BALFE.

Lyttelton Times, Volume XLII, Issue 4311, 5 December 1874, Page 3

BALFE.

(Home News, Oct. 2.) The ceremony of unveiling Balfo’a statue was performed on Sept. 26, in the vestibule of Drury lane Theatre. A more appropriate position for the statue of onr popular dramatic composer could not have been thought of. From 1835, when his first English opera, the “ Siege of Bochelle,” was produced, followed in the succeeding year by the “Maid of. Artois,” in which the famous Malibran took the leading part, Balfe’s earliest successes Were earned in ■ the same theatre. What he did afterwards, not forgetting one of his very best works, the “ Maid of Honour ” (on the same subject as Flotow’s “ Martha,”) when M. Jullien directed with so much spirit and enterprise the fortunes of Old Drury and Mr Sims Beeves was the hero of the opera,- what he. did, still later, at the Lyceum, and afterwards at Oovent Garden, under the direction of Miss Louisa Pyne and Mr W. .Harrison, with Mr Alfred Mellon as conductor, is vividly • remembered by all the admirers (how many they are we need hardly say) of his music. Balfe’s last really fine work was the “ Puritan’s Daughter,” the. iibretto . written by Mr J. Y. Bridgeman. He followed this up by others, not, however, so universally well received ,• hut his final effort, the “Knight of the Leopard,” an ltalian - version of which, made out of Mr Arthur Matthison’s ingenious libretto, was brought out by Mr Mapleson, with Madame Christine 'Nilsson al ; Edith Plantagenet, again showed Balfe at his very best, and again restored the' influence of his always welcome name. How often “H Talismano” was given at Her Majesty’s Opera', and’with what genuine siic'!cesa, has beep recorded. Into this, however, as into'the general history of Balfe’s career,-it is unnacessatyto eater. The incidents are tpo Well’ known. Tn his preliminary address, Mr C. L, Grnneisen, the mouthpiece of the Balfe testimonial committee, discussed them.at great length, introducing a mass of details of more or less Interest, and following his hero through all the changes and vicissitudes of his artistic life. Mr Gruneisen performed his task conscientiously and well, hardly a single instance which might bring the character and genius of the man to whose memory he was paying a well-deserved tribute being left untouched. After an appropriate peroration, Mr Gruneisen referred to Sir Michael Costa, an old and intimate friend of Balfe’s, a brother musician, and one occupying so deservedly high a position in this country, as the proper person to unveil the statue. Few would be inclined to dissent from the fluent orator on this point; and when Sir Michael withdrew the drapery that enveloped the effigy of our lamented. musician, applause of the heartiest kind broke forth from every side, and was again and again repeated—Bir Michael holding in his hand a splendid bouquet with which Madame Balfe, the composer’s widow, had requested Mr Gruneisen to present him. A compatriot of Balfe’s, Mr George Osborne, himself a distinguished musician, then spoke a few words very much to the purpose, coupling the names of Michael Balfe and Yincent Wallace, of both of whom Mr Osborne, as an Irishman, said his countrymen felt justly proud. To this we can only add that Englishmen, and Scotchmen, and Welshmen feel just as proud as can possibly do Irishmen. About the statue itself, the work of a young Belgian sculptor, M. A. Malempre, we can only say that the likeness is certainly striking; though the majestic pose hardly makes the desired impression on those who knew Balfe well and saw him frequently. Balfe was never a “ poser,” and under no circumstances can we imagine him assuming so imperial an attitude. Otherwise, as simply a work of art, the statue seems to have made a generally favourable impression. Besting upon a pedestal nearly six feet high, it presents the Irish musician as a man of unusual stature-r-a semi-giant in short; whereas, all who knew Balfe must remember that he was rather under than over the middle size. But this is a mere question of taste. That Balfe’s statue should stand where it now stands is unanimously admitted; and whether or not the much talked-of monumental tablet is destined to find its appropriate comer in Westminster Abbey, oar popular composer is at least represented worthily in the vestibule of the scene of bis many and well-earned successes.