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(1) The most famous Baron Ochs was Austrian bass Richard Mayr
(1877-1935). Strauss said that he had Mayr in mind all along as he created
the music associated with this character. However, contractual obligations
with the Vienna Court Opera prevented Mayr from appearing in the Dresden
world premiere. He did introduce Ochs to Vienna, and later triumphed in this
role in London, Salzburg and Bayreuth. Mayr's impact at a 1924 Covent Garden
performance was summed up by Ernest Newman when he said, "His smile and
whistle during Annina's reading of the letter said more than a page of words
could have ever done."
(2)
German soprano Ottilie Metzger (1878-1943) whose life ended tragically in
the Auschwitz concentration camp, was an important German singer, graduating
from early Rhine-maiden roles into the major Wagnerian parts. Seen here as
Ortrud.
(3) Austrian soprano Anna von Mildenburg (1872-1947) made her
debut (1897) in Hamburg. In that same year she made her first of many
appearances at the Bayreuth Festivals. Her first contract (1897) with the Vienna
Court Opera stipulated that her salary be 14,000 guilders per year. With that
she was required to fulfill ten performances per month with no leave of absence
other than theater vacations and a summer break. Although von Mildenburg was
married to the poet and playwright Hermann Bahr, she was romantically linked to
the married conductor Gustav Mahler with whom she often worked and who was
largely responsible for building her career.
(4) Jeanette MacDonald (1907 - 14 Jan 1965): American soprano.
She sang musical comedy in New York before embarking in her highly successful
career in Hollywood musicals. She also appeared in a series of successful
operettas. She made her operatic debut (1940s) as Juliette in Roméo et
Juliette in Canada, and then sang Marguerite (Faust) at the Chicago
Opera.
(5) Russian baritone Maximilian Maksakov as Scarpia. He
studied with Everardi and began his singing in small cafés. He was a diminutive
man with a dramatic voice, which was said to lack charm and flexibility. Like
other Russian singers of his era, he became an impresario with visions of
reforming opera. Ultimately, his efforts proved futile and after suffering
financial loss he returned to the standard repertory.
(6) German soprano
Therese Malten (Isterburg: 1855-1930) as Elisabeth in Tannhäuser. She
studied with Gustav Engel in Berlin. She made her
debut (1873) in Dresden as Pamina (Zauberflöte) becoming a mainstay there
for thirty years. She was a frequent guest at Bayreuth.
(7) Zinaida Mamonova:
As Cherubino.
(8) Italian
mezzo-soprano Eugenia Mantelli (1860-1926). She made her debut in 1883.
She appeared at the Metropolitan Opera for six seasons. She was noted for her
Urbain (Les Huguenots), Amneris (Aida), and Ortrud (Lohengrin).
This postcard, which dates from 1906, advertises her appearances with the
English Grand Opera Company, which toured the United States.
The Contralto From
the Metropolitan Makes Her Debut at Hyde & Behman’s [Brooklyn]. The
Italian is billed as a mezzo-soprano, although nothing has happened to that
fine lower register with which she has rung out the music of Azucena and
Amneris for a good many seasons at the temple of fashion. She sang yesterday
with all the richness and power of voice which have made her a favorite….
The smaller theater … gave her an opportunity to show that she can sing runs
and trills with the smoothness and ease of her soprano sisters.
1902 Dec 02
Brooklyn Eagle.
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(9) Lucille Marcel (1877 - 22 Jun
1921) American soprano. Studied with Jean De Reszke. Debut (1903) at the
Opéra-Comique as Mallika (Lakmé) under the name Madame Marcelle.
Engaged in Vienna by Weingartner, whom she later married. Boston Opera. First
U.S. Djamileh.
(10) French soprano Blanche Marchesi
(1863-1940) was the daughter of the great French vocal teacher, Mathilde
Marchesi. Blanche made her debut (1900) in Prague as Brünnhilde.
Blanche Marchesi, the Baroness de
Cacamisi … standing like a goddess at the head of the piano in her home, amid
the works of all arts that she has patiently collected with the rare knowledge
and intuition of a Spitzer, singing one of Schubert’s song, every word of
which is felt as if it were coined in the innermost recessed of the heart and
pronounced by lips which knew the secret of magnetic inspiration. Blanche
Marchesi is the personification of song which holds the modern mind in sway
because it possesses all than man has thought, has felt and has suffered. She
is the perfect type of the coming singing. Emma Bullet.
Brooklyn Eagle, 4 Nov 1894.
(11) [Vanni]-Marcoux, [Jean Emile
Diogène] (12 Jun 1877 - 22 Oct 1962): French bass and baritone. Debut
Bayonne [no, not New Jersey] 1889 as Gounod's Friar Laurence. Covent Garden,
Turin, Paris Opera, Opéra-Comique, Chicago. Career lasted nearly 40 years.
Also director of the Grand Théâtre at Bordeaux (1948-1951).
(12) Vanni Marcoux.
(13)
Adolphe Maréchal
(Liege: 26 Sep 1867 - Brussels: 1935): Belgian tenor. Studied at the
Conservatoire and sang throughout the French provincial theaters. Debut (1891)
in Dijon. In 1895 he was engaged at the Opéra-Comique. He was Julien in the
world premiere of Louise. He was also involved in the first
performances of Grisélidis (1901), Le Reine Fiammette (1903)
with Mary Garden, le Chemineau (1907), and Le Jongleur de
Notre-Dame at the Monte Carlo Opera. He also appeared with great success
at the Palais Garnier, Nice, Moscow, and Brussels.
(14) Mezzo-soprano Jane Margyl
made her Paris Opéra debut on 22 Sep 1905 as Delilah. In 1906 she was seen
there as Amneris (Aida) and Fricka (Die Walküre). Postmarked in
1903.
(15) Italian Giovanni Martinelli
(1885-1969) was heir successor to the Metropolitan's tenor repertory after the
death of Caruso. He took the reins indeed, singing over 900 performances there
in an amazing 37 different leading roles. This beautiful Mishkin
photo-postcard of Martinelli as Canio in Pagliacci shows the warm smile
for which he was known.
(16) Nelly Martyl: Debut (20 Mar
1907) at the Paris Opéra in Armide. Her roles included Siebel (Faust),
Rafaela (Patrie!), and she created for that house the roles of Agne's (La
Catalane) and the Voice of the Muse (Amphyon). Monte Carlo Opera
(1908) and had a successful career at the Opéra-Comique.
(17) Fritzi Massary: Austrian
soprano (31 Mar 1882 - 31 Jan 1969): Began career in operetta. Created title
role in Die Kaiserin (1915), as well of several premieres in operettas
by Lehár, Oscar Strauss, and Robert Stolz. Munich Opera Festival, City Opera
of Berlin, Salzburg Festival, etc.. Voice treasured by Bruno Walter. Married
actor Max Pallenburg (1917) well known comedian of the German stage. Retired
in Beverly Hills, CA.
(18) Catherine Mastio:
French soprano (1877-?): Debut (24 Mar 1899) at the Opéra-Comique as Héro in
Beaucoup de bruit pour rien. She appeared as the Sandman in the first
OC performance (20 May 1900) of Hansel et Gretel, and Florence in La
Petite Maisson (5 Jun 1903). She also appeared at the Palais Garnier, la
Monnaie, and l'Opéra de Lausanne.
(19) This is an example of a "photo
montage" postcard that features Hungarian tenor Desidor Matray as
Tannhäuser. The artist has combined a real-photo image of Matray's head
with a pencil-sketched body. Matray appeared at Bayreuth in 1904 in this role.
Around that time Matray made a recording of Tannhäuser, excerpts of
which have been called, "dreadful."
(20)
Alexandr Matveyev: Russian tenor. He had a large and powerful voice.
His greatest roles were Sadko and Siegfried. Good top notes. Sang throughout
Russia.
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