Question: Where did Auguste von Müller play Dalila in 1877?

full_context: Document 1: Jeanne Gerville-Réache: Jeanne Gerville-Réache (26 March 1882 – 5 January 1915) was a French operatic contralto from the Belle Époque. She possessed a remarkably beautiful voice, an excellent singing technique, and wide vocal range which enabled her to perform several roles traditionally associated with mezzo-sopranos in addition to contralto parts. Her career began successfully in Europe just before the turn of the twentieth century. She later came to the North America in 1907 where she worked as an immensely popular singer until her sudden death in 1915. She is particularly remembered for her portrayal of Dalila in Camille Saint-Saëns' "Samson et Dalila", which she helped establish as an important part of the repertory within the United States. She also notably portrayed the role of Geneviève in the world premiere of Debussy's "Pelléas et Mélisande" in 1902.
Document 2: Giuditta: Giuditta is an operatic "musikalische Komödie " (German for "musical comedy") in five scenes, with music by Franz Lehár and a German libretto, by and Fritz Löhner-Beda. Scored for a large orchestra, it was Lehár's last and most ambitious work, written on a larger scale than his previous operettas. Of all his works it is the one which most approaches true opera, the resemblances between the story and that of Bizet's "Carmen" and its unhappy ending heightening the resonances. Perhaps the best known song in the work is the soprano aria "Meine Lippen, sie küssen so heiß ", sung by Giuditta in the fourth scene. Another strong influence, especially for the North African setting, was the 1930 movie "Morocco", starring Marlene Dietrich and Gary Cooper in very similar central roles, she being a singer-dancer, he being a soldier.
Document 3: Pelléas et Mélisande (opera): Pelléas et Mélisande ("Pelléas and Mélisande") is an opera in five acts with music by Claude Debussy. The French libretto was adapted from Maurice Maeterlinck's Symbolist play "Pelléas et Mélisande". It premiered at the Opéra-Comique in Paris on 30 April 1902 with Jean Périer as Pelléas and Mary Garden as Mélisande in a performance conducted by André Messager, who was instrumental in getting the Opéra-Comique to stage the work. The only opera Debussy ever completed, it is considered a landmark in 20th-century music.
Document 4: Samson and Delilah (opera): Samson and Delilah (French: "Samson et Dalila" ), Op. 47, is a grand opera in three acts and four scenes by Camille Saint-Saëns to a French libretto by Ferdinand Lemaire. It was first performed in Weimar at the Grossherzogliches (Grand Ducal) Theater (now the Staatskapelle Weimar) on 2 December 1877 in a German translation.
Document 5: Camilla Pasini: Camilla Pasini (6 November 1875 – 29 November 1935) was an Italian operatic soprano. Her sister Lina Pasini-Vitale was a well known Wagnerian soprano and her other sister, Enrica Pasini, had a short career as an operatic mezzo-soprano. Pasini studied at the Accademia Nazionale di Santa Cecilia in Rome and made her professional opera debut in that city at the Teatro Quirino as Inez in Meyerbeer's "L'Africaine". She most notably originated the role of Musetta in the original 1896 production of Puccini's "La bohème" at the Teatro Regio in Turin. She also sang that role at numerous other theaters including La Scala, the Teatro Costanzi in Rome, and in Brescia, Genoa, Trieste, and Asti among others. In 1904, Pasini traveled to South America where she performed on tour in many countries and cities. In 1905, Pasini married a lawyer with the surname of Muzi and promptly gave up her career for the next six years. She returned to the stage in 1911 in the premiere of the opera "La Vigilia di Notte" by Teofilo De Angelisro at the Teatro Costanzi. She retired from the operatic stage somewhere around 1920.
Document 6: Teresa Ruggeri: Teresa Ruggeri (sometimes spelled Ruggieri) was an Italian operatic soprano who had an active career from the 1820s through the 1840s. In 1827 she portrayed the role of Zarele in the world premiere of Giovanni Pacini's "Gli arabi nelle Gallie" at La Scala in Milan. She performed in several more world premieres at that house, including Francisca in Gaetano Donizetti's "Maria Padilla" (1841), Anna in Giuseppe Verdi's "Nabucco" (1842), and Viclinda in Verdi's "I Lombardi alla prima crociata" (1843). Other roles she performed at La Scala included Baroness Aspasia in Gioachino Rossini's "La pietra del paragone" (1829), Giannetta in Donizetti's "L'elisir d'amore" (1835), Alisa in Donizetti's "Lucia di Lammermoor" (1839), The Marquise of Birkenfeld in "La fille du régiment" (1840), and Giovanna in Verdi's "Ernani" (1844) among others.
Document 7: Auguste von Müller: Auguste von Müller (1848-1912) was a nineteenth-century German operatic mezzo-soprano and actress. She is best remembered today for originating the role of Dalila in the world premiere of Camille Saint-Saëns's "Samson et Dalila" in 1877.
Document 8: La Dame aux Camélias: La Dame aux Camélias (literally The Lady with the Camellias, commonly known in English as Camille) is a novel by Alexandre Dumas, "fils", first published in 1848, and subsequently adapted by Dumas for the stage. "La Dame aux Camélias" premiered at the Théâtre du Vaudeville in Paris, France on February 2, 1852. The play was an instant success, and Giuseppe Verdi immediately set about putting the story to music. His work became the 1853 opera "La Traviata", with the female protagonist, Marguerite Gautier, renamed Violetta Valéry.
Document 9: Samson (opera): Samson was an opera by the French composer Jean-Philippe Rameau with a libretto by Voltaire. The work was never staged due to censorship, although Voltaire later printed his text. Rameau intended the opera on the theme of Samson and Delilah as the successor to his debut "Hippolyte et Aricie", which premiered in October 1733. Like "Hippolyte", "Samson" was a "tragédie en musique" in five acts and a prologue. Voltaire had become a great admirer of Rameau's music after seeing "Hippolyte" and suggested a collaboration with the composer in November 1733. The opera was complete by late summer 1734 and went into rehearsal. However, a work on a religious subject with a libretto by such a notorious critic of the Church was bound to run into controversy and "Samson" was banned. An attempt to revive the project in a new version in 1736 also failed. The score is lost, although Rameau recycled some of the music from "Samson" in his later operas.
Document 10: Sapho (Massenet): Sapho is a "pièce lyrique" ("lyric play", an opera in a declamatory style) in five acts. The music was composed by Jules Massenet to a French libretto by Henri Cain and Arthur Bernède, based on the novel of the same name by Alphonse Daudet. It was first performed on 27 November 1897 by the Opéra Comique at the Théâtre Lyrique on the Place du Châtelet in Paris with Emma Calvé as Fanny Legrand. A charming and effective piece, the success of which is highly dependent on the charisma of its lead soprano, it has never earned a place in the standard operatic repertory.
Document 11: Nellie Melba: Dame Nellie Melba GBE (19 May 186123 February 1931), born Helen Porter Mitchell, was an Australian operatic soprano. She became one of the most famous singers of the late Victorian era and the early 20th century. She was the first Australian to achieve international recognition as a classical musician. She took the pseudonym "Melba" from Melbourne, her home town.
Document 12: Lost operas by Jean-Philippe Rameau: The musical scores to several operas by the French composer Jean-Philippe Rameau have been lost. They include two major "tragédies en musique", "Samson" and "Linus", and a one-act pastoral opera "Lisis et Délie". The music to these pieces was substantially complete and was performed in rehearsal but for various reasons - including censorship in the case of "Samson" - they were never publicly staged. Rameau also wrote a "divertissement" for Alexis Piron's play "Les courses de Tempé", which did appear at the theatre in 1734. The music to all these works has been almost completely lost, although there is evidence Rameau reused some of it in his later operas. Rameau also began other operatic projects, which were either abandoned at an early stage ("Pandore") or broken up to form shorter works ("Les beaux jours de l'Amour").
Document 13: Thaïs (opera): Thaïs (] ) is an opera, a "comédie lyrique" in three acts and seven tableaux, by Jules Massenet to a French libretto by Louis Gallet, based on the novel "Thaïs" by Anatole France. It was first performed at the Opéra Garnier in Paris on 16 March 1894, starring the American soprano Sibyl Sanderson, for whom Massenet had written the title role. The original production was directed by Alexandre Lapissida, with costumes designed by Charles Bianchini and sets by Marcel Jambon (act 1, scene 1; act 3) and Eugène Carpezat (act 1, scene 2; act 2). The opera was later revised by the composer and was premiered at the same opera house on 13 April 1898.
Document 14: Salome (opera): Salome, Op. 54, is an opera in one act by Richard Strauss to a German libretto by the composer, based on Hedwig Lachmann's German translation of the French play "Salomé" by Oscar Wilde. Strauss dedicated the opera to his friend Sir Edgar Speyer.
Document 15: Samson and Delilah (1984 film): Samson and Delilah is a 1984 television film adaptation of the biblical story of Samson and Delilah, starring Max von Sydow, Belinda Bauer, Antony Hamilton, Daniel Stern and Victor Mature. Mature played Samson in the 1949 film and had a small cameo as the father of Antony Hamilton's Samson. This was his final acting role. Based on the novel "Husband of Delilah" by Eric Linklater, "Samson and Delilah" originally aired on ABC.
ground_truth: Grossherzogliches (Grand Ducal) Theater