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. M. Plancon made his first appearance at Lyons as St. Bris, in "Les Huguenots," and remained there for two seasons. In 1883 he returned to Paris, and made his Parisian debut at the Grand Opera House as Mephisto, in "Faust," a part in which he excels. Since that time he has sung all the chief bass roles at the Grand Opera House, and has created the parts of Francois I., in Saint-Saens's "Ascanio," Don Gomez, in Massenet's "Le Cid," and Pittacus, in Gounod's "Sapho," when that work was revived in 1893.