I: Operas

doi:10.1080/14723808.2007.10541015

1 ‘A New Opera’; LS, iii/1, 530.Google Scholar

2 ‘Prince and Princess of Wales expected to attend’; LS, iii/1, 585.Google Scholar

3 Dedicated by Angelo Cori to the Countess of Sunderland.Google Scholar

4 Earl of Ilchester, Lord Hervey and His Friends (London, 1950), 238–9.Google Scholar

5 The Daily Advertiser, 15 December 1735.Google Scholar

6 ‘A New Serious Opera … with dances at the End of the Opera. The Musick entirely new, composed by Sg Ciampi’; LS, iv/1, 176.Google Scholar

7 Benefit: The Lying-in Hospital for Married Women in Brownlow Street, Long Acre; LS, iv/1, 182.Google Scholar

8 Benefit: [Filippo] Laschi. ‘With Comic Interludes between the Acts called La Serva Padrona. The music composed by Sig Gio. Batista Pergolesi’; LS, iv/1, 184.Google Scholar

9 Benefit: [Giulia] Frasi; LS, iv/1, 188.Google Scholar

10 BDL, i, 76 states that when John Francis Croza took his company to the Haymarket for the 1749–50 season Amoretti ‘was not with him’; clearly, she was.Google Scholar

11 ‘New Dances between the Acts… By Command of their Majesties. A new Opera by Mr Back [sic]‘; LS, iv/2, 1095.Google Scholar

12 ‘By Command of their Majesties’; LS, iv/2, 1099.Google Scholar

13 Of the three Young sisters, Esther Young appeared as Mrs Jones after about 1762, while Isabella Young sang regularly as Mrs Scott after about 1760.Google Scholar

14 Temistocle (Act 1, scene vi).Google Scholar

15 Demetrio (Act 2, scene xv).Google Scholar

16 Horace Walpole, Letter to the Earl of Hertford, 27 January 1765, in Horace Walpole, The Letters of Horace Walpole, Earl of Orford, ed. Peter Cunningham (London, 1866), iv, 320.Google Scholar

17 Burney, iv, 486–7.Google Scholar

18 GB-Lbl 11714.aa.23 (3).Google Scholar

19 GB-Lbl 1714.b.39 (3).Google Scholar

20 GB-Lbl 1608/4555 (9).Google Scholar

21 L'asilo d'amore (no. 18).Google Scholar

22 Demetrio (2, xv).Google Scholar

23 Temistocle( vi).Google Scholar

24 Songs not set by Handel. 1. ‘Tiranna le sorte’ (8), by Ristori; ‘Mira virtu che troppo) (40). 2. ‘Per le africane arene’ (48). 3. ‘Sorti illeso Alessandro’ (52).Google Scholar

25 ‘A New Opera’; LS, iii/1, 113.Google Scholar

26 ‘Princesses Royal and Caroline present’; LS, iii/1, 114.Google Scholar

27 ‘Prince of Wales and Princess Royal present’; LS, iii/1, 115.Google Scholar

28 ‘Their Majesties, Prince, and three eldest Princesses present’; LS, iii/1, 116.Google Scholar

29 ‘Their Majesties, Prince of Wales, and three eldest Princesses present’; LS, iii/1, 117.Google Scholar

30 ‘Their Majesties, the Prince, Duke, Princesses Royal, Amelia, and Caroline present’; LS, iii/1, 118.Google Scholar

31 ‘Their Majesties, Princesses Royal and Caroline present’; LS, iii/1, 118.Google Scholar

32 ‘Their Majesties and the three eldest Princesses present’; LS, iii/1, 119.Google Scholar

33 ‘King, Queen, and three eldest Princesses present’; LS, iii/1, 121.Google Scholar

34 ‘Last Night, her Majesty, the Duke and Princesses, were at the Theatre Royal in Covent Garden, to see the Opera call'd Poms’; The Daily Gazetteer, 9 December 1736.Google Scholar

35 ‘Saturday last … their Royal Highnesses sent Notice to the Theatre Royal in Covent Garden, that they could not be present at the Opera of Porus, which they had commanded’; The London Daily Post, 13 December 1736. News of the Princess Royal's miscarriage in The Hague arrived during the afternoon.Google Scholar

36 Attended by Mrs Pendarves and Lady Chesterfield, formerly Petronilla Melusina, nee von der Schulenberg, and Handel's pupil; see [Mary Delany], The Autobiography and Correspondence of Mary Granville, Mrs Delany, ed. Lady Llanover (London, 1861), i, 586.Google Scholar

37 See Timms, Colin, ‘Handelian and Other Librettos in Birmingham Central Library’, Music & Letters, 65 (1984), 141–67.CrossRef Google Scholar

38 This libretto can be associated with the November performances of 1731. It survives in two issues, Issue A and Issue B. Issue A (GB-Bp A782.12 Plays B/41 (44316), and GB-En BH.Lib.39) has the new additions printed separately on four sheet at the end of the libretto (although those belonging to GB-En are missing). Issue B (F-Pn Rés V.S. 420) has those same additions incorporated into the text. Issue B, as the final form of this version, is cited here. I am indebted to Tony Hicks for (several) detailed discussions of this matter.Google Scholar

39 This libretto survives in three issues, Issues A, B, and C. Issue A (US-Wc ML48.S4486 and GB-Lv Plays 93 (7)) was published with ‘a leaf of alterations’ (although this list does not survive in either copy). Issue B (F-Pn Res V.S. 421 and GB-Ob Harding D 2447 (6)) incorporated those alterations into the text. Issue C (GB-Lcm XXI.A.10 (5)) has an additional page containing a revised cast list (as well as the original list). Issue C, as the final form of this version, is cited here. I am indebted to Tony Hicks for (several) detailed discussions of this matter.Google Scholar

40 Lampugnani's works list in NG2 (Michael F. Robinson/Fabiola Maffei, Rossella Garibbo, xiv, 204) does not mention this piece, and the article on Metastasio (Don Neville, xvi, 515) does not include it among the settings of the libretto. It is possible that Lampugnani's contribution was confined to the re-cycling (possibly by others) of songs he provided for Roxana, o Alessandro nell'Indie of 1743; he appears to have left London by around the middle of 1745, the season before the opera opened. Deutsch, 572–3, claims that the work also included arias by Cocchi and that Lampugnani assembled the pasticcio, an unlikely circumstance given that he had left London the previous season.Google Scholar

41 ‘With the Alterations of several Airs by the most celebrated Masters’; LS, iii/2, 1240 (also for the performance on 10 May).Google Scholar

42 BDL, vi, 301 records her first appearance as being on 24 March 1757, and only allows her to ‘flourish’ in 1757.Google Scholar

43 BDL, x, 19, records her first appearance as being on 24 March 1757, and only allows her to ‘flourish’ in 1757.Google Scholar

44 ‘A new serious Opera … The music by several celebrated Composers. Pit and Boxes together half a Guinea, Gallery 5s. To begin 6.30pm. No Persons whatsoever to be admitted behind the Scenes, nor into the Orchestra, Vivat Rex et Regina’; LS, iv/2, 896.Google Scholar

45 ‘And by Desire, several favourite songs will be introduced’; LS, iv/2, 903.Google Scholar

46 ‘By Their Majesties’ Command'; LS, iv/2, 906.Google Scholar

47 Musician to H.S.H. the Duke Clemens of Bavaria.Google Scholar

48 Demofoonte (Act 2, scene vi), set by Cocchi for Venice in 1750.Google Scholar

49 Demofoonte (Act 2, scene vi), set by Cocchi for Venice in 1750.Google Scholar

50 ‘By desire’; LS, iv/2, 1047.Google Scholar

51 Benefit: the General Lying-in Hospital; LS, iv/2, 1059.Google Scholar

52 Galliano Ciliberti and Marita McClymonds, ‘Caruso’, NG2, v, 216 attribute the whole of this setting to Luigi Caruso. This was apparently an earlier version of the setting performed in Florence at the Intrepidi in Spring, 1780.Google Scholar

53 ‘A New Serious Opera. The Music entirely new composed by Corri’; LS, iv/3, 1853.Google Scholar

54 ‘By Command of Their Majesties’; LS, iv/3, 1855.Google Scholar

55 BDL, v, 145 states that it is not known what role she sang.Google Scholar

56 BDL, xiii, 265 states that Sestini's first London appearance was not until 13 September 1775.Google Scholar

57 ‘Alessandro Nelle Indie, which was intended to have been performed this Day, is unavoidably postponed till Saturday’; 23 November 1779'; LS, v/1, 298. ‘A New Serious Opera. The Music by several eminent composers. Amongst them several airs by Handel. Under the direction of Bertoni. With entire new Scenes, Dresses and Decorations, both for the Opera and Dances'; LS, v/1, 299.Google Scholar

58 ‘The New Operas which were intended for this Evening, are obliged to be postponed until Thursday’; LS, v/1, 303.Google Scholar

59 Adriano (Act 2, scene vi).Google Scholar

60 29 November 1779, from an unidentified clipping in US-NYp; quoted in Petty, 167.Google Scholar

61 The London Chronicle, 45 (27–30 November 1779), 515.Google Scholar

62 A.A. Le Texier, Ideas on the Opera, trans. anon. (London, 1790), 35.Google Scholar

63 Tarchi set this text again for Turin in 1798.Google Scholar

64 ‘A new Serious Opera; the music entirely new by Tarchi’; LS, v/2, 1162.Google Scholar

65 On the night of 17 June the King's Theatre was burned to the ground. On 27 June performances were resumed at the Theatre Royal, Co vent Garden.Google Scholar

66 Benefit: [Luigi] Marchesi. ‘A Serious Opera; the music by Tarchi. Under the direction of Federici … Two new songs of his own composition by Marchesi; one in Act 1, one in Act ii, accompanied by violin, violoncello and tenor [viola], by Cramer, Cervetto and Shield’; LS, v/2, 1249.Google Scholar

67 Benefit: {Mr} Blake; LS, v/2, 1254.Google Scholar

68 The company moved to Covent Garden when the Haymarket opened its usual summer season on 14 June 1790.Google Scholar

69 BDL, iv, 454–5, claims that Anne Dorival died in Marseilles in 1788, but she is the only plausible candidate for this role.Google Scholar

70 Thos Davies 1789' in handwriting on title page.Google Scholar

71 Imprint not recorded by HS; Hammond (also not recorded by HS) is possibly the J. Hammond who in 1793 published both I zinagri in fiera (PL-Kj Lib.ang.279II) and Odenata e Zenobia (PL-Kj BJ: Lit.ang.280II).Google Scholar

72 ‘Words by Mr Badini’.Google Scholar

73 The Morning Post, 3 June 1789, 2.Google Scholar

74 The Times, 3 June 1789, 2.Google Scholar

75 The World, 3 June 1789.Google Scholar

76 The Times, 8 June 1789, 2.Google Scholar

77 As Poro GB-Lbl 639.d. 19 (2).Google Scholar

78 As Poro F-Pn V. S. 420 ‘Second edition with additions’.Google Scholar

79 As Poro ‘The Fourth Edition, with additions’, GB-Lcm XXI.A.10.(5).Google Scholar

80 GB-Cu MZ0.056.Google Scholar

81 GB-Lbl 63.g.33.Google Scholar

82 Some of Handel's settings are re-used in SOLIMANO DRAMA PER MUSICA … (London: G[eorge] Woodfall, 1758); GB-Lbl 907.i.8(3).Google Scholar

83 Setting by Robert Price according to Jamie C. Kassler, ‘Price’, NG2, xx, 316.Google Scholar

84 Act 1, scene viii omitted in the numbering sequence.Google Scholar

85 Text: Serbati a grandi imprese / Acciò rigmangi ascosa / La macchia vergognosa / Di questa infeldelta.Google Scholar

86 Text: Serbati a grand'impresse / Ora rimanga ascosa / La Maesta gloriosa / Per la mia fedelta.Google Scholar

87 Siroe (Act 3, scene v).Google Scholar

88 The use of inverted commas in the libretto indicates that this setting is not by Handel.Google Scholar

89 The use of inverted commas in the libretto indicates that this setting is not by Handel.Google Scholar

90 The use of inverted commas in the libretto indicates that this setting is not by Handel.Google Scholar

91 Setting by Galuppi. The text is not included in the 1746 libretto.Google Scholar

92 GB-Lbl 639.e.27 (4).Google Scholar

93 D-W Textb. 609.Google Scholar

94 GB-Ob Harding D. 2449 (3).Google Scholar

95 GB-Lbl 907.i.17(1).Google Scholar

96 As La Generosita d'Alessandro; US-SM La 836.Google Scholar

97 As La Generosita d'Alessandro; GB-Lbl 1608/3714.Google Scholar

98 Not in D-WTextb. 609, but appears in Favourite Songs: US-OOm M1506.B34 1764.Google Scholar

99 Text: Serbati a grand impresse / Accior imanga ascosa/ La macchia vergognosa / Di questa infeldelta.Google Scholar

100 Demofoonte (Act 2, scene vi).Google Scholar

101 Setting by Handel.Google Scholar

102 Setting probably from Cocchi's 1756 version.Google Scholar

103 Ipermestra (Act 1, scene ix).Google Scholar

104 Demetrio (Act 2, scene xv).Google Scholar

105 Setting probably from Cocchi's 1756 version.Google Scholar

106 Setting probably from Cocchi's 1756 version.Google Scholar

107 Betulia Liberata (pt. 1).Google Scholar

108 Siroe (Act 2, scene iii).Google Scholar

109 Setting by Handel.Google Scholar

110 Setting by Bertoni.Google Scholar

111 Setting by Myslivecek.Google Scholar

112 Adriano in Siria (Act 2, scene vi), setting by Anfossi.Google Scholar

113 Setting by Sard.Google Scholar

114 Setting by Myslivecbek.Google Scholar

115 Setting by Tozzi.Google Scholar

116 Setting by Molza.Google Scholar

117 Semiramide riconosciuta (Act 2, scene viii).Google Scholar

118 ‘A New Opera’; LS, iii/2, 1241.Google Scholar

119 ‘With new musick composed by Sig Nicola Conforto, and new Dances. A new Scene painted by Mr Mitermayer’: LS, iv/2, 585.Google Scholar

120 Listed as ‘Signor’ Grandis.Google Scholar

121 As advertised. This attribution is disputed in S.W. McVeigh, ‘The Violinist in London's Concert Life, 1750–1784. Felice Giardini and his Contemporaries’ (D.Phil, dissertation, University of Oxford, 1979), ii, 308.Google Scholar

122 ‘A new Opera; music by different masters’; LS, iv/2, 1091.Google Scholar

123 ‘By command of their Majesties’; LS, iv/2, 1091.Google Scholar

124 ‘With alterations and additions to the Opera’; LS, iv/2, 1094.Google Scholar

125 Benefit: [Giusto Ferdinando] Tenducci. ‘By particular Desire’; LS, iv/2, 1106.Google Scholar

126 Listed in the libretto as ‘Giuseppe’.Google Scholar

127 Probably Esther Young, later Mrs Charles Jones. Isabella Young, who married John Scott in 1757, was singing regularly as Mrs Scott by the early 1760s; Polly Young was 11, and in Ireland at the time, while Elizabeth Young, later Mrs Ridley Dorman, appears to have sung only at Drury Lane during this period.Google Scholar

128 The ‘first edition’ appears to be Berenice.Google Scholar

129 Probably Esther Young; see note 129 above.Google Scholar

130 Walsh died in 1766, so this publication must have appeared after his death that year.Google Scholar

131 Catone (Act 3, scene ii).Google Scholar

132 Ipermestra (Act 3, scene iv).Google Scholar

133 ‘A new Serious Opera. Music by Giordani and other eminent Composers’; LS, iv/3, 1790. Daniel Heartz and Marita McClymonds date Traetta's contribution as ?1775 (GDO, iv, 778–9); however, Irena Cholij (GDO, ii, 426) gives 8 March 1774, claiming the work as a ‘collaboration’ between Giordani, Traetta and Vento.Google Scholar

134 ‘By Particular Desire’; LS, iv/3, 1802.Google Scholar

135 ‘By Particular Desire’; LS, iv/3, 1813.Google Scholar

136 The text is a bibliographical shambles, with catchwords relating to the wrong pages, page 23 misnumbered as page 33, and the copy is lacking pages 9–10. A second copy, GB-Ob Harding D4449(2), lacks the title page.Google Scholar

137 The copy has a paste-over advertising the score's sale at G. Smart's music shop.Google Scholar

138 Petty, 148, lists this version as being premiered on 8 March 1774; however, this is a new version.Google Scholar

139 ‘The Music by several eminent Masters; under the Direction of Giardini’; LS, v/1, 62.Google Scholar

140 US-SM La 60.Google Scholar

141 GB-Lbl 1714.b.39 (3).Google Scholar

142 As Berenice: F-Pc Ris. V.S. 728; also as Antigono: US-CAh Hollis TS 8054.512 1760.Google Scholar

143 GB-Lbl RB.23.a.8558.Google Scholar

144 GB-Lbl 907.i.16 (1).Google Scholar

145 Arr. Tommaso Giordani; with Hasse, Mattia Vento and Tommaso Traetta.Google Scholar

146 Arr. Tommaso Giordani; with Anon, Giordani, Jommelli, Sacchini, Tommaso Traetta, Mattia Vento.Google Scholar

147 Setting by an anonymous composer.Google Scholar

148 Setting by Giordani.Google Scholar

149 Setting by Giordani.Google Scholar

150 Setting by Giordani.Google Scholar

151 Setting by Giordani.Google Scholar

152 Setting by Traetta.Google Scholar

153 Set as a duet between Berenice and Demetrio.Google Scholar

154 Set as a duet between Berenice and Demetrio.Google Scholar

155 Set as a duet between Berenice and Demetrio.Google Scholar

156 Setting by Traetta.Google Scholar

157 This text and setting was apparently used by Monticelli in Hasse's setting of Alessandro nell'Indie (under the title of Cleofide) premiered in Venice in 1731, in the season when, according to BDL, x, 286–7, Monticelli was singing there. The song was published in London with heading Sung by Sig^r Monticelli nell Alessandro nell'Indie del Sig^r Hasse in THE Favourite SONGS in the OPERA Call'd ANTIGONO. By Sig^r Galuppi (GB-Lbl G. 191 (2)).Google Scholar

158 No copy of the printed libretto has been located; it seems from the publication information above that the aria was added to the opera between the preparation of the Larpent manuscript copy, and the performances.Google Scholar

159 Alessandro nell'Indie ([v.l] Act 1, scene ix); also used in Didone Abbandonata 1748 (Act 2, scene vii).Google Scholar

160 Catone in Utica (Act 3, scene ii).Google Scholar

161 Ipermestra (Act 3, scene iv).Google Scholar

162 Setting by Sacchini.Google Scholar

163 Setting by Traetta.Google Scholar

164 Setting by Vento.Google Scholar

165 Setting by Traetta.Google Scholar

166 Setting by Giordani.Google Scholar

167 Setting by Jomelli.Google Scholar

168 Setting by Giordani.Google Scholar

169 Setting by Traetta.Google Scholar

170 Setting by Giordani.Google Scholar

171 Setting by Giordani.Google Scholar

172 Setting by Giordani.Google Scholar

173 Setting by Traetta.Google Scholar

174 Also Attilio, 1762 (Act 3, scene v).Google Scholar

175 Winton Dean (GDO, ii, 632) gives 8 January 1734 as the first performance. ‘A New Opera. Their Majesties and three eldest Princesses present’; LS, iii/1, 355.Google Scholar

176 ‘Their Majesties, Duke, and three eldest Princesses present’; LS, iii/1, 357.Google Scholar

177 Benefit: [Margherita] Dursatanti. ‘All the Royal family expected to attend’; LS, iii/1, 381.Google Scholar

178 Issipile (Act 2, scene xii).Google Scholar

179 Attributed in BUCEM to Porpora; according to GDO, iii, 1066–7, Porpora set neither Arbaces nor Artaserse, although he contributed to a setting of the latter in 1721.Google Scholar

180 Semiramide (Act 2, scene vi).Google Scholar

181 His setting of ‘Si qual pace’.Google Scholar

182 ‘A New Opera. Pit and Boxes by Ticket at a half guinea. Gallery 5s. 6 P.M.‘; LS, iii/1, 426.Google Scholar

183 ‘Prince of Wales and Princess Amelia present’; LS, iii/1, 428.Google Scholar

184 Benefit: Carlo Broschi Farinello; LS, iii/1, 469.Google Scholar

185 Benefit: Carlo Broschi Farinello. ‘With an addition of several New Songs’; LS, iii/1, 565.Google Scholar

186 ‘Whereas the repetition of the Songs add considerably to the Length of the Opera, and which hath been much complain'd of, it is hoped that no Person will take it ill, if the Singers do not make any Repetition for the future’; LS, iii/1, 566.Google Scholar

187 Contains MS notes of variable accuracy.Google Scholar

188 Both this and the following edition contain two songs that do not appear in the 1734 or 1735 librettos, ‘Fortunate passate’ (attributed to Hasse) and ‘Quanto affanno o bell'aura’ (attributed to Porpora). However, their inclusion in the 1739 edition as keyboard arrangements of songs sung by Farinelli, and the claim in Delizie dell'Opera (1776: essentially a through-numbered reprint of the earlier Favourite Songs series) that they were both sung by Farinelli, suggests that a) there is a missing set of Favourite Songs from 1730s productions, and that b) both tunes were used in the 1730s. They may have been among the ‘several New Songs’ advertised as having been added for Farinelli's Benefit on 27 March 1736. The two texts were among the three added to the 1766 production which used mainly Hasse's music.Google Scholar

189 This text was included in all eighteenth-century London versions of Hasse's setting of Artaserse, and was retained by Bertoni in his 1779 version setting. However, Tenducci appears never to have sung the role of Arbaces on the stage.Google Scholar

190 The Daily Advertiser, 30 October 1743.Google Scholar

191 The Daily Advertiser, 13 March 1735.Google Scholar

192 Mrs Pendarves to Mrs Granville, 15 March 1735; LS, iii/1, 469.Google Scholar

193 See Coxe, W., Anecdotes of George Frederick Handel and John Christopher Smith (London, 1799), 44 and 64.Google Scholar

194 Michael Burden (GDO, iv, 426) notes that there is an overture in Coxe (see note 193) but this appears to be an error.Google Scholar

195 ‘A New Opera Composed by Hasse’; LS, iv/1, 406.Google Scholar

196 ‘a New English Opera, with music compos'd by Dr Arne. Characters new Dress'd’; LS, iv/2, 915.Google Scholar

197 Benefit; [Charlotte] Brent; LS, iv/2, 927.Google Scholar

198 ‘At the Particular Desire of several Persons of Quality’; LS, iv/2, 928.Google Scholar

199 ‘Books of the Opera to be sold at the Theatre’; LS, iv/2, 980.Google Scholar

200 Benefit: [Charlotte] Brent; LS, iv/2, 986.Google Scholar

201 Benefit: [Thomas Arne]; LS, iv/2, 988.Google Scholar

202 ‘By Command of their Majesties’; LS, iv/2, 989.Google Scholar

203 Benefit: [Giusto Ferdinando] Tenducci; LS, iv/2, 994.Google Scholar

204 Benefit: [Niccolo] Peretti; LS, iv/2, 996.Google Scholar

205 Benefit: [Charlotte] Brent; LS, iv/2, 1049.Google Scholar

206 Benefit: [Giusto Ferdinando] Tenducci; LS, iv/2, 1056.Google Scholar

207 Benefit: [Niccolo] Peretti; LS, iv/2, 1058.Google Scholar

208 Benefit: [Charlotte] Brent; LS, iv/2, 1108.Google Scholar

209 Benefit: [George] Mattocks; LS, iv/2, 1110.Google Scholar

210 Benefit: [Giusto Ferdinando] Tenducci; LS, iv/2, 1113.Google Scholar

211 Benefit: [Charlotte] Pinto [nee Brent]; LS, iv/2, 1392.Google Scholar

212 Benefit: [Giulia] Frasi; LS, iv/2, 1412.Google Scholar

213 Benefit: [George] Mattocks; LS, iv/2, 1468.Google Scholar

214 Benefit: [Frederick] Reinhold. ‘By Particular Desire’; LS, iv/2, 1474.Google Scholar

215 Benefit: [Jane] Thompson [nee Pokier]; LS, iv/2, 1538.Google Scholar

216 Benefit: [Frederick] Reinhold. ‘By Particular Desire’; LS, iv/2, 1627.Google Scholar

217 Benefit: [Ann] Catley; LS, iv/2, 1709.Google Scholar

218 Benefit: [George] Mattocks; LS, iv/2, 1711.Google Scholar

219 Benefit: {Miss} Baker; LS, iv/2, 1719.Google Scholar

220 Benefit: [Isabella] Mattocks; LS, iv/2, 1794.Google Scholar

221 Benefit: [Mary] Jameson; LS, iv/2, 1800.Google Scholar

222 Benefit: [Frederick] Reinhold; LS, iv/2, 1886.Google Scholar

223 ‘Under the direction of Dr Arne’; LS, iv/2, 1922.Google Scholar

224 ‘By Desire of Several Persons of Distinction’; LS, iv/2, 1953.Google Scholar

225 Benefit: [Isabella] Mattocks; LS, iv/2, 1963.Google Scholar

226 Benefit: [Michael] Leoni; LS, iv/2, 1794.Google Scholar

227 ‘With Mrs Farrell's new air, with recitative, composed by Dr. Arne’; The Public Advertiser, 24 January 1777. ‘The orchestra will be considerably augmented’; LS, v/1, 54.Google Scholar

228 Benefit: [Ann] Catley; LS, v/1, 64.Google Scholar

229 Benefit: [Frederick] Reinhold; LS, v/1, 73.Google Scholar

230 Since this was the only performance of the opera this season, it is possible that it was staged only to launch the career of {Miss} Twist at Covent Garden, who appears to have been a pupil of Thomas Arne's; see The Morning Post, 9 January 1778, and BDL, xv, 69.Google Scholar

231 Benefit: [Michael] Leoni; LS, v/1, 247.Google Scholar

232 Benefit: [Margaret] Kennedy; LS, v/1, 327.Google Scholar

233 Benefit: W[illiam] Bates and {Miss} Ambrose; LS, v/1, 247.Google Scholar

234 Benefit: [Margaret] Matyr; LS, v/1, 427.Google Scholar

235 Benefit: [Margaret] Kennedy; LS, v/2, 972.Google Scholar

236 ‘With Dresses and Decorations entirely new’; LS, v/2, 1023.Google Scholar

237 Benefit: [Michael] Kelly; see Boaden, James, Memoirs of the Life of John Philip Kemble (London, 1825), i, 391.Google Scholar

238 Benefit: [Elizabeth] Billington; LS, v/2, 1061.Google Scholar

239 Benefit: [Gertrud] Mara; LS, v/2, 1069.Google Scholar

240 ‘With new Dresses and Decorations’; LS, v/2, 1406.Google Scholar

241 ‘On account of the great number of Ladies and Gentleman who have not been able to obtain places for ARTAXERXES, Mme Mara has very obligingly consented to appear this Present as well as To-morrow evening, being positively the Last Nights of her performing before her departure for Italy’; LS, v/2, 1406.Google Scholar

242 Benefit: [Gertrud] Mara; LS, v/3, 1549.Google Scholar

243 ‘Books of the Opera to be had at the Theatre’; LS, v/3, 1855.Google Scholar

244 Artaxerxes: [Elizabeth] Clendinning [nee Arnold]; LS, v/3, 1857.Google Scholar

245 Benefit: [Gertrud] Mara; LS, v/3, 1863.Google Scholar

246 Listed as ‘2nd time this season’, but no earlier performance can be traced.Google Scholar

247 See Michael Kassler ed., Charles Edward Horn's Memoirs of his Father and Himself (Aldershot, 2003), 61, for mention of this performance.Google Scholar

248 With Mr Pyne.Google Scholar

249 Benefit: the Misses Dennett; Playbill, US-HA.Google Scholar

250 The Times for both 12 and 26 March states that: ‘The performances will commence with the grand anthem “O be joyful, ” arranged to Dr. Arne's favourite Overture to Artaxerxes, by Dr. Arnold …‘Google Scholar

251 James Winston records that this performance—plus the after piece Shakespeare versus Harlequin—took 2 hours and 10 minutes. See Arthur L. Nelson and Gilbert B. Cross eds., Drury Lane Journal: Selections from James Winston's Diaries 1819–1827 (London, 1974), 8.Google Scholar

252 Royal Command Performance. Artaxerxes ([Lucia Elizabeth] Vestris); Arbaces ([John] Braham); and Mandane (Miss Wilson). Nobles, guards, attendants. “The King's Room was fitted up to the reception of His Majesty. Johnstone and Brooks lent chandeliers, lamps, candlesticks, etc., to the amount of £1, 300. The room, stairs, etc., were laid over with drugget, and the King came up the winding stairs near the treasury. He arrived with the Dukes of York and Clarence seventeen minutes before seven and remained in his room until the full seven oclock. A few in the house endeavoured to oppose him, but his reception [was] everything that he could wish [for]. ”God Save the King“ sung before, between, and after play, and ”Rule Britannia“ sung just before the farce. He retired a few minutes after eleven, the performance being over.' Nelson and Cross, Drury Lane Journal, 25.Google Scholar

253 Benefit: Russell; Playbill: US-OHs SPEC.TRI.PLAYBILLS.49.Google Scholar

254 Benefit: Wallack, Nelson and Cross, The Drury Lane Journal, 31.Google Scholar

255 ‘Mr. Elliston persisted in announcing Artaxerxes, although Braham said yesterday he could not perform.‘ Nelson and Cross, The Drury Lane Journal, 82.Google Scholar

256 Playbill, US-HA.Google Scholar

257 Playbill, US-HA.Google Scholar

258 Royal Command Performance; The Times, 20 June 1827.Google Scholar

259 Introduction of a new soprano. Miss Hughes, as also 27 and 30.Google Scholar

260 Royal Command Performance; The Times, 6 February 1828.Google Scholar

261 Benefit: Madame Feron; The Times, 30 March 1828.Google Scholar

262 Benefit: Mr Cooper; Playbill, US-HA.Google Scholar

263 Performed by a cast of children.Google Scholar

264 Artaxerxes was one of the few English operas that travelled; this included Charles Edward Horn's arrangement which opened in New York on 31 January 1828. See Mattfield, Julius, A Hundred Years of Grand Opera in New York 1825–1925; a Record of Performances (New York, 1927), 41.Google Scholar

265 This first edition of the libretto was published in 1761, well in advance of the premiere, suggesting that there may well have been an earlier first performance intended. Clifford Bartlett postulates that the opera was deferred because of the necessity of finding a replacement for Mrs Vernon in the role of Semira; she withdrew from the stage around this time because of ‘marital irregularities’. (Clifford Bartlett, Introduction to Thomas Arne, Artaxerxes (London, 1762; facsimile Cambridge, 1986), p. i). Bartlett's hypothesis is borne out by the dramatis personae in this copy of the libretto (US-NH Rare ML50.2 A78 A748) in which Mrs Vernon's name is struck out and that of Miss Thomas substituted.Google Scholar

266 Miss Thomas sang Semira in the performances.Google Scholar

267 ‘Arbanes’ in this dramatis personae.Google Scholar

268 Bookplate of Robert Finch.Google Scholar

269 An otherwise unrecorded partnership between William Griffin and Kearsley.Google Scholar

270 ESTC dates this at 1763.Google Scholar

271 This is not Elizabeth Miller, for she married Thomas Baker in 1764, while the ‘Miss Miller’ who was working at Covent Garden during this period is only recorded in spoken roles.Google Scholar

272 Frontispiece shows Miss Phillips as Mandane.Google Scholar

273 Imprint does not otherwise appear. Thomas and William Lowndes, however, did team up with Condell to publish the 1783 edition of William O'Brien's two act farce, Cross Purposes.Google Scholar

274 Has plate of Act 1, scene i.Google Scholar

275 Has plate of Act 3, scene ii with Elizabeth Billington as Mandane.Google Scholar

276 Later Mrs George Colman the first; BDL, x, 321–2 records no roles after 1784 for her, so the identification here is open to question.Google Scholar

277 However, the ESTC lists this copy as being published by William Lowndes, and does not record this imprint.Google Scholar

278 Has plate of Michael Leoni as Arbaces.Google Scholar

279 Includes 1761 preface.Google Scholar

280 See note to Dublin, 1792.Google Scholar

281 The firm of J Whitaker was also part owned by James Satcherd and Charles Law.Google Scholar

282 Includes 1761 preface.Google Scholar

283 Seems to be 1792 with a new cover; indeed, the new cover is slightly larger which suggests that the pages were left overs from the previous printing.Google Scholar

284 Texts only; contains Act 1: ‘Fair Aurora prithee stay’; ‘Adieu, thou lovely youth’; ‘Amid a thousand racking woes’; ‘Behold, on Lethe's dismal strand’; ‘Fair Semira, lovely maid’; ‘How hard is the fate’; ‘Thy father, away!'; ‘Lost in anxious doubts, tormenting'; ‘O too lovely, too unkind’. Act 2: ‘In infancy our hopes and fears’; ‘Disdainful you fly me’; ‘If o'er the cruel tyrant’; ‘Monster away from cheerful day’; ‘Thou like the glorious sun’. Act 3: ‘Water parted from the sea’; ‘Let not rage thy bosom firing’; ‘For thee I live my dearest’; ‘The soldier tir'd’.Google Scholar

285 Frontispiece of Mrs Billington.Google Scholar

286 The printing has a frontispiece of Mrs Billington as Mandane, but misattributed to [Martha ‘Maria‘] Dickons [nee Poole]; see the same plate in c.1825, and the portrait of Mrs Billington in GB-Ob 17405.f.86.Google Scholar

287 And sold by Mrs Chapman.Google Scholar

288 The plate in the front of the edition shows Mr Sinclair in the role.Google Scholar

289 Includes plate of Mrs Billington as Mandane.Google Scholar

290 Includes plate of Miss Paton as Mandane.Google Scholar

291 Contains an engraving of Miss Love as Arbaces.Google Scholar

292 Contains an engraving of ‘a drawing taken in the theatre during representation’.Google Scholar

293 Numerous single songs from Artaxerxes were published; only those that appeared in collections from the opera are listed here.Google Scholar

294 Act 1 paginated 16–86; Act 2 paginated 1–46; Act 3 paginated 132–96.Google Scholar

295 The oboist William Parke, claimed that Arne received £60 for the sale of the music in 1763; William Parke, Musical Memoirs (London, 1830), i, 325. Parke's date of 1763 is probably an error.Google Scholar

296 Book plate has the signature of Richard Ripley.Google Scholar

297 A re-issue of [1762] (Ob Tenbury Mus. c.58) with Act 2 paginated correctly.Google Scholar

298 The only time she appears to have sung this opera was in 1796.Google Scholar

299 Contains Mara's signature.Google Scholar

300 ‘Muzio’ is stamped over ‘Longman’.Google Scholar

301 US-NYp dates this score to 1762, but the firm which became known as Clementi and Co. began in 1800 after Clementi reestablished a firm after the bankruptcy of Longman and Borderip.Google Scholar

302 The numbers which lack Arne's name also lack an engraved heading and have only the performers' names. It appears that those with engraved headings were released separately as song sheets, apart from the last number which appears to be a print of an entirely separate engraving. The whole score is through numbered in a single sequence.Google Scholar

303 Signature of Lady Froley(?) on title page.Google Scholar

304 ‘a new edition with the tenor cliff transposed.‘Google Scholar

305 This score has a RISM number because US-NYp have dated the score to the 1760s.Google Scholar

306 Possibly Thomas, who was active during this period in various partnerships including Mayhew and Lee, and Phillips, Mayhew and Co; this partnership is not otherwise recorded.Google Scholar

307 In this instance, a selection of the numerous comments has been made.Google Scholar

308 [Thomas Arne?], Preface to Artaxerxes (London, 1761).Google Scholar

309 The Gentleman's Magazine, 33 (1763), 97.Google Scholar

310 William Hopkins as quoted in LS, iv/2, 1364.Google Scholar

311 [Anon.], A B C Dario Musico (Bath, 1780), 5.Google Scholar

312 Jane Austen to Cassandra Austen, 5 March 1814; The Letters of Jane Austen, ed. Edward, Lord Brabourne (London: 1884), 229–30.Google Scholar

313 For the year 1779; Mark Argent ed., Recollections of R.J.S Stevens, an Organist in Georgian London (London, 1992), 131.Google Scholar

314 Gridiron Gabble, Green Room Gossip (London, 1808), 120–1.Google Scholar

315 The Theatrical Observer, no. 357, 8 January 1823, 1–2.Google Scholar

316 The Theatrical Observer, no. 2119, 25 September 1828, 1.Google Scholar

317 The Theatrical Observer, no. 2523, 13 January 1830, 1.Google Scholar

318 ‘By Command of their Majesties’; LS, iii/2, 1154.Google Scholar

319 A rather odd choice; Savoi had only a moderate competence, and during the 1767–8 season at the King's Theatre was employed as the ‘second man’ for serious opera. BDL, xiii, 222.Google Scholar

320 Costumes: Thomas Luppino.Google Scholar

321 A third performance, scheduled for 11 February, did not take place: Guadagni and Cornelys were arrested that morning for being involved in an unlicensed performance; for one account of these performances, see Summers, Judith, Empress of Pleasure: The Life and Adventures of Teresa Cornelys - Queen of Masquerades and Casanova's Lover (London, 2003), 210–30. For an account of the lawsuit to which this staging gave rise to, see Howard, Patricia, ‘Guadagni in the Dock: a Crisis in the Career of a Castrato’, Early Music, 27 (1999), 87–95.Google Scholar

322 Benefit: [Gaetano] Guadagni. ‘GRAND CONCERT of Vocal and Instrumental Music. Directed by Giardini, in which will be perform'd the Whole of the Music compos'd by Vento for the Harmonical Meeting; besides which Guadagni will sing between the acts a New Song on purposely compos'd by him for Vento; and one by Hasse’; LS, iv/3, 1540.Google Scholar

323 The ‘present opera’ appears to refer to that version performed on 17 April.Google Scholar

324 The page numbers are in two sequences (here expressed as 1/ and 2/); the second sequence includes the songs apparently not sung in Soho Square.Google Scholar

325 Semiramide (Act 2, scene vi).Google Scholar

326 Text from Semiramide, not otherwise set by Mattia Vento.Google Scholar

327 Quoted in Judith Summers, The Empress of Pleasure (London, 2003), 224.Google Scholar

328 ‘A New Serious Opera. Music by Several eminent composers, executed under the direction of Giordani’; LS, iv/3, 1626. First night deferred from 21 April owing to Millico's illness; The Public Advertiser, 22 April 1772.Google Scholar

329 ‘By Command of their Majesties’; LS, iv/3, 1631.Google Scholar

330 ‘By Command of their Majesties’; LS, iv/3, 1634.Google Scholar

331 ‘By the Particular Desire of several of the Nobility, subscribers who are going out of town, who desire the above mentioned to be performed instead of La Buona Figliuola, which is deferr'd until next week’; LS, iv/3, 1634.Google Scholar

332 ‘By Command of their Majesties. In Artaserse will be introduced the celebrated duet composed by Vinci’; LS, iv/3, 1638.Google Scholar

333 ‘N.B. The above opera is oblig'd to be perform'd this day instead of Saturday on account of the preparations making for the entertainment given the Knight of the Bath’; LS, iv/3, 1646.Google Scholar

334 ‘By Particular Desire’; LS, iv/3, 1682.Google Scholar

335 ‘By Command of their Majesties’; LS, iv/3, 1684.Google Scholar

336 ‘By Command of their Majesties’; LS, iv/3, 1686.Google Scholar

337 Benefit: [Giuseppe] Millico; LS, iv/3, 1697.Google Scholar

338 Benefit: [Maria Antonia] Girelli. ‘In the Above Opera Sga Girelli will sing four new airs, one of which, at the end of Act 2, will be accompanied on the French Horn by the celebrated M Spandau’; LS, iv/3, 1703.Google Scholar

339 Benefit: [Simon] Slingsby; LS, iv/3, 1716.Google Scholar

340 ‘By Particular Desire’; LS, iv/3, 1733.Google Scholar

341 Libretto indicates that ‘Non ti son padre, non mi sei figlio’; ‘Figlia ascolta di padre il comando’; ‘Se d'un amor tiranno’; ‘Oh dei, che affanno e questo!'; ‘Mi credi spietata’ were not set by Giordani.Google Scholar

342 Edition has the following new texts as paste-overs, with corresponding English prose texts: ‘Se soffre allor che s'ama’ (10–11), ‘Se da me stessa imparo’ (16–17), ‘Da mille affanni oppressa’ (24–5), ‘Velo l'obia del figlio innocente’ (34–5).Google Scholar

343 However, it seems unlikely that this cast ever performed the opera. GB-Ob Harding D 2443 (5) has a set of paste-overs, one of which gives the cast—with Mandane ([Maria Antonia] Girelli Aguilar); Semira and Megabise ([Leopoldo De] Micheli)—which also appears in 1773 GB-Ob Harding D 2443 (7). Although Cecilia Grassi was still singing, her performances in Demetrio in June 1772 were her last on stage; she was on the verge of marrying J.C. Bach, after which event she sang only once again in public, and that in a concert of her husband's on 26 April 1776; see BDL, vi, 312. Further, the identity of ‘Signora Giordani’ is obscure. Tommaso's mother Antonia, the singer Signora Giuseppe Giordani died in 1764, and Tommaso himself, the only son, did not marry until 1784. Tommaso's twio sisters, Mairna and Nicolina, were both singers too, but Marina seems to have ceased to performed after about 1767. The only possibility seems to be that Nicolina had been planning to sing it under an assumed married state; see BDL, vi, 215–22.Google Scholar

344 Copy not in CS.Google Scholar

345 Libretto gives ‘Non ti son padre, non mi sei figlio’ (J.C. Bach); ‘Figlia ascolta di padre il comando’ (Gusman); ‘Se d'un amor tiranno’ (Vento); ‘Oh dei, che affanno e questo!’ (Sarti); ‘Mi credi spietata’ (Vento). The libretto also gives ‘Conservati fedele’ (Majo), a number attributed to Giordani in 1772.Google Scholar

346 Edition corrects all the paste-overs found in GB-Ob Harding D 2443 (5), above.Google Scholar

347 BUCEM notes two versions in GB-Lbi. Hirsch II. 256, and G. 666. The versions differ only in the ordering of Bremner's publications.Google Scholar

348 RISM A/I/3: G 2098 incorrectly attributes Thomas Arne's setting of ‘For thee I live my dearest’ to Giordani, and to this version of the opera.Google Scholar

349 Edward Piggott, MS dairy in the Beinecke Library, Yale University; in Elizabeth Gibson, ‘Edward Pigott: Eighteenth-Century Theatre Chronicler’, Theatre Notebook, 42/2 (1988), 65.Google Scholar

350 ‘A new Serious Opera. The Music by Giordani and other eminent composers. With alterations and new songs for Miss Davies’; LS, iv/3, 1814. The involvement of Giordani suggests that this may be the same opera as that premiered on 25 April.Google Scholar

351 Cast: Mandane? ([Cecilia] Grassi); Arbace? ([Giuseppe] Millico), and Semira? (Cecilia Davies); plus {Sig.} Schiroli and {Sig.ra} Marchetti; LS, iv/3, 1814.Google Scholar

352 ‘A new Serious Opera. The Music entirely new by Bertoni’; LS, v/1, 230.Google Scholar

353 The copy consulted is not in CS.Google Scholar

354 C. Gilbert to Elizabeth Harris, 19 November 1754; Donald Burrows and Rosemary Dunhill, Music and Theatre in Handel's World: the Family Papers of James Harris 1732–1780 (Oxford, 2002), 1003.Google Scholar

355 The Morning Chronicle, 25 January 1779, 2.Google Scholar

356 Fanny Burney, Cecilia; or. Memoirs of an Heiress, ed. A.R. Ellis (London, 1882), i, 60–62.Google Scholar

357 ‘A Serious Opera; originally written by Metastasio; the Music selected from the most eminent Composers, under the direction of Cherubini’; LS, v/2, 788.Google Scholar

358 Performed instead of La finta principessa, advertised in The Public Advertiser, 18 April 1785.Google Scholar

359 Benefit: [Simon] Slingsby; LS, v/2, 790.Google Scholar

360 There is no trace of a ‘J. Garland’ publishing in London in 1785. However, a ‘Jane Garland’ was released from an apprenticeship by the Stationers in 1778 and may be the ‘J. Garland’ recorded in partnership with Richard Brusby; the firm published two operas, Orione and Telemaco, both in 1777.Google Scholar

361 ‘1st appearance in this country’; LS, v/2, 788.Google Scholar

362 The London Magazine, 2 (January-June 1785), 302–3; verbatim in The Hibernian Magazine, 15 (1785), 259.Google Scholar

363 As Arbace; GB-En Nha.T49 (4).Google Scholar

364 GB-Lbl 11714.aa.21 (12).Google Scholar

365 GB-Lbl 639.d.22 (2).Google Scholar

366 US-SM La 106.Google Scholar

367 GB-Lbl 1608/4555 (8).Google Scholar

368 Semiramide (Act 2, scene vi).Google Scholar

369 Issipile (Act 2, scene xii).Google Scholar

370 In Celebrated Songs GB-Lbl g.444 only.Google Scholar

371 No libretto published; songs taken from GB-Ob Mus.22.c.49 (3).Google Scholar

372 GB-Ob Harding D 2443 (5); also 1773: GB-Ob Harding D 2443 (7).Google Scholar

373 GB-Ob Harding D 2446 (5).Google Scholar

374 D-Hs MS 600/3, Nr 5.Google Scholar

375 The last two songs in the volume—'Mi credi spietata?’ and ‘Se d'un amor tiranno'—appear to be the two which were not performed in this version, but were from ‘another current’ version.Google Scholar

376 An asterisk indicates that this was not set by Giordani.Google Scholar

377 The last two songs in the volume—'Mi credi spietata?’ and ‘Se d'un amor tiranno'—appear to be the two which were not performed in this version, but were from ‘another current’ version.Google Scholar

378 An asterisk indicates that this was not set by Giordani.Google Scholar

379 Text is a paste-over of ‘Bramar di perdere per troppo affetto’.Google Scholar

380 Text is a paste-over of ‘Provera d'amante irata’.Google Scholar

381 Starred as not set by Giordani.Google Scholar

382 Text is a paste-over of ‘Alma dal dudo oppressa’.Google Scholar

383 Text is a paste-over of'Figlio, se più non vici'.Google Scholar

384 US-NH Rare ML50.2 A78 A748; also 1764: GB-Ob Harding 292; 1762: GB-Lbl 1342 k.22.Google Scholar

385 GB-Ob Vet. A4 e.831; also 1764: GB-Ob M.adds. 108 f.104 (5); 1764: GB-Ob Vet. A5 e.4800; 1764: Dublin GB-Lbl 1342 k.36; 1765: GB-Ob M.adds 108 e.105 (2); 1765: GB-Ob Vet. A5 f.677 (5); 1765 Dublin: GB-Lbl 1488 c.31; 1766: GB-Ob Vet. A5 f.1108 (3); 1780: GB-Ob Vet. A5 e.1498 (16); 1790? Dublin: GB-Cu Hib.7.790.61; c.1792 Dublin: GB-Cu Hib.7.792.25.Google Scholar

386 GB-En L. C. 175 (2).Google Scholar

387 GB-Ob D 2415 (6); also 1807: GB-Lbl 1509/487.Google Scholar

388 GB-Ob 293; also 1787: GB-Ob Vet. A5 e.2739.Google Scholar

389 GB-Ob 17405 e.151 (3).Google Scholar

390 US-Wc PR 1241.L6 v.218 no. 3 (Longe Coll).Google Scholar

391 Translation of ‘L'onda dal mar divisa’.Google Scholar

392 'When Dr Arne first brought the Opera of Artaxeres to a rehearsal, Tenducci sung [sic] the Air “Water parted from the Sea” with such effect that Miss Brent (afterwards Mrs. Pinto) for whom the part of Mandane was composed, flew to Dr Arne with some violence, and told him “he might get whom he pleas'd to take Mandane; because he had given the best air in the piece to Tenducci.”’ According to the anecdote the situation was resolved by Arne who sat down, and wrote the words and then the music to ‘Let not rage thy bosom firing;’ Brent was reported pleased with it because of the aptness of the text to her behaviour. James Haslewood, Green Room Gossip (London, 1808), 120–1.Google Scholar

393 Editions not seen which may contain yet more variants: G. Kearsley and W. Griffin, 1768: US-AUS ML 50.2 A713 A764 1768B HRC-TA [nESTC]; T. Lowndes … and J. Condell …; 1776: US-AUS ML 50.2 A713 A764 1776 HRC-TA] [nESTC]; C. Lowndes, 1792: US-HOUr Axson ML50.2 A7 A7 1792 [ESTC N4884].Google Scholar

394 Tune: Braes of Balandene.Google Scholar

395 Tune: Roslin Castle.Google Scholar

396 Tune: Lochaber no more.Google Scholar

397 GB-Lbl 1324 k.39.; also 1802: GB-Lbl T 1605 (4). The contents of this libretto are a composite text of versions performed at Drury Lane and Co vent Garden.Google Scholar

398 GB-Ob D 244.Google Scholar

399 GB-Ob 3862 f.31; also 1825: GB-Ob Shuttleworth 218 (2).Google Scholar

400 GB-Lbl 2304.a.1; also 1840: US-PRu TC023 (Playbooks Collection) Box 4.Google Scholar

401 GB-Ob M.adds 111 f.174; also 1840: GB-Lbl 642 A 10.Google Scholar

402 US-CnY 134.65 no. 118.Google Scholar

403 Performed at Drury Lane only.Google Scholar

404 Performed at Covent Garden only.Google Scholar

405 Translation of ‘L'onda dal mar divisa’.Google Scholar

406 See note 392 above.Google Scholar

407 Performed at Covent Garden only.Google Scholar

408 New scene division at Covent Garden only.Google Scholar

409 Editions not seen which may contain more variants: J. Roach, 1802: US-HA PL82a; J.H. Starie, [nineteenth-century?—title page missing]: US-CAh Hollis 1720319; William Barth, [1840?]: US-COStcl M50.A734 A7 1840; J. Roach, [n.d.]: US-PRu. NJPG89-B46987.Google Scholar

410 Tune: Braes of Balandene.Google Scholar

411 Tune: Roslin Castle.Google Scholar

412 Tune: Lochaber no more.Google Scholar

413 Labelled in the libretto ‘bravura’ for Elizabeth Billington.Google Scholar

414 GB-Lbl RM 11.d.18.Google Scholar

415 ‘A New Opera. First performance in England. The Musick composed by Jomelli’; LS, iv/1, 422.Google Scholar

416 Benefit: [Francesco] Vanneschi; LS, iv/1, 427.Google Scholar

417 ‘From Sig^r- Francesco Vanneschi, Manager of the Operas’; US-SM La 113.Google Scholar

418 Ciro riconoscuito (Act 3, scene x).Google Scholar

419 Opera title added in hand.Google Scholar

420 Ciro riconoscuito (Act 3, scene x).Google Scholar

421 Burney, iv, 463, note (z).Google Scholar

422 ‘Serious Opera. Music by Jomelli’; LS, iv/2, 939.Google Scholar

423 ‘There will be no Opera on Saturday next, being Whitsunday eve’; LS, iv/2, 941.Google Scholar

424 Dedicated to Arthur, Duke of Wellington.Google Scholar

425 Joseph Lunn, Amor Patriea (London, 1823), note; see The Morning Herald, 14 June 1822Google Scholar

426 US-SM La 113.Google Scholar

427 US-LAuc ML50.2.P325 G2 1754.Google Scholar

428 US-CAh Hollis 008007106–5.Google Scholar

429 Crossed out.Google Scholar

430 Ciro riconoscuito (Act 1, scene iii).Google Scholar

431 US-SM La 113 leaves a gap at this point, but cues Amileare.Google Scholar

432 Adriano in Siria (Act 1, scene iii).Google Scholar

433 US-SM La 113 leaves a gap at this point, but cues Attilio.Google Scholar

434 See ‘Deh non oscuri mai’ from the printed 1754 text.Google Scholar

435 Zenobia (Act 2, scene i).Google Scholar

436 Temistocle (Act 3, scene v).Google Scholar

437 Included in what otherwise appears to be a long cut.Google Scholar

438 Antigono (Act 3, scene vii).Google Scholar

439 Ciro riconoscuito (Act 3, scene x).Google Scholar

440 Semiramide ([v.1] (Act 1, scene xiii).Google Scholar

441 Demetrio (Act 2, scene xii).Google Scholar

442 Artaserse (Act 3, scene v).Google Scholar

443 Olimpiade (Act 3, scene iii).Google Scholar

444 ‘A New Opera. Pit and Boxes at half a guniea. Their Majesties, Prince, and three eldest Princesses present’; LS, iii/1, 243.Google Scholar

445 ‘Their Majesties, Prince, and three eldest Princesses present’; LS, iii/1, 244.Google Scholar

446 Hasse's Dalisa, for Venice, 1730.Google Scholar

447 Porpora's Siface for Rome, 1730.Google Scholar

448 Demetrio (Act 1, scene iii).Google Scholar

449 Alessandro nell'Indie (Act 2, scene xi).Google Scholar

450 Irene (no. 2).Google Scholar

451 Artaserse (Act 1, scene xv); Vinci's setting for Rome, 1730.Google Scholar

452 Irene (no. 2).Google Scholar

453 Demetrio (Act 1, scene iii); Hasse's setting for Venice, 1732.Google Scholar

454 Artaserse (Act 1, scene xv); Vinci's setting for Rome, 1730.Google Scholar

455 Lord Hervey to Stephen Fox, 4 December 1732. Lord Hervey and his Friends, ed. Earl of Ilchester (London, 1950), 145–6.Google Scholar

456 The Daily Advertiser, 6 November 1732.Google Scholar

457 GB-Lbl 639.d 19(6).Google Scholar

458 Hasse's Dalisa, for Venice, 1730.Google Scholar

459 Porpora's Siface for Rome, 1730.Google Scholar

460 Vivaldi's setting of Ipermestra for Florence, 1727?, but text not by Metastasio.Google Scholar

461 Demetrio (Act 1, scene iii).Google Scholar

462 Alessandro nell'Indie (Act 2, scene xi).Google Scholar

463 Irene (no. 2).Google Scholar

464 Artaserse (Act 1, scene xv); Vinci's setting for Rome, 1730.Google Scholar

465 Barbara Small, NG2, xxiii, 754, also lists MS copies of two arias in J-Tn, currently inaccessible.Google Scholar

466 Used by Smith in his incidental music to Garrick's version of Shakespeare's The Tempest, DL: 11 February 1756.Google Scholar

467 The volumes of this copy have stamped leather bindings of Henry Dashwood.Google Scholar

468 ‘A new Opera, the music newly compos'd by Sig. Cocchi. With New Decorations and New Dances’; LS, iv/2, 707.Google Scholar

469 Benefit: British Lying-in Hospital for Married Women on Bronlow St.; LS, iv/2, 725.Google Scholar

470 Benefit: [Giuseppe] Forti and {Sig.ra} Forti; LS, iv/2, 731. LS states that this was a charity benefit for the singers whose costumes had been seized by the French.Google Scholar

471 This is as it appears in the libretto; however, to avoid confusion with the earlier Francesco Bernadi more frequently called Senesino, it has not otherwise been used in this catalogue to refer to Tenducci.Google Scholar

472 Siroe re di Persia (Act 1, scene xvii).Google Scholar

473 BUCEM suggests there was a second issue of this anonymously; see 192.Google Scholar

474 ‘A New Tragedy never perform'd’; LS, iv/3, 1372.Google Scholar

475 [James?] Perry replaces [Matthew] Clarke as Astyages; LS, iv/3, 1396.Google Scholar

476 New cast members: Cyrus [Richard] Wroughton; Officer R[ichard] Smith; LS, iv/3, 1433. BDL, xiv, 155–7, describes him as a ‘utility actor’ or a ‘walking gentleman’.Google Scholar

477 [Joseph] Fox replaces [Thomas Dibble] Davis as Mirza; LS, iv/3, 1448.Google Scholar

478 Benefit: Mrs Mattocks. ‘[Thomas Dibble] Davis replaces [Joseph] Fox as Mirza’; LS, iv/3, 1446.Google Scholar

479 ‘New cast members: [John Horatio] Savigny takes over as Cyrus, [Joseph] Fox as Mirza’; LS, iv/3, 1515.Google Scholar

480 ‘[James?] Perry replaces [Matthew] Clarke as Astyages’; LS, iv/3, 1516.Google Scholar

481 ‘[Matthew] Clarke replaces [James?] Perry as Astyages’; LS, iv/3, 1517.Google Scholar

482 Benefit: [Mary Ann] Yates. ‘Part of the pit laid into Boxes. Ladies send servants by 4 o'clock’; LS, iv/3, 1534.Google Scholar

483 ‘By particular desire’; LS, iv/3, 1546.Google Scholar

484 ‘By Desire’; LS, iv/3, 1587.Google Scholar

485 ‘Man and Wife oblig'd to be deferr'd on account of Indisposition of Mrs Green’; LS, iv/3, 1604.Google Scholar

486 Benefit: [Charles] Sarjant; LS, iv/3, 1636.Google Scholar

487 New cast members: Cyrus [John] Brunton; making his debut. Mirza and Officer not listed. ‘Not acted these two year’; LS, iv/3, 1800.Google Scholar

488 New cast members: Cyrus ([Willoughby] Lacy; Hopkins diary quoted in LS, iv/3, 1959–1960 reports that he spoke ‘too low and marked’ but ‘was received with applause’), Astyages ([John?] Palmer), Harpagus ([John Hayman] Packer), Mirza ([John] Whitfield), Officer (Norris), Aspasia ([Elizabeth] Hopkins [later Mrs Michael Sharp]).Google Scholar

489 New cast members: Cyrus ([Joseph George] Holman), Cambyses ([William] Farren), Astyages ([John Richards called] Richardson), Mithranes ([Thomas] Hull), Harpagus ([George Davies] Harley), Mandane ([Mary Ann] Yates [nee Graham]); Mirza and Officer omitted from the bills. Benefit: [Elizabeth] Hull and [William] Hopkins; LS, v/3, 1650.Google Scholar

490 Application 20 November 1768: ‘Sir, This Tragedy is intended to be perform'd at the Theatre Royal in Covent Garden with the permission of The Right Honourable The Earl of Hertford. y^r most humble serv^t G. Colman Nov^br 20^th 1768.‘Google Scholar

491 Davies does not appear on the playbill.Google Scholar

492 However, playbill lists [Jane] Lessingham [née Hemet, formerly Mrs John Stott] in this role until the performance of December 8.Google Scholar

493 Davies does not appear on the playbill.Google Scholar

494 However, playbill lists [Jane] Lessingham [née Hemet, formerly Mrs John Stott] in this role until the performance of December 8.Google Scholar

495 Davies does not appear on the playbill.Google Scholar

496 However, playbill lists [Jane] Lessingham [nee Hemet, formerly Mrs John Stott] in this role until the performance of December 8.Google Scholar

497 Davies does not appear on the playbill.Google Scholar

498 However, playbill lists [Jane] Lessingham [nee Hemet, formerly Mrs John Stott] in this role until the performance of December 8.Google Scholar

499 Davies does not appear on the playbill.Google Scholar

500 However, playbill lists [Jane] Lessingham [nee Hemet, formerly Mrs John Stott] in this role until the performance of December 8.Google Scholar

501 Francis Gentleman, ‘Cyrus, a tragedy, by Mr Hoole’, in The Dramatic Censor (London, 1770), i, 216–38 [GB-Ob Mal E. 151, 152].Google Scholar

502 D-Hs M A/668; from the MS score, no printed libretto available.Google Scholar

503 GB-Lbl 1608/4555 (5).Google Scholar

504 Allocated to Man. and Cir. in GB-Lbl 1608/4555 (5).Google Scholar

505 La Galatea (pt. 1).Google Scholar

506 Siroe re di Persia (Act 2, scene v).Google Scholar

507 Alessandro nell'lndie (Act 2, scene xv).Google Scholar

508 Siroe re di Persia (Act 1, scene xvii).Google Scholar

509 ‘A New Opera’; LS, iii/2, 656.Google Scholar

510 Dedicated to Lady Walpole.Google Scholar

511 ‘A New Opera, with the Addition of a new Singer. Music by Cocchi’; LS, iv/2, 769.Google Scholar

512 ‘Sg Cornacchini is recovered of his cold and will sing this evening’; LS, iv/2, 775.Google Scholar

513 Benefit: [Colomba] Mattei; LS, iv/2, 776.Google Scholar

514 Benefit: General Lying-in Hospital; LS, iv/2, 794.Google Scholar

515 The newly added character (‘singer’) referred to in note 511.Google Scholar

516 Copy from Thomas Jordan Hooker's Circulating Library where ‘Tickets for the Opera … bought and sold’.Google Scholar

517 None of these songs appear in Cocchi's 1765 pastiche of the same opera.Google Scholar

518 There is a chance that this is Signor Magalli recorded at the King's Theatre and in Soho in some of the same company in 1760.Google Scholar

519 See note 511.Google Scholar

520 ‘A favorite serious Opera. The music by several celebrated Composers’; LS, iv/2, 1141. ‘Deferred from Saturday because of Indiposition of Signora Spagnolla’; LS, iv/2, 1142.Google Scholar

521 ‘By Command of their Majesties’; LS, iv/2, 1143.Google Scholar

522 ‘The scenery by Marinari’; LS, v/3, 1914.Google Scholar

525 Contains no cast list.Google Scholar

524 The European Magazine, November 1796, 351.Google Scholar

525 The Morning Herald, 14 November 1796.Google Scholar

126 The first opera by Mozart to be performed in London. Benefit: Mrs Billington.Google Scholar

527 ‘King's Theatre.—Mrs. BILLINGTON respectably informs the Nobility, Gentry, and the Public that her BENEFIT NIGHT is fixed for Thursday, March 27, when will be performed, a Grand Serious Opera, with Chorusses, intitled, LA CLEMENZA DI TITO, entirely composed by MOZART∗: the most celebrated Ouvrage of that great Composer, and the only one of his composition ever produced in this country.‘ The Times, 22 March 1806.Google Scholar

528 ‘M. Kelly, Acting Manager’. Licence £2.2s: US-SM 19926 (1).Google Scholar

529 Edition gives ‘P Da Ponte’.Google Scholar

530 Application 18 February 1812: ‘King's Theatre 18 February 1812. W. Taylor’.Google Scholar

531 The volume has the bookplate of the Bibliotheca Lindesianne Balcarres.l4.c.Google Scholar

532 ‘Second appearance at the theatre.‘Google Scholar

533 Numerous single songs from Mozart's setting were published in London; only those that appeared in collections from the opera are listed here. Emanuele Senici, ‘ “Adapted to the modern stage”: La clemenza di Tito in London’, Cambridge Opera Journal, 7/1 (1997), 4, makes a case for GB-Lbl RM. 22 h 12/13 being the score used by Buonaiuti or at least having a clear connection to the London performances through pencil markings in the score. It does, however, seem far from clear that these markings are contemporary with the performances, and none of the material peculiar to the London version is included. The score, however, has an English title page and contents which suggests that the binding has an English provenance, so a connection is at least possible.Google Scholar

534 A bound collection of Periodical Songs individually numbered, bound up with a separate title page, but with no contents listing.Google Scholar

535 Nineteenth-century MS insertion.Google Scholar

536 With keyboard realisation by Giambattista Cimador.Google Scholar

537 Through numbered as well as individual song sheet numbers.Google Scholar

538 Has illustrated title page.Google Scholar

539 Book plate of Cecil B. Oldman.Google Scholar

540 The Morning Chronicle, 28 March 1806.Google Scholar

541 The Morning Post, 28 March 1806.Google Scholar

542 The Daily Advertiser, 28 March 1806.Google Scholar

543 Edgcumbe, Musical Reminicences, 100.Google Scholar

544 The Morning Chronicle, 1 March 1813.Google Scholar

545 The Morning Chronicle, 4 March 1816.Google Scholar

546 The Morning Chronicle, 14 July, 1817.Google Scholar

547 The Morning Chronicle, 6 April 1818.Google Scholar

548 The Theatrical Observer, no. 2042, 3 March 1828, 2.Google Scholar

549 Contains a short ‘sketch’ of the life of Metastasio.Google Scholar

550 Introduction by James Ford, dated 30 January 1836.Google Scholar

551 D-Hs 5 an MA/401.Google Scholar

552 GB-Lbl 907.8.(1).Google Scholar

553 GB-Lbl 11714.b.39(2).Google Scholar

554 US-SM La 1419.Google Scholar

555 GB-Lbl 907.k.7 (2).Google Scholar

556 US-SM La 1710.Google Scholar

557 GB-Lbl 11716 aa.21 (2);Google Scholar

558 GB-Lbl 1907.k.13 (4).Google Scholar

559 GB-Lbl 11716.a.l8.Google Scholar

560 Cocchi may well have been responsible for both this and Ae 1760 texts.Google Scholar

561 The original adapation for Mozart was done by Mazzola.Google Scholar

562 Setting by Sacchini.Google Scholar

563 Setting by Galuppi.Google Scholar

564 Setting by Galuppi.Google Scholar

565 Setting by Cocchi.Google Scholar

566 Setting by [J.C.?] Bach.Google Scholar

567 Setting by Galuppi.Google Scholar

568 Setting by Hasse.Google Scholar

569 Also Act 3, scene viii (2).Google Scholar

570 Setting by Galuppi.Google Scholar

571 Scenes misnumbered in US-SM La 1479 as v, vi, vii, vi, vii, viii, ix; they have been corrected here.Google Scholar

572 Setting by Galuppi.Google Scholar

573 Seting by Abos.Google Scholar

574 Setting by Maio.Google Scholar

575 Setting by Scarlatti.Google Scholar

576 Setting by Galuppi.Google Scholar

577 Setting Hasse.Google Scholar

578 Setting by Cocchi.Google Scholar

579 Setting by Maio.Google Scholar

580 Setting by Maio.Google Scholar

581 Setting by Galuppi.Google Scholar

582 Setting by Giardini.Google Scholar

583 Setting by Guglielmi.Google Scholar

584 Setting by Galuppi.Google Scholar

585 Setting by Traetta.Google Scholar

586 Setting by Galuppi.Google Scholar

587 Setting by Sarti.Google Scholar

588 Servilia in the printed text.Google Scholar

589 Scenes miscounted; xii in US-SM La 1479.Google Scholar

590 As a trio for Ses., Tit., and Pub.Google Scholar

591 For chorus only.Google Scholar

592 ‘Egidio Duni Nepolitano’.Google Scholar

593 Dedicated by Angelo Cori to the Duchess of Newscastle.Google Scholar

594 ‘A New Opera’; LS, iii/2, 1105.Google Scholar

595 ‘By Particular Desire. The Opera cannot be perform'd on Saturday next, as usual, being Whitsontide’; LS, iii/2, 1110.Google Scholar

596 This list suggests that there is a missing edition of the Favourite Songs collection containing ‘Pensa m'è impossible’ (Lampugnani), ‘Alma che in van s'accende’ (Lampugnani), ‘Quando fu l'erbe amene’ (Lampugnani), and ‘Speme di posseder‘(Lampugnani).Google Scholar

597 The General Advertiser, 4 June 1744.Google Scholar

598 ‘The Overture, Recitativos, March, Cavatina, Chorus, and all the Songs marked (∗) are composed by Signor Gioacchino Cocchi, Neapolitan … by whom was also regulated all the rest of the Musick’ (1757 Libretto). Songs thus marked are ‘Ogni proceller infida’, ‘Scherza il nocchini talora’, ‘Al ciglio lusinghiero’, ‘Se perde l'usignolo’, ‘Parlai per comando’, Dice, che Tama’, ‘Den, cessati funesti pensieri’, Perge, oh dio, che sei crudele’, ‘Qual tea ardito e fiero’, ‘Stanca di piangere di sospirar’, ‘Deh resplendi, replendio chiano’, ‘Quando scende in nobil petto’.Google Scholar

599 ‘With new Decorations’; LS, iv/1, 625.Google Scholar

600 ‘At the particular Desire of Several Persons of Quality’; LS, iv/1, 649.Google Scholar

601 ‘At the particular Desire of Several Persons of Quality’; LS, iv/1, 649.Google Scholar

602 Benefit: The General Lying-in hospital; LS, iv/1, 666.Google Scholar

603 ‘There will be no Opera tomorrow, it being Whitsunday eve’; LS, iv/1, 671.Google Scholar

604 The Grimaldi clan is varied and confusing, but Giuseppe seems to be the only possible Grimaldi for this performance. See BDL, vi, 388 ff. for family tree and related articles.Google Scholar

605 Zenobia (Act 2, scene viii).Google Scholar

606 Achille in Sciro (Act 1, scene v).Google Scholar

607 ‘Voi leggete in ogni cone’, ‘Deh resplendi, resplendio chiaro’, and ‘Ah se un cor barbaro’ all have contemporary ornaments and alterations added by hand in this copy.Google Scholar

608 Also contains two songs from Zenobia; see Zenobia, 1758.Google Scholar

609 ‘Caro spiegar vorrei’ has contemporary ornaments and alterations added by hand.Google Scholar

610 Olimpiade (Act 1, scene ii).Google Scholar

611 Also contains two songs from Zenobia; see Zenobia, 1758.Google Scholar

612 Olimpiade (Act 1, scene ii).Google Scholar

613 Quilici seems not to be otherwise recorded as a composer.Google Scholar

614 ‘All the songs are new of Tenducci and Quilici. By Particular Desire of several Persons of Quality’; LS, iv/2, 701.Google Scholar

615 Benefit: [Colomba] Mattei; LS, iv/2, 714.Google Scholar

616 Benefit: [Giovanni] Gallini; LS, iv/2, 719.Google Scholar

617 It is possible that both Quilici and Tenducci sang in their own opera, and that Colomba Mattei—whose involvement we can deduce from her choice of the work as her benefit on 15 March—reprised her role of Cleonice. The dances on the bill must have been by Giovanni Gallini, who chose the opera for his benefit on 3 April.Google Scholar

618 ‘A New Serious Opera … the Musick compos'd by several eminent Masters. All new Dances; and New Scenes, Dresses, and Decorations’; LS, iv/2, 1023.Google Scholar

619 ‘To which well be added several new airs’; LS, iv/2, 1025.Google Scholar

620 L'isola disabitata (scene x).Google Scholar

621 ‘By command of their Majesties’; LS, iv/3, 1643. Deferred from 30 May to avoid a clash with the Drury Lane benefit for the ‘decayed actors’; LS, iv/3, 1642.Google Scholar

622 Either of the Giordani sisters could have sung this role, although both specialised in comic parts. They both departed for Dublin in 1764, and only Nicolina is recorded in London again, at the King's Theatre in 1774. BDL, vi, 219 erronously states that there is no trace of the singing Giordanis.Google Scholar

623 ‘On account of the sudden Indisposition of Sga Ferrarese the new Serious Opera [Demetrio, announced in Public Advertiser, 31 December 1784] is unavoidably postponed’; LS, v/2, 762. ‘Sga Ferrarese continuing very much indisposed the new Serious Opera [Demetrio] is unavoidably postponed’; LS, v/2, 762. ‘A Serious Opera in 2 Acts; the Music selected from the most eminent Composers by and under the direction of Cherubini’; LS, v/2, 763.Google Scholar

624 'Benefit: [Girolamo] Crescentini. ‘In Act 1 a new Air, composed by Sarti, by Crescentini, and a Duet, composed by Bertoni, by Crescentini and Sga Ferrarese; In Act ii an entire new Aria and a favourite Song of Handel'; LS, v/2, 774.Google Scholar

625 La dates this MS as 1775. However, there are no recorded performances of Demetrio that year, and of the cast, Bartolini is not recorded before 1782, Catenacci and Franchi until 1783, Cremonini and Crescentini until 1784, while Ferraese made her debut in the production.Google Scholar

626 London debut.Google Scholar

627 London debut.Google Scholar

628 Danza (no. 5).Google Scholar

629 Ex Biblioth Regia Berlinesi; see Lewis, Nigel, Paperchase (London, 1981), especially 132–42 for an account of how this manuscript from the Preussische Staatsbibliothek arrived in Kraków. According to NGO, i, 836 the location of this manuscript is unconfirmed.Google Scholar

630 Ex Biblioth Regia Berlinesi.Google Scholar

631 Ex Biblioth Regia Berlinesi.Google Scholar

632 Ex Biblioth Regia Berlinesi.Google Scholar

633 Demofoonte (Act 2, scene vi).Google Scholar

634 Ex Biblioth Regia Berlinesi.Google Scholar

635 Signora Ferrarese [Adriana Gabrielli] (Barsene?).Google Scholar

636 Artaserse (Act 1, scene ii).Google Scholar

637 Ex Biblioth Regia Berlinesi.Google Scholar

638 The Public Advertiser, 10 Jan 1785, 2.Google Scholar

639 The Morning Post, 10 Jan 1785, 2.Google Scholar

640 The London Chronicle, (Jan-June 1785), 38 (Jan 8–11).Google Scholar

641 ‘A Serious Opera in 2 acts; the music by Gresnick’; LS, v/2, 940Google Scholar

642 Benefit: {Mile} Mozon; LS, v/2, 957.Google Scholar

643 Added in hand.Google Scholar

644 Spelt ‘Alcesto’ and subsequently altered by hand to ‘Alceste’.Google Scholar

645 Metastasio, altered C.F. Badini, Alceste (London, 1786), Introduction.Google Scholar

646 The Morning Post, 25 Dec 1786, 2.Google Scholar

647 The Times. 25 Dec 1786, 2.Google Scholar

648 The Morning Herald, 1 January 1787, 3.Google Scholar

649 GB-Lbl 907.i.3 (4).Google Scholar

650 As AIceste; GB-Lbl 907.I.4 (9).Google Scholar

651 GB-Lbl 639.e.27 (2).Google Scholar

652 As Cleonice; GB-Lbl 1608/2620.Google Scholar

653 GB-Lbl 907.i.14 (2).Google Scholar

654 US-SM La 399.Google Scholar

655 As Alceste; US-SM La 751.Google Scholar

656 As Alceste; US-AAu RBR PR4049.B15M6.Google Scholar

657 In GB-Lbl Favourite Songs in the Opera of Cleonice [GB-Lbl G.760.C.4.]Google Scholar

658 Olimpiade (Act 1, scene ii).Google Scholar

659 Zenobia (Act 2, scene viii).Google Scholar

660 Achille in Sciro (Act 3, scene iv).Google Scholar

661 Didone Abbandonata (Act 1, scene v).Google Scholar

662 Nitteti (Act 1, scene i).Google Scholar

663 L'isola disabitata (scene x).Google Scholar

664 Adriano (Act 3, scene viii).Google Scholar

665 Danza (no. 5).Google Scholar

666 ∗ These texts survive only as settings by Cherubini in PL-Kj Inw.nv 6282.Google Scholar

667 Demofoonte (Act 2, scene vi).Google Scholar

668 Artaxerxes (Act 1, scene ii).Google Scholar

669 Aria indicated, but no text inserted.Google Scholar

670 See GB-Ob Mus. Voc.I.23 (32).Google Scholar

671 ‘La destra ti chiede’; see Jamie C. Kassler, ‘Price, Robert’, NG2, ii, 316.Google Scholar

672 ‘A New Opera. Musick: Jomelli’; LS, iv/2, 514.Google Scholar

673 ‘With a change of New Dances’; LS, iv/2, 516.Google Scholar

674 ‘Mingotti will sing’; LS, iv/2, 536.Google Scholar

675 Benefit: Giulia Frasi; LS, iv/2, 540.Google Scholar

676 Benefit: the General Lying-in Hospital in Duke Street, Grosvenor Square; LS, iv/2, 541.Google Scholar

677 BDL, xi, 241 suggests that Pazzaglia's first performance in London was 2 February 1756. Given the other roles ascribed to him (‘Pazzaglia’ (also recorded as ‘Pazzalia’ and ‘Passagli') and ‘Pazagli’ appear to be the same person), the role here recorded appears to be his first appearance in London; see also note below.Google Scholar

678 BDL, xi, 260 suggests that Peralta's first performance in London was 2 February 1756; the role here recorded appears to be an earlier first appearance; see also note above.Google Scholar

679 The copy consulted is not listed in CS.Google Scholar

680 Not by Metastasio in this form.Google Scholar

681 The reason for this second separate publication is given by Burney: ‘At this time, Mingotti and Giardini not allowing the opera-copyist to dispose of the favorite songs to Walsh upon the usual easy terms, had them printed elsewhere; this was also the case with Il re Pastore, some of the songs in Demofoonte, and other operas.‘ (Burney, iv, 466).Google Scholar

682 Regina Mingotti, An Appeal to the Public (London, [1755]), 9–11.Google Scholar

683 Mason to Gray, 25 December 1755; [Thomas Gray], Correspondence of Thomas Gray, ed. Paget Toynbee and Leonard Whibley (Oxford, 1971), i, 451.Google Scholar

684 ‘Music is entirely new’; title page of GB-Lbl RB.23.a.6324.Google Scholar

685 ‘The Music entirely new, composed by Mr Vento’; LS, iv/2, 1101.Google Scholar

686 ‘By particular desire’; LS, iv/2, 1119.Google Scholar

687 ‘By Desire of several Persons of Quality’; LS, iv/2, 1171.Google Scholar

688 The copy consulted is not listed in CS.Google Scholar

689 Walsh died in 1766, so this publication must have appeared after his death that year.Google Scholar

690 Asilo d'amore (no. 13).Google Scholar

691 Burney, iv, 487.Google Scholar

692 Setting not listed in H.Google Scholar

693 ‘A tragedy never performed’; LS, iv/3, 1457.Google Scholar

694 ‘By particular desire’; LS, iv/3, 1504.Google Scholar

695 Benefit: [William] Smith; ‘By Particular Desire’; LS, iv/3, 1533.Google Scholar

696 Benefit: [Matthew] Clarke; ‘By Particular Desire’; LS, iv/3, 1538.Google Scholar

697 Benefit: [Mary] Bulkley; LS, iv/3, 1624.Google Scholar

698 Benefit: [Richard] Wroughton; LS, iv/3, 1632.Google Scholar

699 Benefit: [Robert] Bensley; LS, iv/3, 1710.Google Scholar

700 ‘By Particular Desire’; LS, iv/3, 1878.Google Scholar

701 BDL, i, 229 suggests fl. 1745–1785?Google Scholar

702 LS, iv/3, 1464.Google Scholar

703 The title page to the volume of plays is a dated 1797.Google Scholar

704 ‘An account of the new tragedy called Timanthes …‘; The Freeholder's Magazine, 2 (1770), 38–41. The account also includes a full plot summary and the lyrics of the final musical numbers.Google Scholar

705 ‘A New Serious Opera. The Music by Bertoni and other eminent Masters’; LS, v/1, 219.Google Scholar

706 ‘By Command of Their Majesties’; LS, v/1, 221.Google Scholar

707 Benefit [Gasparo] Pachierotti. ‘End of Act 1 a new song by Pachierotti, with violin obligato composed by Bertoni, by Cramer; In Act iii an additional song, composed by Handel, by Pachierotti’; LS, v/1, 239.Google Scholar

708 ‘End of Act 1 a new song by Pachierotti, with violin obligato composed by Bertoni, by Cramer; In Act iii an additional song, composed by Handel, by Pachierotti’; LS, v/1, 241.Google Scholar

709 However, Sarti did set Metastasio's Demofoonte in 1771 and again in 1782.Google Scholar

710 Richard Edgcumbe, Musical Reminiscences of an Old Amateur (London, 2/1827), 24–5.Google Scholar

711 ‘A Serious Opera; the Music by several eminent Masters’; LS, v/2, 685.Google Scholar

712 Benefit: [Gasparo] Pacchierotti. ‘Pachierotti will conclude the 1st Act with an entire new scene by Sarti; In Act iii a song, composed by Handel, by Pachierotti’; LS, v/2, 685.Google Scholar

713 ‘Opera in place of La Regina di Golconda‘ (announced in Gazetteer, 29 March); LS, v/2, 692.Google Scholar

714 Benefit: [Charles] Le Picq; LS, v/2, 708.Google Scholar

715 Benefit: [Caterina] Lusini; LS, v/2, 715.Google Scholar

716 Timante (Gasparo Pacchierotti); other characters Demofoonte, Cherinto, Matusio, Adrast, Creusa, Dircea, other cast members [Angelo] Franchi, [Vincenzio] Bartolini, [Luigi] Tasca, {Sig.} Schinotti, [Maria] Catenacci, [Caterina] Lusini; LS, v/2, 685.Google Scholar

717 The Public Advertiser, 8 March 1784, 2.Google Scholar

718 26 April 1784, from an unidentified clipping in US-NYp; quoted in Petty, 213.Google Scholar

719 ‘A New Serious Opera; the Music by Federici’; LS, v/2, 1241.Google Scholar

720 Benefit: Jewell; LS, v/2, 1244.Google Scholar

721 Benefit: Labourie; LS, v/2, 1246.Google Scholar

722 Dedicated to the Marchioness of Salisbury.Google Scholar

723 Imprint not recorded by HS; Hammond (also not recorded by HS) is possibly the J. Hammond who in 1793 published both Izingari infiera [PL-Kj Lib.ang.279II] and Odenata e Zenobia [PL-Kj BJ: Lit.ang.280II].Google Scholar

724 BDL says that he disappeared from the playbills until 13 May 1790.Google Scholar

725 BDL suggests that she did not ‘flourish’ until 1795, and did not appear on playbills until 28 November 1797.Google Scholar

726 RISM also offers another print at F 165, but F 164 and F 165 are identical.Google Scholar

727 The Morning Herald, 7 April 1790, 2.Google Scholar

728 The Times, 7 April, 1790, 2.Google Scholar

729 The Times, 12 April 1790, 2.Google Scholar

730 The Public Advertiser, 7 April 1790; quoted in William C. Smith, Handel, a Descriptive Catalogue of the Early Editions (Oxford, 1970), 1.Google Scholar

731 Quoted in Smith, Handel, 14.Google Scholar

732 Printed copy has the completion date of 6 November 1818.Google Scholar

733 Dedicated to William Gifford Esq.Google Scholar

734 Martin's christian name is unrecorded.Google Scholar

735 James Winston, Drury Lane Journal: Selections from James Winston's Diaries 1819–1827, ed. Alfred L. Nelson and Gilbert B. Cross (London, 1974), ii, records that this performance took 2 hours and 35 minutes.Google Scholar

736 Benefit: {Miss} West; The Times, 14 June 1821.Google Scholar

737 Application 21 May 1820. ‘Theatre Royal, Drury Lane, 21 May 1820. Sir, The Annexed opera called Dirce is intended with permission of the Right Honourable the Lord Chamberlain for Representation at the above Theatre I am Sir Your obed^t Servant J Winston’; US-SM La 2229. Licence £2.2s: US-SM 19926 (2).Google Scholar

738 Principal characters: [John] Braham, {Miss} Wilson.Google Scholar

739 Nicholas Temperly in the NG2, xi, 727 states that this duet is all that has survived.Google Scholar

740 GB-Ob Harding D 2444 (2).Google Scholar

741 GB-Lbl RB 23.a.6324; also 1766 US-I ML48.E342 no. 8.Google Scholar

742 GB-Lbl 907.i.16 (8).Google Scholar

743 As L'Usurpator Innocente; GB-Lbl 162.g.31.Google Scholar

744 Setting attributed to Robert Price by Jamie C. Kassler, ‘Price’, NG2, xx, 316.Google Scholar

745 Allocated to Tamiri.Google Scholar

746 Ipermestra (Act 1, scene v).Google Scholar

747 Catone (Act 2, scene xvi).Google Scholar

748 Asilo d'amore (no. 13).Google Scholar

749 Allocated to Tamiri.Google Scholar

750 Musical cues but no texts; the cues were copied at the same time at the rest of the text, but no room was left for the accompanying texts.Google Scholar

751 GB-Ob M.adds. 108 e.129 (5); also 1771: GB-Ob Harding D 1312; 1795: GB-Ob Dunston 2050 (1); 1795: GB-Ob Harding D 1314.Google Scholar

752 US-SM La 2229. The Larpent MS has the airs cued, but there are no song texts.Google Scholar

753 Although there are spaces provided, there are no specific musical cues in Act 3.Google Scholar

754 ‘A New Opera’; LS, iii/2, 657.Google Scholar

755 ‘By Command of their Royal Highnesses’; LS, iii/2, 660.Google Scholar

756 ‘The Duke and the Princess present’; LS, iii/2, 676.Google Scholar

757 The title page of the MS contains additional notes on the opera which are not transcribed here.Google Scholar

758 Endimione (pt. 2).Google Scholar

759 ‘A New Opera … Written by Metastasio and set to Musick by Signor Hasse’; LS, iv/1, 40. ‘We hear from the King's Theatre in the Haymarket, that as the Celebrated Opera Dido, wrote by Abbat Metastasio, and set to Musick by Sig Hasse, cannot be got ready for Representation till almost a fortnight, the Opera Lucius Verus (consisting of chosen Airs from the Compositions of Mr Handel) will be performed next Saturday’; The Daily Advertiser, 14 March 1748.Google Scholar

760 ‘In the First Act Reginelli will sing a favourite Song, accompanied by Caruso on the Saltero, which was never performed in any Concert before’; LS, iv/1, 49.Google Scholar

761 Text not in any Didone libretto, and is not by Metastasio; however, the song heading in G.206.b (2) gives ‘Sung by Sig^ra Casarini in Dido del Sig^r Hasse’.Google Scholar

762 Copy has ‘Non a ragione ingrate’, 70 (as at G.159 below) bound with it.Google Scholar

763 Didone Abbandonata (Act 1, scene xvii); headed ‘Sung by Sigra Casarini’.Google Scholar

764 Text not in any Didone libretto, and is not by Metastasio; however, the song heading in G.206.b (2) gives ‘Sung by Sigra Casarini in Dido del Sigr Hasse’.Google Scholar

765 ‘A New Opera composed by Sig Ciampi’; LS, iv/1, 401.Google Scholar

766 Benefit: [Christina] Passerini; LS, iv/1, 419.Google Scholar

767 ‘A New Serious Opera. Music by Perez with New Cloaths and Dances’; LS, iv/2, 850.Google Scholar

768 ‘By Command’; LS, iv/2, 859.Google Scholar

769 Has paste overs on pp. 20–1 and pp. 52–3 of arias both in Italian and English: ‘Frena gli affetti, o cara’ replaces ‘Dopo un tuo sguardo, o cara’ (20–1); ‘Cara, ti lascio, addio’ replaces ‘A trionfar mi chiama’ (52–3); and a substitute duet ‘Ah se di te mi privi’ for ‘Ah, se dagli occhi yuoi’ printed at the end of the libretto after page 63.Google Scholar

770 Adriano (Act 1, scene xiv).Google Scholar

771 Handwritten note reads: ‘These words have been finely set by Sacchini.‘Google Scholar

772 ‘Opera, music by Sacchini, &c’; LS, iv/3, 1927. A performance appears on the bills for 7 November 1775, but The Public Advertiser for 8 November announces that it was not performed owing to the Mines of two of the singers.Google Scholar

773 ‘On account of the death of Sg Onofreo the Managers are oblig'd to postpone the new Serious Opera in order to give Sg Trebbi time to study the Tenor part [of La Vestale]‘; LS, iv/3, 1949.Google Scholar

774 Application 1 May 1775: ‘Sir If the following piece meet with the approbation of the Lord Chamberlain it will be performed at the Kings Theatre in the Haymarket on Saturday next, am Sir Your Most Oblidged and most Humble Servant Ch^as Yates May 1^st 1775. N. B. This Opera has been perform'd here some few years since.‘ US-SM La 389.Google Scholar

775 This copy carries the signature of Henry Johnson.Google Scholar

776 Not in US-SM La 389.Google Scholar

777 Semiramide (Act 3, scene viii).Google Scholar

778 Not US-SM La 389; Issipile (Act 2, scene xiii).Google Scholar

779 Edward Piggott, MS diary in the Beinecke Library, Yale University; quoted in Elizabeth Gibson, ‘Edward Pigott: Eighteenth-Century Theatre Chronicler’, Theatre Notebook, 42/2 (1988), 66.Google Scholar

780 ‘Operatical Intelligence’, The Westminster Magazine, iii (1775), November, 568.Google Scholar

781 ‘A Serious Opera alter'd from Metastasio; the Music by Anfossi’; ‘On account of the death of Sg Onofreo the Managers are oblig'd to postpone the new Serious Opera in order to give Sg Trebbi time to study the Tenor part [of La Vestale]‘; LS, v/1, 862.Google Scholar

782 Benefit: [Gerturd] Mara; LS, v/1, 963.Google Scholar

783 Application 10 February 1786: ‘Sir If the following piece meets with the Approbation of the Lord Chamberlain it will be performed at the King's Theatre tomorrow Evening I am Sir, Your very Hum. Servant. J. A. Gallini. Kings Theatre Feb.10.1786.‘ US-SM La 721.Google Scholar

784 Attributed to both Gazzaniga and Schuster.Google Scholar

785 Does not appear in his Didon.Google Scholar

786 Alessandro (Act 2, scene xiii).Google Scholar

787 Does not appear in his Didon.Google Scholar

788 A re-issue of 1786.Google Scholar

789 Alessandro (Act 2, scene xiii).Google Scholar

790 Alessandro (Act 2, scene xiii).Google Scholar

791 Also attributed to G. Gazzaniga; see Hartweg, Dieter, ‘Schuster’, NG2, xxii, 823–5.Google Scholar

792 London Chronicle, lix (February 1786), 155.Google Scholar

793 Times, 16 February 1786, 2.Google Scholar

794 Edgcumbe, Musical Reminiscences, 59.Google Scholar

795 US-NYp, unidentified clipping; quoted in Petty, 233.Google Scholar

796 The Morning Chronicle, 16 February 1786.Google Scholar

797 A.A. Le Texier, Ideas on the Opera, trans. anon. (London, 1790), 29; this appears to refer to the 1786 version.Google Scholar

798 Domenico Rampini did not set Metastasio's text, but did set two individual arias for the pasticcio Didone Abbandonata performed in Venice in 1790.Google Scholar

799 ‘The Musick is chiefly new, and composed by Storace. The Selections are made from the most celebrated works of Salieri, Paer, Rampini, Sacchini, Sarti, Giordani, Cimarosa, Schuster, Andreozzi. The Scenery and Machinery designed by Greenwood and executed by himself and his Pupils. Thre Dresses of the Tyrians, Trojans and Africans entirely new, and taken from the most accurate descriptions of the Habits of their respectove Nations’; LS, v/2, 1458.Google Scholar

800 ‘For the Benefit of the Author [of the Mainpiece]‘; LS, v/2, 1459.Google Scholar

801 Application 7 May 1792: ‘Sir, This serious opera in three Acts called Dido, is designed, with the Permission of the Marquis of Salisbury, for Representation at the Theatre in the Haymarket. I have the honour to be, Sir, your own obediant, and most humble servant, J. P. Kemble. May 10^lh 1792.‘ US-SM La. 948.Google Scholar

802 Edgcumbe, Musical Reminiscences, 80.Google Scholar

803 The Morning Herald, 24 May 1792.Google Scholar

804 Joseph Haslewood, The Secret History of the Green Room (London, 1795), ii, 305.Google Scholar

805 James Boaden, Memoirs of the Life of John P. Kemble (London, 1825), 294–5.Google Scholar

806 Benefit: {Mme} Bianti. ‘A New Serious Opera; the Music by Paisiello’; LS, v/3, 2180.Google Scholar

807 ‘King's Theatre 25 May 1799. V. Federici.‘ US-SM La 1259.Google Scholar

808 Application 25 May 1799; licence £2.2s: US-SM 19926 (1).Google Scholar

809 Sartori, Indici, i, 81, lists a 1799 libretto for this opera which does not appear in his chronological listing of the libretti, I libretti, [ii], 348. However, he incorrectly dates the 1799 libretto to ‘1800?‘, giving it the number 7751. No copy of the 1800 London libretto can be traced.Google Scholar

810 Cast is that given by T.J. Walsh, Opera in Dublin 1798–1820 (Oxford, 1993), 237.Google Scholar

811 The Morning Chronicle, 31 May 1799, p. (3b).Google Scholar

812 Recorded as being performed on 26 Januaryl808, with Catalani as Dido and Madame Dussek as Aeneas; see The Times, 27 January 1808.Google Scholar

813 See Walsh, Opera in Dublin, 237.Google Scholar

814 Application 25 January 1808.Google Scholar

815 Text by Buonsiuti; not in the libretto.Google Scholar

816 Alessandro nell'Indie (Act 2, scene xiii).Google Scholar

817 H. R., The Examiner, 27 January 1806.Google Scholar

818 No trace has been found of the first edition.Google Scholar

819 ‘Michael Kelly, Stage Manager.‘Google Scholar

820 Application but no date; licence £2.2s: US-SM 19926 (1).Google Scholar

821 Consists of indiviually paginated pieces, repaginated 1 through to 178. Copies of all individual song sheets have been located without this through page numbering, although all have the vocal and act numbers at the bottom of the plate.Google Scholar

822 Not included in the 1814 libretto, text from Nitteti (Act 2, scene i); however, the score attributes the music to Paer, and describes the piece as a ‘Cavatina sung by Madame Grassini’ in ‘the opera of La Didone Abbandonata’.Google Scholar

823 The title page is a copy of that for Act I with the the second ‘I’ added in hand (i.e. Act II).Google Scholar

824 Note to libretto.Google Scholar

825 The Morning Chronicle, 11 July 1814.Google Scholar

826 Copy carries signature of Mary Frances Bragg.Google Scholar

827 GB-Lbl RB.23.a.6966.Google Scholar

828 GB-Lbl 90716 (1).Google Scholar

829 GB-Lbl 11715.g.13 (1).Google Scholar

830 GB-Ob Vet. A5 e.2256 (3).Google Scholar

831 US-SM La 389.Google Scholar

832 GB-Lbl 907.i.15 (4).Google Scholar

833 US-SM La 721.Google Scholar

834 US-NYcub 820.12 Z9329.Google Scholar

835 Assigned to Osm.Google Scholar

836 Text hereafter becomes fragmentary.Google Scholar

837 Endimione (pt. 2).Google Scholar

838 Semiramide (Act 1, scene xi).Google Scholar

839 Note in printed libretto indicates that this aria should be sung here in place of ‘Volgi a me gli affetti tuoi’.Google Scholar

840 Alessandro nell'Indie ([v.l] Act 1, scene ix); also used in Antigono 1765 (I ii (3)).Google Scholar

841 Note in printed libretto indicates that this aria should be sung here in place of Tremi fra dubbi tuo'i.Google Scholar

842 L'Olimpiade (Act 1, scene vi).Google Scholar

843 Appears in Favourite Songs, GB-Lbl G.206.b.(2).Google Scholar

844 L'Olimpiade (Act 2, scene v).Google Scholar

845 Adriano in Siria (Act 2, scene iv),Google Scholar

846 Adriano in Siria (Act 2, scene xiv).Google Scholar

847 La clemenza di Tito (Act 2, scene vi).Google Scholar

848 Demofoonte (Act 3, scene vi).Google Scholar

849 Issipile (Act 2, scene xiii).Google Scholar

850 The text of this aria is included at the back of the MS.Google Scholar

851 Semiramide (Act 3, scene viii).Google Scholar

852 In Favourite Songs GB-Lbl H. 230 b. (2).Google Scholar

853 Alessandro nell'Indie (Act 2, scene xiii).Google Scholar

854 US-SM La 948.Google Scholar

855 GB-Ob Vet. A5 d.961.Google Scholar

856 GB-Ob Harding D 1258. This libretto lists only the songs, duet, trio, and chorus; the recitatives are therefore asterisked for, although not in the wordbook, they were probably included in the performance.Google Scholar

857 US-Cn La 1259.Google Scholar

858 GB-Lbl 639.f.27(5).Google Scholar

859 US-Cn La 1537.Google Scholar

860 GB-Lbl 907.k.9(10).Google Scholar

861 US-Cn La 1819.Google Scholar

862 GB-Lbl 970.k.11 (1).Google Scholar

863 GB-Lbl 907.k.16 (5).Google Scholar

864 Text set as a duet for Iarbus and Dido; omitted in the performances.Google Scholar

865 As a duet for Dido and Aeneas.Google Scholar

866 For Aeneas.Google Scholar

867 Set as solo for Dido.Google Scholar

868 Alessandro nell'Indie (2.13).Google Scholar

869 See GB-Lbl H. GH.3690.yy (18) and GB-Lbl G. 805.q.(16). The aria text is omitted from US-SM La 1819 and GB-Lbl 970.k.11.(1).Google Scholar

870 Text and music in GB-Ob Mus. Voc. I. 82(3).Google Scholar

871 Text and music in GB-Ob Mus. Voc. I. 82(3).Google Scholar

872 ‘A new serious Opera, Music-Galuppi’; LS, iv/2, 1162.Google Scholar

873 ‘Illness of Sga Scotti requires the company to have Savoi sing her part today’; LS, iv/2, 1166.Google Scholar

874 ‘Sga Scotti to sing the First Woman's Part’; LS, iv/2, 1168.Google Scholar

875 The first edition has not been traced; see Appendix 2.Google Scholar

876 BDL, v, 136, mentions only that The Public Advertiser of 25 January 1766 carried a notice which spoke of the ‘elegant agility of Sga Fabris Monari’ at a performance at the King's Theatre.Google Scholar

877 The libretto gives ‘S’ Giordani, but Nicolina (sister of Marina and brother of Tommaso) is the only one whose career fits with this casting.Google Scholar

878 The text is a photocopy; the whereabouts of the original is currently unknown.Google Scholar

879 Faulkner's Dublin Journal, 8 April (no. 12) 1766.Google Scholar

880 Faulkner's Dublin Journal, 10 May (no. 13) 1766.Google Scholar

881 ‘A new Serious Opera in 3 acts; the Music entirely new; composed by Rauzzini’; LS, v/1, 504. Petty, 181, gives Munich, 1770 as the place and date of first performance, but Kathleen Hansell (GDO, iii, 1246) gives this setting as a suprious work in the Rauzzini works list, one actually by Sachini. Further, the London libretto describes the music as ‘entirely new’.Google Scholar

882 An unscheduled performance: ‘The entertainment of last night was, on account of Allegranti's illness, changed from the Comic Opera [La Contadina in Corte] to the Serious’; LS, v/1, 507.Google Scholar

883 ‘By Command of Their Majesties’; LS, v/1, 510.Google Scholar

884 Act 1 only; LS, v/1, 517.Google Scholar

885 ‘By Desire of His Royal Highness the Prince of Wales. Benefit for Gardel’; LS, v/1, 520.Google Scholar

886 ‘Not performed these 3 years. The Music, with Alterations, by Rauzzini’; LS, v/2, 681.Google Scholar

887 Application 14 February 1782: ‘Sir If the enclosed piece meet w^th the approval of the Lord Chamberlain it will be perform'd at the King's Theatre on Saturday next. I am Sir your very Hum^le Serv^t Will: Taylor. Kings Theatre Mar.14.1782.‘ US-SM La 588.Google Scholar

888 There were a number of Nivelons dancing in London at this period; BDL, xi, 36, suggests that Louis-Marie? was brought over by Nouverre at the beginning of the 1781–2 season.Google Scholar

889 See note 888.Google Scholar

890 A note on the score states that the instrumental parts are ‘annexed’ and may be separated for the convenience of performing it in concert.Google Scholar

891 BUCEM gives this only one group entry although the songs are not through numbered.Google Scholar

892 Il re Pastore (Act 3, scene ii).Google Scholar

893 All surviving sets of these arias are imperfect; none of those examined includes No. VI.Google Scholar

894 Fanny Burney, Diary and Letters of Madame D'Arblay (London, 1842), ii, 132–3.Google Scholar

895 The Public Advertiser, 18 March 1782, 2.Google Scholar

896 The Morning Herald, 18 March 1782, 2.Google Scholar

897 The Morning Post, 18 March 1782, 3.Google Scholar

898 The Public Advertiser, 25 March 1782, 2.Google Scholar

899 The Public Advertiser, 3 April 1782, 2.Google Scholar

900 US-CAh Hollis 008807400–5.Google Scholar

901 EIRE-Dn OLS X-1–315 no. 16.Google Scholar

902 US-SM La 588.Google Scholar

903 GB-Lbl 907.i.15 (10).Google Scholar

904 US-Ws 205504.Google Scholar

905 GB-Lbl 907.k.l (2).Google Scholar

906 Ezio (Act 1, scene vii).Google Scholar

907 Il repastore (Act 3, scene ii).Google Scholar

908 ‘Their Majesties, Prince, and three eldest Princesses present’; LS, ii/l, 184.Google Scholar

909 ‘Their Majesties and the three eldest Princesses present’; LS, ii/l, 184.Google Scholar

910 ‘Their Majesties and the three eldest Princesses present’; LS, ii/l, 185.Google Scholar

911 ‘Their Majesties, Prince, and three eldest Princesses present’; LS, ii/l, 185.Google Scholar

912 ‘Their Majesties, Prince, and three eldest Princesses present’; LS, ii/l, 186.Google Scholar

913 Copy signed ‘Eliz Hunter’; this copy is not listed in CS.Google Scholar

914 Colman, ‘Register of Operas’, GB-Lbl Add. 11, 258, f. 30^v.Google Scholar

915 ‘A New Opera’; LS, iv/1, 479.Google Scholar

916 ‘By desire the Musick by Perez’; LS, iv/1, 488.Google Scholar

917 ‘By particular desire’; LS, iv/1, 488.Google Scholar

918 ‘By particular desire’; LS, iv/1, 488.Google Scholar

919 A performance deferred from 31 May because of Mingotti's illness.Google Scholar

920 ‘Sga Mingotti will sing tonight’; LS, iv/2, 512.Google Scholar

921 ESTC lists the Bodleian copy at 33935, but the copy does not have the supplementary material. The Bodleian copy is in bad state, and the songs could have become detached from the volume.Google Scholar

922 Has a supplement listing replacement numbers set by Perez.Google Scholar

923 By Hasse.Google Scholar

924 Also listed under Ipermestra, 1755.Google Scholar

925 Regina Mingotti, An Appeal to the Public (London, [1755]), 9–10; the performances to which Mingotti refers are those given on 29 November, and 2 and 6 December.Google Scholar

926 ‘A new serious opera’; LS, iv/2, 1085.Google Scholar

927 ‘Till the arrival of the Principal Dancers which are engaged will be performed between the Acts, Solos or Concertos’; LS, iv/2, 1085.Google Scholar

928 ‘By command of their Majesties’; LS, iv/2, 1086.Google Scholar

929 ‘By Command of their Majesties’; LS, iv/2, 1087.Google Scholar

930 ‘By particular desire’; LS, iv/2, 1093.Google Scholar

931 ‘By Desire’; LS, iv/2, 1100.Google Scholar

932 Benefit: [Teresa] Scotti. ‘New airs by [Giovanni] Manzuoli [called Succianoccioli] and Mrs Scotti’; LS, iv/2, 1104.Google Scholar

933 ‘By desire’; LS, iv/2, 110.Google Scholar

934 ‘Towards raising a Sum of Money towards building a Wing to the Middlesex Hospital’; LS, iv/2, 1111.Google Scholar

935 ‘By Command of their Majesties’; LS, iv/2, 1206. A further performance on 27 December was cancelled owing to the illness of both Grassi and Guarducci; LS, iv/2, 1207Google Scholar

936 Both Esther Young and Isabella Young were married by this stage, singing under their married names of Mrs Jones and Mrs Scott respectively.Google Scholar

937 The copy has a paste over on the last page: Song by Valentinian, after Line 8, in Page 43. The aria ‘Per tutto il ti more’ (‘On every side fear points out my danger’) belongs in Act 3, scene x.Google Scholar

938 Satori no. 9517 appears to suggest that the title page has ‘Seconda Edition’ on it, but does not note it as 1764–5. The ESTC suggests that the 1764–5 copy is a reissue, which would make it the second edition. No copy of a 1764 libretto appears to survive.Google Scholar

939 See note 936.Google Scholar

940 BDL, xii, 49 points to Charles Burney as the main authority for Ponce's presence, and that no roles are known for her.Google Scholar

941 The layout of the dramatis personae in the libretto appears to suggests that Adriani and Slingsby were partnered as a duo with both Radicati and Santoli separately.Google Scholar

942 See note 936.Google Scholar

943 Attilio Regolo (Act 3, scene vii).Google Scholar

944 Olimpiade (Act 3, scene vi); a handwritten note in this copy refers to Burney's hearing of the aria.Google Scholar

945 Alessandro nelle Indie (Act 2, scene xiii).Google Scholar

946 A handwritten note on the title page of this copy refers to Burney's hearing of the opera; it also bears the signature of Alfred Roffe.Google Scholar

947 Elizabeth Harris to James Harris jr.; Donald Burrows and Rosemary Dunhill, Music and Theatre in Handel's World: the Family Papers of James Harris 1732–1780 (Oxford, 2002), 434.Google Scholar

948 Grosley, M., A Tour to London or New Observations on England and its Inhabitants, trans. Thomas Nugent (London, 1772), ii, 114.Google Scholar

949 ‘Signora Guglielmi her first appearance. The Music entirely New by Guglielmi. By Command of their Majesties. New Clothes’; LS, iv/3, 1449.Google Scholar

950 ‘By Particular Desire’; LS, iv/3, 1450.Google Scholar

951 ‘The Indisposition of the two First Women Singers in the Comic Operas, is the cause of performing the above Opera this evening’; LS, iv/3, 1450.Google Scholar

952 ‘Sg Guadagni is perfectly recovered from his indisposition’; LS, iv/3, 1452.Google Scholar

953 Signor Piatti seems to have sung little in London although he also appeared in Gioas re di Giuda on 22 March 1770.Google Scholar

954 BDL, iii, 32 gives his last appearance as 7 November 1769.Google Scholar

955 Not in BDL.Google Scholar

956 Published as three separate ‘parts’ but through numbered.Google Scholar

957 Il natal di Giove (scene ix).Google Scholar

958 Didone Abbandonata (Act 2, scene xiv).Google Scholar

959 Adriano (Act 1, scene xvi).Google Scholar

960 Con riconosciuto (Act 3, scene xii).Google Scholar

961 William Hodson, Arsaces (London, 1775), Preface.Google Scholar

962 ‘A revived Serious Opera; the Music by the most eminent composers under the direction of Bertoni. With entire new scenes painted by Novosielski, New Dresses and Decorations both for the Opera and the Dances’; LS, v/1, 477.Google Scholar

963 ‘Sga Allegranti continuing so much indisposed at to be unable to perform, the Comic Opera is unavoidably deferred’; LS v/1, 498.Google Scholar

964 ‘Viganoni being taken ill and unable to perform, I viaggiatori ridicoli is unavoidably deferred’; LS, v/1, 500.Google Scholar

965 LS ‘v/1‘ 530 suggests that the cast was the same as that for 17 November 1781, but the libretto suggests otherwise.Google Scholar

966 Handwritten note on the title page gives Elias Hinton(?) as sometime owner.Google Scholar

967 Date given by Bodleian catalogue (Oxford Library Information System, accessed 16 May 2007); dated c. 1780 by BUCEM which attributes it to Giordani.Google Scholar

968 The Morning Herald, 19 November 1781, 2.Google Scholar

969 The London Chronicle, 27 November 1781, 515.Google Scholar

970 The Public Advertiser, 23 November 1781, 2.Google Scholar

971 The Westminster Magazine, ix (November 1781), 610.Google Scholar

972 GB-Ob 3862.e.15.Google Scholar

973 GB-Ob Vet. A5 e.2639.Google Scholar

974 GB-Ob Harding D 2448 (3).Google Scholar

975 GB-Cu MR 463.75.37.Google Scholar

976 GB-Lbl R.B. 23 a.7960.Google Scholar

977 GB-Lbl 11775.e.3(4).Google Scholar

978 GB-Ob Harding 2451 (5); also 1782: GB-Ob Harding 2451 (7).Google Scholar

979 Song supplement in the libretto suggests that Perez composed a setting of ‘Ecco alle mie catene’ to replace this number.Google Scholar

980 Text headed ‘Song by Valentiniano, after Line 8, in Page 43‘ added as a paste-over on page 48 in GB-Ob Harding D 2448 (3).Google Scholar

981 See note 980 above.Google Scholar

982 See note 980.Google Scholar

983 Song supplement in the libretto suggests that Perez composed a setting of ‘Pensa a serbarmi, o cara’ to replace this number.Google Scholar

984 Ipermestra (Act 1, scene ix).Google Scholar

985 Song supplement in the libretto suggests that Perez composed a setting of ‘Caro padre, a me non dei’ to replace this number.Google Scholar

986 Song supplement in the libretto suggests that Perez composed the setting of ‘Quanto mai felici siete’ listed above to replace this number.Google Scholar

987 Song supplement in the libretto suggests that Perez composed a setting of ‘Se povero ruscello’ to replace this number.Google Scholar

988 Song supplement in the libretto suggests that Perez added this number to Act I, scene vii.Google Scholar

989 Ipermestra (Act 2, scene x).Google Scholar

990 Song supplement in the libretto suggests that Perez composed the setting of ‘Oh Dio! morrei d’ affanno' listed above to replace this number.Google Scholar

991 Song supplement in the libretto suggests that Perez composed a setting of ‘Và dal furor portata’ to replace this number.Google Scholar

992 Song supplement in the libretto suggests that Perez composed the setting of ‘Recagli quell'acciaro’ listed above to replace this number.Google Scholar

993 Song supplement in the libretto suggests that Perez composed the setting of ‘Sventurata non ho pace’ listed above to replace this number.Google Scholar

994 Song supplement in the libretto suggests that Perez composed the setting of ‘Speri in van col tuo rigore’ listed above to replace this number.Google Scholar

995 Song supplement in the libretto suggests that Perez composed a setting of ‘Peni tu per un'ingrata’ to replace this number.Google Scholar

996 Song supplement in the libretto suggests that Perez composed the setting of ‘Non ami chi teme’ listed above to replace this number.Google Scholar

997 Ipermestra (Act 3, scene iv).Google Scholar

998 Song supplement in the libretto suggests that Perez composed a setting of ‘Per tutto il timore’ to replace this number.Google Scholar

999 Song supplement in the libretto suggests that Perez composed a setting of ‘Ah, non son io che parlo’ to replace this number.Google Scholar

1000 Song supplement in the libretto suggests that Perez composed a setting of ‘Delia vita nel dubbio cammino ‘ to replace this number.Google Scholar

1001 Alessandro nell'Indie (Act 2, scene xiii); setting is that for J.C. Bach's 1762 Naples setting of the Alessandro text (W1, G3, no. 19).Google Scholar

1002 Attilio Regolo (Act 3, scene vii).Google Scholar

1003 Allocated to Val.Google Scholar

1004 Olimpiade (Act 3, scene vi); setting a revised version of that for J.C. Bach's 1762 Naples setting of the Alessandro text (Naples setting: Wl, G3, no. 22b; London version: Wl, G3, II ii).Google Scholar

1005 Il natal di Giove (scene ix).Google Scholar

1006 Didone Abbandonata (Act 2, scene xiv).Google Scholar

1007 Adriano (Act 1, scene xvi).Google Scholar

1008 Demetrio (Act 2, scene x).Google Scholar

1009 Ciro riconosciuto (Act 3, scene xii).Google Scholar

1010 Ruggerio (Act 3, scene v).Google Scholar

1011 ‘A new comic Interlude’; LS, iii/2, 653.Google Scholar

1012 Benefit: J.E. Galliard; LS, iii/2, 962.Google Scholar

1013 ‘The Musick of the Afterpiece compos'd by Mr Arne’; LS, iii/2, 1146.Google Scholar

1014 ‘Both pieces by command of their Royal Highesses the Prince and Princess of Wales’; LS, iii/2, 1147.Google Scholar

1015 ‘By Desire of several Ladies’; LS, iii/2, 1149.Google Scholar

1016 Application 12 January 1744/5: ‘This Opera I Intend to have acted at my Theatre if approved of by My Lord Chamberlain. Jan^y 12^th 1744.J. Lacy.‘ US-SM La 47.Google Scholar

1017 John A. Parkinson, An Index to the Vocal works of Thomas Augustine Arne and Michael Arne, Detroit Studies in Music Bibliography No. 21 (Detroit, 1972), 74.Google Scholar

1018 ‘Master Brown's night … N.B. a light shower or two will not put off the performance; but if heavy rain should fall, it must necessarily be deferr'd until further notice on account of the fireworks. Books containing both performances may be had of the Bookseller and at the Gardens at 6d each.‘ LS, iv/3, 1341.Google Scholar

1019 Benefit: [Edward] Phillips. ‘Dr Arne having granted it only on this occasion, the comic interlude of Two Acts which met with the highest approbation and applause on Master Brown's night’; LS, iv/3, 1342. Edward Phillips made his debut around this time, and in 1770 was singing the role of the Squire in Arne's Thomas and Sally. He was advertised as ‘a scholar of Dr Arne's.‘ BDL, xi, 284.Google Scholar

1020 No other record exists of this partnership.Google Scholar

1021 ESTC suggests 1760; however, Miss Frederick appears to have flourished from 1767 to 1775 (BDL, v, 401) and Master Brown from about 1768 to 1818 (BDL, ii, 357–8), and as there are no recorded performances in 1768, a date of 1760 looks improbable.Google Scholar

1022 Both Performers appear to have been pupils of Thomas Arne; the revival was clearly an effort to find vehicle for them.Google Scholar

1023 See Olive Baldwin and Thelma Wilson, ‘Rayner Taylor (1747–1825), Chelmsford's First Organist’, Essex Archaeoloey and History, 34 (2004), 208–15.Google Scholar

1024 Benefit: Rayner Taylor and {Mrs Rayner} Taylor. According to Baldwin and Wilson, op. cit., Taylor revived this work after his move to America.Google Scholar

1025 GB-Lbl 907-i.11 (3); as L'impresario intermezzo.Google Scholar

1026 Set as a duet.Google Scholar

1027 Didone Abbandonata (Interlude 1).Google Scholar

1028 An Interlude in Two Comic Scenes; GB-Ob Vet. A4 e.281.Google Scholar

1029 As The Humours of Signor Capachio and Signorina Dorinna; US-SM La 47.Google Scholar

1030 As The Humours of Signor Capachio and Signorina Dorinna; GB-Lbl 1344.n.36.Google Scholar

1031 As Capochio and Dorinda; US-SM K-D 585.Google Scholar

1032 ‘Thy mildest beams of love impart.‘Google Scholar

1033 See GDO, ii, 1092. ‘By His Majesty's Command No Persons Whatsoever to be admitted behind the scenes. A New Opera with New Decorations and Dances’; LS, iv/1, 450.Google Scholar

1034 ‘By Particular desire’; LS, iv/1, 457.Google Scholar

1035 ‘By Particular desire’; LS, iv/1, 460.Google Scholar

1036 Benefit: [Elisabetta] Bugiani and [Cosimo] Maranesi.Google Scholar

1037 Benefit: [Rosa] Curioni.Google Scholar

1038 ‘Subscriber's ticket admitted double tonight’; LS, iv/2, 548.Google Scholar

1039 ‘The last time of performing this season’; LS, iv/2, 549.Google Scholar

1040 ‘At the Desire of Several Persons of Distinction. Positively the last Night’; LS, iv/2, 549.Google Scholar

1041 Ciro riconosciuto (Act 3, scene xii); not otherwise set by Lampugnani.Google Scholar

1042 Copy once the property of ‘Sr Ramsden’.Google Scholar

1043 Ciro riconoscuito (Act 3, scene xii).Google Scholar

1044 Attilio Regolo (Act 2, scene xii).Google Scholar

1045 Attilio Regolo (Act 2, scene xii).Google Scholar

1046 Ciro riconoscuito (Act 3, scene xii).Google Scholar

1047 Regina Mingotti, An Appeal to the Public (London, [1755]), 2–3.Google Scholar

1048 Material (including this date) from this point onwards added in another hand.Google Scholar

1049 Application 21 November 1797: signed on last page: ‘King's Theatre Haymarket Nov^r 21^st 1797 Vincent Federici.‘Google Scholar

1050 Antigono (Act 2, scene vi).Google Scholar

1051 Imperfect copy.Google Scholar

1052 GB-Lbl 1342 k.30.Google Scholar

1053 US-SM La 1185.Google Scholar

1054 GB-Lbl 643.f.8(5).Google Scholar

1055 Allocated to ‘Dan.‘ in US-SM La 1185.Google Scholar

1056 Ciro riconnoscuito (Act 3, scene xii).Google Scholar

1057 Olimpiade (Act 3, scene vi).Google Scholar

1058 Attilio regolo (Act 2, scene xii).Google Scholar

1059 Antigono (Act 2, scene vi).Google Scholar

1060 GB-Lcm 656 has ‘Quest’ amplesso addio' at this point.Google Scholar

1061 Setting by Cimarosa.Google Scholar

1062 Incorrectly listed as ‘Scene IX’.Google Scholar

1063 ‘A New Opera’; LS, iii/l, 476.Google Scholar

1064 Anne Schnoebelen, ‘Sandoni’, NG2, xxiii, 235; the list of Sandoni's works accompanying the article states that the four operas and eight oratorios attributed to him are known only from the libretti.Google Scholar

1065 Barbara Small, NG2, xxiii, 754, also lists a MS copy in US-Wc (at M1500.S64 16) which is a 1911 copy of the GB-Lbl Add. 31, 700, and a copy of an aria in J-Tn, currently inaccessible.Google Scholar

1066 ‘A New Opera. The Musick newly composed by Sig Cocchi. New Clothes, Decorations, and Dances’; LS, iv/2, 654.Google Scholar

1067 ‘With the change of a new Duet’; LS, iv/2, 658.Google Scholar

1068 Dedicated to the Duchess of Portland.Google Scholar

1069 The Grimaldi clan is varied and confusing, but Giuseppe seems to be the only possible Grimaldi for this performance. See BDL, vi, 388 ff. for family tree and related articles.Google Scholar

1070 Gli orti esperidi (pt. 2).Google Scholar

1071 Demetrio (Act 3, scene iv).Google Scholar

1072 Gli orti esperidi (pt. 2).Google Scholar

1073 Demetrio (Act 3, scene iv).Google Scholar

1074 ‘A New Serjous opera, in 2 acts (never performed before); the Music entirely new by Anfossi. With new Scenes and Decorations, designed and painted by Novosielski’; LS, v/2, 704.Google Scholar

1075 No licence application.Google Scholar

1076 GB-Ob Mus. Voc.I.85 (8) gives 1771. BUCEM 548 does not attribute this score to anyone and dates it 1800, but it cannot be later than 1787.Google Scholar

1077 Nitleti (Act 2, scene I).Google Scholar

1078 See note 1076.Google Scholar

1079 RISM lists another edition in the Bodleian Library, Oxford (as A/I/1: A 1180). However, this appears to be a phantom edition; John Walsh, to whom it is attributed, died in 1766, and the putative copy listed has never been part of the Bodleian's holdings.Google Scholar

1080 The Public Advertiser, 10 May 1784; quoted in LS, ii, 704.Google Scholar

1081 The Gazetteer and New Daily Advertiser, 10 May 1784, 3.Google Scholar

1082 The Morning Herald, 10 May 1784, 3; another version of this review appeared in The Hibernian Magazine for July 1784, 378.Google Scholar

1083 GB-Lbl 163.g.47.Google Scholar

1084 No libretto survives; the list of numbers is taken from GB-Lbl Add. MS 31, 700.Google Scholar

1085 GB-Lbl 11712 a.48.Google Scholar

1086 US-SM La 682.Google Scholar

1087 I-Bc 268.Google Scholar

1088 Adriano (Act 2, scene xi).Google Scholar

1089 Demetrio (Act 1, scene vii).Google Scholar

1090 Gli orti esperidi (pt. 2).Google Scholar

1091 La Galatea (pt. 1).Google Scholar

1092 Artaserse (Act 1, scene xiv).Google Scholar

1093 Temistocle (Act 1, scene iii).Google Scholar

1094 Demetrio (Act 3, scene iv).Google Scholar

1095 Enea negli Elisi ovvero il tempio dell'eternità (no. 9).Google Scholar

1096 Ipermestra (Act 2, scene x).Google Scholar

1097 Il trionfo di Clelia (Act 1, scene vii).Google Scholar

1098 Nitteti (Act 2, scene i).Google Scholar

1099 Text not in US-SM La 682.Google Scholar

1100 Didone abbandonata (Act 1, scene xiii).Google Scholar

1101 ‘A serious Opera, the Music entirely new composed by Sacchini’; LS, iv/3, 1804.Google Scholar

1102 Possibly Mimi Faviere's daughter by Antoine Pitrot; Nina (possibly Mimi's sister) also danced during this season, but the relationship between Mimi and Anna remains obscure.Google Scholar

1103 ‘A new Serious Opera; the Music by Anfossi’; LS, v/2, 776.Google Scholar

1104 No application.Google Scholar

1105 The Morning Herald, 28 February 1785, 3; verbatim in The London Magazine, ii/4 (January-June 1785), March, 219.Google Scholar

1106 The Public Advertiser, 28 February 1785, 2.Google Scholar

1107 The Public Advertiser, 4 March 1785, 2.Google Scholar

1108 GB-Lbl 907.i.14 (7).Google Scholar

1109 US-SM La 373.Google Scholar

1110 VS-PHlc O Ital Met 52324.D.3.Google Scholar

1111 Il re pastore (Act 1, scene i).Google Scholar

1112 Alessandro nell'Indie (Act 2, scene ix).Google Scholar

1113 Ciro riconosciuto (Act 2, scene xii).Google Scholar

1114 Ciro riconosciuto (Act 2, scene v).Google Scholar

1115 Adriano in Siria (Act 3, scene viii).Google Scholar

1116 Pergolesi's setting of L'Olimpiade was first performed in Rome, Tordinona ?2 January 1735.Google Scholar

1117 Scarlatti's autograph copy of this opera is dated 1745; See Lazarevich, G., ‘Giuseppe Scarlatti’, NG2, xxii, 418.Google Scholar

1118 Leonardo Leo's setting of this text was performed at S Carlo, Naples 19 December 1737.Google Scholar

1119 ‘A New Opera’; LS, iii/2, 984.Google Scholar

1120 ‘With Dances and Decorations entirely new’; LS, iii/2, 990.Google Scholar

1121 Dedicated to Gertrude Leveson, Duchess of Bedford: ‘Great with Pride, in modest Majesty’.Google Scholar

1122 CS gives a London edition of 1741 (Indici i, 78), but does not include it in the main listing and no 1741 text can located.Google Scholar

1123 Copy contains pasteovers of ‘Dolce di Pastorella’ (11) and ‘L'affetto, che m'accenda’ (47). In the former case, it appears to be a missing aria text, while in the latter, it is pasted over ‘Non so donde viene’.Google Scholar

1124 Thomas Gray to John Chute, 24 May: [Thomas Gray], Correspondence of Thomas Gray, ed. Paget Toynbee and Leonard Whibley (Oxford, 1971), i, 205.Google Scholar

1125 ‘A New Opera’; LS, iv/2, 526. ‘Twas with inexpressible Concern that Mr Vanneschi found the Nobility and Gentry disappointed last Night, by the new Opera's not being then performed; a circumstance wholly owing to Sig Ricciarelli's being, on a sudden, taken extremely ill Yesterday, at an hour too late for its being made known to the Public’; The Public Advertiser, 11 February 1756.Google Scholar

1126 ‘Perelino [{Sg} Perolini] will sing [in the opera?]‘; LS, iv/2, 530.Google Scholar

1127 ‘With a new Duetto by [Regina] Mingotti and [Giuseppe] Ricciarelli. Benefit: Sga Bugiani and Maranesi’; LS, iv/2, 537.Google Scholar

1128 Opera title added in hand.Google Scholar

1129 SH gives this as 1753, but given the work's premiere date, this seems unlikely.Google Scholar

1130 Pergolesi's setting of L'Olimpiade was first performed in Rome, Tordinona ?2 January 1735; this setting was the one used.Google Scholar

1131 See note 1130.Google Scholar

1132 Regina Mingotti, An Appeal to the Public (London, [1755]), 11–12.Google Scholar

1133 ‘A New Opera, the Musick by Dr Arne’; LS, iv/2, 1112.Google Scholar

1134 Esther Young appeared as Mrs Jones after about 1762, while Isabella Young sang regularly as Mrs Scott after about 1760.Google Scholar

1135 Paste overs: ‘If from my eyes stream tears’ (Italian paste over is missing; original ‘Non l'arresta l'angustia del mare'); ‘Come il candore d'intatta neve’ over ‘Caro amico, adunque addio’; and ‘Like new unfully ….’ over ‘For ever, O my dear friend, farewell'.Google Scholar

1136 Gazzette, 21 May 1765, 1.Google Scholar

1137 ‘Music by several Celebrated Composers’; LS, iv/3, 1436.Google Scholar

1138 Demetrio (Act 3, scene iv).Google Scholar

1139 Notes to the libretto suggest Piccinni ‘Se cerca, se dice’, Sarti ‘Vorrei spiegarti, O cara’, and J.C. Bach ‘Quel labbro adorato’.Google Scholar

1140 ‘By particular Desire’; LS, iv/3, 1447.Google Scholar

1141 ‘By particular Desire’; LS, iv/3, 1452.Google Scholar

1142 ‘By particular Desire’; LS, iv/3, 1458.Google Scholar

1143 Benefit: [Cecilia] Grassi; LS, iv/3, 1476.Google Scholar

1144 ‘By Particular Desire’; LS, iv/3, 1484.Google Scholar

1145 ‘A new serious Opera. The Music by the most celebrated composers under the direction of Giordani’; LS, iv/3, 1820.Google Scholar

1146 Possibly Mimi Faviere's daughter by Antoine Pitrot; her sister Nina also danced during this season, but the relationship remains obscure; see BDL, v, 191.Google Scholar

1147 ‘Opera: The Music by Bertoni and other eminent Masters’; LS, v/1, 261.Google Scholar

1148 [Angiolo Monanni called] Manzoletto instead of [Giuseppe] Coppola.Google Scholar

1149 ‘Opera: The music by several Eminent Masters, under the Direction of Bertoni. Benefit for Pacchierotti’; LS, v/1, 323.Google Scholar

1150 Benefit: {Mme} Le Brun; LS, v/1, 337.Google Scholar

1151 Cast: Clistane ([Gasparo] Pacchierotti); Megacle ([Valentin] Adamberger); Licida ([Giuseppe] Coppola); Aminta ([Leopoldo De] Micheli); Aristea ([Anna] Pozzi); Argene ([Antonia] Bernasconi); LS, v/l, 261.Google Scholar

1152 Originally set as part of the comic opera Il Duello, with words by Giambattista Lorenzi, and performed at the Teatro Nuovo, Naples, Spring 1774.Google Scholar

1153 From Alceste.Google Scholar

1154 (14) according to the British Library catalogue.Google Scholar

1155 Bertoni set this text for the S. Cassinao, Venice for the 1765 Carnival; this is a pasticcio version of that opera.Google Scholar

1156 Benefit: [Gasparo] Pacchierotti. ‘Not Acted these 3 years’; LS, v/1, 596.Google Scholar

1157 Benefit: [Gheltruda?] Rossi; LS, v/1, 603.Google Scholar

1158 [Teresa] Gherardi in place of [Clara] Pollone; LS, v/1, 608.Google Scholar

1159 Benefit: {Mile} Theodore; LS, v/1, 610.Google Scholar

1160 Benefit: the singers and dancers; LS, v/1, 618.Google Scholar

1161 ‘26‘ added in hand.Google Scholar

1162 Benefit: Luigi Marchesi [called Marchesini]. ‘A new Serious Opera, under the direction of Mazzinghi’; LS, v/2, 1064.Google Scholar

1163 Benefit: [Pietro] Carnevale. ‘In Opera an additional song composed by Mortellari, and a new duet of his own composing, accompanied on the tenor obligato by Cramer, by Marchesi’; LS, v/2, 1069.Google Scholar

1164 Benefit: Luigi Marchesi [called Marchesini]. ‘In Act one a new song by Sga Giuliani; In Act 2 a new song by Marchesi; By particular desire the favourite duet in THE DESERTER will be introduced’; LS, v/2, 1143.Google Scholar

1165 Benefit: The Manager; LS, v/2, 1150.Google Scholar

1166 Benefit: [Marie Madelaine] Guimard; LS, v/2, 1153.Google Scholar

1167 ‘Sir, If the following piece meets with the Approbation of the Lord Chamberlain it will be perform'd at the King's Theatre on Thursday May 8^th. I am Sir Your Humble Servant Henry Johnson for J. A. Gallini Esq. King's Theatre May 3^d 1788. J. Larpent Esq.‘Google Scholar

1168 The copy also includes a single printed sheet (by Stevenson, 1788) of the words of the patriotic song by Badini ‘Generosi Britanni in lieta fronte’ (‘Ye generous Britons deign’), which was set to music by Marchesi and sung by him on 8 May 1788.Google Scholar

1169 Included in this copy is the text of ‘Generosi Britanni in lieta fronte’, headed ‘SIGNOR MARCHESI, AT THE END OF THE OPERA OF L'OLIMPIADE, WILL SING THE FOLLOWING ITALIAN WORDS, SET TO MUSIC BY HIMSELF, AND WRITTEN BY MR. BADINI’; the copy includes a translation.Google Scholar

1170 The Analytical Review, iii (January-April 1789), February, 240.Google Scholar

1171 The World, 9 June 1788, 2.Google Scholar

1172 The World, 23 June 1788, 3.Google Scholar

1173 As Meraspe Ovvero L'Olimpiade; GB-Lbl 907.i.4.(4).Google Scholar

1174 GB-Lbl 907.i.7 (6).Google Scholar

1175 GB-Lbl 907.i.11 (5).Google Scholar

1176 GB-Ob 17405.e.21(6).Google Scholar

1177 GB-Lbl 11716.aa.16.Google Scholar

1178 GB-Ob Harding D 2448 (7).Google Scholar

1179 GB-Ob Harding D 2453 (4).Google Scholar

1180 US-SM La 803.Google Scholar

1181 GB-Lbl 907.k.2 (4).Google Scholar

1182 Set for Meraspe.Google Scholar

1183 Setting by Bertoni.Google Scholar

1184 Paste over in GB-Lbl 901.i.11 (5), but much of it is missing.Google Scholar

1185 Set for Argene.Google Scholar

1186 Set for Meraspe.Google Scholar

1187 A pasteover of an aria beginning ‘Povera quanto’.Google Scholar

1188 A pasteover of ‘Non so donde viene’.Google Scholar

1189 Antigono (Act 1, scene iv).Google Scholar

1190 Artaxerxes (Act 2, scene iv).Google Scholar

1191 Irene (no. 2).Google Scholar

1192 Artaxerxes (Act 2, scene xv).Google Scholar

1193 L'Eroe Cinese (Act 3, scene ii).Google Scholar

1194 Paste over in GB-Lbl 907.i. 11 (5), with ‘Caro amico’ as a duet; this does not otherwise appear in Olimpiade until 1769.Google Scholar

1195 Demofoonte (Act 1, scene iv).Google Scholar

1196 Ipermestra (Act 1, scene ii).Google Scholar

1197 Nitteti Act 1, scene Hi?Google Scholar

1198 Demetrio (Act 3, scene iv).Google Scholar

1199 Ipermestra (Act 2, scene iii).Google Scholar

1200 Setting unattributed.Google Scholar

1201 Setting by Gluck.Google Scholar

1202 Setting by Paisiello.Google Scholar

1203 Text not included in the 1783 libretto: GB-Ob Harding D 2453 (4), but alluded to in the advertisements as ‘an additional Scene, with a song from the celebrated Sarti’. LS, v/l, 596.Google Scholar

1204 The advertisement mentions that this song was sung by Pacchierotti, who is assigned the character of Megacle in the 1783 libretto: GB-Ob Harding D 2453 (4).Google Scholar

1205 ‘A New Opera. Musick composed by Signor Hasse’; LS, iv/2, 577.Google Scholar

1206 Benefit: [Regina] Mingotti. ‘With the addition of some favourite airs by Sga Mingotti’; LS, iv/2, 598.Google Scholar

1207 ‘Sjg^ra Regina Mingotti The Manager of the Opera this Season.‘ US-SM La 128.Google Scholar

1208 Application undated.Google Scholar

1209 BDL, vi, 301 gives this singer a very brief biography which omits this role.Google Scholar

1210 Possibly the dancer Signor Giordi who died in 1808. However, BDL, vi, 222–3 says that he made his first appearance at Drury Lane in 1757–8 season.Google Scholar

1211 ‘At this time, Mingotti and Giardini not allowing the opera-copyist to dispose of the favourite songs to Walsh upon the usual easy terms, had them printed elsewhere; this was the case with Il re pastore, some of the songs from Demofoonte, and other operas.‘ Burney, iv, 466.Google Scholar

1212 ‘A New English Opera. The Music Compos'd by Mr Rush’; LS, iv/2, 1041.Google Scholar

1213 ‘Well rec'd: all but the 1st Chorus w[hic]h [sic] was Hiss'd. First Dance Hiss'd off. Mr Norris being ill, Mrs Dormond perform'd in his room, much applauded (Cross Diary). Acted but once.‘ LS, iv/2, 1042.Google Scholar

1214 No other record of this partnership exists; both Owen (a map printer) and Moran (a producer of pamphlets) can be found separately.Google Scholar

1215 ‘Books of the Opera to be sold at the Theatre’; LS, iv/2, 1042.Google Scholar

1216 The only candidate for this singer is Thomas Norris who appears to have sung mainly oratorios about this time.Google Scholar

1217 ESTC gives 1765.Google Scholar

1218 BDL, xiv, 394 suggests Tenducci did not arrive in Dublin until the summer of 1765.Google Scholar

1219 See note 1216.Google Scholar

1220 See note 1216.Google Scholar

1221 See note 1216.Google Scholar

1223 BDL, xiv 394 suggests Tenducci did not arrive in Dublin until the summer of 1765.Google Scholar

1223 See notes 1213 and 1216 above concerning identity and illness.Google Scholar

1224 Given the usual problems in distinguishing members of the Young family, it is as well to point out that she and Mis Young are clearly different characters and not a confusion between two forms of the same name, for they are billed singing a duet.Google Scholar

1225 Michael Kelly, Michael Kelly's Reminicences (London, 1826), 401 accuses Rush of having stolen this tune for a rondeau by Giardini from Ezio.Google Scholar

1226 Bookplate of Godfrey E.P. Arkwright.Google Scholar

1227 See note 1224.Google Scholar

1228 See notes 1213 and 1216 above concerning identity and illness.Google Scholar

1229 See note 1224.Google Scholar

1230 See note 1225.Google Scholar

1231 William Hopkins, MS Diary as quoted in LS, iv/2, 1042.Google Scholar

1232 Ibid.Google Scholar

1233 [Anon.], A B C Dario Musico (Bath, 1780), 40–1.Google Scholar

1234 This is the only recorded performance, but the libretto information suggests that there may have been at least one other.Google Scholar

1235 Dedicated to the Duke of York by Manzuoli, Giardini, and Bottarelli.Google Scholar

1236 BDL, ix, 154–5 conflates these two dancers, suggesting that ‘Restier’ is an alternative spelling of'La Rivere'.Google Scholar

1237 See S.W. McVeigh, ‘The Violinist in London's Concert Life, 1750–1784: Felice Giardini and his Contemporaries’ (D.Phil dissertation, University of Oxford 1979), ii, 308.Google Scholar

1238 H, 123–4.Google Scholar

1239 GB-Lbl catalogues this under Guglielmi.Google Scholar

1240 ‘An English Opera. Never perform'd there. The Music selected from the best composers, and adapated by Tenducci. Books of the Opera to be had at the theatre’; LS, iv/3, 1442.Google Scholar

1241 Based on Richard Rolt's The Royal Shepherd, q.v. The article ‘An Account of the New Tragedy Called Timanthes …‘, The Freeholder's Magazine, 1 (1769), 208–9 gives a full plot summary, although no details of the performances.Google Scholar

1242 Only the music to Act 1 published.Google Scholar

1243 H, 124, lists this as being a song in Act 1, and that it is contained in GB-Ob Vet A5 e.1951 (6). However, it appears in no London libretto.Google Scholar

1244 Book stamp of Francis Doll.Google Scholar

1245 ‘A New Serious Opera; the music entirely new by Tommaso Giordani’; LS, v/1, 178.Google Scholar

1246 BDL, xi. 87 simply says that Mr Oblemann is listed as a tailor, but attributes no productions to him.Google Scholar

1247 The Morning Post, 1 June 1778, 2.Google Scholar

1248 US-SM La 128.Google Scholar

1249 GB-Lbl 163.g.60.Google Scholar

1250 GB-Lbl 907.i.10 (6).Google Scholar

1251 GB-Lbl 907.i.16 (7).Google Scholar

1252 Scene v marked as cut.Google Scholar

1253 Text marked as cut.Google Scholar

1254 Scene vi marked as cut.Google Scholar

1255 Cut in libretto.Google Scholar

1256 The following text is offered first, and then crossed out:Google Scholar

Ah se regnar dagg'ioGoogle Scholar

Saró sul trono ancordGoogle Scholar

Il fido tuo parto.Google Scholar

La monsterò ben mioGoogle Scholar

Come mostra sinoraGoogle Scholar

Il mio costnate amor.Google Scholar

1257 There is no scene ix.Google Scholar

1258 Semiramide (Act 2, scene vi).Google Scholar

1259 Text from La pace fra la virtu e la bellezza.Google Scholar

1260 1764: GB-Ob Harding D 1926; also 1765: US-Wc PR 1241.L6 v.37 no. 2 RBC; 1765: GB-Ob Harding D 1928.Google Scholar

1261 1764 Dublin: GB-Ob Vet. A5 f.1104; also 1765 Dublin: GB-Ob Vet. A5 f.2187.Google Scholar

1262 As Amintas 1769: GB-Ob Vet. A5 e. 1951 (6); also 1787 Edinburgh: GB-Lbl 1344 c.11.Google Scholar

1263 1769 Edinburgh: GB-En L. C. 175 (3).Google Scholar

1264 Rolt's libretto further adapted by Giusto Ferdinando Tenducci.Google Scholar

1265 With music by Thomas Carter, Samuel Arnold, and Pietro Guglielmi added.Google Scholar

1266 Rolt's libretto further adapted by Giusto Ferdinando Tenducci.Google Scholar

1267 With music by Thomas Carter, Samuel Arnold, and Pietro Guglielmi added.Google Scholar

1268 Setting by Arnold; H: D 4.1.Google Scholar

1269 Scene division missing in GB-Ob Harding D 1926.Google Scholar

1270 Setting by Arnold; H: D 4.4.Google Scholar

1271 Set by Arnold as “Till now the heav'ns have been my guide'; also in GB-En L. C. 175 (3).Google Scholar

1272 Setting by Arnold; H: D 4.2.Google Scholar

1273 Seting by Arnold; H: D 4.3. Hoskins lists this aria at this point in GB-Ob Vet. A5 e.1951 (6), but it appears in Arnold music sources only.Google Scholar

1274 Setting by Arnold; H: D 4.5.Google Scholar

1275 MS song in the back of GB-En L. C. 175 (3), headed ‘Tho Heavens good Pleasures’ Act 2^d sung by Amintas.Google Scholar

1276 La lists a second libretto application for 1771 (La 317) entitled ‘Semiramide a new Serious Opera to be performed at the King's Theatre in the Hay Market the Music by F. Bianchi under the Direction of Mr Federici.‘ However, the cast it contains—Semiramis (Bridga Banti); Seleno (Carlo Rovedino); Arsace ({Sig.} Brosselli); Mitrane ({Sig.} Parelli); Ivero ([Prospero] Braghetti); Ombra ({Sig.} Torregiani)—is that for 1791, which is the text by P. Giovannini after Voltaire. See Appendix 2: Metastasio Ghosts.Google Scholar

1277 ‘A New Opera … Their Majesties and the Royal Family present’; LS, iii/1, 331.Google Scholar

1278 ‘King, Queen, three eldest Princesses present’; LS, iii/1, 334.Google Scholar

1279 ‘The Royal Family were at the Opera, his Highness the Prince of Orange was there likewise in a Box next to that of the Princess Royal’: The Daily Advertiser, 12 November 1733.Google Scholar

1280 Demetrio (Act 1, scene x); setting by Francesco Corselli (Francisco Courcelle) from a text not otherwise set by him.Google Scholar

1281 Demetrio (Act 2, scene xiv).Google Scholar

1282 Catone (Act 2, scene xi).Google Scholar

1283 Lady Bristol to Lord Bristol, 3 November 1733; John Hervey, Letter-Books of John Hervey (Wells, 1894), iii, 108.Google Scholar

1284 ‘A new Opera written by Metastasio and the Musick compos'd originally by Signor Hasse’; LS, iv/1, 54.Google Scholar

1285 Opera title added in hand. BUCEM attributes this set to Cocchi and Lampugnani, but Cocchi's version (see next entry) did not appear until 1753.Google Scholar

1286 Semiramide (London, 1748), Dedication.Google Scholar

1287 ‘A new serious opera. The music entirely New by Cocchi intermix'd with Grand Chorusses. By Command of their Majesties’; LS, iv/3, 1527. The premiere was intended to be on 2 February, but ‘The new serious opera of Semiramide which was to have been perform'd this evening is deferr'd … owing to the indisposition of Tenducci’; LS, iv/3, 1526.Google Scholar

1288 ‘To Chetwind Esq. Sir You'll please to Licence this Opera to be performed at the King's Theatre for 29^th Jan^ry 1771 Yr. Most Honourable Servt P. Crawford & Co.‘ US-SM La 316.Google Scholar

1289 BDL, ix, 119 (and other sources) has no reference to a ‘Signora Lahoussaye’. However, it seems probable that she was the wife or sister of the violinist, conductor, and composer, Pierre-Nicholas Lahoussaye (1735–1818), who is recorded as being active in London at the King's Theatre during the late 1760s and early 1770s. In the score, Lahoussaye is assigned ‘Che quel cor, quel ciglio altero’, an aria in the libretto assigned to Thamyris, and listed as being performed by Ida Romani. Romani is not mentioned in the score, and it seems likely that Lahoussaye in fact performed the part.Google Scholar

1290 GB-Lbl 639.d.21 (3).Google Scholar

1291 GB-Lbl 907.i.6 (4).Google Scholar

1292 US-SM La 316.Google Scholar

1293 GB-Ob 17405.e.21 (5).Google Scholar

1294 Demetrio (Act 1, scene x).Google Scholar

1295 Demetrio (Act 2, scene xiv).Google Scholar

1296 Catone (Act 2, scene xi).Google Scholar

1297 ‘The King, Queen, Princess Amelia, and Princess Carolina present’; LS, ii/2, 960.Google Scholar

1298 ‘The King, Queen, Princess Carolina, and the Princess Royal present’; LS, ii/2, 963.Google Scholar

1299 ‘King, Queen, Princess Royal, and Princess Carolina present’; LS, ii/2, 964.Google Scholar

1300 ‘Their Majesties present’; LS, ii/2, 965.Google Scholar

1301 ‘The King, Queen, Princesses Amelia and Carolina present’; LS, ii/2, 965.Google Scholar

1302 ‘The King, Queen, Princess Royal, and Princess Amelia present’; LS, ii/2, 968.Google Scholar

1303 ‘The King, Queen, Princess Royal, and Princess Amelia present’; LS, ii/2, 968.Google Scholar

1304 [Mary Delany], The Autobiography and Correspondence of Mary Granville, Mrs Delany, ed. Lady Llanover (London, 1861), i, 165–6.Google Scholar

1305 Burney's note (p): ‘Alii, eccellentissimi ed illustrissimi Signori Li Signori Direttori, e sottoscrittori dell’ cademia Reale di Musica Umilmente dedica questo Drama 1‘ umilissimo e devotisimo Servitor lora, N. Haym.‘ These words spread out on the surface of a whole page, have all the appearance of author-like appropriation.Google Scholar

1306 Burney's starred note: ‘Much of the music of Siroe was adapted from the earlier opera Flavio.‘Google Scholar

1307 Burney's note (q): ‘This drama, the first of Metastasio's writing that was performed in this country, had certainly more poetical merit than any which Handel had as yet ever set to Music, though he long remained ignorant perhaps of the real author. During the run of this opera there was a call by the court of directors on all the subscribers to the Royal Academy of £3 per cent which was the twentieth call, to be paid on or before the 30th of March.’ And 3 April, the governor and court of directors summoned a general court, ‘to consult such measures as may be thought most proper for the speedy recovery of their debts.’ Another call of two and a half per cent being the twenty-first call, on or before 24 April.Google Scholar

1308 Burney's note (r): ‘There is an air wanting in the scores: Chi è più fedele, and instead of it two or three scenes of another opera, in which the names of Olibrio and Placidia two characters in a drama written by Apostolo Zeno, occur.‘Google Scholar

1309 Burney's note (s): ‘See Sketch of Handel's Life, p. 24, and seq.‘Google Scholar

1310 Burney, iv, 329–33.Google Scholar

1311 ‘A New Opera. Composed by Signior Hasse … Prince and Princess of Wales present’; LS, iii/2, 617.Google Scholar

1312 ‘Upon hearing of the death of the child of the Princess of Orange, the Queen sent word that could not attend this performance’; LS, iii/2, 622.Google Scholar

1313 La Clemenza di Tito (Act 1, scene ii).Google Scholar

1314 ‘A New Opera. The Musick Compose'd by Sg Lampugnani’; LS, iv/1, 463.Google Scholar

1315 ‘Care has been taken to make the House warmer, by the addition of two more Stoves, one being fixed under the Centre of the Pit, and the other near his Majesty's Box.‘; LS, iv/1, 465.Google Scholar

1316 Benefit: [Colomba] Mattei.Google Scholar

1317 ‘The subscription tickets will be admitted double’; LS, iv/2, 547.Google Scholar

1318 Bound in with a copy of Favourite Songs.Google Scholar

1319 Regina Mingotti, An Appeal to the Public (London, [1755]), 3–4.Google Scholar

1320 ‘A New Opera, The Music entirely new, excepting the three favourite Airs of Signora Mingotti’; LS, iv/2, 1026.Google Scholar

1321 La Clemenza di Tito (Act 2, scene xvi); set by Galuppi for Venice, San Salvatore, Ascension 1760.Google Scholar

1322 GB-Lbl 639 d. 19 (1).Google Scholar

1323 GB-Lbl 907.I.2 (7).Google Scholar

1324 GB-Lbl 1342.c.16 (8).Google Scholar

1325 GB-Lbl RB.23.a.3458.Google Scholar

1326 ‘Sorger piu bella in seno’ in Favourite Songs.Google Scholar

1327 La clemenza di Tito (Act 1, scene ii).Google Scholar

1328 La clemenza di Tito (Act 2, scene xvi).Google Scholar

1329 Porpora also set Zeno's text of the same title in 1718.Google Scholar

1330 ‘A new Opera. With Dances and other Decorations entirely new’; LS, iv/2, 1036.Google Scholar

1331 Date of first performance as given by Michael Robinson in GDO, iii, 1067, and advertised as the first performance, LS, iii/2, 1036; the date of the libretto appears to be an old-style date.Google Scholar

1332 This source is considered to be autograph of the opera as composed for London, and has therefore been included here. However, the following numbers do not appear in the London libretto, suggesting subsequent alteration of the manuscript: ‘Fiero il ciel balena intorno’, ‘Freme irata la tempesta’, ‘Non teme nò il cor mio’, ‘Am miro quel volto vagheggio quel ciglio’, ‘Se l'amor sospira’, ‘Pavento m'affanni la sorte tiranna’, ‘Vò costante in faccia’ and ‘Volgere i lumi flebilt’.Google Scholar

1333 Didone ([1^st version] Act 1, scene xvii).Google Scholar

1334 Ezio (Act 1, scene x).Google Scholar

1335 Foliation ceases.Google Scholar

1336 Didone (Act 1, scene xiii).Google Scholar

1337 Copy has the bookplate of G.F. Barnwell.Google Scholar

1338 BUCEM, 803 gives Zeno as the author of the song texts, as does SH, 274. Kurt Markstrom in NG2, ii, 172 gives Metastasio as the author of the version.Google Scholar

1339 The Morning Post, 23 Febuary 1784; it also gives names of T. Davis and Miss Hemet. The author of the Epilogue is unknown.Google Scholar

1340 ‘By permission’; LS, v/2, 683. First advertised in The Morning Chronicle, 15 December 1783, for performance on 26 January 1784, as ‘A new Comedy called THE ARTFUL PATRIOT; or, The Rage of the People.‘Google Scholar

1341 Dedicated to Elizabeth, Duchess of Argyll.Google Scholar

1342 The actor manager Thomas Dibble Davis appears to be the only candidate for this actor; he had on occasions taken over the Haymarket Theatre to showcase young talent and new plays, and he spoke the prologue to the 1781 performances of the The Romp and The Spendthrift. BDL, iv, 229 claims that his last known performances after his 1783 summer season at the Haymarket were 8 March 1784, and 30 September 1788.Google Scholar

1343 Badly mis-bound.Google Scholar

1344 [Charles Hamilton], The Patriot (London, 1784), ‘Apology to the Public’.Google Scholar

1345 GB-Lbl 907.i.4 (2).Google Scholar

1346 ‘A New Opera. The Musick newly composed by Cocchi’; LS, iv/2, 639.Google Scholar

1347 Benefit: [Brigitta] Banti. ‘A New Serious Opera. The Poetry by Metastasio, and the Music entirely new, composed by an English Gentleman, who has obligingly lent Mme Banti the Score, and kindly consented to its being represented upon that occasion’; LS, v/3, 2276.Google Scholar

1348 Edgcumbe, Musical Reminicences, 85–6.Google Scholar

1349 Michael Kelly, Michael Kelly's Reminicences, ed. Roger Fiske (London, 1975), 261.Google Scholar

1350 GB-Lbl 639.e.27(3).Google Scholar

1351 US-SM La 1294.Google Scholar

1352 La Galatea (pt. 2).Google Scholar

1353 Angelica e Medoro (pt. 2).Google Scholar

1354 Gli orti esperidi (pt. 1).Google Scholar

1355 Gli orti esperidi (pt. 2).Google Scholar

1356 Demetrio (Act 3, scene ix).Google Scholar

1357 Attilio Regolo (Act 2, scene v).Google Scholar

1358 Antigono (Act 1, scene v).Google Scholar

Article contents

I: Operas

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I: Operas

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