Michael William Balfe To my friends and colleagues of the Worsley Opera Group who undertook performances of The Bohemian Girl with me

Worsley, 1960 Blackpool, 1961 (at the Long Playing Record Conference, and with the orchestra of the Royal Manchester College of Music) Michael William Balfe

His Life and His English Operas

WILLIAM TYLDESLEY First published 2003 by Ashgate Publishing

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British Library Cataloguing in Publication Data

Tyldesley, William Michael William Balfe: His Life and His English Operas. - (Music in Nineteenth-Century Britain) 1. Balfe, Michael William, 1808-1870.2. Composers-Ireland• Biography I. Title 780.9'2

US Library of Congress Cataloging in Publication Data

Tyldesley, William, 1927- Michael William Balfe: His Life and His English Operas / William Tyldesley. p. cm. - (Music in Nineteenth-Century Britain) Includes bibliographical references. 1. Balfe, M. W. (Michael William), 1808-1870. 2. Composers-Ireland• Biography. 3. Balfe, M. W. (Michael William), 1808-1870. Operas. I. Title. II. Series. ML410.B18 T95 2002 782.1 '092-dc21 [B] 2002019635

ISBN 13: 978-0-7546-0558-4 (hbk) Contents

List of music examples vii List of plates ix General editor’s foreword xi Preface xiii Acknowledgements xv General notes and definitions xvii

Introduction 1 1 1807–34: Early years and travels 9 2 1834: Back in London – the English opera 20 Constructional units and related matters 24 3 1835: The Siege of Rochelle 44 4 1836–43: The Maid of Artois, Catherine Grey, Diadeste, Joan of Arc, Këolanthe 61 The Maid of Artois 61 Catherine Grey 70 Diadeste 73 Joan of Arc 75 Këolanthe 80 5 1843: The Bohemian Girl 88 6 1844–46: The Daughter of St Mark, The Enchantress, The Bondman 116 The Daughter of St Mark 116 The Enchantress 124 The Bondman 133 7 1847–57: The Maid of Honour, The Sicilian Bride, The Devil’s In It! (Letty) 150 The Maid of Honour 150 The Sicilian Bride 156 The Devil’s In It! (Letty) 162 vi CONTENTS

8 1857–58: The Rose of Castille, Satanella 170 The Rose of Castille 170 Satanella 187 9 1860–63: Bianca, the Bravo’s Bride, The Puritan’s Daughter, The Armourer of Nantes, Blanche de Nevers 197 Bianca, the Bravo’s Bride 197 The Puritan’s Daughter 200 The Armourer of Nantes 206 Blanche de Nevers 209 10 Balfe after the English operas: 1860–70 and later 217 11 An overview 231 The life of Balfe 231 Unanswered questions 234 Balfe’s English operas 237

Bibliography 245 Previously unpublished material 250 Index 251 List of music examples

2.1 From the ballad ‘When all around’ 30 3.1 The Siege of Rochelle: episode B from Fig. 3.3 53 3.2 The Siege of Rochelle: part of the buffo section of Michel’s song 54 3.3 The Siege of Rochelle: chorus – ‘Vive le Roi’ 55 3.4 The Siege of Rochelle: exit music, Act 1 56 3.5 The Siege of Rochelle: the beginning of Michel’s solo ‘When I beheld the anchor weigh’d’ 57 3.6 The Siege of Rochelle: the beginning of the finale 58 4.1 The Maid of Artois: cornet obligato in introduction to baritone solo ‘The light of other days’ 64 4.2 The Maid of Artois: passage for Malibran quoted by the Morning Post critic 67 4.3 The Maid of Artois: waltz finale theme ‘L’air de Balfe’ 69 4.4 Diadeste: the introductory theme from Act 1 (Vc., Cb., Fag.) 74 4.5 Diadeste: the main theme of the overture (Vln 1) 75 4.6 Joan of Arc: beginning of overture 77 4.7 Joan of Arc: final chorus with solo for Joan 78 4.8 Këolanthe: introduction to solo for Ombrasto 83 5.1 The Bohemian Girl: introduction to overture A 94 5.2 The Bohemian Girl: ‘Hungarian’ theme in overtures A and B 95 5.3 The Bohemian Girl: introduction to overture B 96 5.4 The Bohemian Girl: the Gipsy chorus, opening section 99 5.5 The Bohemian Girl: examples of melodramatic music from Act 1 101 5.6 The Bohemian Girl: introduction to Act 2 102 5.7 The Bohemian Girl: vocal version of ‘The dream’ 103 5.8 The Bohemian Girl: an extract from the duet for Arline and Thaddeus 104 5.9 The Bohemian Girl: appendix aria, customarily sung by the Queen 106 5.10 The Bohemian Girl: finale, originally in Db 107 5.11 The Bohemian Girl: melody of Queen’s finale aria (Paris version) 110 6.1 The Daughter of St Mark: beginning of recitative in Act 1 118 viii LIST OF MUSIC EXAMPLES

6.2 The Daughter of St Mark: excerpt from Canon trio in Act 3 122 6.3 The Enchantress: excerpt from Stella’s song ‘Who has not heard’ 128 6.4 The Enchantress: fortissimo single diminished seventh chord 129 6.5 The Enchantress: the whole of the choral finale as shown in the vocal score 130 6.6 The Enchantress: Stella’s contribution to the finale 131 6.7 The Bondman: introduction to the ‘Duel Scene’ 136 6.8 The Bondman: start of the overture 137 6.9 The Bondman: beginning of Corrinne’s ballad ‘The child of the sun’ 138 7.1 The Sicilian Bride: introduction to Bianca’s ballad, Act 1 160 7.2 The Sicilian Bride: Sirena’s ‘Sicilienne’ in Act 2 161 7.3 The Devil’s In It!: from the central section of the overture, quoting the ‘Yawning song’ 165 8.1 The Rose of Castille: start of the overture 176 8.2 The Rose of Castille: Tierce de Picardie overture ending 177 8.3 The Rose of Castille: start of Pablo’s solo at the beginning of Act 1 178 8.4 The Rose of Castille: ‘Majore’ of verse 1 and the introduction and first bars of verse 2 179 8.5 The Rose of Castille: theme (above) and first coloratura variation in ‘Rondeau Mauresque’ 180 8.6a The Rose of Castille: ending of the opening chorus of Act 2 181 8.6b The Rose of Castille: beginning of the ballad immediately following Ex. 8.6a 181 8.6c The Rose of Castille: original follow-up to Ex. 8.6a 181 8.7 The Rose of Castille: excerpt from the ensemble ‘We are alone’ 182 8.8 The Rose of Castille: theme B in Elvira’s Aria di Bravura 183 8.9 Satanella: harp solo passage, finale, Act 1 189 8.10 Satanella: first appearance of ‘The power of love’ in finale, Act 1 193 9.1 The Puritan’s Daughter: cor anglais solo in finale, Act 1 202 9.2 The Puritan’s Daughter: cadential phrase from Clifford’s Act 1 ballad ‘Bliss for ever past’ 204 9.3 The Puritan’s Daughter: ‘Rossinian’ theme from overture 205 9.4 Blanche de Nevers: introduction to the opening chorus, used in several later numbers 214 9.5 Blanche de Nevers: Blanche’s entrance in Act 1 215 10.1 The Talisman: opening cornet fanfares 226 List of plates

1 Photograph of Balfe, probably 1850–60. This is a print from the original negative (first-generation print) 140 2 Photograph of Balfe, mounted on card, with imprint of Court Photographer L. Haase, Berlin on reverse. Probably December 1849/January 1850 when Balfe was in Berlin and accepted in the court circles 141 3 Photograph of Balfe, mounted on card, with typeset label ‘BALFE’. It is a second-generation image using relatively modern materials, possibly early twentieth century. Possibly one of a multiple issue for advertising or publicity purposes 142 4 Autograph quote of ‘When other lips’ (The Bohemian Girl) in Balfe’s handwriting 143 5 Title page of the programme/libretto of the first run of The Bohemian Girl 144 6 Title page of the programme/libretto of Balfe’s only ‘comic opera’ The Devil’s In It! 145 7 Title page of the programme/libretto of the ‘Melodramma Giocoso’ in which Lina Balfe made her debut in Milan in 1834 146 8 Playbill for The Siege of Rochelle at Drury Lane Theatre, with Weber’s Der Freischütz as a ‘filler’! 147 9 Playbill for Satanella at Covent Garden with Little Red Riding Hood to follow 148 10 List of subscribers to the Balfe statue fund with written additions in an unknown hand 149

General editor’s foreword

Balfe – arguably Britain’s most popular composer of English opera in the middle part of the nineteenth century – is one of those figures whom history might have left behind. Indeed, although William Tyldesley mentions a number of currently available recordings, Balfe’s music is hardly heard today. The last major operatic performance was given in 1951 with Thomas Beecham’s heavily revised Covent Garden revival of The Bohemian Girl. This was followed ten years later by the Worsley Opera Group’s Blackpool performance of the same opera with the orchestra of the Royal Manchester College of Music, and the last professional performance of Balfe (again The Bohemian Girl) was given in 1978 at the Central City Opera Festival. Published scores of Balfe are now scarce, having been out of print since the middle of the twentieth century, and what is available is generally accessible only as archival material. A relatively similar profile is reflected in modern musicological literature, which shows, until fairly recently, only a limited and perhaps occasional interest in Balfe. Since the 1980s, however, research in Balfe has increased, as evident in works such as Nicholas Temperley’s Music in Britain: The Romantic Age (1981) and George Biddlecombe’s English Opera from 1834 to 1864 with Particular Reference to the Works of Michael William Balfe (1994). Now with William Tyldesley’s book we have the first book devoted specifically to Balfe. The significance of Tyldesley’s Balfe is two-fold, because of the life and works format the author has chosen. While focusing on the interrelationships of Balfe and his music, he also raises issues which pertain to the broader context of musical culture of the time, and in so doing illuminates areas of considerable relevance to reception history. This, in fact, is the real strength of Tyldesley’s book. It manages to be a stylistically straight- forward biographical and musical overview, and at the same time an intensely revealing portrait of the composer in his cultural context. Of course, Tyldesley’s main interest is, openly, a general revival in the music of Balfe, and to that end a continued revival in musicological interest. This is clear when he describes Balfe today as being ‘an almost historical musical figure’ – in other words musicologically marginal and musically unpopular. As Tyldesley himself indicates, Michael William Balfe: His Life and his English Operas is intended to redress this situation.

Bennett Zon University of Durham, 2003

Preface

The initial purpose of the study on which this book is based was to record the details of the major works of Michael William Balfe (his English operas) to provide an initial source of reference for any future musician who might wish to perform them or to carry out further research. It is hoped that the subsequent book may also appeal to the many Balfe enthusiasts world-wide, who have relatively little on which to rely in terms of updated information. It is also hoped that some idea of the atmosphere of London operatic life and of the often chaotic conditions under which Balfe’s operas were written and produced will be conveyed. From the near contemporary biographies of Charles Lamb Kenney (1875) and William Alexander Barrett (1882), there was little published work which related to original sources and material until the thesis by George Biddlecombe, published in 1994, in which the English operas in general, and those by Balfe in particular, were discussed. These three books are referred to frequently (and in detail) in the body of this present book, as is the work of Nicholas Temperley and his colleagues, in particular in the highly influential book of which he was the editor, Music in Britain: The Romantic Age (1981). Balfe’s English operas, defined as operas written to English libretti and with spoken words rather than recitative, are by far the most important part of Balfe’s output. Of these (nineteen performed in his lifetime) only four have any degree of exposure in the standard reference works – this largely as a result of the limited research carried out before recordings of these operas were made. Most other descriptions of the life of Balfe and of his work, hampered by a paucity of original material, come either directly or indirectly from the unreliable and often demonstrably inaccurate biographies by Kenney and Barrett mentioned above. The latter part of the definition of English opera (that concerning the absence of recitative) is somewhat weakened by the existence of two operas incorporating substantial recitatives, but which otherwise fit into the general pattern of the English operas. These are included in the present study. When the research was first undertaken, the author did not realize (nor, it is probably true to say, did anyone else) that Balfe’s existing biographies were factually suspect and that very little original material was available to confirm or contradict this view – even in major libraries. When this became clear, the author felt it necessary to trace, and as far xiv PREFACE as possible to acquire, any original documents available on the market. This proved to be a very successful plan – the author acquired about seventy papers (letters, legal documents, libretti, playbills and so on), often from entirely unexpected sources. A world-wide, internet-led, search for library-held material has also been carried out. As a result of these searches the author has made a complete volte face in relation to many of the previously accepted ‘facts’ relating to Balfe’s lifestyle. In this book, biographical material is interwoven with the study of the operas – largely on a chronological basis. The operas are described in ways compatible with their significance musically, in relation to Balfe’s career, and (an important point) according to the availability of material. A brief discussion of Balfe’s twentieth, unfinished, English opera, The Talisman, is also included to complete the series. A further addition is the ‘musical entertainment’, The Sleeping Queen, orchestrated as a two-act opera by Balfe in April 1865 but, so far as is known, never performed. While Balfe’s activity in the ‘English opera’ aspect of the London theatre was in progress, a further opera, Falstaff, was written by him entirely in the Italian style and produced during the Italian season of 1838 at Her Majesty’s Theatre. At about this time Balfe was also functioning, although not so successfully, in the Parisian operatic scene. Three operas, Le puits d’amour, to a libretto by Scribe (1843), Les quatre fils aymon (1844) and L’étoile de Séville (1845), were written for Paris, and the first two of these were translated into English and produced in London. The opera Pittore e duca (1854), written for Trieste, was also later produced in an English version. These works are not included in the present study – it is hoped to deal with them separately at some future date together with other Balfe works (finished and unfinished) which do not fall into the category of ‘English opera’. The study of Balfe’s English operas has been made much simpler by his wife Lina’s donation to the British Library, after his death, of almost all the autograph scores. This almost unparalleled gift has made the work of researchers much easier. The author has seen all these, together with those few acquired later by purchase. The five scores in the Österreichische Nationalbibliothek, Vienna (the work of copyists, but with autograph additions and modifications by Balfe) have been consulted, as has the incomplete material for La bohémienne in the Bibliothèque Nationale de France, Paris. A further valuable source has been the nearly complete collection of first edition folio vocal scores of the operas held in the Liverpool City Library, together with the Carl Rosa Archive of orchestral parts also held there. Sadly, virtually none of the above have been consulted to any great extent in the last half-century. Acknowledgements

Professor Michael Talbot agreed to take me into the Department of Music in the University of Liverpool as a research student, pursuing an earlier interest after a career in a quite different discipline. Dr J. G. Williamson kindly consented to supervise my work from a professional musicologist’s point of view. Many thanks to both of them. It goes without saying that none of the opinions expressed in this book are attributable to either of these colleagues. A totally unexpected source of support has come from Mrs Mary Quinton, who has freely shared her interest in, and knowledge of, the Balfe family with me.

General notes and definitions

Nationality

Balfe was an Irish composer – he was born in Ireland of two Irish parents. When his nationality is involved (or that of others) it is specified. However, he wrote ‘English operas’, that is, operas written in the English language, generally including spoken libretto and in the ‘English opera’ style. At the time of Balfe’s activity similar operas were written for the London stage by a group of composers which included English, Scots, Irish and Welsh individuals. The term ‘English opera’ is used accordingly as a description of the genre, not as a marker of the nationality of the composer.

References and sources

Most sources are defined in the appropriate place giving sufficient information (it is hoped) for most readers. References in the notes to each chapter are either to original sources or to the bibliographical list. A number of documents are previously unpublished and are in the author’s own collection; significant unpublished material is fully quoted. Standard reference sources (such as Grove, Opera Grove, the Dictionary of National Biography) are referred to as such, without further complication excepting where the precise entry could be in doubt, in which case it is specified. References to Grove initially related to the 1980 edition. However, these all apply to the 2001 edition also. A full Bibliography is provided at the end of the book.

Terminology

There are varying interpretations of many of the terms used: aria, ballad, cabaletta and so on. These are discussed in the text and, as far as is possible, defined. Many of these terms have apparently been clearly defined in the past by various authorities, but these definitions are often at variance with each other. xviii GENERAL NOTES AND DEFINITIONS

Spelling

In general, spellings have been used which correspond to the usage in the period under study and, in particular, to the published material (‘Gipsy’, ‘Gypsy’, for example). The spelling of some proper names is not clear on any basis – for example, the opera The Rose of Castille has differing spellings of the title in the two published vocal scores (Castile, Castille).

Pitch and keys

Pitch – as in the definition of the range of vocal parts – is indicated using the convention described in Grove as being adopted in the United States for scientific work.

C2 C3 C4 C5 C......

The convention used for keys is that of upper case letters for major keys and lowercase letters for minor keys. Thus ‘D’ denotes D major and ‘d’ denotes d minor.

Examples and graphics

Most of the music examples have been scanned from original editions or from other early sources at least a century old. Music examples are computer-generated using the NoteWriter programme and graphics have been generated using AppleWorks. Music examples are denoted by ‘Ex.’ and by chapter (Ex. 1.1 and so on) and graphs, tables, reproductions of documents and so on by ‘Fig.’ or similar and by chapter (Fig. 1.1 and so on). GENERAL NOTES AND DEFINITIONS xix

Financial matters

It is very difficult to equate money values in the early and mid-nineteenth century with those at the beginning of the twenty-first century. The conversion factor used in the text depends on those given in A History of the British Economy by Brian Murphy (1973) in which the comparative values are given until the year 1969. This is a useful reference date – it was about the time that unpredictable inflation occurred and made later comparisons difficult. The period covered by Balfe’s career was relatively stable in financial terms and so an overall factor of ×20 has been used to try to bring the various fees into line with 1969 values whenever a conversion is used. Further adjustment (post- 1969) may be carried out by the reader. For most purposes, in the year 2001 (and in the UK) a further factor of ×20 since 1969 might be considered appropriate. Some fees are quoted in French francs. At the time one pound was the equivalent of about twenty-five francs.

Introduction

Michael William Balfe (1808–70) was by far the most successful composer of English opera in the mid-nineteenth century. Born of an Irish family in Dublin (a place to which he rarely returned after his move to London in 1823), Balfe’s career as a writer of operas and songs was acknowledged on a national and international basis from the time of the production of his first English opera in 1835, until his death in 1870. Twenty-three of his full-scale operas (nineteen of them ‘English operas’ in the terms of our definition) had been successfully produced in London during this period and, at the time of his death, he was considered sufficiently eminent to be given a memorial in Westminster Abbey as well as a statue in Drury Lane Theatre. Perhaps the most striking evidence of Balfe’s popularity in the nineteenth century lies in the British Library catalogue. There are almost a thousand entries of songs and operas, together with every conceivable variation of arrangements, fantasies and selections from them, for instrumental groups ranging from concertinas to mandolins and from fife bands to zithers, as well as those for more conventional combinations. The outstanding feature of Balfe’s operas was the quality of the solo numbers which far outshone those of his contemporaries. No less a critic than George Bernard Shaw described Balfe’s ballads as being better than those of Tchaikovsky.1 Many of these solo pieces from the operas became popular in their own right – and, in fact, they often bore little dramatic relationship to the plot of the opera. There is no doubt that the operas were effectively constructed around these solos which Balfe wrote so well: the potential ‘hit numbers’ were identified early and printed in advance of the rest of the scores. The plate numbers of the printed material provide ample evidence of this process. The definition of the term ‘ballad’, widely used to describe these solos, will be discussed later. Apart from nineteen English operas performed in London during his lifetime, Balfe wrote one for Trieste and three for the Paris stage, two of which were produced at the Opéra Comique and one at the Opéra. There was predictable astonishment and some outrage among the French musical fraternity that a non-establishment composer (and British!) was invited to write a work to a French libretto for that most French of institutions, the Paris Opéra. In his study of the operas of Charles Gounod, Steven Huebner points out that many established French

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