Series - The Rose Company - Page 1

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The Rose Company was a major postcard producer. Among the postcards they produced were two beautiful 3-image sets --- one of opera personalities and one of actors. They were published in 1906-07. They are made of quality heavy stock with gold edges. The opera cards can be distinguished from the actor cards by the inclusion of a bar of music in the center of the card. Both sets have facsimile signatures. These cards are difficult to find and command a high price. Alessandro Bonci (Cesena, Italy: 2 Feb 1870 - Viserba, Italy: 10 Aug 1940), Italian tenor. He made his stage debut (1896) at Parma as Fenton in Falstaff. He appeared all over the world, including the first ever performance at the Manhattan Opera in NY (Arturo, 1906). He was specifically hired by Hammerstein to counteract the performances of Caruso at the Metropolitan Opera. However, after one season there he jumped ship in favor of the Met. He appeared at the Met from 1907 - 1910. There is a theater named after him in his birth town of Cesena, Italy. Emma Eames [Story]: American (born in Shanghai) soprano (13 Aug 1865 - 13 Jun 1952): Debut Paris 1889 (Juliette, chosen by Gounod). Created Colombe (Ascanio), title role in De la Nux's Zaire. Seen here as Aida and Tosca. Swedish-American [mezzo] soprano Olive Fremstad (1871-1951). She sang the title role in Salome in the scandalous U.S. premiere of that work at the Metropolitan Opera in 1907. It was subsequently banned from the repertory and did not reappear at that house until 1934. Seen here as Venus and Carmen. Johanna Gadski [Emilia Agnes]: German soprano (15 Jun 1872 - 22 Feb 1932): Debut Berlin (Kroll Opera) 1889 as Undine. Damrosch Company, London CG, Met. Left America when her husband was deported for his German connections. Bayreuth, Munich. Seen here as 'Brunhilde' and Aida. Bohemian, later American, contralto Ernestine Schumann-Heink (1861-1936). Her concert debut took place in Graz at the age of fifteen in a performance of Beethoven's Ninth Symphony. Only two years later she made her operatic debut as Azucena (Il Trovatore) at the Dresden Royal Opera. In 1926, to commemorate the fiftieth anniversary of her singing debut in Graz, she performed to a packed house at Carnegie Hall. Seen here as Waltraute and Erda. American contralto Josephine Jacoby (1875-1948) spent the majority of her operatic career at the Metropolitan Opera (1903-08), making only occasional operetta and concert appearances thereafter. She was one of the unfortunate Metropolitan singers who was on tour in San Francisco during the great earthquake and fire of 1906. Unlike some of her companions, she was able to return to her Palace Hotel room long enough to gather her jewelry and dress more fully; however, she only managed to slip her feet into Frasquita's gold slippers, which she wore only hours before in a performance of Carmen. Seen here as Stephano and Siebel. French bass Marcel Journet (1867-1933) is shown here in Le Prophète and Carmen. An accomplished singer and actor, he was admired throughout his career, which spanned more than four decades. He sang in the world premiere of Boito's Nerone. His American premieres included Salome, Parsifal, and De Lara's Messaline. His versatility was in evidence by his mastery of over 60 roles in the French repertory, 27 Italian roles, and all of the principal Wagner basso roles. Copyright 1906.
Helen Mapleson. (c1870 - Port Washington, NY: 5 Dec 1961) The passage here is from Meistersinger. She had a small operatic career. Among her performances was an 1902 appearance as Leuconöe in Messaline at the Academy of Music in Philadelphia with the Metropolitan Opera company.
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