Opera Singers - D - Page 4

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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. 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. 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. 
Emmy Destinn and Wilhelm Gruning
Tannhauser
Didur
Demuth
Denera
Dippel
Dufranne
A serious-looking Erna Denera as Isolde in Tristan und Isolde. Photo by Gerlach. Published by Hermann Leiser in Berlin, number 6985. 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. 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. Seen here with Vasili Damayev in Tosca.
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Druzyakina