In April 1901, Coretté noticed an advertisement in the New York Herald posted by German theatrical impresario, Paula Kohn-Wöllner, seeking seven African-American women with the ability to sing and dance for a concert tour of Germany.

[1] On April 28, 1902, Coretté received her first passport and around late May, accompanied by Fannie Smith (from Philadelphia) traveled across the Atlantic to join the Louisiana Amazon Guard troupe in Europe.

In March 1903, during another Dresden appearance, Ollie Burgoyne and Florence Collins renewed their passports and departed for London to join the cast of Hurtig & Seamon's "In Dahomey", which opened the following month at the Shaftesbury Theatre.

In March 1904, the duo became the "Harris Trio" with the addition of Fannie Smith, and together they departed for Helsinki with an engagement at the illustrious Hotell Fennia, where Finnish high society enjoyed mingling.

On January 22, 1905, while attending a party, hosted by popular American jockey, William Caton, in central Saint-Petersburg, the women witnessed the Bloody Sunday riots outside the Tsar's palace and across the city.

The Utin family, originally successful Jewish merchants, after converting to the Eastern Orthodox Church in the 1850s, became an extremely wealthy bunch of bankers, business tycoons (Baku Oil Company), lawyers, and politicians that owned (or built) an abundance of property in the Russian capital.

Her father was laboring as an elevated railway porter, her mother still scrubbing floors for the white families, and her brother Edward selling newspapers on every street corner across San Juan Hill.

Located at 8 Meringovskaya St, a three-story stone building, known as the Noble Club, housed the Apollo restaurant with its open-air stage that showcased variety, opera and theatrical productions daily.

The following year, as young Boris enrolled himself in the law facility of the St. Petersburg Imperial University, where he began offering private math and Latin lessons for classmates to pay for his classes.

Burenin and fellow pianist (and director of the St. Petersburg Theater of Musical Drama) Mikhail Bichter organized the Society in 1911 under the League of Education and received permission in early 1913 from E.P.

From late April to early May 1914, the underground Bolshevik newspaper Pravda announced the "Literary & Musical evenings" at the Ligovsky People's House, located on 63 Tambovskaya Lane, on Petrograd's outer edges near the numerous factories and industrial plants.

Before a backdrop of a blue sky and endless grain fields, Coretti, clothed in a tattered dress and carrying a sickle, began singing a lamentable song of anguish, pain, and suffering which was so dramatic and powerful that it touched the hearts of every worker in the audience that night.

[4] A financially successful author, playwright and editor, Gorky was well noted for publicly opposing the Tsar, exposing the Tsarist government's control of the press and had been arrested and even exiled on numerous occasions.

After the concert, Burenin introduced Coretti to Gorky, who confessed to her that despite his disdain for female entertainers, he was her biggest fan, expressing that her Negro folk songs captured the essence of the struggles of the proletariat.

The vast majority of the African-American community in Russia were rushing to Petrograd's American Embassy and Moscow's Consulate to apply for passports to sail across the Black Sea towards Turkey and Romania or board Trans-Siberian trains towards Manchuria and Japan on their journey back to America.

American newspapers were frequently reporting about mass trials and arrests, also Boris reminded her of how difficult it would be for a Negro woman to open a major establishment in the United States.

From 1917 to 1921, Coretti performed at Kharkov's Grotezk Cabaret (17 Ekaterinoslavskaya), Theater of Assembled Clerks and the Kommerchesky Garden Club (21 Rymarskaya) with Mikhail Bichter's Philharmonic Society Orchestra.

As the Russian Civil War raged, from late 1919 until 1920, Coretti and Boris also toured together with the "Concert Brigade of the South-Western Front", which organized musical performances in theatres, libraries, nightclubs, mines, factories, hospitals and Red Army military camps across Ukraine.

The audience felt her role echoed Coretti's own reality – an Egyptian captive, a Negro slave, who threw off the shackles of slavery in the name of love.

In letters home to friends, Coretti mentioned how much she loved traveling to the sea, although during her engagement in Yevpatoria she complained about the city's stuffiness and how impossible it was to find anything suitable to drink.

The year ended rather interestingly, as she was appearing in a Jewish Music Concert held at the Tchaikovsky Conservatory's Small Hall, where she demonstrated her skill in performing traditional songs in the Yiddish language.

Coretti, quite tall, lush, in an open green silk dress with a pelerine, perfectly in harmony with her golden brown skin, sang in English with a strong, rather low voice of a very beautiful timbre.

From 1928 to 1931, after recording several songs in Moscow, Coretti began an extensive Soviet tour, appearing in Ukraine, Belarus, Estonia, Latvia, Lithuania, Turkmenistan, Uzbekistan, Kazakhstan, Tajikistan, Georgia and deep in Siberia.

After a month of unreported activity, Coretti resumed her tour, appearing in the seaside towns of Jelgava and Windau (now Ventspils) before returning home to Moscow early November for an engagement at the Polytechnic Museum.

On June 26, Emma Harris, Coretti Arle Titz, actor Bob Ross and engineer Robert Robinson gathered at Nikolayevsky Station to welcome twenty-two Afro-American artists (including Langston Hughes)[7] that were invited the Soviet Union to produce a film depicting Negro laborers in their difficult working conditions in the American South.

On December 20, Coretti and Afro-American expat singer Celeste Cole welcomed Paul Robeson at the White Russia Train Station for his first Soviet Tour.

Mikhail Astangov, Osip Abdulov, Alexander Khvylya, Pavel Sukhanov, Vsevolod Larionov, Elena Izmaylova, Sergey Tsenin, Viktor Kulakov, Ivan Bobrov, Weyland Rudd and Coretti were all honored artists, and despite the small budget and the majority of the actors being constantly preoccupied with other engagements, the film was predicted to be the biggest hit of the year.

Under the blinding lights, young Azarik drifted asleep underneath a heavy blanket while Coretti, in the role of the black nanny named Nan, sang a Russian lullaby.

While in Batumi, since her only scene was already shot, Coretti preoccupied her time with Azarik, improving his poor table manners and teaching him how to properly hold a knife and fork.

After the death and cremation of Coretti Henrichovna Arle-Titz on December 14, 1951, Boris Borisovich turned to Varvara Mikhailovna Zarudnaya's niece, Vera Nikolaevna, with a request for the temporary burial of the urn with the ashes of his wife next to her close friend, composer Ippolitov-Ivanov.