BALFE.

Star (Christchurch), Issue 2111, 12 December 1874, Page 4

BALFE.

(Home btfetvs, Oct. 2) The ceremony of unveiling Balfe's statue was performed on Sept. 26, in the vestibule of Drury lane Theatre. A more appropriate i position for the statue of our popular dramatic ] composer could not have been thought of. From 1835, when his first English opera, the " Siege of Rochelle," was produced, followed in the succeeding year by the " Maid of Artois," in which the famous Malibran took tbe leading, part, Balfe's earliest successes were earned in the same theatre. What he did afterwards, not forgetting one of his very beßt works, the " Maid of Honour " (on the same subject aB Flotow's "Martha,") when M. Jullien directed with so much spirit and enterprise the fortunes of Old Drury and Mr Simsßeeves was the hero of the opera; what he did, still later, at the Lyceum, and. afterwards at Covent 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 tho " Puritan's Daughter," the libretto written by Mr J. V. Bridgeman. He followed this up by others, not, however, so universally well received ; but his final effort, the " Knight of the Leopard," an Italian version of which, made out of Mr Arthur Matthison's ingenious libretto, was brought out by Mr Mapleson, with Madame Christine Nilsson as Edith" Plantagenet, again Bhowed Balfe at his very best, and again restored the influence of his always welcome name. How often "TL Talismano" was given at Hor Majesty's Opera, and witb what genuine success, has been recorded. Into this, however, as into the general history of Balfe's career, it is unnecessary to enter. The incidents are too well known. In his preliminary address, Mr C. L. Gruneiaen, the mouthpiece of the Balfe testimonial committee, discuesed 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 lifo. Mr Gruneisen performed his task conscientiously and well, hardly a single instance wbicb might bring the character and genius of the man to whoso memory he was paying a well-deserved tribute boing 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 higb a position in thia country, as the proper person to unveil the statue. Few would be inclined to dissent from tho 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 — Sir Michael holding in his hand a splendid bouquet witb whioh Madame Balfo, the composer's widow, bad 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 tho purpose, coupling tbe names of Michael Balfe and Vincent 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 aa proud as can possibly do Irishmen. About the statue itself, the work of a young Belgian Bouiptor, M. A. Malempre, we can only say that tbe likeness is certainly striking; though the majestic pose hardly makes the desired impression on - those who know 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 seem 3 to havo made a generally favourable impression. Resting upon a pedestal nearly six feet higb, ifc presents the Irish musician as a man of unusual stature — a semi-giant in short ; whereas, all who knew Balfe- must remember that he waa rather under fcban over tbe middle size. But this is a mere question of taste. That Balfe's statue snould stand whero it now stands iB unanimously admitted ; and whether or not the mucb talked-of monumental tablet is destined to find its appropriate corner in Westminster Abbey, our popular composer is at least represented worthily in the vestibule of tbe scene of bis many and well-earned snecesses.