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"I never talked so fast before. One felt as though one must say everything one had to say about Melba and the de Reszkes, all in one breath before one's poor little subject was torn from one one would never have such a chance again." Lady Maxwell laughed, but coloured too. "Am I such a nuisance?" she said, dropping her hands on her knee with a little sigh. Then she turned to Tressady.
Did we not together listen to that voice and watch with breathless interest his investiture of Don Giovanni, in the golden days when Lilli Lehmann and the De Reszkes took the other parts. Was there ever a more elegant courtly Don, a greater Falstaff, a more intriguing Iago? In those youthful days, my friend's greatest ambition was to be able to sing and act like Maurel.
We cannot doubt from what we know of him that he would have found some way out of the difficulty. And now, my dear Watson, we have had some weeks of severe work, and for one evening, I think, we may turn our thoughts into more pleasant channels. I have a box for 'Les Huguenots. Have you heard the De Reszkes?
We cannot doubt from what we know of him that he would have found some way out of the difficulty. And now, my dear Watson, we have had some weeks of severe work, and for one evening, I think, we may turn our thoughts into more pleasant channels. I have a box for 'Les Huguenots. Have you heard the De Reszkes?
The De Reszkes, Caruso, Plançon these have been some of the most notable exponents of correct voice-production who have appeared on the American operatic stage. Let the reader, when next he hears Caruso or Plançon, note that they never strain after an effect, never labor, never grow red in the face, never employ excessive gesture to help force out a note.