(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.
(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 in 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.
(21) A serious-looking Erna Denera as Isolde in Tristan und Isolde. Photo by Gerlach. Published by Hermann Leiser in Berlin, number 6985.
(22) Boston born Bernice de Pasquali (1880-1925), originally Bernice James. She studied in Milan, and with Oscar Saenger in New York. She made her debut in Milan (1900) as Gilda in Rigoletto. She married Italian tenor Pietro de Pasquali who put together his own opera troupe, which included his wife as principal soprano. They toured the United States. Her Metropolitan Opera debut (1909) came when she replaced an ill Marcella Sembrich as Susanna in a performance of Le Nozze di Figaro. She remained at that House until 1917 as a principal coloratura soprano. For a performance of Aida (15 Jan 1910) she appeared as the Priestess under the pseudonym of Emma Laurier, a practice that singers applied when they chose not to have a billing.
(23) Adam Didur (24 Dec 1874 - 7 Jan 1946): Polish bass. Stage debut in Rio as Méphistophélès. Sang in London CG, Buenos Aires, Manhattan Opera, Metropolitan Opera. He created Ashby in the world premiere of La fanciulla del West, and the Woodcutter in Königskinder. He was the first U.S. Boris (1913). He was appointed Director of the Warsaw Opera in 1939 but he could not assume the position due to the outbreak of WW II and the bombing of Warsaw.
(24) Jean De Reszke [orig. Jan Mieczyslaw]: Polish tenor (14 Jan 1850 - 3 Apr 1925): Debut as baritone (1874: Turin). Debut as tenor (1879: Madrid) as title role in Robert le Diable. Paris premiere John the Baptist (Hérodiade). World premiere Le Cid. Covent Garden, Met.
(25) Vasili Damayev: Russian tenor. Damayev was a shepherd before he began his singing career. However, without guidance and training he began singing heavy roles too early in his career. He had the tendency to over sing during his performances, which resulted in a stray pitch and loss of tone.
