- Profession: Mezzo-soprano.
- Relation to Mahler: Worked with Gustav Mahler.
- Correspondence with Mahler:
- Born: Unknown.
- Died: Unknown.
- Buried: Unknown.
French Mezzo-soprano. Noticed by Raoul Gunsbourg, she joint the prestigious revival of Messaline by Isidore de Lara in December 1900, which opened the 1900/1901 Monte-Carlo season. Since the piece, created a few month before had been a considerable success, the revival itself was regarded as the major event of the Monte-Carlo Opera season. This was also due to the presence of her fellow partners: Meyrianne Héglon, Soulacroix, and of course Tamagno, creator of his own part.
Caro-Lucas’s debuts at the Paris Opera took place on February 3 rd , 1905, in a revival of Tristan, where she performed Brangäne, with the major artists of the company: Louise Grandjean, Ernest van Dijck (1861-1923), Delmas and Gresse, under the baton of Pierre Taffanel.
A few weeks later, she sang her first Ortrud with Grandjean and Scaremberg, Taffanel conducting again. Very shortly, Caro-Lucas made a name for herself as a Wagnerian singer, taking over the part of Madeleine in Meistersinger with Lucienne Bréval, Alvarez and Delmas (March 1907) and repeating her Brangäne during the performances of Tristan in December 1907, with Grandjean and Felia Litvinne alternating in the lead, and Paul Vidal conducting.
She also took part to the perfoamnces in July 1908, with Henri Rabaud at the pit. Subsequently, when Gotterdammerung was finally brought to the stage, she joint the prestigious cast assembled by Messager for the Paris premiere, on October 23, 1908. She created the part of the 2 nd Norn, opposite Grandjean, Ernest van Dijck (1861-1923) and Rose Féart.
Caro-Lucas sang the remaining sixteen performances until December 1909, and sang in the meantime the part of Oenone, (Pheadra’s confident sung by Bréval) for the re-creation of Rameau’s Hippolyte et Aricie, on May 13, 1908 in a new version, orchestrated by Vincent d’Indy. Most of her 1908/1909 season was booked with Hippolyte, Tristan and Gotterdammerung performances, while in 1909/1910 she came back with Ortrud for extra performances in April 1909 with Grandjean and Paul Franz, Gotterdammerung again, and Walkure performances (as Gerhilde), conducted by Messager.
In 1911/1912, Caro-Lucas undertook Venus in Tannhauser under the baton of Henri Rabaud, and appeared in WALKÜRE again with Felix Weingartner conducting. She remained extremely busy on the Paris Opera’s roster until WWI alternating the same Wagnerian parts: Venus with Paul Franz and Marcelle Demougeot, Ortrud opposite Yvonne Gall, and other role of her repertoire, including La Haine in a revival of Armide by Gluck, in the fall of 1913.
She kept on with singing until the mid-twenties, appearing in North-Africa and at the Algier Opera during the 1916 and 1917 season.