Canadian soprano, born in Chambly (Quebec) on November 1, 1847 and died in Kensington (London) on April 3, 1930. He/She came from a family of musicians, and since his childhood he/she showed interest in this discipline. In his youth, after his family to emigrate to the United States, he/she is hired as organist and soloist of the choir in the Church of San José de Albany, where will soon be Director. Its qualities lead to the Bishop of the diocese to raise funds with the intention of sending it to Paris in 1868 to continue his studies; from there jump to Italy the following year to continue, under the tutelage of Lamberti, the studies initiated the previous year with Duprez.
In 1870, debuts, in Messina with La Sonnambula by Bellini Opera, under the pseudonym Albani, taken from an ancient family of that Italian city and, in addition, reminiscent in good measure to the city that the singer had his career. The same year sees the Act for various scenarios of Italy, particularly Florence and Malta, in opera as diverse as Robert the devil of Auber, the Barber of Seville of Rossini, Donizetti Lucia di Lamermoor, or the African of Meyerbeer. In this stellar career, the following year, he/she studied the opera Mignon with its own author (Ambroise Thomas) and achieved a resounding success in Florence with her. ! 872 leads to Covent Garden London, in which repeated the success of La Sonnambula. By this stage and the London public sympathy is such that, until 1896 - date of his farewell from the Opera stage-, will travel each year to the city. Finally decided to settle there, and the acceptance that the singer enjoyed was enormous, to the extent that the own Queen Victoria honoured it with their friendship, and even was awarded the title of da me of the British Empire.
Albani repertoire encompassed numerous operas, both codes (La Traviata, Martha) Italian and French, as of the German language which came to sing Lohengrin and the Ghost ship. Consider the refusal of divas of the time like the Nelly Melba Australian to sing in German so excuse that was damaging to his voice, which, no doubt, represents all a step forward by the Albani. Also addressed the very difficult part of Elisabeth in Tannhäuser, although there is no evidence that sang it in their original language as representation took place in New York and was common at the time (and even, unfortunately, in our days) which the operas were translated, so it is more than likely to sing it in English. Also dedicated Emma Albani time to the oratory, genre which was devoted especially since its withdrawal from the opera in 1896 until his final farewell in 1911, with works like the legend of Santa Isabel de Liszt, who in 1876 interpreted by the author himself, Gounod's Redemption or Mors et Vita, the same author wrote for her.
In his later years, he/she devoted himself to teaching. In 1911, the same year of their final withdrawal, he/she published his memoirs under the title of 40 Years of Song.