was a prolific writer for the stage, but of all his works ‘Robin Hood’ is the only one which is still occasionally performed.  It has little of the buoyancy which the theme demands, but there is a great deal of sound writing in the concerted music, and some of the ballads are tuneful enough in a rather commonplace way.  Edward James Loder (1813-1865) was a good musician, and under more favourable conditions might have produced work of permanent interest.  His best-known work is ‘The Night Dancers,’ an opera founded upon the legend which has been used by the Italian composer Puccini in his ‘Le Villi.’

About the middle of the nineteenth century the destinies of English opera were controlled by a company presided over by Miss Pyne and Mr. Harrison, for which Balfe and Macfarren wrote a good many of their works.  In more recent times the place of this institution was taken by the Carl Rosa company, which was founded in 1875 by a German violinist named Carl Rosa.  Such opportunities as were presented to English musicians, during the latter part of the last century, of hearing their works sung upon the stage were principally due to his efforts.  One of the first works actually written in response to a commission by Carl Rosa was ‘Esmeralda,’ an opera by Arthur Goring Thomas (1851-1892), which was produced in 1883.  It is founded upon Victor Hugo’s ’Notre Dame,’ and the libretto was written by T. Marzials and A. Randegger.

Esmeralda, a gipsy street singer, is loved by the profligate priest Claude Frollo, who with the assistance of Quasimodo, the deformed bell-ringer of Notre Dame, tries to carry her off by night.  She is rescued by Phoebus de Chateaupers, the captain of the guard, who speedily falls in love with her.  Frollo escapes, but Quasimodo is captured, though, at Esmeralda’s entreaty, Phoebus sets him once more at liberty.  In gratitude the dwarf vows himself to her service.  Frollo is mad with rage at seeing Phoebus preferred to himself; he assassinates the captain and accuses Esmeralda of the crime.  She is condemned to death, but is saved by the appearance of Phoebus, who was not killed after all, and opportunely turns up in time to rescue Esmeralda.  Frollo attempts once more to murder Phoebus, but the blow is received instead by Quasimodo, who sacrifices himself for Esmeralda’s happiness.  When the opera was produced in French at Covent Garden in 1890, the composer introduced several alterations into the score.  An elaborate air for Esmeralda in the prison was the most important of the additions, and the close of the opera was also materially changed.  It was generally thought, however, that the original version was the more successful.  Thomas’s training and sympathies were thoroughly French, and except for the words ‘Esmeralda’ has very little claim to be called an English opera.  The score is extremely graceful and charming, and it is only at the more dramatic moments that the composer fails to do justice to his theme.