German tenor Ernst Winkel as Werner in Nessler's Der Trompeter von Sackingen.German tenor Hermann Winkelmann (8 Mar 1849 - 18 Jan 1912): Debut (1875) Sonderhausen as Manrico. Created the title role in Rubinstein's Nero (1879). He created for Wagner Parsifal (Bayeruth: 1888). First London Walther and Tannhaüser. First Vienna Tristan and Otello.Basso Herbert Witherspoon (1873-1935) was born in Buffalo, New York. He was a member of the Metropolitan Opera Company for eight seasons, first appearing there in 1908. In 1930 he became the artistic director of the Chicago Opera. That experience led to his selection as the successor to Gatti-Casazza as general manager of the Metropolitan Opera. However, shortly after assuming the position he collapsed and died outside his office.
German soprano Marie Wittich (1868-1931) made her operatic debut (1882) in Magdeburg as Azucena (Il Trovatore). Her Covent Garden debut (1905) as Brünnhilde was described as "one of the most sympathetic and womanly Brünnhildes we have seen here." Wittich created, not without difficulty, the role of Salome in 1905. Wittich, during rehearsals, declared that her voice was too heavy for the role, the role too difficult to learn, and her figure unsuitable. She requested a postponement. Strauss, who was growing impatient with his prima donna wrote, ". . . we have fallen over ourselves to get you a piano score by Sept 1, and the high and mighty frau Wittich has left the rotten thing lying around for 5 weeks and can't even do it in the end."German tenor Otto Wolf (1871-1946). He made his debut (1897) at Sondershausen as Count Almaviva in Barbiere di Siviglia. He spent the majority of his singing career at the Munich Royal Opera.French soprano Charlotte Wyns (1868-?) studied at the Conservatoire National Superieur. In 1893 she was engaged by the Opéra-Comique and made her debut as Mignon. Wyns made appearances throughout the French provinces. In 1897 she was Divonne in the world premiere of Sapho, with Emma Calvé in the title role. Unlike Calvé, Wyns and Marie Delna were admired by Massenet for being faithful interpreters of his music. Her appearances in Brussels were particularly noted for her admirable Carmen and Santuzza. In 1903 she was seen as Santuzza and Nedda at Covent Garden. In 1915 she sang her Carmen in Monte Carlo.