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- Chemist Christian Gottlob Gmelin, 1792
- Soprano Gilda dalla Rizza, 1892
- Emperor of Brazil Pedro I, 1798
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Gilda Dalla Rizza (October 12, 1892 – July 5, 1975) was an important Italian soprano. Born in Verona, she made her operatic debut in Bologna (the Teatro Verdi) in 1912, as Charlotte in Werther. Especially acclaimed in the verismo repertory, she was regarded as being Giacomo Puccini's favorite soprano, performing Magda in his La rondine (1917). Although he created the part of Minnie in La fanciulla del West for Emmy Destinn, when Puccini saw Dalla Rizza in the part, he said, "At last I have seen my true Fanciulla". She also gave the first European performances of his Suor Angelica and Gianni Schicchi, at Rome in 1919. She also interpreted roles in Pietro Mascagni's Il piccolo Marat and Riccardo Zandonai's Giulietta e Romeo. She was also an important interpreter of that composer's Francesca da Rimini.
She appeared at the Teatro Colón (including Manon Lescaut opposite Aureliano Pertile) and at Covent Garden, and was a favorite at Monte Carlo and the Teatro alla Scala. One of Dalla Rizza's unexpected successes at the latter theatre was in La traviata, under the bâton of Arturo Toscanini. The beautiful singing - actress bade farewell to the stage in 1939, though she returned for a final Suor Angelica, at Vicenza in 1942. She was married to the tenor Tino Capuzzo, and, from 1939 to 1955, she taught at Venice's Conservatorio Benedetto Marcello. The great prima donna died at Milan's Casa Verdi, in 1975.
From 1913 to 1928, Dalla Rizza made several recordings for Columbia and Fonotipia of excerpts from various operas, including La traviata, Andrea Chénier, Madama Butterfly, Manon Lescaut, Gianni Schicchi and Tosca. In 1931, for Columbia, she recorded a complete version of Fedora.
The tenor Giacomo Lauri - Volpi wrote of her in Voci parallele (1977): "The voice, characterised by guttural and nasal inflexions, imperfect technically, responded to the demands made of it by the actress, who employed it rather to express the emotions than for purely musical effects."