Victor Rifaut
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Victor Rifaut (11 January 1799 — 2 March 1838) was a French musician of the first half of the XIX specialized in opéra comique. A composer of the second order, he rubbed shoulders with masters of the genre such as Auber and Adolphe Adam and often collaborated with them.

Life 
Rifaut was born in Paris: his father, Pierre Rifaut, double bass at the Orchestre de l'Opéra gave him his first music lessons before he entered the Conservatoire de Paris at the age of 13 in 1811. There he studied solfeggio and piano, then harmony and musical composition and obtained a First Prize for harmony in 1814.

In 1820, competing for the Prix de Rome, he obtained a Second Grand Prize for composition with the cantata Sophinibe. The following year, at the same competition, he won the first prize with the cantata Diane et Endymion. He stayed at the Villa Medici in Rome from 20 December 1821 to 31 December 1823, travelling to Naples, Germany and Austria. He befriended the Norman painter Joseph-Désiré Court (1797–1865), also Prix de Rome, who in 1822 painted a portrait of Rifaut sitting at his work table in front of an open window on a landscape of the city of Rome. This painting is still kept in the Musée des Beaux-Arts de Rouen.

On his return to Paris in 1824 he resumed his job as accompanist at the Théâtre of the Opéra-Comique before being appointed there head of singing and pianist répétiteur two years later. In 1833, after the departure of Fromental Halévy, he was invited to take the "harmony and practical accompaniment class for women at the Conservatoire de Paris", and held this position until his untimely death by illness on 2 March 1838. He died in Orléans where he had retired with his family the previous year.

On 30 August 1826, he had married Jeanne-Emélie Belloste in Paris, a singer at the Opéra-Comique known as Mme Rifaut. Mother of two children and widow at thirty, she remarried and died in 1881.

Work 
Rifaut composed a number of works for the Théâtre de l'Opéra-Comique between 1826 and 1837, but none was really successful and they remained forgotten. The most accomplished ("Graceful and light but wise music" writes the ; "A rather pretty little act" writes a critic of L'Artiste: journal de la littérature et des beaux-arts) seems to have been André ou la Sentinelle perdue, a one-act play with a libretto by Saint-Georges, performed at the Opéra-Comique on December 9, 1834, with his wife, Mme Rifaut, in one of the female roles.

His musical activity is mainly notable for his role as arranger for Opéra comique works composed by Fromental Halévy (Le Roi et le batelier, one act play on a libretto by Jules-Henri Vernoy de Saint-Georges en 1827), Daniel-François-Esprit Auber (La Fiancée in 1829, Le dieu et la bayadère in 1830, Le Philtre in 1831, Gustave ou le Bal masqué in 1833) and Adolphe Adam (Danilowa, 3 acts, in 1830, Le Chalet in 1834, Les Chaperons blancs in 1836).