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 lustre 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 partnership 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.