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II: Feste, Azioni, Componimenti
Published online by Cambridge University Press: 01 January 2020
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References
1 John Walter Hill, ‘Pescetti, Giovanni Battista’, NG2, xix, 481 claims that this is not by Metastasio, and, indeed, the introduction suggests that it is from Ariosto. However, the aria tables suggest otherwise.Google Scholar
2 ‘A Pastoral Opera’; LS, iii/2, 763. Advertised in The London Daily Post 26 February 1739 as ‘a new serenata’ to be acted in the manner of an opera.Google Scholar
3 Dedicated to Lady Margaret Cecil.Google Scholar
4 It was said that Angelica and Medoro was staged by Lord Middlesex (Charles Sackville, Second Duke of Dorset after 1765) as a showcase Panichi's talents; she was at this stage his mistress, and would remain so until about 1742.Google Scholar
5 Or ‘Moscovite’.Google Scholar
6 Attribution in the libretto.Google Scholar
7 ‘A New Pastoral Opera’; LS, iv/1, 232.Google Scholar
8 Benefit: [Giulia] Frasi. LS, iv/1, 240.Google Scholar
9 Gli orti esperidi (pt. 1).Google Scholar
10 La Galatea (pt. 1).Google Scholar
11 Endimione (pt. 1).Google Scholar
12 Gli orti esperidi (pt. 1).Google Scholar
13 La Galatea (pt. 2).Google Scholar
14 La Galatea (pt. 2).Google Scholar
15 Endimione (pt. 1).Google Scholar
16 Temistocle (Act 3, scene i)?Google Scholar
17 Endimione (pt. 1).Google Scholar
18 Gli orti esperidi (pt. 1). Omitted from GB-Ltm Plays 93 (1).Google Scholar
19 Omitted from GB-Ltm Plays 93 (1).Google Scholar
20 Omitted from GB-Ltm Plays 93 (1).Google Scholar
21 Gli orti esperidi (pt. 1). Omitted from GB-Ltm Plays 93 (1).Google Scholar
22 Endimione (pt. 1).Google Scholar
23 Endimione (pt. 1).Google Scholar
24 As Angelica and Medorus; GB-Lbl 907.i.3.(7).Google Scholar
25 As Laforza d'amore; GB-Ltm Plays 93 (1).Google Scholar
26 GB-Lbl 907.i.3 (7) has a small hand-written cross against this number, perhaps suggesting that it was omitted in performance.Google Scholar
27 See note 26.Google Scholar
28 See note 26.Google Scholar
29 See note 26.Google Scholar
30 Gli orti esperidi (pt. 1).Google Scholar
31 La Galatea (pt. 1).Google Scholar
32 Endimione (pt. 1).Google Scholar
33 Gli orti esperidi (pt. 1).Google Scholar
34 La Galatea (pt. 2).Google Scholar
35 La Galatea (pt. 2).Google Scholar
36 Endimione (pt. 1).Google Scholar
37 It is possible that the text is from Temistocle.Google Scholar
38 ‘A new Interlude’; LS, iii/2, 768.Google Scholar
39 ‘A New Serenata by the most eminent Masters’; LS, iv/3, 1890.Google Scholar
40 ‘THIS little piece is alter'd from L'Asilo d'Amore, a kind of masque, which Metastasio wrote for the birthday of the present Empress of Vienna.‘Google Scholar
41 Not listed in the dramatis personae, but included in the text.Google Scholar
42 GB-Lbl copy misbound, transposing title page with Marco Cotellini's Piramo e Tisbe.Google Scholar
43 As La difesa d'amore; GB-Lbl 907.i.14 (11).Google Scholar
44 The scenes are numbered i, ii, ii, iii, etc. As no correction is made, the second scene ii is labelled iia.Google Scholar
45 For Mer., Mar., and Pal.Google Scholar
46 Set as a final chorus for Amo., Ven., Mar., Mer., Pal.Google Scholar
47 The character ‘Corebo’ makes this single appearance and is not listed in the dramatis personae.Google Scholar
48 ‘A New Serenata’; LS, iii/2, 806. It was of this season that Mrs Pendarves wrote to Lady Throckmorton on 28 November: ‘The concerts begin next Saturday at the Haymarket. Caristini sings, Peschetti composes; the house is made up into little boxes, like the playhouses abroad; Lord Middlesex is the chief undertaker, and I believe it will prove to his cost, for concerts will not do’; [Mary Delany], The Autobiography and Correspondence of Mary Granville, Mrs Delany, ed. Lady Llanover (London, 1861), ii, 66.Google Scholar
49 Not previously published in Favorite Songs.Google Scholar
50 ‘In this abridgement of the Serenata, all the recitatives are left out, except just so much as were judged indispensably requisite for the introduction of each song’. GB-Lbl 1342.k.40.Google Scholar
51 Boydell, 237, attributes this setting to Andrea Bernasconi (?1704–84) whose setting was first performed in Venice on 6 February 1742; however, Hanns-Bertold Dietz in NG2, xxii, 62–3, gives Dublin 1758 as the first performance.Google Scholar
52 ‘As it was publicly performed in Support of a Charity by the Ladies and Gentleman who contribute to the Musical Academy’. GB-Lbl 1342.k.40; see also Boydell, 237.Google Scholar
53 ‘Printer to the Academy’; the 1759 libretto calls him ‘Streater’.Google Scholar
54 A correspondent (‘R.I.’) to Notes and Queries, iii, 3rd Series, 28 Februay 1863, 167 was also in search of the name of the translator.Google Scholar
55 ‘In this abridgement of the serenata, all the recitatives are left out, except just so much as were judged indispensibly requisite for the introduction of each song.‘ Note to title page.Google Scholar
56 Publishing information from the recto of the singelton last leaf.Google Scholar
57 A correspondent (‘R.I.’) to Notes and Queries, iii, 3rd Series, 28 Februay 1863, 167 was also in search of the name of the translator.Google Scholar
58 ‘It is but justice to inform the public that this little drama is only an abridgement in English of Metastasio's justly admired serenata L'Endimione. The translator of this fragment humbly hopes indulgence of the many bold liberties taken with the excellent original, warrantable only by the necessity of contracting the respresentation to a space of two hours. N.B. The name “Cynthia” which so often occurs, is one of the appellatives of Diana.‘ US-Wc ML 50.2 E388G5 case.Google Scholar
59 Omitted from the NG2, ix, 886–7 works list.Google Scholar
60 Giordani dedicated the score to her as ‘a distinguished patroness of music’.Google Scholar
61 Benefit: [Johann Baptist] Wendling. ‘A Serenata written by Metastasio, set by Bach, with Grand Chorusses’; LS, iv/3, 1623.Google Scholar
62 Special permission was given to a number of performers, including Charles Frederick Abel to perform in this work. See BDL, i, 4.Google Scholar
63 GB-Cfm Mu. MS. 215 consists of volume 1 (and therefore part 1) only, and is considered to be autograph. W1 suggests that it is a complete manuscript.Google Scholar
64 ‘Non so dir se sono amante’ is a duet using the texts of G15/7 and G15/8.Google Scholar
65 No libretto survives; arias from US-Wc M 1500. P438 D5 case; as Diana and Endymion.Google Scholar
66 GB-Lbl 1342.k.40.Google Scholar
67 US-LAuc ML48.C73 v.1 no. 6.Google Scholar
68 F-Pn Yd (2)5471.Google Scholar
69 Sinfonia by the Count Giulini; see libretto: F-Pn Yd (2) 5471.Google Scholar
70 Sung by {Sig.ra} Monck.Google Scholar
71 Sung by {Sig} Lyons.Google Scholar
72 Sung by {Sig.na} Plunket.Google Scholar
73 Sung by {Sig} Shenton.Google Scholar
74 Sung by {Sig.na} Plunket.Google Scholar
75 Sung by {Sig.na) Stewart.Google Scholar
76 Sung by {Sig} Lyons.Google Scholar
77 Sung by {Sig.ra} Monck.Google Scholar
78 Sung by {Sig.ra} Monck, and {Sig.na} Stewart.Google Scholar
79 Sung by {Sig.na} Plunket.Google Scholar
80 Sung by {Sig.na} Bayly.Google Scholar
81 Sung by {Sig.na} Stewart.Google Scholar
82 Sung by {Sig.na} Bayly.Google Scholar
83 Sung by {Sig.} Shenton.Google Scholar
84 Sung by {Sig.na} Stewart.Google Scholar
85 Seting by Sabatini.Google Scholar
86 Setting by the Earl of Mornington.Google Scholar
87 Sung by {Sig.na} Plunket.Google Scholar
88 US-Wc ML 50.2 E388G5 Case.Google Scholar
89 Spring Gardens.Google Scholar
90 According to Ernest Warburton, The Collected Works of Johann Christina Bach, xlviii/1: Thematic Catalogue (London, 1999), 317–18 (G12).Google Scholar
91 GB-Lbl 11715.aaa.26.Google Scholar
92 Angelica ed Medoro (pt. 2).Google Scholar
93 Gli orti esperidi (pt. 2).Google Scholar
94 ‘With new Scenes, Cloaths, and other Decorations’; LS, iv/2, 771.Google Scholar
95 The one song ‘What tho’ his guilt my heart has torn' is inserted on a separate leaf at the front (which also contains a song for The Way to Keep Him).Google Scholar
96 Application 2.i.1760. ‘Sir, This Piece we intend to perform at our Theatre, if it meets with the approbation of my Lord Chamberlain from yr humble servts D Garrick & J Lacy. Janry 2d 1760.‘Google Scholar
97 The volume contains the bookplate of Robert Finch.Google Scholar
98 The second numeral of II has been carefully added in ink.Google Scholar
99 Previously recorded as closing in 1761; associated with Samuel and Ann[e] Thompson.Google Scholar
100 See The Critical Review or Annals of Literature, ix 1st series (1760), 133–40 for plot summary.Google Scholar
101 David Garrick.Google Scholar
102 From edition of John Jarvis, 1793.Google Scholar
103 Elma Hailey ed., ‘Charles Brietzcke's Diary, 1760‘, Notes and Queries, 197 (1952), 70.Google Scholar
104 Jommelli later set this text as a pastoral: first performed at Ludwigsburg on 4 September 1761; this was revised for performance at the Quelez Palace on 31 February 1780. See Marita P. NcClymonds (with Paul Cauthen, Wolfgang Hockstein and Mauricio Dottori), ‘Jommelli’, NG2, xiii, 182.Google Scholar
105 Benefit: Gaetano Quilici. ‘An Opera by Metastasio, with Music by Jomelli. Books of this elegant poetical Composition, with an English translation, will be sold at the Performance’; LS, iv/2, 778. Gaetano Quilici (fl. 1754–64?) had first arrived in London as part of a foreign burletta company; he return to the King's Theatre for the 1758–9 season as principal tenor, and it is possible that he brought Jommelli's setting of L'isola disabitata with him; it certainly seems to pre-date the recorded first performance given above.Google Scholar
106 Benefit: {Sig.ra} Provenzale; LS, iv/2, 782.Google Scholar
107 ‘For the benefit of Signora Laura Rosa having sustained the loss of her salary by the late failure at the Opera House’; LS, iv/2, 791.Google Scholar
108 Dedicata a sua Eccellenza il Signor Marchese d'Abreu, Cavaliere dell'Ordine di San Gioacomo, inviato straordinario, e Ministro plenipotenziario di sua maesta cattolica appresso il re della Gran Bretagna.Google Scholar
109 A single aria from L'isola disabitata, ‘Non so dir se pena sia’ set by Giardini, appeared in Cleonice (1763), but there is no evidence of a link with this version. See p. 326.Google Scholar
110 Thomas Robinson to James Harris, 20 May 1761; Donald Burrows and Rosemary Dunhill, Music and Theatre in Handel's World: the Family Papers of James Harris 1732–1780 (Oxford, 2002), 357.Google Scholar
111 MS note in US-Cn C PV X 60582–7 claims that Anna Williams lived for many years with Doctor Johnson who was also the author of the Advertisement to the volume.Google Scholar
112 Il re pastore (Act 1, scene xviii).Google Scholar
113 Il repastore (Act 1, scene xviii).Google Scholar
114 ‘Duetto: Vanne a regnar ben mio’ review in The Musical Library, Supplement, 1 (1834), 66–7.Google Scholar
115 US-SM La 167; also 1760: GB-Ob M.adds. 108 e.120 (3); 1762: GB-Ob M.adds. 108 e.218; 1786: GB-Ob Harding D 1681/3.Google Scholar
116 GB-Lbl 907.i.8 (2).Google Scholar
117 As the duet is the sole surviving fragment of Ouseley's setting, there is no evidence to show what else was included.Google Scholar
118 GB-Lcm 658 (2).Google Scholar
119 The score is misbound.Google Scholar
120 Set as a quartet for Silvia, Enrico, Germando, and Constantia.Google Scholar
121 Il re pastore (Act 1, scene xviii).Google Scholar
122 This number is the sole surviving section of Ouseley's work.Google Scholar
123 Printed note in 1773 US-Cn K-D 413 libretto claims Arne for the translator.Google Scholar
124 ‘A Serenata of one Act set to Music by Dr Arne’; LS, iv/2, 919.Google Scholar
125 ‘Written on the late Royal Nuptials’; LS, iv/2, 920.Google Scholar
126 ‘After which (being particularly desired) will be performed ther New Serenata, composed by Dr Arne in honour of the late Royal Nuptials’; LS, iv/2, 923.Google Scholar
127 Benefit: [Charlotte] Brent.Google Scholar
128 Application 23.ii.1762. ‘If this piece meets the approbation of the Lord Chamberlain, we intend to have it performed at the Theatre Royal in Drury Lane 23d February 1762.’ James Lacy. D. Garrick. Virtue and Beauty reconcil'd'.Google Scholar
129 Printed note in libretto claims Arne for the translator.Google Scholar
130 ‘Act II a Serenata, Beauty and Virtue, translated from Metastasio and composed by Dr Arne’; LS, iv/3, 1704.Google Scholar
131 Metastasio, The Contest of Beauty and Virtue (London, 1773), To the reader.Google Scholar
132 As Beauty and Virtue Reconciled; US-SM La 201.Google Scholar
133 As Beauty and Virtue Reconciled; GB-Lbl RM 5.e.6 (7).Google Scholar
134 As The Contest of Beauty and Virtue; US-SM K-D 413.Google Scholar
135 ‘From your boundless treasure shed’.Google Scholar
136 ‘With New Decorations, New Dances, and all the Characters dressed suitable to the subject’; LS, iv/2, 708.Google Scholar
137 ‘With new Alterations. By Particular Desire’; LS, iv/2, 712.Google Scholar