from 1837 the French Pauline Viardot-Garcia; from 1838 the Swedish Jenny Lind (d. 1887), and, from 1843, Henrietta Nissen (d. 1879); from 1846 the Italian Adelaide Borghi-Mamo (d. 1901); from 1849 the German Therese Tietjens (d. 1877) and the French Caroline (Miolan) Carvalho (d. 1895); from 1852 the English Euphrosyne Parepa-Rosa (d. 1874); from 1857 the Belgian Désireé Artôt; from 1859 the French Zelia Trebelli [Gillebert] (d. 1892), the Austrian Pauline Lucca and the Italian Adelina Patti.
Among the altos were from 1811 the Italian Benedetta Rosamunda Pisaroni (d. 1872); from 1839 the Italian Marietta Alboni (d. 1894); from 1841 the English Charlotte Sainton-Dolby (d. 1885); from 1843 the Russian Daria Leonowa (d. 1896); from 1853 the German Amalie (Weiss) Joachim (d. 1899); and from 1854 the English Adelaide Phillipps (d. 1882).
Important tenors were from 1825 the French Gilbert Louis Duprez (d. 1896); from 1837 the Bohemian Joseph Aloys Tichatschek (d. 1886); from 1838 the French Gustave Hippolyte Roger (d. 1879), and the Sardinian Giuseppe Mario (d. 1883); from 1839 the English John Sims Reeves (d. 1900); from 1840 the Italian Enrico Tamberlik (d. 1889); and from about 1845 and later the Germans Theodor Wachtel (d. 1893), Franz Nachbaur (d. 1902), Albert Niemann and Ludwig Schnorr von Carolsfeld (d. 1865).
Conspicuous basses were from about 1835 the Tyrolese Anton Mitterwurzer (d. 1872); from 1847 the Italian Leone Giraldoni (d. 1897), and the Belgian Camille François Everard; from about 1850 the Hungarian Johann Nepomuk Beck (d. 1904); and from 1852 the French Jean Baptiste Faure; from 1854 the German Albert Eilers (d. 1896); from 1857 the English Charles Santley; from 1859 the German Franz Betz (d. 1900); and from 1860 the Styrian Emil Scaria (d. 1886).
In the field of professional librettists no one attained the level of Eugène Scribe (d. 1861), who has already been named (see sec. 179). Among lesser workers were Antonio Ghislanzoni (d. 1893), long editor of the Milan Gazzetta musicale, Angelo Zanardini (d. 1893), the Parisians Michel Carré (d. 1872) and Jules Barbier (d. 1901), who wrought jointly, and the German operetta-writers Richard Genée (d. 1895) and Camillo Wälzel ['F. Zell'] (d. 1895), who also were colaborers. Under this general head, however should be mentioned the remarkable work of Wagner (d. 1883) in supplying the poetic texts which are an integral part of his music (see secs. 207-208).
