ied the following year.

In 1876 Edouard de Reszke made his debut at Paris in "Aida," and entered
on a career of renown. He is the younger brother of Jean de Reszke, the
tenor, and it was at the instigation of Jean that he abandoned his
proposed occupation and took to the stage. Edouard had undergone a
course of study at the Agricultural College at Prikao, with a view to
developing the resources of the great estates in Poland belonging to the
De Reszke family. He accordingly proceeded to Milan, and studied with
Stella and Alba, and later on with Coletti. At the end of four years he
went to Paris for further study, and to make his debut.

His voice is a full, rich, resonant bass, capable of sending forth notes
of immense volume, or those of the most tender quality. His appearance
is that of a great, tall, broad-shouldered giant, with fair skin and
blue eyes, and his stage presence is imposing.

Four years after his debut in Paris he created the part of Il Re, in
Catalani's "Elda," and Massenet entrusted to him the creation of "Le Roi
de Lahore" when it was produced at La Scala in Milan. He has also
created the parts of Carlo V., in Marchetti's "Don Giovanni d'Austria,"
and Don Diegue, in "Le Cid." He was engaged in London during the seasons
from 1880-84, and became immensely popular. He has many friends in
England, for he has a weakness for everything connected with sport, in
the best sense.

Notwithstanding the many parts in which he has made the greatest
success, his assumption of the role of Mephistopheles, in "Faust," more
than any other, established his reputation as a great lyric artist, and
he is generally conceded to be one of the greatest bassos of the
century.

Of late years a French basso has arisen to share the popularity of
Edouard de Reszke,--Pol Plancon, who for more than a decade has been one
of the permanent stars of the Paris Opera House. M. Plancon was intended
for a mercantile career, but having been an enthusiastic singer from the
age of four, he rebelled against the decision of his parents. He was
nevertheless sent to Paris, and entered a large and fashionable store to
learn the business. One day Theodore Ritter, the pianist, heard him
sing, for he sang upon every possible occasion, and was so pleased with
his voice that he advised him to turn his attention to music. Through
the influence of Ritter he was admitted to the Ecole Duprez, and
thereby incurred the severe displeasure of his family.