DEATH OF MR F. GYE.

Lyttelton Times, Volume LI, Issue 5611, 18 February 1879, Page 6

DEATH OF MR F. GYE.

The death of Mr Gye will not in any way affect the position ot the artists engaged at the Royal Italian Opera. Mr Gye caused all the contracts to be drawn up so that in case of his death his “ heirs and assigns” should have the option of continuing them ;, and notice has already been given to the principal singers on the part of Messrs Herbert and Ernest Gye that the engagements entered into are to be maintained. Mr Ernest Gye, who is now at Moscow with his charming wife (still known in public as “ Mdlle Albani ”) has already some practical knowledge of operatic affairs. Mr Herbert Gye, who was formerly in the navy, has not hitherto been connected in any manner with the management of the Royal Italian Opera. Mr Ernest Gye was not able to return to London in time for his father’s funeral. When Mr Gye’s wound was first examined, the surgeons hoped to extract the shot and save the patient, and as the sufferer showed no signs of weakness, Mr Ernest Gye was informed, by telegraph, that his father was going on well, and that he might be expected to recover. Several contradictory accounts have been published in the daily newspapers as to the circumstances under which Mr Gye became connected with the Royal Italian Opera. Referring to a volume of programmes and prospectuses collected by an old subscriber and supporter of the Royal Italian Opera, we find 'that Mr Gyo’s name is nowhere mentioned in the programmes until the year 1856, when, Covent Garden having been burnt down, the Royal Italian Opera was transferred fora time to the Lyceum. Mr Gye, however, had been connected with the Royal Italian Opera since 1848, when he was engaged as a sort of acting manager by Mr Delafield. On July 14, 1849, Mr Delafield was made bankrupt, and the theatre was on the point of being closed, when Mir Gye, having made a temporary agreement with the solicitor to the proprietors of the buildings; called the company together, and induced them to take part gratuitously in the performance already announced for that night. Looking over the old programme, it is impossible not to be struck by the great importance attached—when the - Royal Italian Opera was first opened —to the baliet, a form of entertainment which seems now almost to have died oat. One is accustomed to think of Her Majesty’s Theatre, under the Lumley management, as ’ the headquarters of the ballet, and of the Royal Itilian Opera as an establishment founded almost exclusively with a view to operatic performances. It appears, however, from the list of ballet engagements for the first season, 1847, at the Royal Italian Opera that the services of no less than four premieres danseuses of European fame had been retained—Duniil&tre, Plunkett, Fuoco, and Fanny Elssler. Middle-aged habitues will think with regret of a very charming English dancer on seeing in the list of engagements for the corps de ballet the i name of Rosina Wright. The following brief epitaph for Mr Gye was suggested a good many year's ago by Mr Charles Kenney : Ci git Qge.—The World