(1) Andreas Dippel: German tenor and impresario (30 Nov 1866 - 12 May 1932): Originally a banker while taking singing lessons. His first engagement was in Bremen (1887). He made his American debut at the Metropolitan Opera (26 Nov 1890). Also sang at Covent Garden, Munich, Bayreuth. His repertoire consisted of over 150 roles. In 1908 he became the administrative manager of the Met Opera, and then the Chicago Opera Company.

(2) Fidès Devriès. French soprano born in New Orleans, LA (22 Apr 1851 - 1941). From the New York Times on 4 Jul 1884: ""Mme. Fidès Devriès is to visit America next season. The lady--- wife of the dentist Adler---has returned to the stage, which she left when quite young and almost immediately after a very legitimate triumph at the Grant Opera. Coming after Nilsson, and singing the same roles, the trial was formidable, but the artist, possessing if not a phenomenal voice, at least a remarkably sweet tone and a peculiarly quiet and refined method, seemed easily to win her audience, and her early retreat and apparent sincere resolve never to appear again in public was quite a distressing disappointment. Like all other singers, Mme. Adler tired of private life, and Mme. Devries returned officially to the Italiens last season in Massenet's Herodiade with great success."

(3) Fidès Devriès.

(4) Laurentii Donskoi. Russian tenor.

(5) Russian soprano Sofia Druzyakina had a fine career in Kiev. She had a large lyric voice that was especially successful in roles such as Tosca and Tatyana (Eugene Onegin). Her stage mannerisms were simple and effective.

(6) Welsh tenor Ben Davies (1858-1943). He sang for many years in the Carl Rosa Opera Company and after Edward Lloyd's retirement was even more in demand. He inaugurated the Royal English Opera (now the Palace Theater) in the title role of Sullivan's Ivanhoe in the world premiere of that work, which the composer conducted himself. Ben Davies had a beautiful voice but one bad habit: he often sang with his eyes shut.

(7) Hector Dufranne (25 Oct 1870 - 4 May 1951): Belgian bass-baritone. Debut Brussels, 1896, as Valentine. Also appeared at the Opéra-Comique where he created Marquis de Saluces in Grisélidis (1901), Golaud in Pelléas et Melisande (1902), Amaury-Ganelon in Rabaud's La Fille de Roland (1904), and the title-role in Leroux's Chemineau (1907). Also had a number of "firsts" in the USA, singing at the Manhattan Opera and Chicago. Sang until 1939.

(8) Hector Dufranne.

(9) Jeanne Daffetye was Bertrade in the first performance of Grisélidis at the Opéra-Comique (20 Nov 1901). Seen here as Cherubin.

(10) One of the most admired singers in the world of opera was Czechoslovakian soprano Emmy Destinn (1878-1930). Born Emmy Kittl, she adopted the surname of her teacher, Marie Loewe-Destinn. Destinn made her debut (1897) in Dresden as Santuzza (Cavalleria Rusticana). She was immediately hired for the Kroll Theatre in Berlin where she remained for ten years. At Covent Garden in London, where she appeared from 1904 through 1914, she triumphed in roles like Aida (seen here), Cio-Cio-San, and Carmen. Her debut as Aida at the Metropolitan Opera was on 16 Nov 1908.

(11) Claire Dux (Witkowicz: 2 Aug 1885 - Chicago: 8 Oct 1967): German soprano. Studied in Berlin and Milan with Teresa Arkel. Debut Cologne (1906) as Pamina. Covent Garden (1913) (first English Sophie), Berlin (1911-18), Chicago (1921-24). Retired early after marrying a wealthy American. Seen here as Agathe in Weber's Der Freischütz.

(12) Austrian baritone Leopold Demuth (1861-1910). He made his debut (1889) in Halle in the title role of Hans Heiling. He had short engagements in Leipzig and Hamburg before settling in at the Vienna Imperial Opera where he had his finest years. He had one of the most beautiful baritone voices of his era, outstanding in both the Wagner and Mozart repertory. His life was cut short when he suffered a heart attack during a concert in Romania and died.

(13) Raoul DeLay in Sigurd.

(14) Marié DeL'isle: Paris Opéra ballet.

(15) French contralto Marie Delna (1875-1932) created no fewer 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) French contralto Emmy Destinn as Elisabeth in Tannhauser.

(17) 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 Faust. A Klary photo.