cally, to get some hard-working drudge to do what he used to call the mere mechanical part of the profession; accordingly Balfe, of whose acquirements he had heard so much, was singled out for the purpose, his acquaintance cultivated, and in him he found just the person he wanted. Invitation followed invitation to sundry breakfasts, dinners, and suppers, which were not more liberally bestowed than heartily partaken of, and in return for this munificent hospitality, melodies and accompaniments for songs were written, which this distinguished foreigner sold, of course, as his own, and thereby acquired considerable reputation. But the crowning part of the imposture has yet to be told. The management of one of the theatres sent for him, and requested his services to score an old opera from the piano-forte arrangement, stipulating, however, that the work should be done in one week. Here was a bold undertaking, but he was not a man to shrink from a difficulty, and so off he went to Balfe.

"Now you young rascal," said he, "if you can manage to score this opera, work night and day, and finish it in one week, you shall have ten pounds."

"Ten pounds! a fortune; make your mind easy; it shall be done."

And so it was, for within six days he handed the score to his conscientious employer, who paid him the promised remuneration.

"Hurrah, then, for a lark," said Balfe, and calling on a chum of his, "My dear fellow," cried he, "I have earned a lot of money last week, so you must come along with me and I'll frank you to Gravesend and back.”

The invitation was gladly accepted, and the next morning found them both in a steamer on their way down the river. Arrived at Gravesend they did not much fancy the look of the place, so, having made some inquiries about Rochester, they hired a pair of Rosinantes and had a delightful ride to that town, where they put up at the best hotel.

"What would you like for dinner, gentlemen?"

"Everything you can give us," said the happy pair, who soon sat down to a splendid spread, attended by three or four servants. Balfe dubbed his friend Sir George, who called him Lord William in return; and the waiters, taking the hint, Sir Georged and Lord Williamed them to their hearts' content. At last the two noblemen, what with sherry, champagne, and claret, became so very drunk, that it was deemed desirable to remove them to their respective chambers, a measure which was very carefully undertaken by the servants, under the immediate superintendence of "mine host." Balfe was the first to wake next morning, and sitting up in his bed, began to rub his eyes and "cudgel his brains" to find out exactly where he was, when the waiter entered the room with a message from Sir George to his lordship, to know when he would be pleased to breakfast, and when he intended to start for London? These questions brought him at once to sober recollection, and keeping up the joke about the nobility, Lord William and Sir George breakfasted like princes, and shortly afterwards started on the road back to Gravesend, with the blessings of the landlord and his obsequious servants. A financial investigation took place shortly after their arrival in London, when it was very clearly ascertained that of the ten pounds there remained but one, which soon followed in the same path as the

other nine.

Balfe's voice had now formed into a barytone. Being much encouraged by his friends, he was induced to apply himself to its cultivation, and studied very attentively for a year, at the expiration of which (1825) he gave up his position in the orchestra of Drury-lane, with the intention of going on the stage. The manager of the Norwich Theatre, a Mr. Crooke, having come up to town to make engagements, heard him sing, and was so pleased that he at once offered him a debut in the part of Caspar in Der Freischutz. The eventful night arrived, but Balfe got such an attack of "stage fright" that the manager deemed it expedient to send for a bottle of champagne to get "the steam up ;" and having given the debutant a couple of glasses of wine at the wing, he forced him on the stage. The first scene was got through tolerably well; but by the time the "incantation" scene was set, previous to which Balfe had been supplied with a little more champagne, he began to feel certain queer symptoms about the head, which were quickly communicated to his feet, so much so that in walking down the stage he overturned the iron pot which contained the combustibles for red and blue fire. In a moment the whole place was in a blaze.

The horrible smell overpowering poor Caspar, he fainted; the ladies in the boxes screamed with terror; the alarm of fire was given; and Balfe lay insensible in the midst of sulphurous smoke, and magic bullets. The curtain dropped, and he was taken off to the green room more dead than alive. Crooke rushing out into the street, made a most pathetic appeal to the audience, who were leaving the house, and succeeded in getting a few people to come back, on the assurance that the fire was completely extinguished, and that he would read the part. The next morning's papers announced that a young gentleman named Balfe had made a most brilliant debut in the part of Caspar; and having commented very severely on the performance, prophesied that he would never do any good either as an actor or a singer. How far the prophecy has been fulfilled will be found in the fact of his having visited Norwich some years afterwards with a lucrative engagement for the Festivals; and more recently in the same city as conductor of her Majesty's Theatre, when he accompanied Jenny Lind on a provincial tour. After this "blaze of triumph," as Bunn would call it, Balfe returned to London, mortified and disappointed at his failure in Norwich. In Drury Lane orchestra, however, he again found employment, but a circumstance soon occurred which set his fortunes in another current, and took him to new scenes and occupations. Dining one day with a friend, he met a wealthy Roman Count named Mazzara, who was then travelling in England. After dinner the Count had an opportunity of hearing him play the violin, and sing two songs of his own composition, which so pleased him that he made inquiries that evening in reference to the young musician's position and means. Upon learning how he was circumstanced, he at once invited him to accompany him to Rome, where he assured him he might remain his guest, as long as it suited his purpose, adding, at the same time, that he could promise him a hearty welcome from the Countess, inasmuch as he bore a most extraordinary resemblance in face and figure to a dear son whom they had lost during the previous year. It is almost needless to say how eagerly this liberal offer was embraced, and a few days found the Count and his protegé in Paris en route to Italy. While in the French capital Mazzara introduced Balfe to Cherubini, to whom he showed what he had been doing up to that time in the way of compo sition. From this distinguished master he received not only great encouragement to study, but an offer of instruction should he have felt disposed to remain in Paris. His engagement with the Count rendering this impossible, they proceeded on their journey to Rome, stopping at all the principal towns, and hearing the operas at Turin and Milan. It was late in the evening when they reached the palace. The Count leading his young friend into the room where the Countess was sitting with her daughter, said, "I bring you a son." The likeness to her own child struck her so forcibly that she burst into tears, kissed him over and over again, and nothing was talked of that night but the wonderful resemblance which he bore to the lost son of the house of Mazzara.

In this hospitable mansion he remained for about a year, during which time he studied under the best masters that Rome could afford. About the beginning of 1826 Count Mazzara having occasion to return to England, Balfe accompanied him as far as Milan, where his kind patron, shortly after their arrival in that city, made arrangements with Federici, the Director en chef of the Conservatorie, to superintend his studies. He also introduced him to M. Glossop, then Impressario of San Carlo, at Naples and La Scala at Milan, and before leaving the city informed him that he had lodged to his credit a considerable sum of money at a banker's. From Glossop he received the greatest kindness, being for some time a guest in his house; and during his residence there composed several chorusses and overtures, which were subsequently performed at La Scala.

After three months' study, Federici informed M. Glossop that his pupil might be safely entrusted with a libretto, but this was at first objected to in consequence of his youth, as well as from the apprehension that the production of an Englishman's work might lead to unpleasant jealousies at the theatre. M. Glossop's scruples, however, were soon overcome, and ere long he confiled to him the libretto of a ballet entitled La Perouse, which was produced at Milan with great success; the overture and a storm descriptive of shipwreck being highly praised by the habituès of the theatre.

About this time Filipo Galli, the celebrated basso, for whom Rossini composed

the part of Assur, in Semiramide, "the father," in La Gazza Ladra, and several other parts of equal importance, gave Balfe lessons, with the view of his making an appearance at La Scala, where his friend Glossop had promised to bring him out. In this, however, he was disappointed, for the affairs of the manager taking an unfortunate turn, he was obliged to leave Milan, the two theatres proving too much for him.

We must now follow Balfe to Paris, where he was staying a few days, with the intention of returning to London; but having called on Cherubini, for whom he sang, he was advised by him to remain in Paris; his friend adding, that if he consented he would next day at dinner introduce him to Rossini, who was then at the height of his popularity, and Director of the Italian Opera. The invitation was accepted, and at Cherubini's apartments at the Conservatoire he first met Rossini, and his wife Madame Colbrund, with whom he sang duets after dinner, Rossini accompanying. An offer was that night made to Balfe to be engaged at the Italian Opera, provided he studied with Bordogni for eight or ten months; and the characters of Pelligrini's range (who was then getting old) were those selected in which he was to appear. Some difficulty was suggested as to his ability to pay for the proposed instruction, but Rossini settled this matter by giving him a letter to Bordogni, with whom a satisfactory arrangement was made. Besides, Fortune made him acquainted with a rich banker named Gallois, who had heard him sing at Cherubini's, and liberally agreed to advance him 10,000 francs, which was paid at a rate of 1000 francs per month. With this generous aid (where can such friends as Count Mazzara and M. Gallois be found in these days?) he pursued his studies up to the time of his making his debut in 1828, in the part of Figaro, in the Barber of Seville. Sontag was the "Rosina," and the opera, with a powerful cast, was repeated for nine nights in succession. After this Rossini brought him an engagement signed by M. Laurent, the Impressario of the Italian Opera, for three seasons; the first, 15,000, the second, 20,000, and the third, 25,000 francs, during which he performed Dandini, in Cenerentola, Malibran being the heroine; Don Giovanni, in Mozart's chef d'œuvre, Podesta in La Gazza Ladra, Baltona in L'inganno Felice. About this period Laurent determined to bring out Zingareli's Romeo et Guiletta, to introduce Malibran as "Romeo;" but when put into rehearsal it was found that some of the concerted music was weak and ineffective. Rossini was asked to write new music, which he declined; but recommended Laurent to employ Balfe, who at once set to work and wrote the overture, two choruses, a scena for Malibran, and the cavatina and aria for Mademoiselle Blasis, who was the "Guiletta." He was subsequently introduced to the direction of the Grand Opera, who sent him an accepted poem in two acts entitled Atala, the subject founded on Chateaubriand's tale of that name. Being thus encouraged, he applied himself to composition with such zeal, and laboured so hard, that his health became seriously impaired from excessive study, and his physicians ordered him to Italy to recruit his strength. Previous to his leaving Paris his friend M. Gallois invited the elite of Parisian society to a matinee to hear the pieces which had already been composed for the opera of Atala. Malibran, poor Adolphe Nourrit, who some years afterwards committed suicide at Naples, Alexis Dupont, Levasseur, and several other artists of the Academie Royale, together with the leading performers of the Italian Opera, being engaged to sing the music. The journals next day were loud in praise of the young composer and his new opera, which he was going to Italy to complete. As he was leaving Paris, a gentleman with whom he was but very slightly acquainted drove up to the diligence and put a letter into his hand, requesting that he would not read it until he was five leagues from the capital. Impatient, however, to know its contents, he soon broke the seal, and found that the letter contained a bank-note for 1,000 francs, accompanied by a few lines thanking him for the pleasure the rehearsal of his opera had given him, he being one of the invités to M. Gallois' matinee, and expressing a hope that the small token of his gratification might be of use to him in the prosecution of his studies. Supplied with several letters of introduction, he proceeded to Milan, and, through the recommendation of Rossini to the Count St. Antonio, afterwards Duke of Calizzara, he was engaged as principal baritone for the theatre at Palermo, then under the direction of the Count of Sommatino. Having three months' leisure, previous to the commencement of the season at Palermo, he

went to Bologna, with the intention of visiting his friends the Mazzaras at Rome, on his way to Sicily. In Bologna he was fortunate in making an acquaintance with a celebrated amateur musician and composer, the Marquis of San Pieri, whom he had met in Paris. The marquis insisted upon his residing with him while he remained in Bologna, and on the night of his arrival at the Palazzo de San Pieri took him to a brilliant party given by the Prince Bacchiochi (Napoleon Buonaparte's brother-in-law). It was on that occasion that he met the now celebrated Guilia Grisi, then a girl of about seventeen years of age, and of surpassing loveliness. She was dressed, as he has told us, in a simple black velvet, with a white rose in her hair; and while she listened to him, standing by his side at the piano forte, "he felt as if he never sang so well before." She was introduced to him after he had finished the cavatina in the " Barbiere," by her uncle, M. Rogani, formerly an aid-de-camp of Napoleon, but who then filled the post of private secretary to the Marquis of San Pieri. While at the Palazzo he composed a cantata in honour of the Marquis's birth-day, the principal part of which was executed by Grisi, Tadolini, Pedrazzi, and a host of amateurs. It was so successful, that the composer was presented by the Philharmonic Society of Bologna with a diploma of honorary membership, and was also elected a life member of the Casini dei Nobili. While thus honoured, and passing, as one can easily imagine, a very pleasant life, he entirely forgot his engagement with the Sicilian Count. Hurrying, therefore, to Palermo, with the certainty of having an action brought against him, and of being thrust into prison, he proceeded at once to the Princess San Cataldo, to whom he had a letter of introduction from her brother the Duke Calizzara. Through her kindness he was invited to meet the Count Sommatino, the director of the opera, the next day, and being placed designedly alongside of him at dinner, he frankly told his story, apologised for his absence, and succeeded in obtaining the Count's promise to settle the affair for him. It was fortunate that he had obtained the Princess's interest, for as he was subsequently informed, the police authorities were watching his movements. In a few days after his arrival at Palermo, he made his debut in the part of Valdeburgho in Bellini's Opera of La Straniera. It was the first day of the year, and the first time the Sicilians heard their countryman's new work-a circumstance which was very favourable to Balfe, for the house was densely crowded, with an audience determined to be pleased with Bellini's new opera; his Il Pirata, which preceded it, having created great enthusiasm on its representation in Palermo. The Viceroy went in state to hear La Straniera, it being the King of Naples' birthday. The theatre was illuminated in every part; a giorno, with thousands of wax-lights. The etiquette which prevails, that no applause shall be given after the reception of the Court on its entrée was rather unfavourable to a debut; but the exquisite beauty of Valdeburgho's air, in the second act, "Meco tu vieni o misera," excited a burst of admiration; the Viceroy, putting his hand out of the box, and giving the signal to applaud, which was answered by a deafening shout demanding its repetition. The opera was performed seventy nights, and the part of Valdeburgho nearly carried Balfe through his year's engagement.

While at Palermo, an emeute took place which led to the Chorus striking for more pay, and the manager, the Count Sommatino, being anxious to resist the combination, exclaimed in Balfe's presence, "Oh, if I had but one more opera without a chorus, I'd punish them severely. I could go on for a while with the Matrimonio Segreto and L'Inganno Felice, but they would only carry me on for a few nights."

"If, then," replied Balfe, "you can give me twenty days, you shall have one to suit your purpose."

The Count at once took him at his word. The poet of the theatre was sent for, the subject chosen, and an opera called I Rivali di se Stessi, founded on the French vaudeville, Les Rivaux de soi meme, written within the promised time, was produced with great success, Mdlle. Lipparini, Signor Boccacini, and Scalesi, taking the principal parts.

After fulfilling his year's engagement at Palermo, he went to Piacenza, where he sang for some time; then to Bergamo, where he met Mdlle. Lina Roser,

prima donna of the troupe, and married her shortly afterwards. We find him next at Pavia, having been engaged to bring out Rossini's Mosé in Egitto. At the first rehearsal of this opera, an incident occurred which led to an unfortunate result. Signor Rolla, brother to the celebrated Allessandro Rolla, the leader of the orchestra of La Scala at Milan, was leader of the orchestra at Pavia, and having perceived that Balfe was taking upon himself to give directions not only to the chorus, but to the musicians, became annoyed and disconcerted at his interference. At a passage for the violin, which occurs in the first act, Rolla said "it was not written for the instrument," and being so difficult, was almost impossible to play; to which Balfe exclaimed, "Rossini was a violin-player, and knew what

he wrote. The passage is easy enough. Shift your hand higher up and you will

do it." On hearing this, poor Rolla could contain himself no longer, and bursting into a torrent of passion, looked up at Balfe and exclaimed, "Signor, Dottore venite quà suonate per me, ed io andero cantare per voi."

The challenge was at once accepted, down Balfe jumped into the orchestra, took up a violin, and played the disputed passage in such a masterly manner that he was applauded by every one present. This triumph had such an effect on Signor Rolla, that he left the theatre at once, returned home, took to his bed, and died in a few months afterwards from the effect of wounded pride. No one felt this more than Balfe, who, while he resided in Pavia, never failed to visit Rolla, and had the satisfaction of making his peace with him before he died. It was here his opera, Un avvertimento ai gelosi, was first performed. He wrote it for his benefit, and on that and subsequent occasions, it met with favourable reception. His next and third opera was brought out at Milan, Enrico Quarto al passo de la Marno, which became an established favourite all through Italy. It was at this period that he first became acquainted with Malibran. She came to Milan to fulfil an engagement, for which she was to receive 3,000 francs a night. Balfe having called on her, she told him that she had heard his opera of Enrico, and would insist on his being engaged at La Scala. To this the management at once acceded, fixing his salary at 1,000 francs a night. During the engagement he performed Iago in Otello; Dandini in the Cenerentola, and Figaro in Il Barbiere, with the great prima donna. He then accompanied her to Vienna, where he obtained an engagement at the Fenici on similar terms. While there, he wrote the greater part of an opera (the subject from Hamlet) which he took up at the request of his friend Donzelli, who, as well as Malibran, was to have sustained a principal part; but the death of the Emperor of Austria having taken place, the engagements of all the artists were dissolved. This circumstance had well nigh ruined a manager named Gallo, who had just completed the building of a theatre roofed with glass, which he called "Il Teatro Emenonitio." In his despair, he waited upon Mdlle. Malibran, told her how he was circumstanced, and entreated that she would sing one night for him, for which he offered her 200 Napoleons. The terms were accepted, and Sonnambula was performed to a house crammed to suffocation, Donzelli playing Elvino, and Balfe, Rodolpho. An incident occurred just before she began to sing the finale, "Ah, non guinge," which produced a scene of excitement almost unparalleled in the history of the stage. Happening to tread upon some of the flowers of her bouquet, which she had been using in the previous moment, she slipped, and would have fallen had not Balfe caught her in his arms. In her endeavour to save herself, she kicked off one of her slippers, which fell into the pit, and a scramble at once took place among the occupants of that part of the house to possess such a precious memento of the great artist. In the struggle, they were soon joined by several persons from the front circle of boxes, upon perceiving which, Malibran took off the other slipper and threw it among the combatants, who soon tore it and its fellow into a thousand fragmentary relics. The performance was, after a considerable time, resumed, and she proceeded with the finale. During the last bars of the rondo, the poor old manager, Gallo, walked upon the stage, took her by the hand, and in a feeling speech told the public that that night's representation had saved him from ruin, adding, at the same time, that the theatre should henceforward be called "Teatro Malibran."

Malibran left Vienna, promising Balfe to get him an engagement in England to write an opera. Shortly afterwards he returned to Milan, and being advised by his friend, Puzzi, proceeded to London, where an engagement