Perhaps the first man to grapple with the subject, and attain, to an appreciable extent, any abiding success, was Alfred Bunn, who was born towards the close of the eighteenth century, and became lessee of Drury Lane theatre in 1834. That there was any enthusiasm shown, when he ventured on a season of English opera, there is little evidence to prove. However, he was an enthusiast and, if not a poet judged by the standard of Percy Bysshe Shelley, he had sufficient literary ability to write the libretto for Balfe's "Bohemian Girl," and thus furnish that composer with the means of producing a work, which, whatever may be thought of it to-day by the cultivated amateur, obtained a hold on the English people, and still retains it, such as no similar one has ever succeeded in effecting. One would think that he would have been justified in expecting sympathetic encouragement in his endeavour on behalf of native art. There is no trace of it. On the contrary, he seems to have been gifted with a veritable genius for evoking, somehow or other, perfect cyclones of abuse and opposition. 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.