title: Elektra (opera)
Renée Fleming
Lalla Miranda
Romilda Pantaleoni
William Martin (tenor)
Giovanni Guicciardi
Carlo Baucardé
Giuseppina Pasqua
Annie Krull
Léontine de Maësen
sentences: Elektra, Op.
 58, is a one-act opera by Richard Strauss, to a German-language libretto by Hugo von Hofmannsthal, which he adapted from his 1903 drama "Elektra".
 The opera was the first of many collaborations between Strauss and Hofmannsthal.
 It was first performed at the Dresden State Opera on 25 January 1909.
 It was dedicated to his friends Natalie and Willy Levin.
Renée Fleming (born February 14, 1959) is an American opera singer and soprano whose repertoire encompasses Richard Strauss, Mozart, Handel, bel canto, lieder, French opera and chansons, jazz and indie rock.
 Fleming has a full lyric soprano voice.
 She has performed coloratura, lyric, and lighter spinto soprano operatic roles in Italian, German, French, Czech, and Russian, aside from her native English.
 She also speaks fluent German and French, along with limited Italian.
 Her signature roles include Countess Almaviva in Mozart's "Le nozze di Figaro", Desdemona in Verdi's "Otello", Violetta in Verdi's "La traviata", the title role in Dvořák's "Rusalka", the title role in Massenet's "Manon", the title role in Massenet's "Thaïs", the title role in Richard Strauss's "Arabella", the Marschallin in "Der Rosenkavalier", and the Countess in "Capriccio".
Lalla Miranda (1874-1944) was an Australian coloratura soprano who was primarily active in Belgium, France, and Great Britain.
 Born in Melbourne, she was the daughter of opera singers David Miranda and Annetta Hirst and the older sister of opera singer Beatrice Miranda.
 After studies in London and Paris, she made her professional opera debut in The Hague in 1898.
 She then appeared in numerous operas in Amsterdam in successive years.
 In 1899 she was a resident artist at La Monnaie.
 She made several appearances at the Palais Garnier in Paris and at theatres in the French Provences during the first two decades of the 20th century.
 In 1900-1901 and from 1907-1911 she was committed the Royal Opera House on London.
 In 1910 she was committed to both the Manhattan Opera Company and the Philadelphia Opera Company.
 She notably opened the 1910 season at the Manhattan Opera House in the title role of Donizetti's "Lucia di Lammermoor", a role for which she was famous.
 In New York and Philadelphia she also sang Gilda in "Rigoletto", Olympia in "The Tales of Hoffmann", and the title role in "Lakmé".
 After 1918 she was primarily active with the Carl Rosa Opera Company.
 She retired in the early 1920s.
 She made only a few recordings on the Pathé Records label.
Romilda Pantaleoni (1847 – 20 May 1917) was an Italian soprano who had a prolific opera career in Italy during the 1870s and 1880s.
 She sang a wide repertoire that encompassed bel canto roles, Italian and French grand opera, verismo operas, and the German operas of Richard Wagner.
 She became particularly associated with the roles of Margherita in Boito's "Mefistofele" and the title role in Ponchielli's "La Gioconda"; two roles which she performed in opera houses throughout Italy.
 She is best remembered today for originating the roles of Desdemona in Giuseppe Verdi's "Otello" (1887) and Tigrana in Giacomo Puccini's "Edgar" (1889).
 Universally admired for her acting skills as well as her singing abilities, Pantaleoni was compared by several critics to the great Italian stage actress Eleonora Duse.
William Martin (born 13 April 1898 – ?)
 was an American classical tenor.
 Born in Massachusetts, he studied singing with Leveret Merrill, A Sujol, and Florence Holtzman.
 A graduate of Harvard University, he was for many years a member of the Harvard Glee Club.
 He made his professional opera debut in 1923 in the title role of Jules Massenet's "Werther".
 He was committed to the Opéra-Comique in Paris from 1925-1929 where he notably sang the role of Philipp in the world premiere of Lucien Chevaillier's "Le poème du soir".
 In 1927 he and Mary McCormic became the first two Americans to appear in leading roles at the Opéra National de Paris, respectively portraying the title role and the role of Marguerite in Charles Gounod's "Faust".
 In 1929 he had a major success at the Palais Garnier as the Duke of Mantua in Giuseppe Verdi's "Rigoletto".
 In 1930 he sang Romeo to Grace Moore's Juliette in Gounod's "Roméo et Juliette" at the Opéra Royal de Wallonie.
 Martin is best remembered today for creating the role of Amelia's lover in the world premiere of Gian Carlo Menotti's "Amelia Goes to the Ball" on 1 April 1937 at the Philadelphia Academy of Music.
Giovanni Guicciardi (12 January 1819 – 4 October 1883) was an Italian opera singer who sang leading baritone roles in the opera houses of Italy and Portugal.
 He is most remembered today for having created the role of Count di Luna in Verdi's "Il trovatore", although he created several other leading roles in operas by lesser known Italian composers.
 He accumulated a considerable fortune during the course of his career.
 After his retirement from the stage, he taught without payment in music schools in his native city, Reggio Emilia, and presided over a charity for orphaned musicians.
 He died in San Polo d'Enza at the age of 64.
Carlo Baucardé or Boucardé (1825–1883) was an Italian operatic tenor who sang leading roles throughout Italy, as well as in London, Madrid, Paris, and New York.
 He is most remembered today for creating the role of Manrico in Verdi's opera "Il trovatore" and the title role in Donizetti's "Poliuto".
Giuseppina Pasqua (24 October 1851 – 24 February 1930) was an Italian opera singer who performed throughout Italy and Europe from the late 1860s through the early 1900s.
 She began her career as a soprano when she was only 13, but later retrained her voice as a mezzo-soprano.
 She sang in several world premieres, but is most remembered today for having created the role of Mistress Quickly in Giuseppe Verdi's "Falstaff".
 The composer wrote the role specifically for her and dedicated the Act II aria "Giunta all' albergo" to Pasqua.
 She was married to the baritone Astorre Giacomelli.
Anna Maria Krull (12 January 1876 – 14 June 1947) was German operatic soprano.
 She is most remembered today for having created the title role in Richard Strauss' opera "Elektra".
Léontine de Maësen (15 July 1835 – 1906) was a Belgian coloratura soprano active on the opera stages of France from 1858 to 1868.
 She is most remembered today for having created the role of Leïla in Bizet's 1863 opera, "Les pêcheurs de perles".

Question: Question: When was the Opera that Annie Krull is most remembered today for having created the title role preformed? 

 Your answer will be verified with exact match score. To ensure correct verification, only provide the answer within the <answer> </answer> tags. Do not put any sentences or reasoning process within the <answer> </answer> tags. 

Supporting Information: Paragraph 0 

 Elektra, Op.
 58, is a one-act opera by Richard Strauss, to a German-language libretto by Hugo von Hofmannsthal, which he adapted from his 1903 drama "Elektra".
 The opera was the first of many collaborations between Strauss and Hofmannsthal.
 It was first performed at the Dresden State Opera on 25 January 1909.
 It was dedicated to his friends Natalie and Willy Levin. 

--------------------------------

Paragraph 1 

 Renée Fleming (born February 14, 1959) is an American opera singer and soprano whose repertoire encompasses Richard Strauss, Mozart, Handel, bel canto, lieder, French opera and chansons, jazz and indie rock.
 Fleming has a full lyric soprano voice.
 She has performed coloratura, lyric, and lighter spinto soprano operatic roles in Italian, German, French, Czech, and Russian, aside from her native English.
 She also speaks fluent German and French, along with limited Italian.
 Her signature roles include Countess Almaviva in Mozart's "Le nozze di Figaro", Desdemona in Verdi's "Otello", Violetta in Verdi's "La traviata", the title role in Dvořák's "Rusalka", the title role in Massenet's "Manon", the title role in Massenet's "Thaïs", the title role in Richard Strauss's "Arabella", the Marschallin in "Der Rosenkavalier", and the Countess in "Capriccio". 

--------------------------------

Paragraph 2 

 Lalla Miranda (1874-1944) was an Australian coloratura soprano who was primarily active in Belgium, France, and Great Britain.
 Born in Melbourne, she was the daughter of opera singers David Miranda and Annetta Hirst and the older sister of opera singer Beatrice Miranda.
 After studies in London and Paris, she made her professional opera debut in The Hague in 1898.
 She then appeared in numerous operas in Amsterdam in successive years.
 In 1899 she was a resident artist at La Monnaie.
 She made several appearances at the Palais Garnier in Paris and at theatres in the French Provences during the first two decades of the 20th century.
 In 1900-1901 and from 1907-1911 she was committed the Royal Opera House on London.
 In 1910 she was committed to both the Manhattan Opera Company and the Philadelphia Opera Company.
 She notably opened the 1910 season at the Manhattan Opera House in the title role of Donizetti's "Lucia di Lammermoor", a role for which she was famous.
 In New York and Philadelphia she also sang Gilda in "Rigoletto", Olympia in "The Tales of Hoffmann", and the title role in "Lakmé".
 After 1918 she was primarily active with the Carl Rosa Opera Company.
 She retired in the early 1920s.
 She made only a few recordings on the Pathé Records label. 

--------------------------------

Paragraph 3 

 Romilda Pantaleoni (1847 – 20 May 1917) was an Italian soprano who had a prolific opera career in Italy during the 1870s and 1880s.
 She sang a wide repertoire that encompassed bel canto roles, Italian and French grand opera, verismo operas, and the German operas of Richard Wagner.
 She became particularly associated with the roles of Margherita in Boito's "Mefistofele" and the title role in Ponchielli's "La Gioconda"; two roles which she performed in opera houses throughout Italy.
 She is best remembered today for originating the roles of Desdemona in Giuseppe Verdi's "Otello" (1887) and Tigrana in Giacomo Puccini's "Edgar" (1889).
 Universally admired for her acting skills as well as her singing abilities, Pantaleoni was compared by several critics to the great Italian stage actress Eleonora Duse. 

--------------------------------

Paragraph 4 

 Giovanni Guicciardi (12 January 1819 – 4 October 1883) was an Italian opera singer who sang leading baritone roles in the opera houses of Italy and Portugal.
 He is most remembered today for having created the role of Count di Luna in Verdi's "Il trovatore", although he created several other leading roles in operas by lesser known Italian composers.
 He accumulated a considerable fortune during the course of his career.
 After his retirement from the stage, he taught without payment in music schools in his native city, Reggio Emilia, and presided over a charity for orphaned musicians.
 He died in San Polo d'Enza at the age of 64. 

--------------------------------

Paragraph 5 

 Giuseppina Pasqua (24 October 1851 – 24 February 1930) was an Italian opera singer who performed throughout Italy and Europe from the late 1860s through the early 1900s.
 She began her career as a soprano when she was only 13, but later retrained her voice as a mezzo-soprano.
 She sang in several world premieres, but is most remembered today for having created the role of Mistress Quickly in Giuseppe Verdi's "Falstaff".
 The composer wrote the role specifically for her and dedicated the Act II aria "Giunta all' albergo" to Pasqua.
 She was married to the baritone Astorre Giacomelli. 

--------------------------------

Paragraph 6 

 Anna Maria Krull (12 January 1876 – 14 June 1947) was German operatic soprano.
 She is most remembered today for having created the title role in Richard Strauss' opera "Elektra". 

--------------------------------

Paragraph 7 

 Léontine de Maësen (15 July 1835 – 1906) was a Belgian coloratura soprano active on the opera stages of France from 1858 to 1868.
 She is most remembered today for having created the role of Leïla in Bizet's 1863 opera, "Les pêcheurs de perles". 

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Answer: 25 January 1909