large price which he demanded for his
services, but much of this indignation is unmerited, for the simple
reason that the remedy lies with the public rather than with the singer.
An opera singer is justified in getting as much money as his services
will bring, and as long as he finds people, whether managers or public,
who are willing to pay that price, he will ask it. When the price is
refused, it lies with him to determine whether he will sing for less
money or withdraw, and it seldom happens that it is necessary for a
thoroughly popular artist to withdraw, except at the end of his career.
Patti received her highest prices when she was past her prime, and the
same may be said of almost every great artist. The reason may be found
in the fact that their greatness does not dawn upon the general public
until years after their position is earned.

In 1896 Jean de Reszke married the Countess Mailly-Nesle, to whom he had
been engaged for several years. She is an amateur musician of
exceptional ability, and a lady of much personal beauty.

One of the more recent stars in the operatic firmament, and which is at
its height, is Ernest Marie Hubert Van Dyck, born in Antwerp, 1861. He
at first intended to become a lawyer, and for a time studied
jurisprudence at Louvain and Brussels. His musical gifts and love of art
could not be repressed or hidden, and whenever he sang his voice created
so great a sensation that, in spite of family opposition, he went to
Paris to study. As a means of helping himself he was for a time
assistant editor of a Parisian paper, _La Patrie_.

In 1883 Massenet heard him sing at a private party at which they were
both guests, and was so much struck by his voice and style of singing
that he asked him then and there to act as substitute for a tenor who
was ill, and could not fill his engagement. The occasion was the
performance, under Massenet's management, of a cantata, "Le Gladiateur,"
by Paul Vidal, at the Institut de France.

Within two hours Van Dyck studied and sang the tenor solos with such an
effect that he immediately became the topic of conversation among
musical Parisians.

He was now engaged by Lamoureux, the champion of Wagner in Paris, for a
term of four years, during which he sang the roles of Tristan, Siegmund,
etc. In 1887 he sang Lohengrin, but its production caused a great deal
of excitement, owing to political causes. Nevertheless, the performance
formed a golden epoch in the history