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.

M. Plancon 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.

[Illustration: _Plancon as Ramfis in Aida._]

Before closing this chapter of bassos a few words should be said
concerning three eminent singers whose reputation was made 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 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