Part 19 (1/2)

In fact, his whole managerial career appears to have been spent in an atmosphere of turmoil. He was sarcastically dubbed ”the poet Bunn,” and, although a man of resource, as twenty-five years of theatrical management is, alone, sufficient to prove, his end was sad, and not without significance as regards English opera. He eventually became a bankrupt, and died in exile in 1860.

There is this, however, to his credit, and the honour of his memory, that he was instrumental in bringing into existence the two most popular operas ever written by British composers, Balfe's ”Bohemian Girl” and Wallace's ”Maritana.”

The next most important event in its history, was the formation of a company under the joint management of Miss Louisa Pyne and Mr. William Harrison, in 1856. Here again, the object was not only to present opera in English, but to invite the co-operation of British composers to further the cause--that is to say, the founding of an original school of English opera. Everything seemed to augur well for the enterprise. Both were distinguished singers, with large operatic experience. Miss Pyne had achieved great success, not only in Europe, but in America, where she had aroused the greatest enthusiasm, and her name was, naturally, looked upon as the particular source of attraction to the public, and, indeed, the mainstay of the undertaking.

She came of a rare family of English musicians. Her father George, and her uncle, James Kendrick Pyne, were both well-known singers. The son of the latter, Mr. Kendrick Pyne, a splendid musician himself, and lifelong friend of Samuel Sebastian Wesley, for many years organist of Bath Abbey, was the father of two musicians; the elder, Dr. Kendrick Pyne, the distinguished organist of Manchester Cathedral, and Minton Pyne who, unhappily, died at an early age in Philadelphia, U.S.A., before he had been given time to develop the musical genius he undoubtedly possessed.

The Pyne-Harrison company, as it was called, was started most successfully, and soon established a reputation that bade fair to presage permanent results.

Among the most successful of the many operas produced, were Balfe's ”Rose of Castille”; Vincent Wallace's ”Lurline” and Benedict's ”Lily of Killarney.”

Such facts as these, unquestionably, shed a l.u.s.tre over the attempt, so well conceived and so bravely carried out, but unfortunately, the financial position became increasingly difficult as the enterprise progressed, until, finally, the partners.h.i.+p was dissolved, and Miss Pyne retired into private life, in 1862.

After her retirement from the stage, she devoted herself to teaching, and, as Madame Bodda-Pyne, by which name she became known through her marriage, achieved great distinction in her new field of labour.

At the time of her death, in 1904, she was in receipt of a Civil List pension, as a recognition of her distinguished services to the art of music.

Of the British composers who were attracted to the stage in the mid-nineteenth century, one of the most prolific was (Sir) George Alexander Macfarren. He produced, under different managements, upwards of a dozen operas, besides writing many more that never saw the light.

The most popular of them was ”Robin Hood,” which appeared in 1860. It was one of the best examples of ballad-opera ever written. At this period, our national composers would seem to have directed all their thought and energies to this particular form. That their judgment was wrong in this respect, is shown by the absolute oblivion into which, with two or three exceptions, their productions have fallen. The period is, in any case, not one which Englishmen may wish to dwell on.

Another era was initiated, happily, not many years after, by the works of Sir Alexander Mackenzie and Sir Villiers Stanford.

Since the Pyne-Harrison epoch, there have been many attempts, with varying success, to continue the cult of English opera. It would be impossible in a book of the dimensions such as this, to describe them all. One need only say that the sincerity attached to many of them, has deserved a better fate than that experienced. I must content myself with giving an indication of the most important efforts subsequently made,--always with the same object in view.

At the present time, the Carl Rosa company, the Moody-Manners company, so intimately a.s.sociated with the triumphs of Madame Moody, and the ”J.

W. Turner” company, are all carrying on the good work, so it would be premature to write fully as to their undertakings.

It is sufficient to say that each one carries on the work of education after its own methods, and doubtless with equal effect.

I will now continue the consideration of fundamentally vital influences that have affected the position as it remains to-day.

The man who, in modern times, most nearly reached the point of founding an English school of opera was, without question, the late Carl Rosa.

This distinguished musician was a German by birth, who, after a prolonged visit to America, where he married the great singer Madame Parepa, came to London in 1874.

He immediately commenced preparations for the formation of a company of English singers, with a view to give performances of opera in the English language.

The lamentable death of his wife soon after their settling in England, on whose aid he had so greatly counted, and whose enthusiasm for the project was very p.r.o.nounced, naturally delayed its execution.

However, in the following year he opened at the Princess Theatre with Mr. (now Sir) Charles Santley and Miss Rose Hersee as his leading performers. The fact of the season lasting two months, was evidently sufficient to convince him that he had good reason to believe in the ultimate success of his idea, for he at once arranged for a session of longer duration in the following year.

His ambition was not confined, however, to simply give operatic performances in English: he had the greater one, should his venture prove successful, to invite British composers to write works for him, and thus make his enterprise a thing of permanent national importance.

That he failed in his splendid effort was no fault of his own, or those surrounding him.

As time went on, he gathered together a band of devoted and enthusiastic artists, many of whose names spring vividly to the memory.

Alwina Valleria, Julia g.a.y.l.o.r.d, Georgina Burns, Josephine York, Joseph Maas, J. W. Turner, Barton McGuckin, Ben Davies, Leslie Crotty and William Ludwig, in addition to the two distinguished singers already mentioned, were among them, and supply more than sufficient evidence of the powerful combinations he had at his disposal for the interpretation of any work he might decide to produce.

Few, for example, who had the good fortune to hear Madame Valleria and Mr. Ludwig as ”Senta” and ”Philip Vanderdecken” in Wagner's ”Flying Dutchman,” could ever forget the experience. Carl Rosa, then, gave British composers their chance, under circ.u.mstances that could hardly be more favourable. And yet, of the many of such operas as he produced, there is not a single one that is now anything more than a memory.