Michael William Balfe (Dublin, 1808—Hertfordshire, England, 1870) came from a musical background, his father being an eminent violinist and dancing master. Michael Balfe’s musical gifts were already apparent at an early age. Eager to learn, Balfe must have realised early on that to perfect his art he had little choice but to look outside a country that has precious little by way of a tradition of classical or operatic music.  The catalyst came in 1823, when his father died, putting pressure on the young Balfe to bring money into the household. In that year, aged just 15 years, Balfe went to London, where he studied music, was engaged as a violinist at the Theatre Royal, and also did some opera singing. Having gained the patronage of an Italian nobleman, the Count Mazzara, Balfe decided to move to Rome in 1825 to study, sing professionally, and compose musical compositions of his own.

 The Irishman’s first substantial stay in Paris commenced in early 1827, when the Italian composer Luigi Cherubini—whom Balfe had already met on his way down to Rome in late 1825—introduced him to the composer Gioachino Rossini. Balfe played and sung for Rossini at the latter’s home at the Hôtel Ronseray at 10-12, Boulevard Montmartre (9th arrondissement, building no longer exists). Rossini was so impressed by Balfe’s performance that he promised to advance the Irishman’s career as long as he underwent further training. Thus it was that after more singing lessons, Balfe, then aged just 19, landed the role of Figaro in a production Rossini’s The Barber of Seville at the Théâtre Italien debuting in January 1828. (The Théâtre Italien where Balfe performed on rue Favart (2nd arrondissement) burned down in 1838. Renamed the Opéra Comique, it went up in flames again during a performance in May 1887, with the loss of 400 lives. The present incarnation of the Opéra Comique was built in 1894-1898).