CONTRALTOS AND BASSOS.
The contralto in an opera company has a somewhat thankless task. Her
fate is to be either a boy, or else a nurse, duenna, or some character
which implies age. She frequently is obliged to stand mute while the
prima donna warbles and trills and receives the applause of the house,
and yet the musical demands upon the contralto are equal to those made
upon the soprano.
A contralto who was deservedly popular for many years during the middle
of this century was Adelaide Phillips. She was born in Stratford-on-Avon
in 1833, and in 1840 went with her family to Canada, afterwards settling
in Boston, where, in 1843, she appeared as an infant prodigy at the
Boston Museum. In 1850, her voice having attracted attention, she was
introduced to Jenny Lind, who advised her to study music. A subscription
soon raised the necessary funds, and she was sent to Manuel Garcia in
London, after which another fund was raised to enable her to go to
Italy, where she made her debut in 1854 at Milan. She sang with success
in many cities of both hemispheres, and her repertoire consisted of all
the contralto parts in the operas that held their places on the Italian
stage during the twenty-five years that she was known as an opera
singer. In 1879, when the Boston Ideal Opera Company was formed,
Adelaide Phillips was the chief contralto. She made her last appearance,
in Cincinnati, in December, 1881.
In 1882 the state of her health was such that she was obliged to go to
Carlsbad, and she died there on October 3d of the same year.
In private life Miss Phillips was highly esteemed, for she was not only
an artist of sterling abilities, but a woman of grand character and a
most devoted friend. She was buried at Marshfield, Mass., where the
family had lived for some years on an estate which her success had
enabled her to buy. Her life was one of hard and unceasing labor, but
she had the satisfaction of being able to care for the necessities of
her family, who were thrown upon her in early life.
A mezzo-soprano who took the public by storm in the early sixties was
Zelia Trebelli, or, as she was more widely known, after her marriage,
Madame Trebelli-Bettini. No member of Merelli's Italian troupe was
gifted with so brilliant a voice and so much executive power. Her
appearances in the opera houses in Germany were a series of triumphs,
public and critics alike being carried away by her voice, with its
brilliancy and flexibility, and her control over it.
Her early triumph was the result of long preparation, for her musical
education began when she was six years old, and her vocal training ten
years later. It was not until after five years of close application to
study that she made her debut in Madrid, playing Rosina in "Il
Barbiere," with Mario as Count Almaviva.
For many years Trebelli-Bettini remained one of the best of the galaxy
of opera singers which the operatic stage has displayed during the last
half of the century. In 1884 she made a tour in the United States with
Mr. Abbey's troupe. She was born in Paris in 1838, and died in 1892. Her
proper name was Zelia Gilbert, which expanded and Frenchified into
Gillebert and reversed gives Trebelli(g), the Italian name which has for
some years appeared to be necessary for all those who wish to succeed in
opera.
When Gounod's "Faust" received its first performance in England, in
1863, the cast included Tietiens, as Marguerite; Trebelli, as Siebel;
Giuglini, as Faust; Gassier, as Mephistopheles; and Charles Santley, as
Valentine.
Since the days of Alboni there has been no contralto singer to whom the
adjective "great" could be so fitly applied as to Sofia Scalchi. She was
born in Turin, and her parents were both singers. She made her debut in
1866 at Mantua, in the part of Ulrica (Un Ballo in Maschera), when she
was only sixteen years of age. Her first appearance in London took place
two years later, and from that time she remained a favorite in England,
where she sang in the memorable season of "Cenerentola," and every
season afterwards for more than twenty-five years. Madame Scalchi is
well known in America, where she first appeared under Mapleson's
management in 1882. She had been singing in Rio Janeiro, and reached New
York after a stormy voyage of twenty two days, which left her in such
an exhausted condition that she was incapacitated for a month, and her
illness played havoc with Mapleson's managements.
[Illustration: _Sofia Scalchi._]
Scalchi was the possessor of a voice of delicious quality and unusual
range, every note in its compass of two and a half octaves being of a
wonderfully soft yet penetrating tone, and of great power. Her
popularity was such that Patti and other prima donnas feared her as a
rival, and regarded with jealousy the applause which attended her
performances. Scalchi was imbued with the prima donna temperament, and
had the regulation parrots and other pets during her travels. Concerning
this portion of her equipage, Mapleson tells an anecdote to the effect
that Scalchi's parrot died the night before the company reached Salt
Lake City, in 1884, a bereavement which caused that lady to go into
hysterics and take to a bed of sickness. Notwithstanding every art of
persuasion and such threats as could be used, Scalchi refused to appear,
and her part had to be taken by a substitute.
In 1876 Signora Scalchi married Count Luigi Alberto Lolli, and her home
is at the Villa Sofia, Turin, Italy.
Marianne Brandt is one of those singers who have made their reputation
as exponents of Wagner opera. She is the daughter of a gentleman of
Vienna, named Bischoff, and it is related that she assumed the name of
Brandt upon beginning her stage career on account of her parents, who
strongly objected to her going upon the stage, and threw in her way
every possible obstacle. Marianne, however, was determined to persevere,
and she went through a period of patient, hard work, in order to gain
her education. It is said that at one time she supported herself, and
paid for her lessons by sewing.
Her first teacher was Frau Marschner, at the Conservatorium in Vienna,
but later on she took lessons of Madame Pauline Viardot-Garcia.
In 1867 she received an engagement at Gratz, where she made her debut as
Rachel, in "La Juive." Her parents had expected failure, hence their
unwillingness to allow the use of the family name.
In 1868 she sang at Hamburg, when she played Fides with such success
that she was immediately offered a permanent engagement, which was
accepted, and lasted for many years. During her leaves of absence she
appeared in London as Fidelio, but did not make a remarkable success,
though ten years later, when she sang in "Tristan and Isolde," her
artistic efforts were heartily appreciated.
Fraulein Brandt sang the part of Kundry at the second representation of
"Parsifal" at Bayreuth, and it is said that she generously gave her
services on that occasion. She has visited the United States several
times, taking part in some of the earlier representations of Wagner
opera in New York and other cities.
The next contralto singer to appear in opera was Annie Louise Cary, a
native of the State of Maine, where she was born in 1846, at Wayne. Her
family were all musical, and she was the youngest of six musical
children. By the time she was sixteen her voice had developed wonderful
qualities, and she was able to sing from C in the bass clef to F in alt,
a range of three octaves and a half. At the age of eighteen she went to
Boston, and secured a position in a church choir, while she studied
music. Her career in Boston was much the same as that of many young
aspirants for artistic honors,--"church choir and chores," it has been
facetiously called. By this it may be understood that she earned her
board by assisting in the household duties, while her church choir
position enabled her to pay for her vocal lessons. Her splendid voice
and musical intelligence soon enabled her to obtain concert engagements,
and before she went abroad she sang in many festivals and at the Handel
and Haydn Society concerts, on one of which occasions she was associated
with Parepa-Rosa.
Being possessed of much ambition, and with the energy which
characterizes the natives of the State of Maine, Miss Cary organized and
gave a concert in Music Hall, which brought her enough funds for a
year's study abroad. Her Puritan training forbade the idea of opera, and
it was her intention to study for concert and oratorio. At the end of
her year she was discouraged, and declared that she sang no better than
when she arrived. To this her teacher, Giovanni Conti, made no dissent,
for his one idea of singing was _opera_. Miss Cary flung down her music,
and left the room in disgust. And now came a curious mental revolution:
having refused to consider the possibility of singing in opera, and
having on that account left her teacher, she shortly afterwards met an
impresario named Lorini, for whom she sang. He offered her an engagement
to sing in Italian opera, and she accepted it. For two years she was in
Lorini's company, taking all kinds of parts. In 1869 she went to Paris
for further study, and while there met Maurice Strakosch, who was at
that time forming the Nilsson concert company, for a tour in America.
Miss Cary accepted the engagement which he offered her. The company
consisted of Miss Nilsson, soprano; Miss Cary, contralto; Brignoli,
tenor; Verger, baritone, and Vieuxtemps, violinist. This tour lasted two
years, and in 1873 Miss Cary again appeared in opera, creating the part
of Amneris, with Italo Campanini as Rhadames, when "Aida" was produced
at the Academy of Music in New York. The following year Miss Cary sang
Ortrud in "Lohengrin."
In 1879 and 1880 Miss Cary was a member of the Kellogg Concert Company.
During the last years of her career, 1879 to 1881, she sang again in
opera, adding to her repertoire the contralto part in "Favorita."
Campanini and Gerster were the tenor and soprano. In 1881 she made her
last appearance in opera in Philadelphia, and in 1882 she sang for the
last time at the Cincinnati festival, having taken part in each one
given from 1873. So well was she known at these festivals that when, in
1884, she attended as a member of the audience, she was at once
recognized and received an ovation on taking her seat. On retiring from
the stage in 1882, Miss Cary married Dr. C. H. Raymond, putting an end
to her public career when she was at the height of her popularity. All
young singers may take her early career as a model, for it should give
hope and courage to the many who are to-day making a similar struggle.
One of the members of Mapleson's company which visited the United States
in 1884, and which included Patti and Gerster, was Anna de Belocca, a
contralto of much merit. Her first appearance in this country, however,
was made under the auspices of Maurice Strakosch, in 1876, when she was
a new star on the operatic horizon. Mlle. de Belocca was unusually
attractive in person, with brown hair, large black eyes, dead-white
complexion, and symmetrical form. She was the daughter of M. de Bellokh,
a scholar of St. Petersburg and acting Imperial Councillor of State.
Mlle. de Belocca spoke five languages, and because of her aristocratic
birth was sought after by the highest circles of society.
Mapleson seems to have been well aware of her ideas on social matters,
for on one occasion he made use of his knowledge to help himself out of
a dilemma. His company was in Dublin, and the one suite of rooms at the
hotel was claimed by both Mlle. Salla, the prima donna, and Mlle.
Belocca, the contralto. Neither would give way until a happy thought
struck Mapleson, and, after taking the landlord aside for a short
conference, he asked whether there were actually no other rooms in the
house equal to the disputed ones. "There is a suite above this," was the
reply, "but they are reserved specially for Lady Spencer (wife of the
Lord Lieutenant of Ireland at that time), and it would be impossible for
me to let any one else use them." "Well, can't we look at them?"
suggested Mapleson. The landlord assented, and showed Mapleson up, Mlle.
Belocca following. As soon as she entered the rooms she declared that
they were delightful, and she should insist on remaining there. Of
course the landlord and Mapleson gave a reluctant but delighted consent,
and Lady Spencer made no requisition.
The principal contralto at the festival at Cincinnati in 1896 was Marie
Brema, who is to-day considered one of the greatest interpreters of
Wagner. Miss Brema was born in Scotland, and made her first appearance
in concert at St. James's Hall, London. She was introduced to Frau
Wagner, who was so well pleased with her that she offered her an
engagement to sing the part of Ortrud in "Lohengrin" and gave her
personal instruction.
In 1888 a London theatrical manager saw her play in some amateur
theatricals, and was so struck by her talent that he wanted to star her
as an actress. She declined his proposition, feeling that the operatic
stage was better suited to her capabilities. When she appeared at the
Bayreuth festival, in 1894, as Kundry and Ortrud, she made an immense
triumph. She sang with no apparent effort, naturally and gracefully, as
all true singers do. Her voice was full, round, and well placed, and her
coloring perfect.
Since that time she has fully maintained her reputation, and has been
heard in America with the Damrosch company, in 1894-5-9, and with Abbey
and Grau the following year. During the opera season in London in 1898
her work elicited the highest praise of the critics. Miss Brema is still
young, and is likely to hold a high rank among singers for many years to
come.
The singer in an opera company who shares with the contralto the hard
work, but seldom reaps much of the glory, is the bass, while the tenor
is always an object of adoration, or should be, if he is a good singer,
and the baritone has many good parts. The basso not only has thankless
parts allotted to him, but, from precedent, one generally expects him to
be wobbly and to sing frequently out of tune. Some bassos have broken
through the law of precedent, and then they have been delightful. An
operatic king or duke, who is usually a bass, is very seldom heard to
sing in tune, nor is the heavy villain of the opera, who is always a
bass, able to keep within half a note of the path laid down for him by
the composer. Two bassos who made their appearance at about the same
time were Signor Foli (1862) and Signor Agnesi (1864), and for many
years they were associated with Italian opera and oratorio throughout
Europe. Signor Foli was an Irishman whose real name was Allan James
Foley. He was born at Cahir, Tipperary, and went to America when very
young. His voice was a rich, powerful bass of more than two octaves,
from E below the line to F, and he had a repertoire of over sixty
operas.
Of late years several singers of English and American origin have
achieved distinction without the necessity of Italianizing their
name,--Bispham, for instance, being a striking example. There are
various reasons assigned for the necessity of a change. One is that the
name must be possible of pronunciation by the Italians, in whose
country the opera singer germinates, and the other is that Americans and
English have not yet learned to appreciate a singer by his merits, but
rather by his name. One of the most ridiculous instances of Italianizing
was in the case of Mr. John Clarke, of Brooklyn, who became Signor
Giovanni Chiari di Broccolini. On the other hand, Santley never found it
necessary to become Italian, nor did Sims Reeves. Myron Whitney is a
name needing no Italianization. Emma Eames has found her name no bar to
renown, and a score of singers who are now climbing the ladder of fame
are not ashamed of their Anglo-Saxon origin. Louis Ferdinand Leopold
Agnesi (Agniez) was a native of Namur, Belgium, and in his early days
essayed to be a composer. He brought out an opera, "Harold le Normand,"
which met with indifferent success, and then he became a singer,
receiving instruction from Duprez. His career was not long, for he died
in 1875, but he was a most popular singer.
Emil Fischer, who for many years has been associated with Wagner opera,
was the son of musicians, his father having been a well-known basso and
his mother also a singer of renown. He first appeared at Gratz at the
age of seventeen. In 1862 he took the management of the theatre at
Dantzig and held it for eight years. In 1882 he became a member of the
Royal Opera at Dresden, and remained there until, in 1885, he went to
New York and joined the German opera. Since that time he has become well
known in America, having appeared in most of the representations of
Wagner's operas.
Emil Scaria was for many years known as a versatile singer and actor,
more particularly in German opera. He made his debut in 1862 at Dessau,
after having studied in the conservatoire at Vienna and with Garcia in
London. From 1865 to 1872 he was at Dresden, and then at Vienna for
several years. Later on he visited America, and was one of the
celebrated Wagner trio, consisting of Materna, Winkelmann, and Scaria,
who in 1884 sang in the Wagner festivals. Scaria was born in 1838 at
Gratz. He created the part of Gurnemanz in "Parsifal," at Bayreuth. In
1885 he became a victim to insanity, and died the following year.
In 1876 Edouard de Reszke made his debut at Paris in "Aida," and entered
on a career of renown. He is the younger brother of Jean de Reszke, the
tenor, and it was at the instigation of Jean that he abandoned his
proposed occupation and took to the stage. Edouard had undergone a
course of study at the Agricultural College at Prikao, with a view to
developing the resources of the great estates in Poland belonging to the
De Reszke family. He accordingly proceeded to Milan, and studied with
Stella and Alba, and later on with Coletti. At the end of four years he
went to Paris for further study, and to make his debut.
His voice is a full, rich, resonant bass, capable of sending forth notes
of immense volume, or those of the most tender quality. His appearance
is that of a great, tall, broad-shouldered giant, with fair skin and
blue eyes, and his stage presence is imposing.
Four years after his debut in Paris he created the part of Il Re, in
Catalani's "Elda," and Massenet entrusted to him the creation of "Le Roi
de Lahore" when it was produced at La Scala in Milan. He has also
created the parts of Carlo V., in Marchetti's "Don Giovanni d'Austria,"
and Don Diegue, in "Le Cid." He was engaged in London during the seasons
from 1880-84, and became immensely popular. He has many friends in
England, for he has a weakness for everything connected with sport, in
the best sense.
Notwithstanding the many parts in which he has made the greatest
success, his assumption of the role of Mephistopheles, in "Faust," more
than any other, established his reputation as a great lyric artist, and
he is generally conceded to be one of the greatest bassos of the
century.
Of late years a French basso has arisen to share the popularity of
Edouard de Reszke,--Pol Plancon, who for more than a decade has been one
of the permanent stars of the Paris Opera House. M. Plancon was intended
for a mercantile career, but having been an enthusiastic singer from the
age of four, he rebelled against the decision of his parents. He was
nevertheless sent to Paris, and entered a large and fashionable store to
learn the business. One day Theodore Ritter, the pianist, heard him
sing, for he sang upon every possible occasion, and was so pleased with
his voice that he advised him to turn his attention to music. Through
the influence of Ritter he was admitted to the Ecole Duprez, and
thereby incurred the severe displeasure of his family.
M. Plancon made his first appearance at Lyons as St. Bris, in "Les
Huguenots," and remained there for two seasons. In 1883 he returned to
Paris, and made his Parisian debut at the Grand Opera House as Mephisto,
in "Faust," a part in which he excels. Since that time he has sung all
the chief bass roles at the Grand Opera House, and has created the parts
of Francois I., in Saint-Saens's "Ascanio," Don Gomez, in Massenet's "Le
Cid," and Pittacus, in Gounod's "Sapho," when that work was revived in
1893.
M. Plancon was born in the Ardennes, but since his position as a singer
was assured he has resided in Paris, where also his parents, whose
objections were disarmed by his success, have joined him.
[Illustration: _Plancon as Ramfis in Aida._]
Before closing this chapter of bassos a few words should be said
concerning three eminent singers whose reputation was made in
oratorio and concert singing,--Stockhausen, Henschel, and Myron W.
Whitney.
Julius Stockhausen was one of the most remarkable singers of the
century. He was born at Paris in 1826. His early career was of a varied
nature, for he took part in concerts as singer, violinist, accompanist,
and even drummer. He did not finally decide on music as a profession
until 1848, when he took the part of Elijah in a performance of that
oratorio at Basle, and his success decided his future career.
Stockhausen's singing in his best days must have been wonderful. Even to
those who heard him only after he had passed his prime, it was something
never to be forgotten. His delivery of opera and oratorio music was
superb in taste, feeling, and execution, but it was the Lieder of
Schubert and Schumann that most peculiarly suited him, and these he
delivered in a truly remarkable way. The rich beauty of the voice, the
nobility of style, the perfect phrasing, the intimate sympathy, and the
intelligible way in which the words were given, all combined to make his
singing wonderful. His highest achievement is said to have been his
delivery of the part of Doctor Marianus, in the third part of Schumann's
"Faust."
For many years Stockhausen has been one of the chief vocal teachers of
Germany, and has recently celebrated his golden wedding to the musical
profession, which he formally entered in 1848.
Although not an opera singer, but rather a broad musician, the name of
Georg Henschel will be remembered from the fact that for a few years he
was considered one of the most excellent oratorio and concert singers
before the public. He was born at Breslau in 1850, and at the age of
eleven commenced his studies under Doctor Schaeffer. A year later he
made his debut as a pianist at Berlin, where he played Weber's
Concerto. He had already composed a good deal of music and shown much
talent in that direction. In 1867 he entered the conservatory at
Leipzig, and studied under Moscheles, Richter, Reinecke, and Goetze.
After spending some time in Weimar, he settled in Berlin. One of his
most marked successes was in 1874, at the Cologne festival. In 1877 he
went to London, where he soon acquired a great reputation as a bass
singer, and in 1879 he produced the Triumphal Hymn of Brahms.
In 1880 he visited America on a concert tour, and while in Boston became
the conductor of the Boston Symphony Orchestra, which was organized and
established during the three years of his conductorship. In 1881 he
married Miss Lillian Bailey, a Boston lady, who was a concert singer of
marked ability. In 1884 he returned to London, where he has since
organized the London Symphony concerts, and won an enviable position in
the musical world.
Myron W. Whitney, who was born in 1836 at Ashbury, Mass., decided at an
early age on following a musical career. For ten years he sang in
concerts, and then went to Italy, where he studied under Vannucini, and
later in London under Randegger. He now made a tour of Great Britain,
and at the Birmingham festival sang the role of Elijah in such a manner
as to make an immediate reputation for himself. He has a superb bass
voice, which under long and careful training became flexible and even,
and which extended for nearly three octaves. After achieving a
reputation in England he returned to America, and from 1876 he has sung
only in his native land, where his reputation is unexcelled.
For many years Mr. Whitney sang in light opera, but he also gave an
interpretation of the King in "Lohengrin," under the baton of Theodore
Thomas, when the American Opera Company was floated, which is said to
have been finer than any heard in this country. Of late years Mr.
Whitney has retired from the stage and settled in Boston, where he
teaches singing.
To give an account of all the singers who have appeared in grand opera
would require several volumes. Of American singers alone there are many
more who have achieved fame than can be placed in this little book.
Alwina Valleria, of Baltimore, was well known, and is now married and
settled in England. Emma Juch, Helene Hastreiter, Marie Litta, Emma
Abbott, Louise Dotti are all of American origin and became well known.
Margaret Reed, Suzanne Adams, Susan Strong are singers whose stars are
in the ascendent.
As time passes on, the number of singers whose names are handed down as
"famous" is very small in proportion to the number of singers who come
before the public, and it is possible that even some of those mentioned
in this book may become dim in the distance of years.
CHRONOLOGICAL TABLE OF FAMOUS SINGERS.
The dates in italic are not authenticated.
-------------------------------------------+------+------+-------+-----
NAME | Birth| Debut|Retired|Death
-------------------------------------------+------+------+-------+-----
Ferri, Baldassare | 1610 | 1621 | | 1680
Abell, John | 1660 | 1682 | |_1716_
Nicolini, Nicolo Grimaldi | 1673 | 1694 | 1726 | ?
Leveridge, Richard | 1670 | 1695 | 1730 | 1758
Tofts, Mrs. Katharine | ? | 1703 | 1709 |_1740_
Epine, Francesca Margherita | ? | 1704 | 1718 | ?
Valentini, Valentino Urbani | ? | 1707 | 1714 | ?
Boschi, Giuseppe | ? | 1711 | 1728 | ?
Bernacchi, Antonio | 1690 |_1712_| 1730 | 1756
Galeratti, Catherina | ? | 1714 | 1721 | ?
Robinson, Anastasia | ? | 1715 | 1722 | 1750
Bordoni, Faustina (Hasse) | 1700 | 1716 | 1756 | 1783
Cuzzoni, Francesca (Sandoni) | 1700 | 1719 | 1750 | 1770
Senesino, Francesco Bernardi | 1680 | 1719 | 1735 | 1750
Tesi, Tramentini Vittoria |_1690_| 1719 |_1749_ | 1775
Durastanti, Margherita | 1695 | 1720 | 1734 | ?
Carestini, Giovanni | 1705 | 1721 | 1758 |_1758_
Farinelli (Carlo Broschi) | 1705 | 1722 |_1762_ | 1782
Borosini, Francesco | 1695 |_1723_| ? | ?
Caffarelli, Gaetano Majorano | 1703 | 1724 | 1750 | 1783
Fenton, Lavinia (Duchess of Bolton) | ? | 1726 | 1731 | 1760
Fabri, Annibale | 1697 | 1729 | ? | 1760
Gizziello, Gioacchino Conti | 1714 | 1729 | 1753 | 1761
Monticelli, Angelo Maria | 1710 | 1730 | ? | 1764
Beard, John | 1717 | 1736 | 1767 | 1791
Raff, Anton | 1714 | 1738 |_1779_ | 1797
Amorevoli, Angelo | 1716 | 1741 | ? | 1798
Guarducci, Tommasso Toscano | 1720 | 1745 | 1771 | ?
Guadagni, Gaetano | 1725 | 1747 | 1784 | 1797
Gabrielli, Caterina | 1730 | 1747 | 1780 | 1796
Mingotti, Regina | 1728 | 1748 | 1787 | 1807
Ciprandi, Ercole | 1738 | 1754 | 1763 | 1790
Arnould, Madeleine Sophie | 1744 | 1757 | 1778 | 1803
Calori, Angiola | 1732 | 1758 | 1783 |_1790_
Tenducci, Giusto Fernandino | 1736 | 1758 | 1791 |_1800_
Catley, Anne | 1745 | 1762 | 1784 | 1789
Amici, Anna Lucia de | 1740 | 1763 | 1789 | ?
Manzuoli, Giovanni | 1725 | 1764 | 1771 | ?
Ranzzini, Venanzio | 1747 | 1765 | | 1810
Pacchierotti, Gasparo | 1744 | 1769 | 1796 | 1821
Ansani, Giovanni | 1750 | 1770 | 1800 |_1815_
Allegranti, Madalena | ? | 1771 | 1799 | ?
Rubinelli, Giovanni Battista | 1753 | 1771 | 1800 | 1829
Mara, Gertrude Elizabeth | 1749 | 1771 | 1800 | 1833
Lebrun, Francesca | 1756 | 1771 | 1790 | 1791
Davies, Cecilia | 1752 | 1773 | 1791 | 1836
Marchesi, Luigi | 1755 | 1774 | 1806 | 1829
Cavalieri, Katharina | 1761 | 1775 | 1793 | 1801
Saint Huberty, Antoinette Cecile | 1756 | 1777 | 1789 | 1812
Solie, Jean Pierre | 1755 | 1778 | | 1812
Kelly, Michael | 1764 | 1779 | 1826 | 1826
Banti, Brigitta Giorgi | 1759 | 1779 | ? | 1806
Adamberger, Valentin | 1743 | 1780 | ? | 1804
Babbini, Matteo | 1754 |_1780_| 1802 | 1816
Crouch, Mrs. Anna Maria | 1763 | 1780 | 1800 | 1805
Garat, Pierre Jean | 1764 | ? | 1814 | 1823
Storace, Ann Selina | 1766 | 1780 | 1808 | 1817
Sestini, Giovanna | ? | 1783 | 1791 | ?
Crescentini, Girolamo | 1766 | 1783 | 1812 | 1846
Incledon, Charles Benjamin | 1763 | 1784 | 1826 | 1826
Bassi, Luigi | 1766 | 1784 | 1815 | 1825
Vogl, Johann Michael | 1768 | ? | ? | 1840
Schroeder-Devrient, Wilhelmine | 1804 | 1821 | 1847 | 1860
Billington, Mrs. Elizabeth (nee Weichsel) | 1768 | 1784 | 1809 | 1818
Saint Aubin, Jeanne Charlotte Schroeder | 1764 | 1786 | 1818 | 1850
Dickons, Mrs. (nee Poole) | 1770 | 1787 | 1822 | 1833
Braham, John | 1774 | 1787 | 1852 | 1856
Bertinotti, Teresa | 1776 | 1788 | 1823 | 1854
Lazzarini, Gustavo | 1765 | 1789 |_1802_ | ?
Crivelli, Gaetano | 1774 | 1793 | 1829 | 1836
Grassini, Josephine | 1773 | 1794 | 1817 | 1850
Pellegrini, Felice | 1774 | 1795 | 1829 | 1832
Catalani, Angelica | 1779 | 1795 | 1828 | 1849
Campenhout, Francois van | 1780 | 1797 | 1827 | 1848
Siboni, Giuseppe | 1780 | 1797 | 1818 | 1839
Velluti, Giovanni Battista | 1781 | 1800 | 1829 | 1861
Tacchinardi, Niccolo | 1776 | 1804 | 1831 | 1850
Galli, Filippo | 1783 | 1804 |_1830_ | 1853
Colbran (Rossini), Isabella Angela | 1785 | 1806 | 1824 | 1845
Forti, Anton | 1790 | 1807 | ? | 1859
Rubini, Giovanni Battista | 1795 | 1807 | 1844 | 1854
Garcia, Manuel del Popolo Vicente | 1775 | 1808 | 1828 | 1832
Davide, Giovanni | 1789 | 1810 | 1841 | 1851
Fodor-Mainvielle, Josephine | 1793 | 1810 | 1833 | ?
Pisaroni, Benedetta Rosamunda | 1793 | 1811 | 1829 | 1872
Stephens, Catherine | 1794 | 1812 | 1835 | 1882
Lablache, Luigi | 1794 | 1812 | 1856 | 1856
Begnis, Giuseppe de | 1793 | 1813 | ? | 1849
Begnis, Signora Claudine Ronzi de | 1800 | 1819 | ? | 1853
Brighenti, Mme. Maria | 1792 | 1814 | 1836 | ?
Camporese, Violanti | 1785 |_1816_| 1829 | ?
Pasta, Giuditta | 1798 | 1816 | 1850 | 1865
Donzelli, Domenico | 1790 | 1816 | 1841 | 1873
Boccabadati, Luigia | ? | 1817 | ? | 1850
Tamburini, Antonio | 1800 | 1818 | 1859 | 1876
Damoreau, Laure Cinthie Montalant | 1801 | 1819 | 1846 | 1863
Sontag, Henriette (Countess Rossi) | 1805 | 1820 | 1854 | 1854
Curioni, Alberico |_1790_|_1815_| ? | ?
Nourrit, Adolphe | 1802 | 1821 | 1839 | 1839
Schroeder-Devrient, Wilhelmine | 1804 | 1821 | 1847 | 1860
Frischer-Achten, Frau | 1805 | 1821 | 1856 | 1896
Unger, Caroline | 1805 | 1821 | 1840 | 1877
Caradori-Allan, Maria Caterina Rosalbina | 1800 | 1822 | 1846 | 1865
Paton, Mary Anne | 1802 | 1822 | 1844 | 1863
Duprez, Gilbert | 1806 | 1825 |_1842_ | 1896
Gras, Mme. Julie Aimee Dorus | 1807 | 1825 | 1851 | 1896
Malibran, Maria Felicita | 1808 | 1825 | 1836 | 1836
Badiale, Cesare | 1800 | 1827 | 1865 | 1865
Brambilla, Marietta | 1807 | 1827 | ? | ?
Templeton, John | 1802 | 1828 | 1852 |
Staudigl, Joseph | 1807 | 1827 | 1856 | 1861
Grisi, Giulia | 1812 | 1829 | 1861 | 1869
Albertazzi, Emma | 1814 | 1830 | 1846 | 1847
Seguin, Arthur Edward Shelden | 1809 | 1831 | ? | 1852
Ronconi, Giorgio | 1810 | 1831 | 1874 | 1890
Bishop, Mme. Anna | 1814 | 1831 | ? | 1884
Persiani, Fanny | 1812 | 1832 | 1858 | 1867
Stoltz, Rosina | 1815 | 1832 | 1849 | ?
Loewe, Johanna Sophie | 1815 | 1832 | 1848 | 1866
Frege, Mme. (Livia Gerhard) | 1818 | 1832 | ? | 1847
Moriani, Napoleone | 1806 | 1833 | 1847 | 1878
Novello, Clara Anastasia | 1818 | 1833 | 1860 |
Shaw, Mary (Mrs. Alfred Shaw) | 1814 | 1834 | 1843 | 1876
Poole, Elizabeth | 1820 | 1834 | 1870 |
Pischek, Johann Baptist | 1814 | 1835 | 1863 | 1873
Nau, Maria Dolores Benedicta Josephina | 1818 | 1836 | 1856 |
Sequin, Mrs. (Ann Childe) |_1818_| 1836 | | 1889
Castellan, Jeanne Anais | 1819 | 1836 | 1859 |
Tichatschek, Joseph Alois | 1807 | 1837 | 1870 | 1885
Fraschini, Gaetano | 1815 | 1837 |_1870_ |
Viardot-Garcia, Pauline | 1821 | 1837 | 1870 |
Mario, Chevaliere di Candia | 1812 | 1838 | 1867 | 1883
Belletti, Giovanni | 1813 | 1838 | 1863 |
Roger, Gustave Hyppolite | 1815 | 1838 | 1859 | 1879
Frezzolini, Erminia | 1818 | 1838 | 1853 | 1884
Thillon, Anna | 1819 | 1838 | 1856 |
Lind-Goldschimidt, Jenny | 1820 | 1838 | 1870 | 1887
Harrison, William | 1813 | 1839 | ? | 1868
Reeves, John Sims | 1822 | 1839 |_1891_ |
Gardoni, Enrico | 1821 | 1840 | 1874 | 1882
Rudersdorff, Mme. Herminie | 1822 | 1840 | 1872 | 1882
Tamberlik, Enrico | 1820 | 1841 | 1877 | 1889
Saiuton-Dolby, Charlotte Helen | 1821 | 1841 | 1870 | 1885
Formes, Karl | 1810 | 1842 | ? | 1889
Weiss, Willoughby Hunter | 1820 | 1842 | | 1867
Alboni, Marietta | 1823 | 1843 | 1871 | 1894
Reichardt, Alexander | 1825 | 1843 | 1857 |
Wagner, Johanna | 1828 | 1844 | 1861 | 1894
Ander, Aloys | 1821 | 1845 | 1864 | 1864
Gassier, Edouard | 1822 | 1845 | | 1871
Hayes, Catharine | 1825 | 1845 | 1857 | 1861
Formes, Theodora | 1826 | 1846 |_1864_ |
Borghi, Adelaide | 1829 | 1846 |_1870_ |
Bosio, Angiolina | 1830 | 1846 | 1859 | 1859
Cruvelli, Jeanne Sophie Charlotte | 1826 | 1847 | 1855 |
Burde-Ney, Jenny | 1826 | 1847 | | 1886
Pyne, Louisa Fanny | 1832 | 1847 | 1868 | ?
Cabel, Marie Josephe (nee Dreulette) | 1827 | 1849 | 1877 | 1885
Carvalho, Mme. Marie Caroline Felix | 1827 | 1849 | 1882 | 1895
Niemann, Albert | 1831 | 1849 | 1887
Tietiens, Therese Caroline Johanna | 1831 | 1849 | 1877 | 1877
Nantier-Didier, Constance Betsy Rosabelle | 1831 | 1850 | | 1867
Stockhausen, Julius | 1826 | 1848 | 1870 |
Faure, Jean Baptiste | 1830 | 1852 | |
Piccolomini, Maria | 1836 | 1852 | 1863 |
Parepa-Rosa, Euphrosine de Boyesku | 1836 | 1852 | 1873 | 1874
Bettini, Alessandro | 1830 | 1853 | |
Wachtel, Theodor | 1823 | 1854 | | 1893
Sedie, Enrico Delle | 1826 | 1854 |_1870_ |
Phillips, Adelaide | 1833 | 1854 | 1881 | 1882
Wilt, Marie | 1834 | 1857 | 1878 | 1891
Nicolini, Ernest Nicolas | 1834 | 1855 | 1878 | 1898
Betz, Franz | 1835 | 1856 | |
Rokitansky, Victor F. von | 1836 | 1856 | 1871 |
Peschka-Leutner, Mme. Minna | 1839 | 1856 | | 1890
Giuglini, Antonio | 1826 | 1857 | 1862 | 1865
Fancelli, Giuseppe | 1836 | ? | ? | 1889
Santley, Charles | 1834 | 1857 | |
Marimon, Marie | 1839 | 1857 | 1884 |
Artot, Mme. Marguerite Josephine D. M. | 1835 | 1857 | 1887 |
Naudin, Emilio | 1823 | 1858 |_1880_ |
Whitney, Myron W. | 1836 | 1858 | 1897 |
Galli-Marie, Mme. Celestine | 1840 | 1859 | |
Lucca, Pauline | 1841 | 1859 | 1884 |
Patti-Nicolini, Mme. Adelina | 1843 | 1859 | |
Trebelli-Bettini, Mme. Zelia | 1838 | 1859 | | 1892
Sherrington, Mme. Lemmens | 1834 | 1860 | |
Scaria, Emil | 1838 | 1860 | 1884 | 1886
Krauss, Marie Gabrielle | 1842 | 1860 | ? |
Foli, Allan James (Foley) | 1841 | 1861 | |
Agnesi, Louis Ferdinand Leopold | 1833 | 1861 | | 1871
Capoul, Joseph Victor Amedee | 1839 | 1861 |_1895_ |
Patti, Carlotta | 1840 | 1861 |_1880_ | 1889
Kellogg, Clara Louise | 1842 | 1861 | 1882 |
Murska, Ilma di | 1836 | 1862 | 1878 | 1889
Kraus, Dr. Emil | 1840 | | | 1889
Henschel, Georg | 1850 | 1862 | |
Nilsson, Christine | 1843 | 1864 | 1888 |
Materna, Amalie (Frau Friedrich) | 1847 | 1864 | 1894 |
Patey, Janet Monach | 1842 | 1865 | | 1894
Vogl, Heinrich | 1845 | 1865 | |
Vogl, Theresa Thoma | 1846 | 1865 | |
Roze, Marie | 1846 | 1865 | |
Nachbaur, Franz | 1835 |_1865_| |
Lloyd, Edward | 1845 | 1866 | |
Adams, Charles R. | 1848 | 1866 | 1879 |
Scalchi, Sophia | 1850 | 1866 | |
Brandt, Marianne | 1842 | 1867 | | 1893
Cary, Annie Louise | 1846 | 1867 | 1882 |
Lehmann, Lilli | 1848 | 1868 | |
Hauck, Minnie | 1852 | 1868 | 1886 |
Vaucorbeil, Anna Sternberg | 1845 | 1869 | 1873 | 1898
Heilbron, Marie | 1849 |_1869_| | 1886
Karl, Thomas | 1847 |_1870_|_1890_ |
Maurel, Victor |_1845_| 1869 | |
Gayarre, Giuliano | 1848 | 1873 | | 1890
Del Puente, Parquale | ? |_1870_| |
Schott, Anton | 1846 | 1870 | |
Sucher, Rose (Hasselbeck) |_1850_| 1870 | |
Albani, Marie L. C. E. Lajeunnesse | | | |
(Mrs. Ernest Gye) | 1850 | 1870 | |
Sterling, Antoinette | 1851 | 1871 | |
Campanini, Italo | 1846 | 1871 | 1890 | 1896
Valleria, Alwina Lohmann | 1848 | 1871 | |
Pappenheim, Mme. Eugenie | ? | 1872 | |
Abbott, Emma (Mrs. Wetherell) | 1850 | 1872 | | 1891
Malten, Therese | 1855 | 1873 | |
McGuckin, Barton | 1852 | 1874 | |
Belocca, Anna di | 1854 |_1874_| |
Reicher, Hedwig | 1853 | 1874 | | 1883
Shakespeare, William | 1849 | 1875 | |
Thursby, Emma | 1857 | 1875 | |
Gaylord, Mrs. Julia | 1852 | 1875 | | 1894
Reszke, Josephine de |_1855_| 1875 |_1884_ | 1890
Litta, Marie | 1856 | 1876 | 1883 | 1883
De Reszke, Jean | 1852 | 1874 | |
De Reszke, Edouard | 1855 | 1876 | |
Klafsky, Katharina | 1855 | | | 1896
Gerster, Etelka | 1856 | 1876 | 1887 |
Fursch-Madi, Mme | ? | 1876 | | 1894
Sembrich, Marcella | 1858 | 1877 | |
Van Zandt, Marie | 1861 | 1879 |_1898_ |
Bispham, David Scull | 1857 |_1880_| |
Nordica, Giglia (Lillian Norton) | 1856 | 1880 | |
L'Allemand, Pauline | 1862 |_1880_| |
Nevada, Emma (Wixom) | 1862 | 1880 | |
Plancon, Pol |_1860_| 1881 | |
Juch, Emma | 1863 | 1881 | |
Calve, Emma (Roquer) | 1866 | 1882 | |
Russell, Ella |_1862_| 1882 | |
Van Dyk, Ernest Marie Hubert | 1861 | 1883 | |
Engel, Marie | ? | 1887 | |
Melba, Nellie (Mitchell) | 1864 | 1887 | |
Ternina, Milka | ? | 1888 | |
Eames, Emma | 1867 | 1888 | |
Sanderson, Sybil | 1865 | 1889 | |
Davies, Ffrancon | ? | 1890 | |
Delna, Marie | 1875 | 1892 | |
Brema, Marie | ? | 1892 | |
-------------------------------------------+------+------+-------+-----
INDEX.
Abbott, Emma, 195-199, 323.
Adams, Charles R., 271.
Adams, Suzanne, 323.
Adler-Devries, Madame, 289.
Agnesi, 312, 313.
Agniez. See Agnesi.
Albani, Marie, 141, 187-195, 213, 225.
Alboni, Marietta, 89-94, 129, 144, 300.
Alvary, Max, 280.
Arnoldson, Sigrid, 252-253.
Arnould, Sophie, 20-22, 23.
Artot, Madame, 113-114.
Bailey, Lillian, 321.
Belocca, Anna de, 308-309.
Berthald, Barron, 228.
Betz, 122.
Billington, Mrs. Elizabeth, 27, 29-33, 34, 38, 59.
Bispham, David, 293-295, 312.
Bordogni, 43.
Bordoni, Faustina, 14-16.
Boschi, Giuseppe, 14.
Bosio, Angiolina, 88-89.
Braham, John, 35-37, 95, 96.
Brandt, Marianne, 272, 302-304.
Brema, Marie, 272, 310-311.
Brignoli, 165-167, 260, 261, 306.
Broccolini, Giovanni Chiari di, 313.
Broschi. See Farinelli.
Calve, Emma, 115, 128, 226, 227, 236-243, 257-258.
Campanini, Italo, 263, 267-270, 306, 307.
Camporese, Violante, 41.
Capoul, Joseph Victor Amedee, 262-263, 268.
Carvalho, Marie Caroline Felix Miolan, 106-107.
Cary, Annie Louise, 145, 186, 254, 263, 268, 271, 304-308.
Catalani, Angelica, 37-40, 116, 131.
Celli, Filippo, 59.
Clarke, John. See Broccolini, Giovanni Chiari di.
Colbran, Isabella Angela, 44.
Crescentini, Girolamo, 28-29, 33, 36, 44.
Cuzzoni, Francesca, 14-15, 116.
Damoreau, Laure, 41.
Davies, Ffrancon, 291-293.
Devrient, 78.
Devrient, Madame Schroeder. See Schroeder-Devrient, Madame.
Dotti, Louise, 323.
Duprez, Gilbert, 58, 106-107, 313.
Durastanti, Margherita, 13.
Eames, Emma, 226, 254-258, 313.
Engle, Marie, 251-252, 254.
Fancelli, 261-262.
Farinelli, 16-17, 131.
Faure, Jean Baptiste, 99, 106, 110, 285-287.
Fenton, Lavinia, 16.
Fischer, Emil, 314.
Fodor, Josephine, 41.
Foli, 312.
Formes, Karl, 100-103.
Gabrielli, Caterina, 18-20, 116.
Galassi, 291.
Galli-Marie, Madame, 114-115, 175, 240.
Garcia, Madame, 50.
Garcia, Manuel, 43, 49-51, 54, 57, 83, 144, 284, 297, 314.
Garcia, Pauline. See Viardot-Garcia, Madame.
Gardoni, Italo, 89.
Gassier, 300.
Gayarre, Madame, 235, 289.
Gerster, Etelka, 174, 187, 201-209, 213, 291, 307, 308.
Gilbert, Zelia. See Trebelli-Bettini, Madame.
Ginglini, Antonio, 267, 300.
Grassini, Giuseppa, 33-35, 59.
Grisi, Madame Giulietta, 58-63, 70, 74-75, 77, 79, 81, 88, 89, 104, 107,
116, 143, 144, 273.
Guglielmi, Giacomo, 59.
Hastreiter, Helen, 323.
Hauk, Minnie, 128, 145, 181-185, 186, 240, 254, 260.
Henschel, Georg, 319-321.
Ibos, Henry Guillaume, 283.
Incledon, Charles Benjamin, 35-36, 144.
Juch, Emma, 323.
Kalisch, Paul, 180-181.
Kellogg, Clara Louise, 145, 147-150, 186, 198, 254, 271.
Krauss, Marie Gabrielle, 146.
Lablache, Luigi, 60, 65, 67-70, 104.
Laborde, 238.
Lajeunesse, Marie Louise Cecelia Emma. See Albani, Madame.
La Maupin, Madame, 16.
Lassalle, 226.
Lazzarini, Gustavo, 33.
Lehmann, Lilli, 178-181, 272.
L'Epine, Margarita de, 12.
Le Rochois, Marthe, 16.
Levasseur, 43.
Lind, Jenny, 47, 81-88, 93, 116, 124, 131, 143, 167, 174, 211, 253, 273,
297.
L'Isle, Mecene Marie de, 114-115.
Litta, Marie, 254, 271, 323.
Lloyd, Edward, 282-283.
Lohse-Klafsky, Katharina, 200-201.
Lucca, Pauline, 116-127, 140, 144, 150, 263.
Lussan, Zelie de, 258-259.
Malibran, Maria Felicien, 43, 46-47, 49-53, 54, 55, 61, 77, 81, 107,
131, 143, 273.
Malten, Therese, 199-200.
Mara, Gertrude Elizabeth, 25-28, 38, 59.
Marchesi, Luigi, 28, 33.
Marchesi, Madame, 202, 231, 238.
Marimon, Madame, 289.
Mario,----, 17-18.
Mario, Cavaliere di Candia, 60, 61, 62, 63, 70-76, 104, 266, 267, 299.
Masini, 261-262.
Materna, Amalie, 168-175, 180, 200, 272, 280, 315.
Maurel, Victor, 263, 268, 287-290.
Melba, Madame, 226, 227, 243-248, 258, 275.
Mingotti, Caterina, 16.
Mitchell, Nellie. See Melba, Madame.
Murska, Ilma di, 150-157, 213, 263.
Nantier-Didier, Madame, 110.
Nevada, Emma, 219, 230-236, 254, 261, 289.
Nicolini, Ernest, 110, 139, 260-261.
Nicolini, Nicolino Grimaldi, 17-18.
Niemann, Albert, 264-265, 272.
Nilsson, Christine, 99, 140, 144, 150, 157-168, 174, 184, 193, 211, 253,
263, 268, 306.
Nordica, Lillian, 220-230, 254, 258, 272, 275.
Nourrit, Adolf, 57-58.
Pacchierotti, Gasparo, 22-23.
Padilla-y-Ramos, 114.
Parepa-Rosa, Euphrosine, 111-113, 174, 197, 305.
Pasta, Giuditta, 39, 41-44, 61, 77, 107, 116, 203.
Patti, Adelina, 116, 120, 124, 126, 127-142, 144, 145, 150, 152, 157,
161, 164-165, 174, 187, 204-205, 213, 218, 220, 240, 243, 245, 248, 260,
261, 276, 301, 308.
Patti, Carlotta, 146-147.
Persiani, Fanny, 79-80, 88.
Peschka-Leutner, Madame, 113.
Phillips, Adelaide, 145, 186, 254, 296-298.
Piccolomini, Maria, 111.
Pisaroni, Benedetta Rosamunda, 41.
Plancon, Pol, 226, 317-318.
Puente, Giuseppe del, 263, 291.
Puget, 238.
Ravelli, 260, 291.
Reed, Margaret, 323.
Reeves, John Sims, 95-97, 98, 283, 294, 313.
Reszke, Edouard de, 226, 272, 281, 289, 315-317.
Reszke, Jean de, 98, 226, 227, 228, 272, 273-277, 281, 289, 315.
Reszke, Josephine de, 281.
Robinson, Anastasia, 13-14.
Roger, Gustave Hyppolite, 94-95.
Ronconi, Georgio, 89, 104-105.
Roquer, Emma. See Calve, Emma.
Rotoli, Angusto, 75.
Roze, Marie, 175-178.
Rubinelli, Giovanni Battista, 22-23.
Rubini, Giambattista, 60, 63-65, 73, 131.
Russell, Ella, 251.
Salla, Mlle., 309.
Sanderson, Sybil, 248-251, 254.
Santley, Charles, 112, 284-285, 300, 313.
Santley, Edith, 285.
Sarti, 28.
Scalchi, Sofia, 226, 228, 291, 300-302.
Scaria, Emil, 173, 280, 314-315.
Schott, Anton, 279.
Schroeder-Devrient, Madame, 77-78.
Seguin, Elizabeth, 111.
Sembrich, Marcella, 140-141, 212-214.
Senesino, 14.
Sontag, Henriette, 39, 45-47, 77, 80, 88, 144.
Staudigl, Joseph, 48-49, 101.
St. Huberty, Antoinette Cecile Clavel, 24-25.
Stockhausen, Julius, 110, 319-320.
Strong, Susan, 323.
Tacchinardi, 79.
Tamagno, Francisco, 131, 280-282.
Tamberlik, Enrico, 97-100, 267.
Tamburini, Antonio, 60, 65-67.
Tenduccini, 30.
Thoma, Theresa. See Vogl, Theresa.
Tichatschek, Joseph Alois, 104.
Tietiens, Theresa Carolin Johanna, 106-109, 300.
Todi, 28.
Tofts, Katharine, 13.
Trebelli-Bettini, Madame, 298-300.
Valleria, Alwina, 254, 291, 323.
Van Dyck, Ernest Marie Hubert, 250, 277-279.
Van Rooy, 283.
Van Zandt, Marie, 215-219, 254.
Verger, 306.
Viardot-Garcia, Madame, 43, 49, 53-57, 79, 95, 107, 114, 303.
Vogl, Theresa, 266.
Vogl, Heinrich, 265-266, 272.
Wachtel, Theodore, 110, 112, 122, 263-264.
Weichsel. See Billington.
Whitney, Myron W., 313, 319, 322-323.
Winkelmann, Hermann, 173, 272, 279-280, 315.
Wixom, Emma. See Nevada, Emma.
* * * * *
The following typographical errors have been corrected by the ebook
transcriber:
Euphrosyne=>Euphrosine {2}
Sidney (unchanged)
Astrofiammente=>Astrofiammante
Pisaroni, Benadetta Rosamunda=>Pisaroni, Benedetta Rosamunda
Gabrielli, Catterina=>Gabrielli, Caterina
Crescentini, Girolano=>Crescentini, Girolamo
Puente, Guiseppe del=>Puente, Giuseppe del
Sontag, Henrietta=>Sontag, Henriette
Klafsky, Katarina =>Klafsky, Katharina
Malten, Therese=>Malten, Therese
St. Huberty, Antoinette Cecile Clavel=>St. Huberty, Antoinette Cecile Clavel
Carvalho, Mme. Marie Caroline Felix =>Carvalho, Mme. Marie Caroline Felix
Plancon=>Plancon {2}
Tannhauser=>Tannhaeuser {3}
Galli-Marie, Mme. Celestine=>Galli-Marie, Mme. Celestine
Lohne-Klafsky=>Lohse-Klafsky
Billington, Mrs. Elizabeth (nee Weichsell)=>
Billington, Mrs. Elizabeth (nee Weichsel)
Capoul, Joseph Victor Amedee=>Capoul, Joseph Victor Amedee
Calve, Emma=>Calve, Emma