# A Dictionary of Music and Musicians/de Reszke, Edouard

​DE RESZKE, Edouard, born at Warsaw, Dec. 23, 1855, was taught singing by his brother Jean, Ciaffei, Steller, and Coletti, and made his début April 22, 1876, as the King in 'Aida,' on its production at the Italiens, Paris. He sang there with success for two seasons, and afterwards went to Italy, where, in 1880, at Turin, he made a success in two new parts—the King in Catalani's 'Elda,' Jan. 31, and Charles V. in Marchetti's 'Don Giovanni d'Austria,' Mar. 11, and appeared at Milan on the production of Ponchielli's 'Figluol Prodigo,' Dec. 26. From 1880 to '84 he was engaged with the Royal Italian Opera, until its collapse. He made his début on April 13, 1880, as Indra ('Roi de ​Lahore'), but his success as a foremost lyric artist was established by his admirable performances of St. Bris, the Count in 'Sonnambula,' Basilio, and later as Walter ('Tell'), Peter the Great, Prince Gudal ('Demonio'), June 21, 1881; Sénon (Lenepveu's 'Velleda'), July 4, 1882; Almaviva; Mephistopheles; Alvise, on production of 'La Gioconda,' May 31, 1883; Hagen, on production of Reyer's 'Sigurd,' July 15, 1884; etc. In 1883–84 he reappeared in Paris at the Italian Opera (Théâtre des Nations), with great success, in 'Simone Boccanegra,' in Massenet's 'Herodiade,' on its production in Paris, in Dubois' 'Aben Hamet,' Dec. 16, 1884, and in favourite operas. He is now engaged at the French Opéra, where he first appeared April 13, 1885, as Mephistopheles, which part he played at the 500th performance of 'Faust,' Nov. 4, 1887. He appeared as Leporello in the centenary performance of 'Don Juan,' Oct. 26, 1887, and has played parts in two operas recently produced there, viz. 'Le Cid' and 'Patrie.' He played at the Italian Opera at Drury Lane in 1887, as Basilio, St. Bris, Mephistopheles, and Henry the Fowler ('Lohengrin'), and more than confirmed the reputation previously made as perhaps the best bass singer and actor on the lyric stage.
His elder brother, Jean, born at Warsaw, Jan. 14, 1852, was taught singing by his mother, a distinguished amateur, and at the age of twelve sang solos in the Cathedral there. He was taught later by Ciaffei, Cotogni, and Sbriglia. Under the name 'De Reschi' he made his début at Venice as Alfonso ('Favorita') in Jan. 1874, according to an eye-witness with success. He made his début at Drury Lane on April 11 of the same year, and in the same part, and played there two seasons as Don Giovanni, Almaviva, De Nevers, and Valentine. A contemporary spoke of him as one of whom the highest expectations might be entertained, having a voice more of a low tenor than a baritone, of delicious quality; he phrased artistically and possessed sensibility, but lacked experience such as would enable him to turn his vocal gifts to greater account and to become an effective actor. The quality of the organ was more of the robust tenor timbre than a baritone. Under his own name he made his début at the 'Italiens' as Fra Melitone ('Forza del Destino'), Oct. 31, 1876, with some success, and as Severo (Donizetti's 'Poliuto') Dec. 5, Figaro ('Barbiere') Dec. 19. He made his tenor début as 'Robert,' at Madrid in 1879 with great success, and as such was engaged at the Théâtre des Nations in 1884. He played there the part of St. John the Baptist on the production of 'Hérodiade' so much to the satisfaction of Massenet, that he procured him an engagement at the Académie to create the title part of 'Le Cid,' in which he made his début on its production, Nov. 30, 1885. He is still engaged there, and has become a great favourite. He has played there also as Radames, Vasco de Gama, and John of Leyden, and as Ottavio and Faust in the celebrations mentioned above, for the first time in Paris. His next part there was that of Bussy d'Amboise in Salvayre's unsuccessful 'Dame de Monsoreau.'
He re-appeared at Drury Lane as Radames, June 13, 1887, and during the season played Lohengrin, Faust, and Raoul with great applause and worthily fulfilled prediction by the marked improvement both in his singing and acting, and for his ease and gentlemanly bearing, such improvement being almost entirely due to his own hard work and exertions. He has been almost unanimously pronounced to be the best stage tenor since Mario.
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* ↑ Letter of Mr. Michael Williams in Musical World, Jan 30, 1874.
* ↑ Athenæum, April 18 and July 25, 1874.