With her opulent voice and commanding stage presence, she was dubbed the “sensational contralto”. Despite her prestigious international career and after a foray into teaching, she died in poverty, her funeral being paid by her former colleagues of the Opéra.
A favorite in Brussels, she was asked to “never attempt such an outrageous role again”! She later moved to Paris, where she became a highly esteemed artist of the Opéra-Comique and where she created many roles. She left a scarce recording legacy.
Her life wife was a fairy tale come true. From the Opéra-Comique to the Drury Lane Theater and Broadway musicals, she was an amazing stage performer, actress and singer, who quickly became a household name. She crashed her car into a house driving at full speed and died short after, left a recording legacy.
French tenor Léon Campagnola (1875-1955) heard him rehearsing in his dressing room in 1909 and was impressed enough to encourage him to switch to tenor. Following his advice and scored great successes in dramatic parts. He left a scarce recording legacy.
A rather elusive artist, he was a talented comedian-singer, paying careful attention to his stage appearance, as can be seen here. He abandoned his career due to ill-health and became an esteemed director of the Royal French Opera in The Hague, proposing a roster of first-class artists. He left a scarce recording legacy.
A stylish lady, she was one of the most distinguished ambassadors of French opera, and a close friend of many composers. A delicate and intuitive soprano, she was also an exceptional concert soloist.
She became a respected professor and taught singers such as Germaine Lubin and Régine Crespin, etc.), left a recording legacy.
An immensely talented artist, born into an artistic family, she enjoyed an enviable international career then settled in Paris, where she promoted Russian music and taught acting and singing. Alas, her fortune vanished, ending her life sadly. She left a recording legacy.
Born into a reputed musical family, his career epitomized French vocal refinement with a small, but perfectly placed voice. He was instrumental in helping to persuade Scottish soprano Mary Garden (1874-1967) to sing the tenor part of Jean at the Metropolitan Opera in 1908. He left a recording legacy.
A legendary bass, he sang over 3200 performances, from buffo parts, to lyric or dramatic roles. His stentorian voice was considered alarmingly powerful and he could recreate almost any part instantly. However, as a professor, he simply sat at the piano, and sang …for himself, uncaring towards his pupils! He left a recording legacy.
Nearly forgotten, he was a distinguished baritone who created many first and secondary roles. He was also a noted concert soloist and with his wife, they entertained a musical salon where composers and musicians met regularly. He was a reputed vocal coach. He left a recording legacy.
A diminutive tenor from Belgium, he primarily sang secondary roles. Noted for his convincing acting and musical preparedness, he created many operas in Europe, the U.S. and in South America, where he was a star. On his return to his native Belgium, he performed cameo parts and became a valued stage director. He left a recording legacy.
Courage describes this tenor who, serving his fatherland as an infantry officer, used his ringing and flexible voice to lift up the morale of his fellow soldiers on the battlefield, organizing chamber music concerts! He scored a major success in light to lyric roles. He left a recording legacy.
An accomplished tenor, he sang a wide repertoire including Italian opera in which he displayed a dark but ringing voice, coupled with a commanding stage presence. He established a singing academy in Brussels and later, taught in Paris. He left a rare recording legacy.
Of Italian descent, gifted with a warm and powerful voice, he was the quintessential singing comedian in a repertoire encompassing more than 150 roles. He was also a talented painter and graphic designer, before devoting his time to teaching. He left a recording legacy.
A distinguished Falcon soprano, she was a triumphant wicked “Salomé”. During an audition for the role at Monte-Carlo, a puzzled director Raoul Gunsbourg (1860-1955) suggested that “her stage props are avoided” in order not “to offend the audience’s ‘grand bourgeois’ puritan morality”: she did not!. She left a recording legacy.
Following a successful career in France, this dapper and big-voiced baritone became a fixture at the Monnaie. His repertoire consisted of opéra-comique, opera buffa, opera, grand opera and operetta! His Papageno at the Opéra de Paris was saluted by the press as “a stunning and realistic re-creation”. He left a recording legacy.
42 – French soprano Lucyle Panis (1887-1966) as Maliella in Wolf-Ferrari’s “I Gioelli della Madonna”, creation, Monnaie, Brussels, 1913.
She was famous for her beauty and commanding stage deportment. Her “shapely figure” was praised as much as her voice! Her performance of “Thaïs” at the Opéra Comique in 1921 was considered to be “too provocative”… She left a recording legacy.
Her flawless voice and stylish technique can be heard on recordings. Once married to a wealthy French industrialist, she contemptuously forgot her humble Belgian origins and became a French citizen, rarely singing again in her homeland.
He remains closely associated with opéra-comique, especially in romantic roles. After a performance of “Mârouf” in Paris, his taxi bumped into another car driven by French soprano Aline Vallandri (1878-1952)! They became friends ever since. He left a scarce recording legacy.
Endowed with what she herself described as “a voice from the Gods”, she sang a variety of contralto and alto roles, before embarking on a successful teaching journey in Paris. She reportedly had a private affair with a reputed lady fashion designer … She left a recording legacy.
A pupil of Désiré Demest and Ernest Van Dyck, he was one of the most sought after tenors of his generation who cut short his career at its peak in 1940 at the outbreak of WW2 just after German invasion to devote himself to fishing, archery, “pétanque” (boules) and to teaching. He left a recording legacy.
With her brilliant voice, distinctive musicality and stylish looks, she was dubbed “the perfect voice” and “La Luart” by her aficionados. Her histrionic abilities were also greeted as “incredibly convincing”.
One of Opéra-Comique’s most beloved artists, she left a recording legacy.
Little is known of this soprano of Maltese descent who created the world premiere of “Turandot” in French (Brussels, 1926), except that she had a large dark voice and an electrifying stage presence.
She died prematurely in Nice, due to seafood poisoning after a performance of “Tannhäuser”. She left no known recording legacy.
Of Belgian descent, his international career was astonishing. A talented comedian, his large voice was ideally suited for dramatic parts and he created 55 operas and sang 170 roles! An astute manager, he founded an opera company and eventually became a stage director in Paris and in his hometown, Liège. He left a recording legacy.
Unarguably the most perfect lyric tenor voice of the 20th century and a sense of self-esteem commensurate with his talent. He always wanted to “have it his own way”, causing heated reactions among conductors and colleagues. He left a recording legacy.