(1-2) Georges Baklanov: Russian baritone: (1880-1938). He was anexceptional talent with an enormous voice. Jarmilá Novotna, who sang with him in a 1931 Berlin Les Contes d'Hoffmann, said that his Dr. Miracle "was indeed a demoniacal, satanic figure. . . . The voice was not velvety in texture, [but] infinitely expressive and chilling." (3) Rudolf Bandler (1884-1941). Bass-baritone Rudolf Bandler (Bohemia: 1878 - 1944) began his career in 1904 at the City Theatre Trier in Germany. He performed in other regional opera houses before arriving in Vienna in 1912, where he performed at the People's Opera house for 15 years. In 1922 he briefly left Vienna to perform Alberich at the Teatro Colón in Buenos Aires. During the late 1920s and the early 1930s he worked at the German Theatre in Prague as a singer and as a director. He was also a consummate performer on the concert stage. In 1941, Bandler, a German-speaking Jew in occupied Czechoslovakia, was transported to the Lodz ghetto in Poland. Bandler and his wife gave performances in the ghetto for heads of authority. He, his wife, and his daughter all perished in the camps.(4) Maria Barrientos: Revered Spanish soprano (1883-1946): She was a musical prodigy. She made her vocal debut (1898) at the Teatro Novedades in Barcelona as Ines in L'Africaine at the age of fifteen. She was a member of the Metropolitan Opera (1915-20), particularly admired for her skillfully sung Rosina, Gilda, and Adina (L'Eliser d'Amore). She had a faultless coloratura technique. (5) Georgette Bastien: Belgian mezzo-soprano. Studied with Mme. Cornelis at the Conservatory in Brussels. She began her career at the Monnaie in April 1901 in roles such as Amneria (Aida), Bragane (Tristan und Isolde), Fricka, Ortrud, Waltraute, Iphigenie, and Gertrude (Hamlet). She created several roles for the Monnaie. (6-10) Mattia Battistini: Italian baritone (1856-1928): Debut (1878) as Alfonso in La Favorita at the Teatro Argentina in Rome. His immediate success was the start of a career that lasted until 1927 when he was making concert appearances with a voice that had lost very little of its luster. He made frequent appearances in Russia (1892-1910), where he was especially beloved by the imperial family and the aristocracy. Battistini made two appearances across the Atlantic at Buenos Aires. However, Battistini could not be lured to New York by the Metropolitan Opera management. Battistini was in possession of technical agility which he displayed with embellishments. Perhaps it was those improvisations that prompted Verdi to say to Battistini, "I am the one who writes the music: It is for you to sing what I have written." He had enormous breath control and a wide range. His abilities are preserved in the large number of recordings he made.