Page:A Dictionary of Music and Musicians vol 4.djvu/628

612 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,, 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.

Their sister,, educated at the Conservatorium, St. Petersburg, attracted the notice of M. Halanzier at Venice, and was engaged by him at the Académie, where she made her début as Ophelia, June 21, 1875. She sang there with success for some time, where she was the original Sita ('Roi de Lahore'), April 27, 1877. Later she was very successful at Madrid, Lisbon, etc.; sang at Covent Garden as Aida, April 18, 1881, and again in Paris at the 'Nations' as Salome ('Hérodiade'), March 13, 1884. She retired from public on her marriage with M. Leopold de Kronenburg of Warsaw. [ A. C. ]

DERING,. Line 9 of article, add the date of his appointment in Brussels, 1617. In that year appeared his second work, 'Cantiones sacrae quinque vocum,' etc. In 1619 another volume of similar composition appeared, and in 1620 two books of canzonets were published at Antwerp. Line 14, for about 1658 read early in 1630. It should be added that his earliest production is probably the first instance of the use of figured bass. [ W. B. S. ]

DESMARETS,, born in Paris 1662, and brought up at the court of Louis XIV. His first opera, 'Didon,' in five acts, was performed June 5, 1693. It was followed by 'Circé' (1694), 'Théagène et Chariclée' and 'Les Amours de Momus' (1695), 'Vénus et Adonis' (1697), 'Les Fêtes Galantes' (1698). About this time he got into trouble in consequence of a secret marriage with the daughter of a dignitary at Senlis, and had to escape to Spain, where he became, in 1700, maître de musique to Philip V. In 1704 his 'Iphigénie,' written in collaboration with Campra, was given in Paris, but he does not appear to have returned from Spain until 1714, when he took up his residence at Lunéville, under the patronage of the Duke of Lorraine, with whose help he obtained, in 1722, the ratification of his marriage. In that year his 'Renaud, ou la Suite d'Armide' was performed in Paris, and in 1741 the composer died, in prosperous circumstances, at Luneville. [ M. ]

DEUX JOURNÉES, LES. Line 4, add other names of German adaptations, 'Die Tage der Gefahr,' and 'Graf Armand, oder die zwei unvergesslichen Tage.' Refer to ../Water Carrier.

DIAPHONIA (from δις, twice; and φωνέω, I sound. Lat. Discantus; from dis, twice, and 