Joséphine Wilmot studied with Saverio Mercadante at Naples. She was a leading dramatic coloratura soprano in Russia, Mexico, Montevideo, Argentina, the United States, Turkey and Europe. She died in her sleep when her bedroom caught fire. She left no known recording legacy

A stylish musician, he created “Erostrate”, “Don César de Bazan”, “Le Bravo”, “La Clef d’or”, ”Paul et Virginie”, “Samson et Dalila”, Boito’s “Mefistofele” and “La Reine de Saba” at Monte-Carlo. He taught in New York (National Conservatory of Music of America from 1885 to 1889) and was a noted composer. He left no recording legacy.

This supporting bass created numerous operas in Brussels between 1884 and 1914. At the outbreak of WW1 and upon director Corneil de Thoran’s recommendation, he fled to London where, due to poor health and as a result of a leg amputation, he died prematurely. He left no known recording legacy.

Her career started at Algiers, where she appeared in vaudeville and comedy before tackling opera and operetta in Belgium and in France, creating numerous opus. She settled in North America and Canada, where she became a revered artistic personality. She left a recording legacy.

An imposing basso cantante sang buffo and dramatic parts (his rendition of Sir John Falstaff was considered “scathingly grandiose”). The creator of several roles, including local premières (e.g. “Louise” in Canada) in French, Russian (“The Golden Cockerel” at the Paris Opéra with Vina Bovy) and German operas. He left a recording legacy.

A supporting singer, he epitomized the singing actor at its best. Despite his diminutive stature and the loss of an eye, he stole the show with his mesmerizing portrayals, paying great care to make-up and mime game. He became an esteemed stage director in Belgium (Ghent). He left a recording legacy.

A man of character and an attorney at law by profession, he chose the operatic career, appearing in 90 roles in Belgium, France, Algeria, Egypt, Italy, England and Lithuania. In Brussels, he premiered three Puccini operas and never ceased to promote music and foster young talents. Also a theatre and stage director, vocal coach and founder of the Quatuor Villier. He left a recording legacy.

A comedian at the Variétés (Charleroi), she excelled in impersonations and trouser roles. Albert Carré recommended her to the Monnaie where she debuted there after WW1 as a mezzo and soprano. She settled in France, where she pursued her acting and singing career. She left a recording legacy.

Despite his short life, this « basso-cantante » scored triumphs in Belgium, France, Algeria and Morocco and enjoyed singing contemporary music and oratorio. While singing “Lakmé” in France, he succumbed to a sudden uremic crisis. He was expected to appear at Montevideo and in Brazil in 1925. He left a recording legacy.

He received his tuition in London and Birmingham, where he debuted as a comedian. He was mobilized during WWI and organized concerts while on the front! Performed in vaudeville, music-hall and operettas in Europe and the United States. A true artistic jack-of-all-trades admired for his magnetic acting. He left a film and recording legacy.

She made her debut in opera at Antwerp in 1911 then moved to London, appearing in musicals and operetta. At the outbreak of WW1, she moved to Canada and the United States where she scored major triumphs on Broadway, also giving patriotic concerts. She sang in Antwerp until 1935 then, despite prestigious offers, she quit the stage due to health problems, purportedly caused by a post-war traumatic shock. 

He did not attain the lyric hall of fame despite promising but premature debuts and eventually strained his voice. Also, both WW1 and WW2 had some direct impact on his mental health. He embodied a virile operatic hero, participating in creations in Belgium, France and at Monte-Carlo. Often partnered by his soprano wife Mimi Josy. He left a recording legacy. 

From the modest suburbs of Ghent to the lavish Empress de Montijo’s palatial “Villa Cyrnos” (French Riviera), hers was a fairy tale. As General Manager, she instilled a cosmopolitan dimension but conversely put the Opera’s finances in dire straits.  A gambler, she sold off her possessions and faced legal proceedings for financial arrears in social security contributions, causing a rebellion by the chorus and artists. She had love affairs with tenor André Burdino and with her factotum driver. She left a recording legacy.

She was arguably one of the most accomplished sopranos ever, whose voice was compared to the “sound of a violin”, reminiscent of Maria Ivogün’s. Pianist, violinist, celesta player and music coach, her golden voice was ideal for lyric-coloratura roles. Unhappily married to Belgian tenor Frans Gijsen (aka De Guise). 

A consummate actor with a solar voice, ideal for Tonio (“La Figlia del reggimento”), Gilbert (“Lucia di Lammermoor”), Laërte (“Mignon”) or Alexius (“The Chocolate Soldier”). His captivity in Germany during WW2 (1939-1942) impaired his health, but he carried on performing. He left a scarce recording legacy. See tribute to operetta in Belgium and France (in French): http://www.musimem.com/operette.htm

She took her stage name, literally meaning “flowers valley” from a Belgian barony in 1930. She scored tremendous successes as a lyric-coloratura in opera and operetta and was a keen concert soloist and promoter of works sung in their original language. Married to baritone and stage director Roger Lefèvre.

His voice of utter beauty was ideal for light to lyric roles. Despite a premature debut in “Tosca” and “Cavalleria” aged 22 (Antwerp), he embraced a large repertoire including Russian operas and operetta (but wisely avoiding Wagner), appearing in Belgium, France, Luxembourg and England, happily preserving his instrument.