La Boheme (Giacomo Puccini) Premiere, 1 February 1896. Cesira Ferrani (Mimi) and Evan Gorga (Rodolfo)

Apr 20, 2014

Pierre Fouchy (Tenor)

In the 1930's he appeared with success at the Opera-Comique in Paris.

Chronology of  appearance

1930 Paris Opera-Comique Les armaillis (Fritz)


Paillasse (Leoncavallo): Sérénade d’Arlequin 29007
Le Roi d’Ys (Lalo): Aubade 29007
Mirelle (Gounod): Anges du Paradis  29009

Apr 10, 2014

Elza Szamosi (Soprano) (Budapest 1884 – Budapest 1924)

Her real name was Elza Szamek. She was a pupil of the pedagogue Quirino Merli. In 1904 she sang at the Budapest National Opera the role of Dalila in the première of the opera ‘’Samson et Dalila’’of Saint-Saëns and had a shining success. The next year in this opera house she appeared as Carmen. Already in 1906 she began to take over soprano parts; thus she sang in 1906 at the Budapest première in Puccini’s ‘’Madama Butterfly’’ in the title role. In 1904 and 1905 she was staying at the Vienna  Court Opera. In 1906 she took part in a tour through North America with the Savage Opera Company. In 1906 with this opera troupe she appeared in the première of Puccini’s ‘’Madama Butterfly’’ also in North America and Washington. Her last big role which she interpreted in Budapest was the Martha in ‘’Tiefland’’ of E. d'Albert. Already in 1913 she retired from the stage.

Chronology of some appearances

1904 Budapest National Opera Samson et Dalila (Dalila)
1905 Budapest National Opera Carmen (Carmen)


Da Capo, Budapest 1908?
Carmen (Bizet): Habanera 3604

Gina Moretti Stefani (Soprano) (? 1874 - Milano 1914)

Her husband was the baritone Guido Stefani. Probably she made her debut in 1902 at the Teatro Umberto I° as Elvira in Bellini’s ‘’Puritani’’. In the 1905-1906 season she made guest appearances at the Teatro San Martin in Buenos Aires performing in ‘’Boheme’’, ‘’Rigoletto’’, ‘’Ballo in maschera’’, ‘’Mignon’’, ‘’Faust’’ and ‘’Carmen’’. In 1911 she sang at Warsaw. She retired from the stage in 1912.

Chronology of some appearances

1902 Oneglia Teatro Umberto I° Puritani (Elvira)
1904 Colorno Teatro Sociale Lucia di Lammermoor (Lucia)
1906 Buenos Aires Teatro San Martin Faust (Margherita)
1908 Torino Teatro Vittorio Emanuele Barbiere di Siviglia (Rosina)
1910 Tunisi Politeama Rossini Boheme (Musetta)
1912 Faenza Teatro Comunale Manon (Manon)


Odeon Fonotipia, Milano
Traviata (Verdi); Ah! Forse è lui 82537
Traviata (Verdi):  Sempre libera with unknown tenor 82538

Olga Carrara-Pescia (Soprano) (Firenze 1888 - ?)

She made her debut in 1910 at  the Teatro Sociale of Comacchio as Amelia in Verdi’s ‘’Ballo in Maschera’’. In 1920 she made guest appearance at San Francisco, perfomring in Puccini’s ‘’Boheme’’. Then she continued career at the famous Italian opera houses. In 1924 she toured through Cuba and Central America with an opera troupe to which belonged also Titta Ruffo and Antonio Cortis. She sang in Havana, Caracas and Bogotà appearing in ‘’Bohème’’, ‘’Andrea Chénier’’ and ‘’Tosca’’ and ‘’Aida’’. In 1925 at the Teatro Liceo in Barcelona she sang in Puccini’s ‘’Tosca’’. In 1925 she sang at the Arena di Verona in Rossini’s ‘’Mosè’’ as a partner of Nazzareno de Angeles. In 1930 she sang at the Teatro Massimo in Palermo in the premiere of the opera ‘’Dafni’’ of Giuseppe Mulè. She retired from the stage in 1931.

Chronology of some appearances

1910 Comacchio Teatro Sociale Ballo in Maschera (Amelia)
1913 Padova Teatro Verdi  Amore Dei Tre Re (Flora)
1920 San Francisco Teatro Curran   Boheme (Mimì)
1922 San Josè Teatro Nacional Boheme (Mimì)
1924 Havana  Teatro Nacional Aida (Aida)
1926 Venezia  Teatro La Fenice Ugonotti (Valentina)
1928 Milano  Teatro Dal Verme Turandot (Turandot)
1930 Palermo Teatro Massimo Turandot (Turandot)
1931 Roma Teatro Costanzi Aida (Aida)


Odeon, Milano
Tosca (Puccini): Vissi d'arte 82518

Pathe, Milano
Cavalleria Rusticana (Mascagni): Voi lo sapete 40183

Emma Longhi (Mezzo-Soprano)

In 1905 at the Teatro Dal Verme she appeared in the premiere of  F. Medina’s opera ‘’Nadia d'Algernon’’. She retired from the stage in 1916.

Chronology of some appearances

1895 Brescia Teatro Guillaume Al Canto di R. Romanini
1897 Jassy Teatro Nazionale   Gioconda (Cieca)
1899 Odessa Teatro Municipale Carmen (Frasquita)
1901 Lima Teatro Forero La Resurrezione di Lazzaro di L. Perosi
1903 Torino Teatro Vittorio Emanuele Gioconda (Laura)
1905 Biella Teatro Sociale Carmen (Carmen)
1907 Roma Teatro Quirino Carmen (Carmen)
1909 Costantinopoli Teatro Petit Champs Aida (Amneris)
1916 Milano Teatro Dal Verme Matrimonio Segreto (Fidalma)


G&T, Milano 1903-10/11
Huguenots (Meyerbeer): Vaga donna 053023 Con524R

Gramophone, London 1907
Huguenots (Meyerbeer): Rondò del paggio 053024 Con626

Apr 6, 2014

Tancredi Pasero (Bass) (Torino 1893 – Milano 1983)

He studied with Arturo Pessina (a former well-known br.) and made his debut in 1917 in Turin, the city of his birth, as Ramphis in ‘’Aida’’. The singer later considered the beginning of his artistic life on December 15, 1918 as Rodolfo in Bellini’s ‘’La Sonnambula’’. Shortly afterwards he repeated the role at La Scala. Pasero’s illustrious and unusually long career was mostly centered in Italy. His main house was La Scala, where Arturo Toscanini engaged him for leading roles. He made guest appearances at Covent Garden, and also in Paris, Brussels, Barcelona, Buenos Aires, Berlin and Hamburg. He was a member of the Met from 1929 until 1933. His most memorable roles were in ‘’Aida’’, ‘’Il Trovatore’’, ‘’Luisa Miller’’, ‘’La Gioconda’’, ‘’Norma’’, ‘’La Bohème’’, ‘’La Forza del Destino’’, ‘’Guglielmo Tell’’, ‘’Lucia di Lammermoor’’, ‘’Simon Boccanegra’’ and ‘’Don Giovanni’’ (as Leporello). At the Met he appeared opposite an amazing number of glorious voices. In 1933 he enjoyed an enormous success at the Maggio Musicale in Florence in Spontini’s ‘’La Vestale’’ opposite the great Rosa Ponselle . He often appeared at the Arena di Verona. In 1948 he sang at a concert commemorating the 100th anniversary of Donizetti’s deat, and in 1950 he appeared for the last time as Wotan in the ‘’Walkyrie’’. To Pasero’s most famous roles must be numbered the following roles: Rossini’s Mosè, Sarastro, Don Basilio, Philip, Boris Godunov and Escamillo as well as several important Wagner assumptions: King Heinrich, Gurnemanz, King Marke, Pogner and Hagen (in Italian). He also participitated in the world premières of several operas, among them Mascagni’s ‘’Nerone’’ at La Scala and Pinzetti’s ‘’Orseolo’’ in Florence. His voice impresses by its richness and the eveness of its quality from top to bottom of the wide range (Pasero added some br. roles at the end of his career). Pasero’s expression is not only distinguished by its lyrical qualities but also of great feeling and dignity. He avoids to exhibit the voice in the sort of overt emotionalism. In this, he is an antipode to Nazzareno de Angelis.

Chronology of some appearances

1917 Turin Opera House Aida (Ramfis)
1929-1933 New York Metropolitan Opera


Fonotipia, Milano 1927-01-14
Trovatore (Verdi): Abbietta zingara O-8902 XXPh5834
Barbiere di Siviglia (Rossini): La calunnia O-8902 XXPh5835

Francisco d’Andrade (Baritone) ( Lisbon 1859 - Berlin 1921)


His brother was the famous tenor Antonio d'Andrade. His full name was Francisco Augusto de Andrade E Silva. In 1881 he studied singing under Manuel Carreira, Luiz da Costa and José Romano in Lisbon, but in  1886 he went to Milan, where he was a pupil of pedagogues Miraglia and Ronconi. In 1882 he made his debut in Sanremo as Amonasro in Verdi’s ‘’Aida’’. During the following years he appeared with success first in Italy, then in Spain and Portugal, performing not only at the Teatro alla Scala, but also at the Teatro Costanzi in Rome. In 1886 he made guest appearance at Covent Garden, London as Renato in Verdi’s ‘’Ballo in maschera’’, in which he had big success till 1890, among other things as Germont ‘’Traviata’’, Enrico in ‘’Lucia di Lammermoor’’ and as Count di Luna in ‘’Trovatore’’. In 1887 he sang in Moscow as Telramund in ‘’Lohengrin’’. In 1889 he went with an opera troupe of the impresario Gardini, the husband of the soprano Etelka Gerster, to Berlin. He was so successful there as Figaro in ‘’Barbiere di Siviglia’’, Rigoletto and as Don Giovanni that he took later here his residence. From 1906 to 1916 he was often to be heard at the Berlin Court Opera. From 1891 to 1910 he was nearly every year appeared at the Opera House of Frankfurt a. M., in 1894, 1896, 1901 and 1909 at the Municipal Theatre of Zurich. He performed also in Germany, Holland, Austria, Russia, England and Scandinavia mainly as a Don Giovanni. In this part he counted as unequalled; his amusing representation of the Don Giovanni was painted by Max Slevogt. Also in Salzburg (1901) he sang the role of Don Giovanni together with Lilli Lehmann, Johanna Gadski and Geraldine Farrar. Up to 1919 he appeared on the stage, last only as Don Giovanni. His other star role was Figaro in Rossini’s ‘’Barbiere di Siviglia’’. He controlled a stage repertoire of 56 roles into six languages, under it numerous parts from the area of the French opera (Nevers in ‘’Les Huguénots’’, Escamillo in ‘’Carmen’’, Hoël in ‘’Dinorah’’ of  Meyerbeer, Zurga in ‘’Pêcheurs de perles’’ of Bizet, Nelusco in ‘’L'Africaine’’, Valentin in ‘’'Faust’’ of Gounod, Scindia in ‘’Le Roi de Lahore’’ of Massenet). When Portugal entered into the First World War, he had to leave in 1916 Germany. Then he lived in Portugal, where in 1918 for the last time he appeared on the stage as Figaro in ‘’Barbiere di Siviglia’’. However, in 1919 he came back again to Berlin, but two years later died suddenly.

Chronology of some appearances

1882 Sanremo Opera House Aida (Amonasro)
1886 London Covent Garden Ballo in maschera (Renato)
1891-1910 Frankfurt a. M. Opera House
1906-1916 Berlin Court Opera
1894, 1896, 1901, 1909 Zurich Municipal Theatre


Lyrophon, Berlin 1908?
Guillaume Tell (Rossini): Sohn, knie nieder (Gebet) d'A4
Favorita (Donizetti): Arie des Alfonso d'A8
Don Giovanni (Mozart): Finch'han dal vino d'A12