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Published online by Cambridge University Press: 01 January 2020
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.CrossRefGoogle 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 Sigr Monticelli nell Alessandro nell'Indie del Sigr Hasse in THE Favourite SONGS in the OPERA Call'd ANTIGONO. By Sigr 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 Sigr- 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. yr most humble servt G. Colman Novbr 20th 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 obedt 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 Sigra Casarini in Dido del Sigr 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 Chas Yates May 1st 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 10lh 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 wth the approval of the Lord Chamberlain it will be perform'd at the King's Theatre on Saturday next. I am Sir your very Humle Servt 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. 30v.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. Jany 12th 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 Novr 21st 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 8th. I am Sir Your Humble Servant Henry Johnson for J. A. Gallini Esq. King's Theatre May 3d 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 ‘Sjgra 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 2d 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 29th Janry 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 ([1st 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