New York City (as Verdi's Rigoletto), and the Royal Opera House in London (as Rigoletto and Scarpia in Puccini's Tosca). Although he never again performed at the Met, he returned frequently to Boston for performances up through 1915. In 1911 he sang Rigoletto for his debut at the Komische Oper Berlin and the title role in Pyotr Ilyich Tchaikovsky's Eugene Onegin for his first performance in France at the Théâtre Sarah Bernhardt in Paris. He was soon after engaged as a guest artist at the Paris Opera, the Frankfurt Opera, and with theatres in South America. From 1912-1916 he was a member of the Vienna State Opera. In 1914 he sang in the posthumous world premiere of Amilcare Ponchielli's I Mori di Valenza at the Opéra de Monte-Carlo. Career in Chicago and Philadelphia From 1917-1921 Baklanoff sang with the Chicago Opera Association and from 1922-1928 he performed with the Chicago Civic Opera. In Chicago he sang in the United States premieres of Henry Février's Monna Vanna (1918), Xavier Leroux's Le chemineau (1919, title role), and Rimsky-Korsakov's The Snow Maiden (1923); all at the Chicago Auditorium. Among the roles he sang in Chicago were Amonasro in Verdi's Aida, Athanaël in Jules Massenet's Thaïs, Escamillo in Georges Bizet's Carmen, the Father in Gustave Charpentier's Louise, King Raimondo in Pietro Mascagni's Isabeau, Méphistophélès in Charles Gounod's Faust, Nilakantha in Léo Delibes' Lakmé, Renato in Verdi's Un ballo in maschera, Rigoletto, Telramund in Richard Wagner's Lohengrin, and Wotan in Wagner's Die Walküre. In 1928-1929 Baklanoff was a member of the Philadelphia Civic Opera Company; singing such roles as Escamillo, Le chemineau, Méphistophélès, and Wotan. In 1929 he performed the title role in the United States premiere of Modest Mussorgsky's Boris Godunov in a concert version with the Philadelphia Orchestra, soprano Rose Bampton, and conductor Leopold Stokowski. He sang with the Philadelphia Orchestra again in 1935 as Agamemnon in the United States premiere of Christoph Willibald Gluck's Iphigénie en Aulide; this time under the baton of Alexander Smallens. Later life and career in Europe While mainly working in the United States from 1917–1929, Baklanoff continued to appear as a guest artist with major opera houses in Europe during those years and into the 1930s. Some of the theatres with whom he performed were the Bavarian State Opera, the Belgrade National Theatre, the Brno National Theatre, the Croatian National Theatre in Zagreb, the Finnish National Opera,