Meyer Lutz

In 1869, he was engaged as the music director of the Gaiety Theatre, London, arranging and later composing a series of popular burlesques over the next 25 years.

[6] After this, for many years, Lutz conducted concerts in the British provinces and touring opera troupes for Giulia Grisi, the tenor Mario and others.

[9] In 1859, in Derby, England, Lutz played the piano for a series of ten "Concerts for the People" at the Temperance Hall.

[7] Galer also mounted three other Lutz operas at the Royalty Theatre in London: Blonde or Brunette (1862), Cousin Kate (1863), and Felix, or The Festival of the Roses (1865).

Lutz's early compositions for the Gaiety theatre included incidental music for Dreams (1869), a play by Thomas W.

[1] At the Gaiety, Lutz compiled the scores, and later often composed original music, for a series of popular pasticcio entertainments, opera-bouffes and burlesques,[1] including The Bohemian G-yurl and the Unapproachable Pole (1877); Robbing Roy (1879 by F. C. Burnand); a version of The Forty Thieves (1880, libretto by Robert Reece; Lutz had conducted an 1878 version of the same story); All in the Downs; or, Black-Eyed Susan (1881); Aladdin (1881); Oh!

The "Pas de quatre", a sprightly barn-dance written for Faust up to Date, remained popular for more than fifty years and has had at least two modern recordings.

The performers included Nellie Farren (who had sung under him in nearly all of his Gaiety pieces), Marion Hood, Durward Lely, Richard Temple and many others.

[17] Lutz wrote a string quartet and ballads such as "Thy Silv'ry Tones", "Enchant Mine Ear" and "Sail on Silver Cloud."

[2] He continued to compose songs into the 20th century, including music for Hidenseek (1901) and a few numbers for Ivan Caryll and Cecil Cook's The Girl from Kays (1902).

However, Lutz seems to have run low on funds, as another benefit was held for him on 28 November 1901 at the Gaiety Theatre, organised by George Edwardes.