930.

AINO ACKTE (originally Achte) 23 April 1876 – 8 August 1944) Finnish soprano. studied singing under her mother'( mezzo-soprano Emmy Achté (née Strömer) until 1894 when she entered the Paris Conservatory, studying under Edmond Duvernoy and Alfred Girodet. Her debut at the Paris Grand Opera was in 1897 as Margurite in "Faust" by Gounod .In 1904 she was engaged by the New York Metropolitan Opera where she remained until 1906 . In 1911, Ackté, Oskar Merikanto, and Edvard Fazer founded the Kotimainen Ooppera (renamed in 1914 Finnish Opera)and was to act as its director in 1938-39. After parting ways with the National Opera, Ackté organized an international Savonlinna Opera Festival beginning on 3 July 1912;[9] it was held 1912-14, 1916 and 1930.1906. She created the title role of Richard Strauss's " Salome" at its local premieres in Leipzig (1907) and London (1910).She ended her international travels in 1914 and returned to Finland, where she gave her farewell performance in 1920. Her final public performances took place at the Savonlinna Opera Festival in 1930.

Pierre Etienn Triadou 1875- French Baritone Debut 1903 in FAUST (Valentin).1905, ARMIDE (Aronte), THE CID (Saint Jacques); In 1908, HIPPOLYTE AND ARICIE (Arcas), ROMEO AND JULIETTE (Mercutio); In 1909, Rigolette (Marcello), Les Hugguenes (Moine, then de Méru and, in 1913, Leonard), Guillaume Tell (Leuthold); In 1910, SALOMÉ (Slave); In 1911, THE MASTERS SINGING IN NUREMBERG (Nachtigall), LOHENGRIN (Herald); In 1912, THE PROPHET (Officer), ROMA (Caius), SIBERIA (Miskinsky, the Banker); In 1913, the MIRACLE (Tirso). Created TRISTAN ET ISOLDE (Pilote); October 31, 1906 ARIANE (Chief of the nave) of Jules Massenet; THE CATALAN (Blas), MONNA VANNA (Torello); May 02, 1909 BACCHUS (Mahouda) by Jules Massenet; SIBERIA (the Invalid), FERVAAL (Gwalkingular, a Peasant), LE SORTILEGE (Humpbacked Beggar), THE JOYAUX OF MADONE (Rocco), PARSIFAL (Chevalier), SCEMO (Coppola).

as Lohengrin in "Lohengrin" by Wagner Vilhelm Christoffer Herold March 19, 1865 – December 15, 1937 Danish Tenor Debut 1893 in the title role of Gounod's Faust at the Royal Theatre in Copenhagen. he also sang throughout Europe, including a command performance for King Edward VII at Buckingham Palace in 1905. The previous year, he had made his Covent Garden debut in the title role of Lohengrin. He also sang at the 1893 World's Fair in Chicago.Upon his retirement from the stage, Herold worked primarily as a voice and drama teacher at the Royal Theatre in Copenhagen,

as Romeo in "Romeo & Juliette" by Gounod Vilhelm Christoffer Herold March 19, 1865 – December 15, 1937 Danish Tenor Debut 1893 in the title role of Gounod's Faust at the Royal Theatre in Copenhagen. he also sang throughout Europe, including a command performance for King Edward VII at Buckingham Palace in 1905. The previous year, he had made his Covent Garden debut in the title role of Lohengrin. He also sang at the 1893 World's Fair in Chicago.Upon his retirement from the stage, Herold worked primarily as a voice and drama teacher at the Royal Theatre in Copenhagen,

as David in " Saul og David ' by Carl Nielsen CREATOR 28 November 1902 Vilhelm Christoffer Herold March 19, 1865 – December 15, 1937 Danish Tenor Debut 1893 in the title role of Gounod's Faust at the Royal Theatre in Copenhagen. he also sang throughout Europe, including a command performance for King Edward VII at Buckingham Palace in 1905. The previous year, he had made his Covent Garden debut in the title role of Lohengrin. He also sang at the 1893 World's Fair in Chicago.Upon his retirement from the stage, Herold worked primarily as a voice and drama teacher at the Royal Theatre in Copenhagen,

as Romeo in "Romeo & Juliette" by Gounod Vilhelm Christoffer Herold March 19, 1865 – December 15, 1937 Danish Tenor Debut 1893 in the title role of Gounod's Faust at the Royal Theatre in Copenhagen. he also sang throughout Europe, including a command performance for King Edward VII at Buckingham Palace in 1905. The previous year, he had made his Covent Garden debut in the title role of Lohengrin. He also sang at the 1893 World's Fair in Chicago.Upon his retirement from the stage, Herold worked primarily as a voice and drama teacher at the Royal Theatre in Copenhagen,

as Romeo "Romeo & Juliette' By Gounod JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

as Siefried "Siefried" by Wagner JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

as Siefried "Siefried" by Wagner JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

Jean de Reszke as Romeo "Romeo & Juilette " Gounod JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

as Siefried "Siefried" by Wagner JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

as Siefried "Siefried" by Wagner JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

as Manrico "Il Trovatore" by Verdi JEAN DE RESZKE (Jan Mieczyslaw RESZKE ) (14 January 1850 – 3 April 1925), Polish Tenor abandoned his legal training and went to Milan in Italy to study voice. The most acclaimed of the pedagogues consulted by the young de Reszke was Antonio Cotogni, an eminent baritone who was a favorite of Giuseppe Verdi's. In January 1874, he made his debut in Venice as Jan de Reschi (he later changed it to Jean de Reszke), undertaking the baritone part of Alfonso in a production of Donizetti's La favorite . The following April, he sang for the first time in London, performing at the Theatre Royal, Drury Lane, and a little later in Paris, essaying an array of different baritone roles. De Reszke displayed limitations as a baritone and he withdrew from the stage to allow for a further period of study, this time with Giovanni Sbriglia in Paris. Under Sbirgilia's tutelage, his voice gained remarkably in the freedom of its upper register. Accordingly, when he made his first operatic reappearance in 1879 (in Madrid), it was as a tenor, scoring a success in the title-role of Meyerbeer's Robert le diable. Indeed, the then 29-year-old de Reszke's immense fame as a singer dates

Marie Charles- Rothier (Marie Julieann Beretta) 1877-???? French Soprano Debut 1901 as Louise "Louise" opera Comique .

HERMAN WINKLEMANN (8 March 1849 – 18 January 1912) German Tenor He went to Paris to study piano construction, but while there he decided to become a singer. He had his initial training in Paris, and later with Koch in Hanover. Made his debut as Manrico in Verdi's Il trovatore in the Court Theatre of Sondershausen in 1875.He created Anton Rubinstein's Néron , title role of Parsifal at the Bayreuth Festspielhaus in 1882.He was the first Tristan in Vienna (1883), and also the first Otello in that city, where he remained until 1906

HERMAN WINKLEMANN (8 March 1849 – 18 January 1912) German Tenor He went to Paris to study piano construction, but while there he decided to become a singer. He had his initial training in Paris, and later with Koch in Hanover. Made his debut as Manrico in Verdi's Il trovatore in the Court Theatre of Sondershausen in 1875.He created Anton Rubinstein's Néron , title role of Parsifal at the Bayreuth Festspielhaus in 1882.He was the first Tristan in Vienna (1883), and also the first Otello in that city, where he remained until 1906