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(1)
Charles Dalmorès
(1871-1939): French dramatic tenor. He
first studied horn at the Paris Conservatory which led to engagements by the
Cologne and Lamoureaux Orchestras for two years each. His tenor debut (6 Oct
1899) took place in Rouen. He was a popular figure at the Monnaie, the Paris
Opéra, Covent Garden, and the Manhattan and Chicago Operas. Seen here as
Lohengrin.
(2)
Charles Dalmorès.
(3)
Charles Dalmorès.
(4)
Portuguese baritone
Francesco D'Andrade
(1859-1921) as Don Giovanni, the role for which he was particularly famous. He
studied with Ronconi and Miraglia. He made his debut in San Remo (1882) as
Amonasro (Aida). He spent the majority of his career in Germany, where he
eventually settled.
(5)
Francesco D'Andrade as Don Giovanni.
(6)
Hariclée
Darclée (1860-1939): Italian soprano.
She created the title role of Tosca for Puccini in 1900. Darclée made her debut
(1888) in Paris as Marguerite in Faust. Her immediate success led to the
title roles in the world premieres of La Wally in 1892, the score of
which was dedicated to her, and Iris in 1898. She retired in 1918 a
relatively rich woman, but bad management of her finances forced her into the
Verdi Home in Milan. She died penniless in Bucharest, where she had been born.
Seen here as Tosca.
(7)
As a young man, tenor
Alexander Davidov
(1872-1944) toured with choirs to practice his
chosen trade. In order to afford private lessons he worked long hours at hard
labor and lived in shelters for vagrants. When he was ready, he accepted leading
roles in Odessa, Kharkov and Kiev before becoming a member of Mamontov's Private
Opera company in Moscow. Davidov appeared with success at the Imperial Opera in
St. Petersburg and at the Paris Opéra. However, his career came to an
unfortunate end around 1912 because of his decision to sing heavier roles than
his essentially lyric voice could handle and because of his eventual deafness. A
double exposure postcard which shows Davidov as both the singing pianist and the suffering
listener.
(8)
Alexander Davidov.
Seen here as Dubrosky.
(9) Spanish coloratura soprano Elvira de
Hidalgo (Aragon: 27 Dec 1892 - Milan: 21 Jan 1980): She first appeared in
pubic as a pianist at the age of twelve. Studied in Barcelona and Milan. She
made her debut (1908) in Naples (Teatro San Carlo) as Rosina. She appeared all
over the world: Paris, Cairo, Monte Carlo, Metropolitan Opera, La Scala, Rome,
South America, Covent Garden, etc. She is noted for being the only teacher of
Maria Callas.
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(10)
Elvira de Hidalgo.
(11) Decker Jacques as Lohengrin.
(12) Bass-baritone
Jean-François Delmas (1861-1933) made his debut (1886) as Saint-Bris in
Les Huguenots at the Paris Opéra, and remained a member of that Company
for his entire career—a remarkable 41 years. This imposing singer sang more
than 40 new roles for the Opéra. A quick study, Delmas appeared in four new
compositions, Astarté, Le Roi de Paris, Les Barbares, and Siegfried
in 1901 alone! Seen here is Astarte.
(13) Jean-François Delmas.
(14) Jean-François Delmas as Don Giovanni.
(15)
French
contralto Marie Delna
(1875-1932) created no less than nine roles for the Opéra-Comique where she
was a favorite with the audiences. However, even with those credentials, she
was overshadowed by an enormous pool of talent when she made her only
appearances at the Metropolitan Opera in 1910. Delna's debut (1892) took place
at the Opéra-Comique as Dido in Les Troyens. At the age of eighteen she
became France's first Charlotte in Werther, and later, the Opéra-Comique's
first Dame Quickly in Falstaff. Some of her other creations for that
House include Marion in La Vivandiere (1895), the title role in
Orphée (1896), Zerline in Don Juan (1896), Fee Grignotte in
Hänsel et Gretel (1900), Marianne in L'Ouragan (1901), and Vieille
Tili in La Lépreuse (1912). There, too, she created the role of
Marcelline in the world premiere of Bruneau's L'attaque du moulin. She
sang this role in the Covent Garden (1894) and Metropolitan Opera (1910)
premieres of this work. She also made appearances at the Monte Carlo Opera, La
Monnaie in Brussels, La Scala, and the Grand Theatre de Parme. Delna
originally announced her retirement in 1902 when she married M.A.H. de Saone,
but within a year she returned to the Opéra-Comique to reprise the role of
Marcelline. Even with her tremendously successful career, Delna died in a
poorhouse. She was buried by the State.
(16) Zélie De Lussan: American
mezzo-soprano (1861 - 1949):Debut (1884) Boston. Covent Garden (1895-1902).
First performance of Falstaff at the Met. Married pianist Angelo
Fronani. Records rare: Victor, Beka.
(17)
Marcelle Demougeot (1876-1931) was
born in Dijon and died in Paris. Her musical studies began in Dijon with
Charles Laurent and then with Hettich at the Paris Conservatoire. She made her
debut (17 Oct 1902) at the Palais Garnier as Donna Elvira in Don Giovanni.
The presence of a strong and confident voice gave Management the opportunity
to place her in important roles from the very beginning of her long and
illustrious career at the Paris Opera. In the 1906 world premiere of
Massenet's Ariane she created the role of Cypris. She became known as
one of the foremost French interpreters of Wagner's operas. She created seven
roles for the Paris Opéra, including Fricka in the first French L'Or du
Rhin (Das Rheingold). At the time of the signing of the peace treaty of
1919, Madame Demougeot had the honor of singing La Marseillaise before
one of the largest crowds ever gathered in the plaza in front of the Opéra.
Demougeot also made appearances in Bordeaux, Monte Carlo, Nice, and
Strasbourg. She retired in 1925 and became a singing instructor.
(18)
Marcelle Demougeot.
(19)
Marcelle Demougeot.
(20)
Marcelle Demougeot.
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