Opera Singers - V - Page 2

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Verlet
Vecart
Vitting
Verlet
Vix
Vix
Viñas
von Bary
Vogelstrom
French soprano Raymonde Vécart studied at the Conservatoire de Lille and made her debut at the Opéra-Comique. She made her Paris Opéra debut (1917) as Gilda in Rigoletto. For that House she created the role of Ernestine in Monsieur Choufleuri. Photo by Benjamin. Belgian coloratura soprano Alice Verlet [Verheyden] (1873-1934) as Blondine in L'Enlèvement au Sérail, the role in which she made her Paris Opéra debut in 1903. Her first appearances were at the Opéra-Comique, although the dates of her debut there vary. Her great virtuosity brought her success in the roles of Philine, Rosina, Violetta, and Lakmé. She also appeared at La Monnaie, the Théâtre Gaité-Lyrique, His Majesty's Theatre, London, and at various locations in Europe while on tour. In 1915 at the Chicago Opera she was seen as Philine in several performances of Mignon, which featured Conchita Supervia, Charles Dalmorès, and Marcel Journet in the cast. Spanish tenor Francisco Viñas (later, Vigñas) as Tristan. He made his debut (1888) at the Teatro Liceo as Lohengrin. He was the Turiddu in the first performance of Cavalleria Rusticana in Eng-land (1893). He repeated that role for his Metropolitan Opera debut that same year opposite Emma Calvé who was also making her Metropolitan debut in the role of Santuzza. He remained on the roster until 1897. He had a powerful heroic tenor voice and was thought to be the successor to the superb Spanish tenor Julián Gayarre. Russian (Latvia) tenor Evgeni Vitting. Sang at the Narodny Dom (St. Petersburg); concerts in Kharkov, and the Marinsky. He also toured Western Europe. His voice was large and beautiful. He sang Vladimir (Prince Igor), the Indian Guest (Sadko), Likov (Tsar's Bride), Tannhäuser, and Raoul. He studied in Italy with Del Fiume, bringing the best of his Italian schooling to the Russian theatre. However, he was not know for his characterizations. French soprano Geneviève Vix (1879-1939) as Antonia in Les contes d'Hoffmann. She was Antonia in the first complete performances of this work. Vix made her debut (1906) at the Opéra-Comique in the title role of Louise. That same year she introduced Circé in Hillemacher's opera of the same name. She was Concepcion in the world premiere of L'heure espagnole. Vix had an international career, performing successfully in Buenos Aires, Madrid, New York, Chicago, Boston, Rome, and other cities. In the middle 1920s, despite problems with her voice, she created Catharina in La Mégère approvoisée for the Paris Opéra (1925) and La Tisbé in Angelo for the Opéra-Comique (1928).
Verlet
von Bary
von Bary
von Bary
German tenor Fritz Vogelstrom (1882-1963) as Parsifal in 1909. He made his debut (1903) in Mannheim as Tamino (Die Zauberflöte) where he remained until 1912. From 1912 through 1929 (the year he retired) he was a member of the Dresden Hofoper. He sang Parsifal, Lohengrin, and Frohe (Das Rheingold) at the 1909 Bayreuth Festival. He was especially admired by Cosima Wagner. Tenor Alfred von Bary (1873-1926) as Lohengrin. He was engaged for Bayreuth in 1904 and returned every summer through 1914. Albert von Puttkamer, who wrote 50 Jahre Bayreuth, an important book on Bayreuth (published in 1927), believed that von Bary was the greatest Lohengrin of his time. His rare recordings reveal a strong and pleasant voice.
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