Of late years a French basso has arisen to share the popularity of Edouard de Reszke,—Pol Plançon, who for more than a decade has been one of the permanent stars of the Paris Opera House. M. Plançon 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[{318}] the École Duprez, and thereby incurred the severe displeasure of his family.
M. Plançon 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 début 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 rôles at the Grand Opera House, and has created the parts of François I., in Saint-Saëns's "Ascanio," Don Gomez, in Massenet's "Le Cid," and Pittacus, in Gounod's "Sapho," when that work was revived in 1893.
M. Plançon was born in the Ardennes, but since his position as a singer was assured he has resided in Paris, where also his parents, whose objections were disarmed by his success, have joined him.
Before closing this chapter of bassos a few words should be said concerning three eminent singers whose reputation was made[{319}] in oratorio and concert singing,—Stockhausen, Henschel, and Myron W. Whitney.
Julius Stockhausen was one of the most remarkable singers of the century. He was born at Paris in 1826. His early career was of a varied nature, for he took part in concerts as singer, violinist, accompanist, and even drummer. He did not finally decide on music as a profession until 1848, when he took the part of Elijah in a performance of that oratorio at Basle, and his success decided his future career.
Stockhausen's singing in his best days must have been wonderful. Even to those who heard him only after he had passed his prime, it was something never to be forgotten. His delivery of opera and oratorio music was superb in taste, feeling, and execution, but it was the Lieder of Schubert and Schumann that most peculiarly suited him, and these he delivered in a truly remarkable way. The rich beauty of the[{320}] voice, the nobility of style, the perfect phrasing, the intimate sympathy, and the intelligible way in which the words were given, all combined to make his singing wonderful. His highest achievement is said to have been his delivery of the part of Doctor Marianus, in the third part of Schumann's "Faust."
For many years Stockhausen has been one of the chief vocal teachers of Germany, and has recently celebrated his golden wedding to the musical profession, which he formally entered in 1848.
Although not an opera singer, but rather a broad musician, the name of Georg Henschel will be remembered from the fact that for a few years he was considered one of the most excellent oratorio and concert singers before the public. He was born at Breslau in 1850, and at the age of eleven commenced his studies under Doctor Schaeffer. A year later he made his début as a pianist at[{321}] Berlin, where he played Weber's Concerto. He had already composed a good deal of music and shown much talent in that direction. In 1867 he entered the conservatory at Leipzig, and studied under Moscheles, Richter, Reinecke, and Goetze. After spending some time in Weimar, he settled in Berlin. One of his most marked successes was in 1874, at the Cologne festival. In 1877 he went to London, where he soon acquired a great reputation as a bass singer, and in 1879 he produced the Triumphal Hymn of Brahms.