Following this, he spent six seasons with the Théâtre de la Monnaie in Brussels and sang with success at London's Royal Opera House, Covent Garden, in 1904–1905 and 1909–1911.

Produced between 1907 and 1912, they confirm the excellence of his musicianship and the imposing power of his declamatory singing, although the top of his range sounds a bit constricted on these 100-year-old discs.

si, ben mio", from Giuseppe Verdi's Il trovatore, in which he displays an admirably smooth legato line, elegant phrasing and a splendid trill.

He also recorded a few French songs as well as arias and duets from various operas, including Lohengrin, Giacomo Meyerbeer's Le prophète, Camille Saint-Saëns' Samson et Dalila, Jacques Offenbach's Les Contes d'Hoffmann, Georges Bizet's Carmen, Massenet's Grisélidis, and Gounod's Roméo et Juliette and Faust.

He proved to be a worthy successor to Jean de Reszke (the biggest male opera star of his day), Léon Escalais and Albert Alvarez, each of whom enjoyed international careers during the 1890s and early 1900s.

Of those French-speaking tenors who took up his mantle, the most esteemed were Paul Franz and Fernand Ansseau, followed in turn by Rene Maison, Georges Thill and, finally, José Luccioni, who was the last representative of this distinguished lineage.