Forgotten Opera Singers

Forgotten Opera Singers
Singers of the San Carlo Grand Opera Company

Nov 23, 2016

Irene Abendroth (Soprano) ( Lviv, Ukraine 1872 - Weidling, Vienna 1932)

Her parents were jewish. She showed quite early a special musical talent. At the age of eight she already appeared in a concert, then studied singing under Francesco Lamperti and Campanini in Milan, with Mampe-Babnigg and Aurelie Wilczek in Wien. In 1888 she made her concert debut in Karlsbad. Her opera debut was happened in 1889 at the Hofoper in Wien as Amina in ‘’La Sonnambula’’. In the 1889-1890 season she appeared at the Hofoper in Wien, from 1890 to 1891 season at the Latvijas Nacionālā Opera in Riga, in the 1891-1894 seasons at the Hofoper in München, from 1894 to 1899 seasons again at the Hofoper in Wien, where she performed in the premiere of the opera ‘’Das Heimchen am Herd’’ by Goldmark (21. 3. 1896). Since 1899 she was engaged by the the Hofoper in Dresden, where her career lasted till 1909 and reached her climax. She made guest appearances at the Hofopern of Berlin (several times between 1905 and 1907) and Stuttgart, at the Opernhaus in Frankfurt a.M. (1907), at the Deutschen Theater in Prag (1907) and at the Opernhaus in Leipzig. In Dresden she sang in 1902 in the German première of G. Puccini’s ‘’Tosca’’, on 30. 10. 1903 she took part there in the premiere of the opera ‘’Odysseus Tod’’ by August Bungert. Later she still appeared in the concert hall, however, worked since 1910 in Vienna as vocal pedagogue. Since 1900 she was married to Austrian Federal Railroad manager Thomas Joseph Taller, but during the inflation, after the First World War, she lost nearly her whole property and lived in poor relations in Vienna. She found her last place of rest on the cemetery of Weidling, not far from the grave of the poet Nikolaus Lenau. Her repertoire included Norma, Traviata, Philine in ‘’Mignon’’of A. Thomas, Rosina in ‘’Il Barbiere di Siviglia’’, Donna Elvira in ‘’ Don Giovanni’’, Isabella in ‘’Robert le Diable’’, Marguerite de Valois in ‘’Les Huguenots’’, Selika in L’ Africaine’’, Gilda in ‘’Rigoletto’’, Leonora in ‘’Il Trovatore’’, Amelia in ‘’Un Ballo in maschera’’, Desdemona in ‘’Otello’’, Nedda in ‘’Pagliacci’’ and Rezia in ‘’Oberon’’. In 1902 she made 11 records for G&T in Dresden.

Chronology of some appearances

1889-1890 Wien Hofoper
1890-1891 Latvijas Nacionālā Opera
1891-1894 München Hofoper
1894-1899 Wien Hofoper
1899 Dresden Hofoper
1905 Berlin Hofoper
1907 Frankfurt a.M. Opernhaus
1907 Prag Deutschen Theater


G&T, Dresden 1902
Trovatore (Verdi): Ein unnennbares Sehnen 43243 766x
Semiramide (Rossini): Bel raggio lusinghier (It) 43244 767x
Mignon (Thomas): Titania ist herabgestiegen (Polonaise) 43245x 768½x
Huguenots (Meyerbeer): O glücklich Land 43249 787½x
Vergebliches Ständchen (Brahms) 43038 2286B
Barbiere di Siviglia (Rossini): Arie der Rosine, pt 2 43250 795x

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Nov 19, 2016

Georges Felisaz (Tenor) (Casteljaloux, France 14 Jul 1881 - ?)

In 1910's he appeared in Lyon (Grand Théatre), Monpellier (Théâtre Municipal) and Havre (Grand Thêatre) as Duca in  ''Rigoletto'' by G. Verdi, Werther in J. Massenet's ''Werther'' and as De Grieux in ''Manon'' of the same composer. 

Chronology of some appearances

Lyon Grand-Théatre
Monpellier Théâtre Municipal
Havre Grand Thêatre


Edison 4-min cylinders, Paris 1909?
Myrella la jolie (Berniaux) BA 27044
Rêverie du soir bleu  18133
Mireille (Gounod): Anges du paradis 17065 BA 27052

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Nov 12, 2016

Madeleine Sibille (Paris, France February 25, 1895 – Paris, France July 19, 1984)

She studied under Engel in Paris and made her debut in 1919 at the Opéra-Comique in Paris. For more than twenty years she remained a member of this opera house and had her most important success in dramatic repertoire. At the Opéra-Comique she appeared in several operatic premieres: ‘’Lorenzaccio’’ of Ernest Moret (19. 5. 1920),  ‘’L'Appel de la Mer’’ by Henri Rabaud (10. 4. 1924), ‘’Le pauvre matelot’’ of Darius Milhaud (16. 12. 1927), ‘’Le Peau de Chagrin’’ by Charles Lavadé (24. 4. 1929). In 1939 still there she appeared as the first dramatic soprano. Her repertoire included Santuzza in ‘’Cavalleria Rusticana’’, Charlotte in ‘’Werther’’ of  J. Massenet, Carmen, Margared in ‘’Le Roi d'Ys’’ of E. Lalo and Tosca. Later she taught singing in Paris.

Chronology of some appearances

1919-1939 Paris Opéra-Comique


Pathé, Paris 1926 - 1931
Tosca (Puccini): D'art et d'amour 0667 N201425-1-R
Roi d'Ys (Lalo): Air de Margared 7150 N201291-1
Cavalleria Rusticana (Mascagni): Romance de Santuzza 7150 N201290-1
Thérèse (Massenet): Jour de juin 3411 N201971-A-1
Carmen (Bizet): Habanera 7133
Marche Lorraine (Ganne) 3454 N202410
Roi d'Ys (Lalo): Margared, ô ma soeur with Vallin 7233
Roi d'Ys (Lalo): En silence, pourquoi souffrir with Vallin 7233
Contes d'Hoffmann (Offenbach): Barcarolle with Vallin 2622

Pathé, Paris 1932-07
Fille de Mme Angot (Lecocq): Jours fortunés with Ninon Vallin X90058 250286-MC1

Pathé, Paris 1932?
Bohème (Puccini): Quatuor, act 3 with Vallin, Villabella & Baugé X90056 N250274

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Oct 21, 2016

John Brownlee (Baritone) (Geelong, Victoria 7 January 1900 – New York 10 January 1969)

His real name was Donald Mackenzie Brownlee. During the First World War he served as naval cadet, then studied at the Geelong College and became an auditor. In 1924 his voice was discovered by Nellie Melba, when during the second Australian tour in Melbourne he sang the part of Baßsolo in ‘’Messiah’’. Then he continued his education in Paris under the famous baritone Dinh Gilly. He made his second debut in 1926 at the Théâtre Trianon-Lyrique in Paris in ‘’Lakmé’’ of L. Delibes. The same year he appeared opposite Nellie Melba at the London Covent Garden. In the 1927-1936 seasons he worked at the Grand Opéra in Paris (debut: Athanaël in ‘’Thaïs’’ of J. Massenet). During this time he made guest appearances in London, Brussels (1939), Antwerp, Buenos Aires (1931) and in Rio de Janeiro. In 1929, as a member of Nellie Melba’s opera troupe, he sang again in Australia. At the Royal Opera House, Covent Garden he appeared between 1930 and 1949 as Mercutio in ’’Roméo et Juliette’’, Golo in ‘’Pelléas et Mélisande’’, Jago in ‘’Otello’’, Amonasro in ‘’Aida’’ and as Scarpia in ‘’Tosca’’. In 1935 he performed there in the English première of the opera ‘’Koanga’’ by Delius. In the 1949-1950 season he had at Covent Garden a huge success as Papageno in ‘’Zauberflöte’’. In 1930 he made guest appearances at the Opéra de Monte-Carlo as Athanaël, Rigoletto, Peter in ‘’Quo vadis?’’ bt Nouguès, Escamillo in ‘’Carmen’’, Valentin in ‘’Faust’’ and as Wolfram in ‘’Tannhäuser’’. From 1935 to 1939 seasons he appeared at the Glyndebourne festival as Don Giovanni, Alfonso in ‘’Così fan tutte’’, Speaker in ‘’Zauberflöte’’ and as Count in ‘’Figaros Hochzeit’’. In 1947 he again sang there in ‘’Figaros Hochzeit’’, in 1949 in ‘’Così fan tutte’’. In the 1948-1949 season he appeared at the Edinburgh festival. In the 1937-1957 seasons he was a member of the New York Metropolitan Opera. Here he made his debut as Rigoletto and sang in 1948 in the première of the opera ‘’Peter Grimes’’ of B. Britten.At the Metropolitan Opera his repertoire included Count in ‘’Figaros Hochzeit’’, Don Giovanni, Alfonso in ‘’Così fan tutte’’, Papageno, Kothner in ‘’ Meistersingern’’, Escamillo in ‘’Carmen’’, Marcello in ‘’La Bohème’’. In the 1937-1938 and 1945 seasons he was to be found at the Chicago Opera, in the 1940-1950 seasons almost annually at San Francisco Opera. In 1957 he retired from the stage and since 1960 he was a president of the Manhattan Institute of Music. From 1953 to 1967 he was a president of the American Guild of musical Artists. Later he became a respected vocal pedagogue (among other things teacher of Ezio Flagello and Johanna Meier).

Chronology of some appearances

Marcello 3/9/1937, Il marito 3/3/1938, 3/8/1938, Lescaut 12/13/1938, Il marito 1/11/1939, Valentin 1/2/1940, Il conte d’Almaviva 12/3/1940, Sharpless 3/4/1941, Pan 1/20/1942, Golaud 3/21/1944, Marcello 1/16/1945, Dottor Malatesta 1/22/1946, La père 1/6/1948, Captain Balstrode 2/17/1948, Il conte d’Almaviva 1/18/1949, Marcello 12/20/1949, Herr von Faninal 1/9/1951, Dr. Falke 4/3/1951, Don Alfonso 1/27/1953, Fritz Kothner 2/14/1956, Sharpless 2/14/1957 (in Filadelfia).


HMV, 6-3-29
Hamlet (Thomas): Comme une pâle fleur 2-032154 D1654
Hamlet (Thomas): Le vin dissipe la tristesse 2-032153 D1654
Invictus (Huhn) 6-2618 E 442

HMV, 1925-12-17
Traviata (Verdi): Dite alla giovine with Nellie Melba  DB987 Cc 9550

Columbia, 1935-12-09
Bohème (Puccini): Oh! Come e belle e morbide with Lisa Perli (Dora Labbette), Stella Andreva, Heddle Nash, Robert Alva and Robert Easton LX 526 CAX 7690

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Oct 19, 2016

Robert Leonhardt (Baritone) (Linz, Austria 1877 – New York City February 2, 1923)

He made his debut in 1898 at the Theater in Linz (Donau) and in the 1899-1900 season he was engaged by the Theater des Westens in Berlin. In the 1900-1903 seasons he appeared at the Theater in Teplitz-Schönau (Teplice). In the 1904-1905 season he again sang at the Theater des Westens. In the 1905-1909 seasons he was a member of the Deutschen Theater in Prague. Here among other things in 1905 he performed in the premieres of the operas "Flauto solo" by Eugen d'Albert and "Zierpuppen" of Anselm Goetzl. In the 1909-1911 seasons he stayed at the Opernhaus in Brünn (Brno), in the 1911-1913 seasons he joined to the Volksoper in Wien. In 1909 he appeared as a guest at the Hofoper in Wien. In 1910 he was active at the Gura-Sommer-Oper in Berlin, where he sang the parts of Beckmesser in "Meistersingern" and Alberich in Nibelungenring. At the Volksoper in Wien he sang in 1911 the part of Minstrel in the Viennese première of "Königskinder" by E. Humperdinck. On 23. 11. 1911 he appeared there in the premiere of the opera "Der Kuhreigen" by W. Kienzl. In 1913 he was engaged by the  Metropolitan Opera in New York, where he made his debut as father in ‘’Hansel und Gretel’’ by E. Humperdinck. Here on 25. 2. 1915 he performed in the premiere of the opera ‘’Madame Sans-Gêne’’ of U. Giordano.  In 1917 he participated in the premiere of the opera "The Canterbury Pilgrims" by R. de Koven. By the entry of the USA into the First World War he changed the manner of writing of his name into Robert Leonard, but in 1918 forced to retire from the stage, because of his Austrian nationality. In 1920, shortly before his death, he again joined to the same opera house. On 19. 11. 1921, as a partner of Maria Jeritza, he sang there the part of Fritz in the première of the opera "Toten Stadt" by Korngold. At the Metropolitan Opera he sang for the last time in the 1922-1923 season in G. Puccini’s ‘’Tosca’’.

Chronology of some appearances

1898 Linz Theater
1899-1900 Berlin Theater des Westens
1900-1903 Teplitz-Schönau Theater
1904-1905 Berlin Theater des Westens
1905-1909 Prague Deutschen Theater
1909 Wien Hofoper
1909-1911 Brünn Opernhaus
1910 Berlin Gura-Sommer-Oper
1911-1913 Wien Volksoper
1913-1923 New York Metropolitan Opera


Zonophone, Berlin 1904-08/09
Zauberflöte (Mozart): Pa-Pa-Pa-Pa-Pa-Papageno with Runge X-24064

G&T, Berlin 1905-01
Zauberflöte (Mozart): Der Vogelfänger bin ich ja 3-42167 2660L

Homokord, Berlin 1907-07-26
Don Giovanni (Mozart): Reich mir die Hand with Runge 1501
Trovatore (Verdi): Befreit, o welche Seligkeit! with Runge 1507

Homokord, Berlin 1907-07-29
Zauberflöte (Mozart): Der Vogelfänger bin ich ja 1214

Homokord, Berlin 1909-07-03
Don Giovanni (Mozart): Treibt der Champagner 11364

Homokord, Berlin 1909-07-05
Contes d'Hoffmann (Offenbach): Leuchte, heller Spiegel, mir 11367
Tannhäuser (Wagner): Blick' ich umher  11369

Homokord, Berlin 1909-07-23
Alessandro Stradella (Flotow): An dem linken Strand der Tiber with Lichtenstein 11388
Zar und Zimmermann (Lortzing): Darf ich wohl den Worten trauen with Lichtenstein 11389

Gramophone, Berlin 1911-08-04
Bohème (Puccini): Will ich allein des Abends in Paris mich ergeh'n with Runge 944244 15572b
Mignon (Thomas): Ihr Schwalben in den Lüften with Runge 944245 15573b

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Oct 12, 2016

Pavel Andreev (Baritone) (1874, 25/2 (9/3), Osimin, St Petersburg - 1950, 15/9, Leningrad)



In 1903 he graduated from the St. Petersburg Conservatory. Here he studied under S. Gabel. The same year he made his debut as Demon at the St. Petersburg National House. In this same year he made his debut on the opera stage. Beginning in 1907 (for approximately 40 years) Andreev was a performer at the Mariinskii Theater (since 1920 known as the Academic Theater of Opera and Ballet). His roles included Ruslan (Glinka’s ‘’Ruslan and Liudmila’’), Prince Igor (Borodin’s ‘’Prince Igor’’), Boris Godunov (Mussorgsky’s ‘’Boris Godunov’’),the Demon (Rubinstein’s ‘’The Demon’’), Holofernes (Serov’s ‘’Judith’’), Petr (Serov’s ‘’Enemy Force’’), Mizgir’ (Rimsky-Korsakov’s ‘’The  Snow Maiden’’), Tomskii (Tchaikovsky’s ‘’The Queen of Spades’’), Escamillo (Bizet’s ‘’Carmen’’), and Peter 1 (Lortzing’s ‘’The Tsar and the Carpenter’’). Andreev also appeared in concert recitals, performing operatic arias, art songs, and Russian folksongs. Andreev’s voice was resonant, with a beautiful timbre, and distinguished by a wide range. He performed baritone roles as well as bass parts. His most successful roles were those of the Russian repertoire, especially the epic ones. From 1919 he engaged in teaching, and, beginning in 1926, was a professor at the Leningrad Conservatory. He was awarded the Order of Lenin.

Chronology of some appearances

1903 St. Petersburg National House
1904-1905 St. Petersburg Lyric Opera
1906  St. Petersburg New Oper
1907 St. Petersburg National House
1907-1930's St. Petersburg Mariinskii Theater


G&T, St Petersburg 1905
The song of the flea (Moussorgsky) 2-22842 3499L

G&T, St Petersburg 1906-04
Rusalka (Dargomizhsky): The young girls are all alike (Aria Melinka) 2-22922 4406h

G&T, St Petersburg 1906-06
Demon (Rubinstein): Accursed world (Prologue) 2-22948 1124r 
Faust (Gounod): Le veau d'or 2-22939 1128r

Zonophone 1906-06
Demon (Rubinstein): Love God's world with Nina Lezhen X-64430

G&T, St Petersburg 1906-11
Gioconda (Ponchielli): Pescator, affonda l'esca 3-22540 4832L
Pagliacci (Leoncavallo): Prologo 3-22545 4920L

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Sep 17, 2016

Odette Le Fontenay (Soprano) (Paris, France 1885 - Broward County, Florida 1965)

She made her debut in France. She appeared at the Paris Opéra Comique and left France in 1913 with her husband Philip (Philippe) Coudert, a baritone and vocal pedagogue, a pupil of Jean De Reszke. They went to New York and in the 1916-1917 season she became a member of the New York Metropolitan Opera. Here she sang only in three operas: ‘’Zauberflöte’’, ‘’Hansel and Gretel’’ and "Figaros Hochzeit". She appeared on stage with her husband in various recitals during next 15 years. She had 3 children with her husband, but they divorced in the thirties. She made a few recordings for Edison and Victor. From 1935 to 1943 she taught singing at the School of Ethel Walker in Simsbury, Connecticut.

Chronology of some appearances

1916-1917  New York Metropolitan Opera


Victor, New York 1917-03-29
La Paimpolaise (Botrel-Feautrier) 69431 B19423
Le petit Grégoire (Botrel) 69431 B19424

Edison, New York 1917-04
Coeur et la Main (Lecocq): Par toi, divine créature with Langevin 74006 BA 28290
Coeur et la Main (Lecocq): Pardonne, et ne sois pas fâchée with Langevin 74006 BA 28274

Victor, New York 1917-05-31
Vous êtes jolie! (Delmet) 69695 B19966
Stances à Manon (Delmet) 69695 B19967

Edison, New York 1917-07-20/25
Chant hindou (Bemberg) 82125 5702-A
Le Nil (Leroux) 82125 BA 28287

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Sep 16, 2016

Gabrielle Ritter-Ciampi (Soprano) (Paris, France November 2, 1886 – Paimpol, France July 18, 1974)

She came from an artistic French-Italian family, her father was the tenor Ezio Ciampi (1855-1927), her uncle, Théodor Ritter was a known pianist. Her mother Cécile Ritter-Ciampi (1859-1939) had a successful career as soprano at the Paris Opera. At first she wanted to become a pianist and already at the age of 16 she gave a piano concerts, then she studied singing at the Conservatoire of Paris and with her parents. She made her debut in 1917 at the Théâtre Lyrique in Paris as Virginie in "Paul et Virginie" (a part which her mother had created forty years before) by Massé. In 1919 she was engaged by the Paris Opéra-Comique, after she had excited a sensation in Mozart’s "Schauspieldirektor" at the Théâtre Lyrique. Since 1921 she sang at the same time also at the Grand Opéra. In 1932 she sang at the Salzburg festival the part of Constance in Mozart’s "Entführung aus dem Serail". Reynaldo Hahn wrote the part of Dona Irène in "Le Oui des Jeunes Filles" for her, which she created on 21. 6. 1949 at the Opéra-Comique. After her retirement, she taught singing in Paris.

Chronology of some appearances

1917 Paris Théâtre Lyrique
1919 Paris Opéra-Comique
1921 Paris Grand Opera


Pathé, Paris 1923?
Nozze di Figaro (Mozart): Viens, cher amant 0383 382
Zauberflöte (Mozart): Ah, l'ingrat 0393
Roméo et Juliette (Gounod): Je veux vivre 0393

Pathé, Paris 1924?
Fille du Régiment (Donizetti): Salut à la France  0416 949
Mireille (Gounod): O légère hirondelle 0416 944
Contes d'Hoffmann (Offenbach): Les oiseaux dans la charmille 0404, 917
Huguenots (Meyerbeer): Nobles Seigneurs 0404, 925

Polydor, Paris? 1928
Barbiere di Siviglia (Rossini) Una voce poco fà, pt 166842 1503BM I
Barbiere di Siviglia (Rossini) Una voce poco fà, pt 2 66842 1504BM I
Faust (Gounod) Air des bijoux 66884 1485BM I
Faust (Gounod) Ballade du roi de Thulé 66998 1921BM
Il Pensieroso (Händel) Aria 66841 1494BM I
Il Re Pastore (Mozart) L'amerò, sarò costante 66841 1493½BM I I
Louise (Charpentier) Depuis le jour 66840 1486BM I
Nozze di Figaro (Mozart) Deh vieni, non tardar 66884 1489BM I
Zauberflöte (Mozart) Air de Pamina 66998 1920BM

Pathé, Paris 1929?
Traviata (Verdi): Quel est donc ce trouble charmant 7191
Traviata (Verdi): Pour jamais ta destinée 7191

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Sep 12, 2016

Gerhard Stehmann (Bass/Baritone) (Seiffen, Germany 1866, 8/5 - Wien, Austria 1926, 5/7)

First he studied singing under Lilli Lehmann in Berlin, then continued with Karl Ress in Leipzig. He made his debut in 1889 at the  Hoftheater in Altenburg as Admiral Lefort in "Zar und Zimmermann". In 1890 he went to North America, where first he sang in St. Louis, then in the 1895-1896 season at the Metropolitan Opera in New York. He remained a member of the Damrosch Opera Company till 1897 and undertook in the 1898-1899 season an America tour with an opera troupe created by Nellie Melba. In 1899 he was engaged by the Hofoper in Wien, where he made his debut as an Army Caller in ‘’Lohengrin’’ and worked here up to his death. His repertoire included Wotan in Nibelungenring, Kothner and Beckmesser in "Meistersingern", Valentin in ‘’Faust’’, Kurwenal in ‘’Tristan und Isolde’’ and Germont-père in ‘’La Traviata’’.
Chronology of some appearances

1889 Altenburg Hoftheater Zar und Zimmermann (Lefort)
1899 Wien Hofoper Lohengrin (Army Calle)


G&T, Wien 1906
Carmen (Bizet): Quintett with Elizza, Forst, Kittel & Preuss 2-44121 4286L
Guillaume Tell (Rossini): Er fiel, er starb with Schmedes & Hesch 2-44109 4272L

G&T, Wien 1907
Lucia di Lammermoor (Donizetti): Sextett with Kurz, Kittel, Preuss, Demuth & Hesch 044076 0742v
Aida (Verdi): Tempelszene with Forst & chorus 2-44322 11756u

Gramophone, Wien 1908
Traviata (Verdi): Finale, act 2 with Kurz, Preuss & chorus 2-44463 13259½u

Zonophone, Wien 1908
Lucia di Lammermoor (Donizetti): Sextett with Kiurina, Melms, von Kellersperg, Reinhardt & Ritter X-24393

Gramophone, Wien 1909-10-02 
Aida (Verdi): Zu des Niles heil'gen Ufern with Elizza, Forst, Slezak, Mayr & chorus 3-44055 01212v

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Sep 11, 2016

Tomaz Alcaide (Tenor) (Estremoz, Portugal 1901, 16/2 - Lisbon, Portugal 1967, 7/11)

First he visited the Military Academy in Lisbon, then studied medicine at the University of Coimbra. He studied singing under Alberto Sarti, later he took vocal lessons with Francisco Coutinho and Eugenia Mantelli in Lisbon. Since 1925 he was a pupil of Fernando Ferrara in Milan. Already in 1924 he made his debut at the Teatro San Carlo in Lisbon as Duke in ‘’Rigoletto’’. He made his Italian debut in 1925 at the Teatro Carcano in Milan as Wilhelm Meister in ‘’Mignon’’ of  A. Thomas. 

Chronology of some appearances

26 May 1924 Lisboa S. Carlos Rigoletto (Duca)
5 December 1925  Milano, Carcano Mignon (Wilhelm Meister)
6 May 1926 Lausanne, G. T. Faust (Faust)
6 January 1927 Bologna, Duse La Bohème (Rodolfo)
1 April 1927 Hagen, Stadttheater Il Barbiere di Siviglia (Almaviva)
30 April 1927 Lausanne, G. T. Don Pasquale (Ernesto)
30 May 1928 Foggia, Dauno Madama Butterfly (Pinkerton)
8 November 1928 La Haye, Gebouw voor K. En W. La Traviata (Alfredo)
9 December 1928 La Haye, Gebouw voor K. En W. Lucia di Lammermoor (Edgardo)
31 January 1929 La Haye, Gebouw voor K. En W. Les Pêcheurs de Perles (Nadir)
19 November 1929 Valetta, Real  Falstaff (Fenton)
7 July 1930 Porto, Sá da Bandeira  Tosca (Cavaradossi)
12 February 1931 Padua, Verdi La Sonnambula (Elvino)
7 October 1931 Helsinki, Suomalainen Ooppera Roméo et Juliette (Roméo)
12 October 1932 Prag, Národni Divadlo  Manon (De Grieux)
27 January 1933 Bordeaux, G.T. Werther (Werther)
24 February 1933 Bordeaux, G.T. Un Ballo in Maschera (Riccardo)
24 November 1933 Bordeaux, G.T. Andrea Chenier (Andrea Chenier)
21 March 1934 Bordeaux, G.T. Lakmé (Frederic)
31 January 1935 Roma, dell'Opera Don Giovanni (Don Ottavio)
1 April 1935 Bruxelles Monnaie Fedora (Loris)


Columbia, Milano 1930-10-06
Mignon (Thomas): Ah, non credevi tu CQ350 WB3721
Mignon (Thomas): Addio Mignon, fa core CQ350 WB3725
Rigoletto (Verdi): La donna è mobile DQ1138 WB3723

Columbia, Milano 1930-10
Werther (Massenet): Ah, non mi ridestar LB7 WB3748
Cavalleria Rusticana (Mascagni): Siciliana LB7 WB3749

Columbia, Milano 1930-10-10
Pêcheurs de perles (Bizet): Mi par d'udir ancora LX108 WBX907
Favorita (Donizetti): Spirto gentil LX108 WBX909

Columbia, Milano 1931-06-11
Martha (Flotow): M'appari tutt'amor DQ1137 WB4203
Manon (Massenet): Chiudo gli occhi DQ1136 WB4204

Columbia, Milano 1931-06-12
Mefistofele (Boito): Giunto sul passo estremo GQ7162 WB4209
Manon (Massenet): Ah, dispar vision DQ1136 WB4210

Columbia, Paris 1934-06-01
Près de létang (Longás-de Badet) BF24 CL4881
Andalouse (Longás-de Badet) BF24 CL4882
Doña Francisquita (Vives): Romance de Fernando BF23 CL4883
Doña Francisquita (Vives): Duo de Aurora et Fernando with Manceau BF23 CL4884

Columbia, 1936-09
Bocage (film): Gosto de ti (Lette-Leite) BL1002 CP767
Bocage (film): Amor é cego e vê (Sequira-Coelho-Leite) BL1002 CP768

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