(2) Lola Beeth: Soprano: (1860 - 18 Mar 1940) Born in Cracow. Shestudied with, among others, the great Pauline Viardot-Garcia in Paris, and Francesco Lamperti. She made a successful debut (1882) at the Berlin Imperial Opera as Elsa in Lohengrin. She sang for six seasons in Berlin and another ten in Vienna. Her Metropolitan Opera debut (2 Dec 1895) was again as Elsa. In her one season there she was seen as Nedda, Elisabeth, Marguerite, Micaëla, Sieglinde, Eva, and Nannetta (Falstaff). (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.(4-5) Paul Bender: German bass (1875-1947): He was the first German Don Quichotte, and created the role of Pope Pius V in Palestrina (1917). When he retired he became a singing teacher at the Munich Music School. Published by Joseph Paul Böhm, Munich, 1907. Seen here as Hunding. Bianca Bellincioni: Italian soprano: (1888-1981) She was the daughter of the singers Gemma Bellincioni and Roberto Stagno. She plunged into an operatic career after her marriage to a member of the Ricordi publishing company collapsed. She made her debut (1913) in Graz, Austria as Cio-Cio-San (Madama Butterfly). She had some success in opera and later in silent films.Gemma Bellincioni [orig.Cesira Matilda] (1864-1950) made her debut (1879?) in Naples in Orefice's Il Segreto della Duchessa. She had mixed vocal success in the standard opera repertory of the time. Her stage presence, acting, and interpretation, however, drew considerable attention and were ideally suited for the newer operas developed in the verismo style. She was selected, along with her husband, Roberto Stagno as Turiddu, to create the role of Santuzza in the premiere of Cavalleria Rusticana (17 May 1890). She was very popular in South America, but a disappointment at Covent Garden (1895), where she had to vie with sopranos such as Emma Albani, Emma Eames, Adelina Patti, Nellie Melba, and Marcella Sembrich for an audience's attention. Bellincioni also created the title role in Giordano's Fedora (17 Nov 1898). Bellincioni was chosen to be the first Italian Salome (1906).
(1) Russian soprano Leonida Balanovskaya (1883-1960). Her voice was comparedfavorably to some of the great Russian soprano voices of the early 1900s. Balanovskaya had been singing since the age of four. Later she studied with Sofia Tsekhanovskaya. She made her debut, with Tsereteli's private opera, in fairy-tale fashion by substituting for the ailing Livia Berlendi in a performance of Gioconda. Also in the cast was Titta Ruffo. She sang up until 1933 and then became a teacher at the Moscow Conservatory.