Both Jean de Reszke and Lassalle had been working hard at their parts all through the winter   and spring. Toward the end they received valuable assistance in their studies from the veteran maestro al piano, Herr Saar, a well-known figure  at Covent Garden for upward of a quarter of a century. This excellent musician— a genuine type  of the old German school— was the conductor at Strasburg, and familiar with every note of Wagner's scores. He shared my intense enthusiasm   on the subject of Jean de Reszke's  “predestination'' for the great Wagner roles, and his joy over the approaching advent of the new Walther von Stolzing knew no bounds. I was often present when he came round to the Continental to do a morning's work with the great tenor. His good-humored face would be wreathed in smiles as he sat down to the piano; and when Jean sang the "Probelieder" or the ''Preislied," with a charm  that gave them a new meaning, the old accompanist would gaze heavenward through his spectacles with a look of ecstasy that was far more eloquent than words. He objected to the cuts; he cordially disliked the Italian text; but he was aware that both were indispensable, and he had the satisfaction of knowing that we all agreed with him.