Lyster Opera Company

Contemporary with the arrival of Joseph Jefferson and Harry Sullivan came the opera troupe, controlled by as true a gentleman as ever set foot upon our shores,

WILLIAM SAURIN LYSTER

who arrived from San Francisco in 1861. In the troupe were Madame Lucy Escott, Miss Rosalie Durand, Miss Georgia Hodgson (Mrs. W. S. Lyster), Mr. Fred Lyster, and Mr. Henry Squires.

Before entering upon a history of the troupe's Australian career, I may be permitted to give a sketch of the enterprising gentleman who brought the singers to our shores, and who ended his days amongst us.

Mr. Lyster was born on March 21, 1828, at 116 Lower Baggot-street, Dublin, where his father, Chaworth Lyster, then resided. The father held a commission in the British Army, and had seen service during the Irish Rebellion in 1798. After his marriage he retired from the army, and became the agent of some extensive estates in Ireland, one of which belonged to William Saurin, then Attorney-General, after whom the future operatic manager was named. At the age of 13 years, William Lyster, recovering from a very serious illness, was sent on a voyage round the world in a sailing ship, and in that ship be visited Sydney and Melbourne in 1842. In 1847 he went out to the Cape of Good Hope, and served as a volunteer in the Kaffir war under Sir Harry Smith. A year afterwards he crossed over to the United States, and took to the stage. He had some qualifications for the profession, but it is said that his success, on the whole, was not encouraging, and in 1855, purely from a love of adventure, he joined a filibustering expedition against the peace of Nicaragua, organised by General Walker. Mr. Lyster, with the rank of captain, fought in three or four battles, and was then commissioned to the States to enlist recruits. During his absence Walker and his companions came to an untimely end, and the expedition collapsed.

In the year 1857 Mr. Lyster appears to have directed his energies into a more agreeable channel. He got together his first operatic company, consisting of the artists named above. The company did well in the Western States, and Mr. Lyster found himself able to spread himself towards Australia. On arrival in Melbourne he enriched his troupe by the engagement of the well-known and popular baritone, Mr. Farquharson, and Mr. J. E. Kitts. The company met with complete success, and Melbourne established itself as the headquarters of opera in Australia. The troupe kept together for six years, visiting the colonies in turn.

In New Zealand they had continuous employment for eight months.

From 1861 until 1880 Mr. Lyster was so intimately connected with opera that an account of his career will consist of little else than a chronicle of the several companies that apppeared under his auspices. No venture, however, exceeded the first in its results. From 1861 to 1868 novelty succeeded novelty until the public were made acquainted with the best operas extant. As an instance of his industry it maybe mentioned that 'Don Giovanni' was produced for the first time in Australia on September 23, 1861, and 'The Huguenots' (Farquharson as Marcel) on October 14, 1862. The latter opera ran for 22 nights. In 1860 the company was strengthened by the addition of Madame Simonsen, whose first great success came about in 'L'Africaine,' in conjunction with Armes Beaumont. The latter had joined the Lyster troupe some time previously in Sydney, but it was not — so the critics say — until he was entrusted with the part of Vasco-di-Gamma that he stepped into the front rank as a tenor singer.

After a long and successful stay in the Australian colonies, the company left for California in 1868, under Mr. W. S. Lyster's direction, sailing for San Francisco in the Alexander Duthie. In those days there was no Pacific mail service. The States projected tour proved a failure at the outset, and Mr. Lyster promptly returned to Australia, by way of New Zealand, in the barque Novelty. After the departure of Madame Escott and Mr. Squires, regular opera was absent from Melbourne for some time. Then a company which had arrived from South America appeared for a brief season, under the management of Mr. Lyster at the Haymarket Theatre, the principal singers being Vitali, Devoti, Bertolini and D'Antoni. Mr. Lyster then entered onto a sort of temporary partnership with Mr. John Smith, and went to England to engage another company. Under the joint management of Messrs. Lyster and Smith, Signora Baratti, Lucy Chambers, Signor Neri, and Signor Dondi appeared in Melbourne in 1870 the engagement lasting 12 months. Then came opera-bouffe in February 1871 a successful experiment, as comic opera had its share of public interest. Mr. Lyster's next venture was in conjunction with Cagli and Pompei in May, 1871, when a very strong body of singers was introduced: the Coys. Signora Zenoni, Signora Cortesi, and Signori Rosnati, Coliva and Dondi. The conductor was Mazzovati, and the troupe ran through a series of works of Italian composers at the Princess' Theatre. They then went to the Opera House, then known as the Prince of Wales Theatre. Then came Agatha States and her company, with Giorza as conductor, they performing for a limited period under Mr. Lyster at the Haymarket. For over ten years opera had been heard at each theatre at Melbourne, but it never could claim a settled home. The first performances in 1861 were given at the old Royal in Bourke-street ; some successful ones were given at the old Princess'. When the 'Varieties' was burned down, the Prince of Wales Opera House was built in Bourke-street East in 1873 by a company, of which Mr. W. S. Lyster was the managing director: and on the return of the Lyster-Cagli troupe from a tour in the neighboring colonies opera was given for the first time in the new theatre. A big triumph was achieved in the production of 'Moses in Egypt,' with Susini in the leading part. After this, English, French and Italian opera were played in turn, with Alice May Emilie Melville, and Clara Thompson shining in Offenbach and Le Cocq. The Palmeri Troupe appeared in 1874, but nothing remarkable was done in serious opera until 1877, when 'Lohengrin' was produced, with Madame Antoinetta Link and Signor Paladini in the leading parts. It had a long, though not remunerative, run. Ill health, in 1878, induced Mr. Lyster to visit England, and with him went his wife and Mr. Armes Beaumont.

While in England Mr. Lyster entered into an agreement with the London Comedy Company, and returned to Melbourne in 1879, not much better, however, for his trip. On his return there

had been short seasons with Madame Hersee, Mr. Verdi, and Madame Boema, interspersed with dramatic performances.

Many years before his death Mr. Lyster established himself on a farm at Dandenong, occupying his leisure time in breeding cattle and sending away produce to market. At this pleasant homestead Mr. Lyster frequency surrounded himself with genial friends, but in the last year or so of his life his health compelled him to reside near the city. He died, at the house of his friend, Mr. William Dean, at Hawthorne, on November 27, 1880, aged 52 years. His widow— nee Georgia Hodson— surviving him over 20 years.

When the Lyster Opera Troupe returned to San Francisco, in 1868, they did not go as they came; they left behind one of their number.

ROSALIE DURAND, wife of Mr. Fred Lyster. This lady was a native of the United States, of French descent, and made her first appearance at Baltimore in 1854. On the morning of December 8, 1868, Mr. Lyster, according to the newspapers of the day, left his lodgings in Macquarie-street North to attend a rehearsal at the Prince of Wales Opera House, Castlereagh-street, leaving his wife at home, apparently in the best of health and spirits. When Mr. Lyster returned to his lodgings, he found his wife lying dead upon the bed. Medical evidence proved that she had died of heart disease. The theatre was closed that night, and on the following day Sunday— her remains were interred in the R.C. Cemetery, Devonshire-street, and at the head of the grave was placed a very modest headstone, on which was a very

meagre description :-

I.H.S.

Sacred to the Memory of

ROSALIE DURAND LYSTER,

Who departed this life

8th December, 1868.

Aged 33 years.

While in Australia, Mr. Henry Squires had an experience of the fickleness of an Australian audience. After their first performance in Melbourne the troupe journeyed to Adelaide, where they had a full measure of success. Meanwhile some excitement was created in Melbourne. Mr. Squires was an excellent tenor, every Melbourne judge of music and voice conceded that. He was popular with those who did not understand music, but who were charmed with the beauty of his voice and his general bearing. The devoted Escott, too, had won her way into the affections of the playgoers. But Melbourne people had an idea that however excellent a vocalist, Mr. Squires was an injudicious letter writer, and his friend, the recipient of the letter, more injudicious than the writer, in publishing it. In the San Francisco 'Bulletin,' 11th June, 1861, appeared extracts from two letters written by Mr. Squires to a friend at the Golden Gate. These letters were dated March 11 and April 9, 1861. The first went thus: — "My Dear Friend, — We saluted the Antipodes on the 1st instant, after the delightful voyage of 52 days. We reached the trade winds eight days after sailing, when we had weeks of charming weather. For days and days the glorious Pacific was as quiet as a duck pond. I shall not attempt to give you scenes du voyage, as your knowledge of the world will enable you to picture for yourself the various characteristics eccentricities, etc., of a caged troupe of opera singers. Captain Hart and his agreeable half contributed largely to the pleasure of the voyage. The table was A.1. — fresh meats, vegetables, and fruits in abundance. The heat was severe in the tropics, but we managed to keep be low boiling heat under the h-awning.

"I like this shore. Melbourne is a fine city, but everything and everybody is 'blwasted English.' The streets are broad and clean, some of them as wide as Pennsylvania Avenue. The public buildings, churches and residences generally are built of beautiful stone, and present an elegant appearance. I could almost imagine myself dropped down in some provincial town in England; there are the same Saturday night markets in the streets, the same gin shops, bar

maids, hawkers, etc., and the same promiscuous use of the eighth letter of the alphabet.

“There are three theatres in operation here, besides the Cremorne Gardens, singing saloons, etc. Lyster has made arrangements for the troupe to open on Easter Monday, the 25th instant. 'Lucia di Lammermoor' has been selected for the opening, when your most obedient will make his bow as the unfortunate and broken-hearted Edgardo.

"We have a chorus of 17 men and 11 women, and a capital orchestra. The theatre is larger than the American in San Francisco. It is handsomely decorated, has a full depth of stage; is harmonic, but badly lighted.

“I can foresee that my absence from San Francisco will seem interminable. I could gladly return to-day, and the sentiments you expressed on board the Golden Age, upon your return to California, I can fully appreciate."

In the second letter Mr. Squires announced the debut of the troupe. "It was a great hit. Madame Escott and myself received a cordial welcome and call after the first act, second act, grand sestette encored, and call at the close. Abundance of applause in last act, and a jolly call at the close of the opera, which was 'Lucia,' as stated in my last."

They played 'Lucia' three nights. 'Maritana' followed and was a great triumph. ''There were seven encores during the performance. So you see the Melbourneites mean to have the worth of their money. It is a good public, and the applause, if vociferous, is discriminating." Lurline followed. Miss Hodgson made her first appearance in 'Maritana,' and Rosalie Durand made her debut in 'Fra Diavolo,' which had been deferred from the first week in consequence of her illness. She had a fine reception.

Respecting an Australian favorite, Mr. Squires wrote: — "I must not omit to mention Mr. Farquharson, our new basso and baritone. He has a magnificent voice, and is withal a gentleman. Unfortunately he goes to London in July to join the troupe at Her Majesty's Theatre. We have some hopes that he may join us, on our return, in California."

These letters were published in the Melbourne newspapers while the Lysters were in South Australia. Melbourne people were boiled with indignation at being dubbed "blawsted English," and Mr. Squires was promised a warm reception on his return. 'Martha' was the opera chosen, for the re-appearance of the troupe. I was present, and I do not remember the old bouse ever being so closely packed, even on G. V. Brooke's last night, which was, up to the 'Martha' night, the record. It was said that many came around with certain missiles in the shape of vegetables, etc.; but, to the credit of that great audience, they were not used. The opening scenes were listened to with impatience, and when Squires came on as Lionel, the house rose at him. Pit, stalls, upper circle and gallery hissed, hooted and groaned, while the dress circle took the singer's side; ladies waved their handkerchiefs, and gentlemen frantically clapped their kid-gloved hands. The uproar lasted for several minutes. In moments of cessation Mr. Squires would essay to speak, the attempt only causing the uproar to break out afresh. Squires stood his ground manfully, backed up by Farquharson, who stood by his side with his right hand on the left shoulder of the other during the turmoil. When the vocal exercise had tired the audience a little, Squires was heard to say that what he had written was really intended as a compliment. This appeared to be adding insult to injury, and the uproar broke out again. Mr. Farquharson was seen to whisper something to Squires, and instead of attempting another speech, the tenor, having given the "office" to the orchestra, commenced the 'Last Rose of Summer,' Squires, in splendid voice, sang in superb style. When he had finished the packed house rose to the occasion, and rewarded the now smiling singer with round after round of applause. He had made his peace, and had gone bravely through his "baptism of fire." Henry Squires was not again troubled about his "blawsted English."

Madame Escott and Mr. Squires were married, and settled down in some charming spot in Italy on ample means, gathered during a careful career, and were able to thoroughly enjoy the evening of life. Mrs. Squires died late in 1895. I believe Mr. Squires still lives, at least I have not heard of his death Mr. Fred Lyster is still in the land of the living, in California I think; while Armes Beaument is still heard of, occasionally, in Melbourne. Of these and others of the troupe more anon.

(To be continued.)

To the editor of the Argus

Sir, - it must be indeed pleasing to all lovers of really good music to watch the rapid advance which the art is making among all classes of our community. The fact was never more apparent than at the Theatre Royal last night. The musical Union and Mr Lyster’s opera company have reason to congratulate themselves upon the successful experiment of introducing instrumental compositions of the very first water to an Australian audience. It has been long urged that the symphonies of Beethoven, Mozart, and others were of too classical a nature and too tediously long, to be listened to with patience and pleasure by a Melbourne audience; but the breathless attention during the performance of Beethoven’s No 2, an the symphonies of Mendelssohn, and the outburst of genuine applause at the termination of each movement, must clearly prove the promulgation of such objection to be in error.

It is to be hoped, now that the experiment has been tried, with result so successful, that our musical societies will often introduce such competitions into their programmes, and that we shall have periodical performances after the same model as those which at the present time command so much public attention in the metropolis and provincial cities of the mother country.

Yours &c.

Allegretto

The new theatre royal – concerning which small talk has long been busy – was opened last night under the management of Messers Harwood, Stewart, Hennings and Coppin. The pit, stalls and dress circle were crowded to suffocation. The galleries were not so well filled.

We have already given particulars of the construction and decoration of the theatre, and it only remains to describe the effect which the decorations and furniture produced when viewed by gaslight. The dress circle is furnished (by Messers Cohen Brothers, of Lonsdale street, who are the contractors for the upholstery) in red damask, the effect of which is to our thinking somewhat sombre. The stalls are supplied with cane seats, with arm divisions of kauri pine for each person; and in both parts of the house attention has been paid to the comfort of the audience. The panelling and painting is rich and tasteful. The liberality of lighting and the multiplication of chandeliers gave to the auditorium a most brilliant appearance and when the first notes of “God save the Queen” drew the immense house to its feet, the scene was a remarkable and exciting one. The same fault which was so marked in the old Royal – the extent to which the upper boxes overhung the dress circle – has, however, not been omitted to be reproduced. The acoustic properties of the house are good, its appearance elegant and airy, while the marked improvements in stage accommodation and increased facilities for exit and entrance render it a theatre second in convenience to none of its size in Europe.

The singing of the national anthem completed, Mr Hennings new drop-scene was exhibited. The subject chosen is a view of a lake and mountains. It is impossible for Mr Hennings to paint anything which is not artistic, but in this instance we can but agree with Goldsmith’s admirer of Pietro Perugino and say that “the picture would have been much better had the artist taken more pains.” It is barely finished, and bears marks of great haste. The painting is not worthy of the first theatre in the colonies. This complaint of hastiness may be made indeed with reference not only to the other parts of the building but to the performance which initiated the season. The bars, café, and lounge are in a condition of bricks mortar and mud which his utterly abominable, and the bill of fare set before the audience was of the most meagre kind. Mr Coppin has given his reasons for the non appearance of a company in his speech, and doubtless to him they are all sufficient, but there was no necessity to open the theatre at all until it was completely finished, and furnished with actors. Mr Coppin has a good stock comedy company in Adelaide; if he could not get them back in time to open his theatre, he might have accepted the results of his arrived. “To Oblige Benson” and “Milky White” are good pieces enough, and were very defective arrangements, and waited until they well played, but we maintain that there are not the sort of plays to produce upon the opening night of the leading theatre in Australia, and we regret that the tradesman-like consideration of the pocketing of a few hundred pounds during the race week should have induced the management to thrust second rate pieces upon the boards of an unfinished theatre.

The opening address was written by Dr Neild and spoken by Mrs Collins, late Miss Docy Stewart, who has returned to the stage where she made so many friends. It is as follows:-

It seems indeed but as the other day,

That here a heap of smoking ashes lay, 

O’erhung by blackened walls that high appeared

Their ruined length, like ramparts lightning-seared

It was, in truth, a very tristeful scene

Nought left but memories of what had been;

Mind-thronging memories of things long sped,

Of those in other lands, and of those dead!

A lengthened pageant passed before the eye

Through that black void, all open to the sky

And it was hard indeed to vanquish tears

To think that of the glories of gone years

The ruthless fire no monument had left,

But into devastation all had swept.

The boards that Brooke so oft had trod were gone

Those on which Rogers in his best days shone

On which, too, we were wont, erewhile to see

The ideal Hamlet in Montgomery

Where Jefferson his perfect skill displayed

And fine old Alberts last farewell was made

Where, later, Mathews with consummate art

Seemed all he played, yet seemed to play no part;

Where hosts of others, not unknown to fame

Had left a more or less enduring name –

Gone was the place – scene of their glories all –

Spent like a fleeting day dream, past recall

But yet, though dismal ruin sat and frowned

On smouldering beams, still sacred was the ground;

Although the temple to the earth was cast

Its history stood still grandly in the past

So long the drama’s home had flourished here

‘Twere profanation other pile to rear

Destructions hand had crushed to dust the lane

What then remained? Why – build it up again

Hence active brain, with busy hand combined

(Alliance potent, muscle wed with mind)

Resolved this drama’s temple to restore

A fairer building that it was before

And in short spaces as if by wizards will

The structure ’gan the dreary void to fill

Soon there was seen a goodly house well planned

Worthy of the foremost southern land

And of the drama worthy too, we trust

Albeit they say the drama ‘s in the dust.

But that’s a slander, and we hope to show

Not yet it hath received its mortal blow

But this in passing. Nathless be it said

If now the drama be in truth quite dead

Faded and withered never more to bloom

That we have built for it a fitting tomb

But will I not believe that so’t must be

Not ended yet the drama’s history

So long as passion stirs the human breast

And the soul hath its tumult and its rest;

So long as men in life’s hard battle fight

And wrong for victory contends with right

So long a loves great lever moves mankind

So long the drama, worshippers shall find

And when the last man utters his last sigh

Then but not till then will the drama die

Tis nothing that it changes oft its mood

That all the muses in their turn t’as wooed.

That mad burlesque hat sometimes favoured been

And art been hidden by sensation scene –

These are but shadow phases and the light

Will come again, as it of erst was bright

Bit howsoe’er, or whosoever it be

Burlesque, sensation, or pure comedy

Tragedy, farce, or aught of all the rest

We here will strive to please you with our best

I speak for all my friends, I who awhile

Here basked in the sunshine of your smile

Grateful I come for many favours past

And the first part of which you find me cast

Is this, the pleasantest of many a part

To bid you welcome from my inmost heart

Take then my greeting, warm as words can make

And I your pleasant greeting back will take

For tis a night of greetings, as’t might be

In a long separated family

Our house is built again, let us rejoice

With one united and outspeaking voice

And as the roof tree rattles with our cheers

Lets wish’t may last at least a thousand years.

The applause was frequent, and Miss Stewart – as she still chooses to be termed – may feel proud of the hearty and appreciative cheering which greeted her appearance. After the first-piece, in which Mr Coppin, as Trotter Southdown was as amusing as of yore, occurred the event of the evening – the managerial speech. We print it verbatim:-

“Ladies and Gentlemen – it is usual at the commencement of a dramatic season to announce coming events. I will not do so upon the present occasion, because I am much in the dark in reference to the future managerial policy of the theatre as any sleeping partner in the depths of somnolence can possibly be. The next mail steamer brings Mr Harwood, who will, I have no doubt, give a very satisfactory account of his search for novelties and talent in the old country. As I cannot enlighten you as to the is to be’s I will make a few remarks about the has beens and the is-s-s-s. You are no doubt aware that I was burnt out of the Theatre Royal. You may have heard that my positive losses exceeded £5,000. In fact, if the stock of old scenery and machinery destroyed were valued in proportion to the cost of the new, my losses would exceed £7,000. You can all understand that the disastrous event was neither agreeable nor convenient. The ashes of the old Royal were undisturbed for months. The property was advertised for sale, or to let. Appeals were made in the newspapers to the enterprise and public spirit of our wealthy colonists to restore the legitimate home for the drama, but without a response. As no one else would face the breach, I came to the fore again, and leased the ground for 99 years, through the negotiations of Mr. Auctioneer Knipe. I selected my architect, had plans prepared, and accepted tenders for the building. I negotiated for insurance in England, and let the theatre for five years to Harrow and Co. Now, many persons would say – why didn’t Coppin float the Theatre Royal Proprietary Association before making himself liable for £20,000 because we all know that he hadn’t the money to carry it out? He couldn’t say – Alone I did it. I’ll tell you:- I am a member of one or two excellent associations that are perfectly dormant at the present time, in consequence of the inaction and want of sympathy on the part of some of the directors and the secretary. There are many persons in this world that either cannot or will not do anything themselves, but constantly oppose the exertions of others that are willing and competent to undertake the responsibility of guaranteeing success. With this mortifying experience I arrived at the conclusion that when you wish to carry out any undertaking, the safest way is to keep the power within yourself until the arrangements are so far advanced that they cannot be altered. After entering into all my engagements, I then issued a prospectus for the formation of a company to carry them out. The shares were disposed of by Mr J P Macdonald. My plans have been most literally endorsed by the directors, who – whilst protecting the interests of the shareholders, have not neglected the comfort of the public – and the result of this little bit of management is the magnificent building you now occupy, which I think ought to satisfy the demands even of those gentlemen which were liberal enough to dictate the expenditure of other people’s money by building theatres in the air through the newspapers. I cannot too highly praise the talent and energy displayed by my architect, Mr George Brown. His heart was evidently in his work and the result must elevate him greatly in public estimation. The services of Mr Powell have been most valuable as clerk of works, from the experience he gained in his connexion with building, the old Royal and Haymarket Theatres. The contractors, messers Hood and Brown, have carried out their works in a substantial and tradesman like manner. I cannot now enumerate every person that is entitled to honourable mention – from Mr Hennings down to the most humble labourer employed there has been a general desire to make the theatre a success – to each and all I tender now my thanks. I need not tell you that we are in an unfinished state. It would be a pity to spoil the Brussels carpets by placing them upon the floors whilst the plasterers are at work. I should therefore advise you to come every night to notice the gradual improvements until we arrive at completion. I have no doubt that some amount of disappointment exists (in which I heartily join) at the non-appearance of the ladies and gentlemen intended to open the theatre. The fact is that a great portion of the company is under written engagement ‘to open the Theatre Royal on or about the 7th of November. You see I calculated my opening night very closely some months ago. Without thought, engagements were afterwards made for a three months season in Adelaide, and when noticed to appear this evening, they found themselves in the awkward position of having to break one of their engagements. Managerial pressure, through the violation of a distinct understanding, compelled them to remain in Adelaide until the 19th of November, and we had to form another company not a very easy task with two other theatres open in Melbourne. The fortunate arrival of Miss Rose Evans placed novelty and talent at our disposal, and tomorrow evening I thoroughly anticipate one of those great successes for which the old Royal was so celebrated. And now, ladies and gentlemen, permit me to thank you most sincerely for your attendance here this evening. Although I shall not take any active part in the management of the theatre, I shall occasionally pop in, and hope I don’t intrude. On behalf of Harwood and Co, I can assure you that every exertion will be made to insure the liberal patronage and support that they had the good fortune to enjoy during their former years of management.”

Mr Coppin was much applauded at the conclusion of this effort, and Mr Brown, the architect, was also summoned by the audience to receive their compliments.

The comedy-drama, “Milky White” concluded the entertainments. It was received with great marks of favour, and it merited them. Mr Coppin never played the misanthropical cow keeper better. Mrs Crosbie made an excellent Mrs Sadrip, and Miss Maggie Stewart may be congratulated on the acquisition of some little sprightliness during her recent absence from the boards. Mr Munro and Mr Collier would seem to claim some notice, but beyond stating that they, Mr Stewart, Miss Douglass, and little Miss Nellie Stewart appeared in the course of the evening, the insignificance of the parts enacted by them renders criticism needless. For the same reason we refrain from commenting upon the acting of Miss Docy Stewart. She sustained the small part of Mrs Trotter Southdown with the ease of experience. Miss Stewart is a capable and painstaking actress, and we are glad to see her again upon the boards.

This evening Miss Rose Evans will appear in a drama called “quite alone,” dramatized, we understand, by herself, from “Jane Eyre”.