Sir Geraint Llewellyn Evans (16 February 1922 – 19 September 1992) was a Welsh baritone or bass-baritone noted for operatic roles including Figaro in Le nozze di Figaro, Papageno in Die Zauberflöte, and the title roles in Falstaff and Wozzeck. He sang more than 70 different roles in a career that lasted from his first appearance at Covent Garden in 1948 to his farewell there in 1984.

Evans was born in Cilfynydd, the only son of William John Evans (1899–1978), a coal miner, and his wife, Charlotte May, née Thomas (1901–1923). His family was Welsh speaking, and Evans spoke Welsh before he learned English. On leaving school, aged 14, he worked as a window dresser for the High Class Ladies' Wear store in Pontypridd. In his spare time, he took singing lessons in Cardiff from Idloes Owen, who went on to found the Welsh National Opera as well as singing with the local Methodist choir and the local amateur dramatic society. On the outbreak of World War II, he volunteered for the Royal Air Force; he was trained as a radio mechanic, but also took part in services entertainments. After the war he worked for the British Forces Radio Network in Hamburg, where he sang with the radio chorus and took lessons from the baritone Theo Herrmann. He then studied with Fernando Carpi in Geneva and at the Guildhall School of Music in London with Walter Hyde.

Peter Glossop (6 July 1928 – 7 September 2008) was an English baritone who was the only Englishman to have sung Verdi's great tragic baritone roles at La Scala, Milan. He rose from humble beginnings in Yorkshire to become a leading performer in London and in the major opera houses of Europe and America.

Peter Glossop was born in the Wadsley suburb of Sheffield, South Yorkshire, England, the son of Cyril Glossop, a manager at a cutlery factory. He was educated at High Storrs Grammar School and was introduced to opera by his sister Violet, who smuggled him into the Lyceum Theatre where she was working as a secretary. After National Service, he joined the National Provincial Bank as a clerk, and in his spare time sang with the Sheffield Operatic Society. His début in 1949 was in the dual role of Coppélius and Dr Miracle in Les Contes d'Hoffmann. He studied locally with Joseph Hislop and Eva Rich and was a finalist in the 1952 Great Caruso Contest. He joined the chorus of Sadler's Wells Opera the same year and continued his studies with Leonard Mosley. He was soon singing minor roles for the company, and his first professional role was Morales in Carmen in 1953. This was followed by Schaunard in La bohème and Silvio in Pagliacci. In 1955 Glossop was appointed as a company principal. During the next five years he sang most of the leading Verdi baritone roles, and was especially known for the title role in Rigoletto and for Di Luna in Il trovatore.

Regina Resnik (born August 30, 1922) is an American operatic singer.

Regina Resnik, the American mezzo-soprano, started a dramatic career ten months after earning her B.A. in Music at Hunter College. The role was Lady Macbeth under Fritz Busch in December, 1942 with the New Opera Company. A few months later, she sang Fidelio and Micaela under Erich Kleiber in Mexico City. In between she sang Santuzza with the fledgling New York City Opera and, performing "Ernani, Involami", won the Metropolitan Opera Auditions of the Air and her contract with that company for the 1944-45 season.

Miss Resnik's debut at the great theater was doubly dramatic - on one day's notice she substituted for Zinka Milanov as Leonora in Il trovatore eliciting acclaim from the public, the critics noting that all the vocal "virtuosity" and her stage presence as an actress were very impressive. During the next decade, she offered twenty heroines: Donna Elvira (Don Giovanni), Donna Anna (Don Giovanni), Fidelio, Sieglinde (Die Walküre), Gutrune (Götterdämmerung), Chrysothemis (Elektra), Rosalinda, Eboli (Don Carlo), Aida, Alice Ford (Falstaff), Tosca, Madama Butterfly and Musetta (La bohème). She was the Met's first Ellen Orford in Peter Grimes and created Delilah in Bernard Roger's world premiere of The Warrior. She then also began a long association with the San Francisco Opera. As for the voice, it was a dramatic soprano, rich and vibrant, it invited comparison with the legendary Rosa Ponselle. During these years, her teacher was Rosalie Miller and her life began with the legendary conductors; Otto Klemperer, Bruno Walter, George Szell, Fritz Reiner, William Steinberg and Erich Leinsdorf.

Cesare Siepi (February 10, 1923 – July 5, 2010) was an Italian opera singer, generally considered to have been one of the finest basses of the post-war period. His voice was characterised by a deep, warm timbre, a full, resonant, wide-ranging lower register with relaxed vibrato, and a ringing, vibrant upper register. On stage, his tall, striking presence and elegance of phrasing made him a natural Don Giovanni, while remaining a Verdi bass par excellence. He can be seen in that role on video from Salzburg, under the baton of Wilhelm Furtwängler, among his many other roles.

Born in Milan (his year of birth is debated between 1919 and 1923, though 1923 is given as official), he began singing as a member of a madrigal group. He often claimed to have been largely self-taught, having attended the music conservatory in his home city for just a short time. His operatic career was interrupted by World War II. After his debut in 1941 (in Schio, near Venice, as Sparafucile in Rigoletto), Siepi, an opponent of the fascist regime, fled to Switzerland.