Event Comment: Afterpiece [1st time; MD 2, by William Pearce. The Masque was produced in honor of the marriage of the Prince of Wales and Princess Caroline of Brunswick, 8 April 1795]: The Overture composed expressly for the Occasion by Haydn, as is the rest of the Music by Salomon [and see 9 Apr.]. The Scenery, Machinery, Decorations and Dresses are entirely New, and Designed by Noverre, except St. George's Hall, painted by the late Signor Cipriani. The Scenery executed by Hodgins, Walmsley, Phillips, Lupino, Hollogan, and many Assistants. The Machinery and Decorations by Sloper. Goosetree and Martinelli. The Dresses by Lupino, Dick and Mrs Egan. Books of the Songs to be had at the Theatre. "On the 10th [of April] I was at the Covent Garden Theatre-to see the big Spectacul [sic]-Windsor Castle, the music by Salomon quite passable. The decorations-costumes-scenery, and the enormous amount of people on the stage are exaggerated. All the Gods of Heaven and Hell, and everything that lives on the earth are in the piece" (Haydn, 299). Morning Chronicle, 7 May 1795: This Day is published Windsor Castle (1s. 6d.). Receipts: #266 8s. 6d. (250.12.6; 15.16.0)

Event Comment: Mainpiece [1st time in London; co 3, 1st acted at Smock Alley Theatre, Dublin, 30 Jan. 1784. MS: Larpent 703, not published]: Written by [Robert] Jephson [with lyrics by Sir Nathaniel Barry (Larpent MS). In 1787 abridged by John O'Keeffe as Love and War]. With new Scenes and Decorations. A new Overture by the celebrated Haydn. The Airs by David Rizzio, [J. C] Bach, Paisiello, Duni, Carolan, Shield and Tenducci [i.e. "The Music partly compiled by Tenducci; the new Airs composed by Shield" (notice on playbill of 11 May)]. Books of the Songs to be had at the Theatre. [Afterpiece in place of The Lying Valet, announced on playbill of 11 May.]

Event Comment: Afterpiece [1st time; CO 2, by Robert Jephson and John O'Keeffe, i.e. an abridgement by O'Keeffe of Jephson's The Campaign (see 12 May 1785). Not in Larpent MS; not published; synopsis of plot in Universal Magazine, Mar. 1787, p. 155]: With new Scenes, Dresses, &c. A new Overture composed by the celebrated Haydn. The Airs by Gretry, Hook, J. C.? Bach, Paisiello, Duny [recte Duni], Carolan, Shield and Tenducci. Books of the Songs to be had at the Theatre. Receipts: #265 11s. 6d. (257.11.6; 8.0.0)

Event Comment: Mainpiece [1st time; CO 3, by Richard Bentley. Beginning with 4 Feb. 1789 reduced to an afterpiece of 2 acts. Not in Larpent MS; not published; synopsis of plot in Public Advertiser, 15 Dec.]: With entire new Dresses, Scenery, and Decorations. The Music partly selected from the works of Haydn, Purcell, Pleyel, Anfossi, Cimarosa, Gretry, Giordani, Sacchini [the score (Longman and Broderip [1788]) adds: Irwich]; and partly composed by Shield. With a Grand Overture by Salieri. Books of the Songs to be had at the Theatre. Receipts: #245 3s. 6d. (238.6.6; 6.17.0)

Event Comment: Mainpiece: Not acted these 4 years [acted 28 Dec. 1787. Toms is identified in Morning Herald, 22 Sept. 1795: A Mr Toms made a probationary essay last night in the character of Romeo. The bills erroneously announced it as his first appearance on this stage [cg]; for his unsuccessful attempt in Young Norval [i.e. Douglas], about five years ago, on the same boards, is perfectly within our recollection. London Chronicle, 22 Sept. 1795, also refers to Toms as Douglas. European Magazine, Oct. 1790, p. 305, gives the name as Turner, but in Oct. 1795, p. 273, states that Toms performed on one night only "a few years since."]. Afterpiece [1st time; BALL. P 2 (?), by James Byrne, based partly on his Nootka Sound, and in May 1793 agin altered as The Shipwreck; or, French Ingratitude. Not in Larpent MS; not published; synopsis of action in Diary, 5 Oct.]: A Ballet Pantomime, with new Scenes, Dresses, and Decorations. The Overture and Music compiled by Byrne, from Haydn, Rochefort, Pleyel, Gyrowetz, Reeve, Pieltain, Dibdin. The new Music by Shield. On account of some Scenes which are introduced from the Entertainment of Nootka Sound (performed last Season [on 4 June 1790]) Half Price will be taken. [This alludes to the custom of not llowing half-price during the run of entirely new pantomimes.] Paid Brodie, for Stoves for the Theatre, #19 8s. Receipts: #207 8s. 6d. (201.16.0; 5.12.6)

Event Comment: Mainpiece: 32nd Night [i.e. in continuation, erroneously, of the reckoning for the preceding season, when it was acted 28 times]. With new Music, Scenes, Dresses, and Decorations. The Music (with a few Exceptions) composed entirely new by Shield. And new Scenery designed and chiefly executed by Richards. Books of the Songs to be had at the Theatre. "Covent-garden is the National Theatre. I was there on 10th Dec. and saw an opera called The Woodman. It was the very day on which the life story of Madam Billington, both from the good as well as from the bad sides was announced [i.e. Memoirs of Mrs Billington, and An Answer to the Memoirs of Mrs Billington, both anonymous, both predated 1792]...She sang rather timidly this evening, but very well all the same. The first tenor [Incledon] has a good voice and quite a good style, but he uses the falsetto to excess. He sang a trill on high C and ran up to G. The 2nd tenor [Johnstone] tries to imitate him, but could not make the change from the falsetto to the natural voice, and apart from that is most unmusical...But the cast is entirely used to him. The leader is Herr Baumgartner [sic], a German who, however, has almost forgotten his mother-tongue. The Theatre is very dark and dirty, and is almost as large as the Vienna Court Theatre. The common people in the galleries of all the theatres are very impertinent; they set the fashion with all their unrestrained impetuosity, and whether something is repeated or not is determined by their yells. The parterre and all the boxes sometimes have to applaud a great deal to have something good repeated. That was just what happened this evening, with the Duet in the 3rd Act, which was very beautiful; and the pro's and contra's went on for nearly a quarter of an hour, till finally the parterre and the boxes won, and they repeated the Duet. Both the performers stood on the stage quite terrified, first retiring, then again coming forward. The orchestra is sleepy" (Haydn, 273-74). Receipts: #194 11s. (191.8; 3.3)

Event Comment: "On 31st Dec. I was with Pleyel in the Pantheon Theatre. They gave La Pastorella Nobile by Guglielmi. Mad. Casentini played the leading role and Lazarini? the primo huomo; the thin Calvesi had l'ultima parte. The opera did not please. Neither did the ballet, even though the great Hilligsburg [sic] danced" (Haydn, 266)

Event Comment: Mainpiece: Not acted these 3 years. Afterpiece [1st time; MF 2, by William Pearce]: With new Music, Dresses, &c. The Music composed by Haydn, Sacchini, and Shield. The Scenery by Richards. Books of the Songs [W. Woodfall, 1792] to be had at the The Theatre. Public Advertiser, 20 Apr. 1793: This Day is published Hartford Bridge (1s.). Receipts: #294 17s. 6d

Event Comment: Afterpiece [1st time; Ball. P 2(?), by James Byrn. Not in Larpent MS; not published. Synopsis of action in Public Advertiser, 11 Mar.]: The Music selected from Shield, Haydn, Dibdin, Pleyel, Reeve, and other eminent Composers. The Pantomime composed by Byrn. The Scenery entirely new, by Hodgins, Pugh, Walmsley. With new Dresses and other Decorations. Receipts: #250 12s. 6d

Event Comment: Afterpiece: The Music composed by Haydn, Sacchini and Shield. Boxes 6s. 2nd Price 3s. Pit 3s. 6d. 2nd Price 2s. Gallery 2s. 2nd Price 1s. Upper Gallery 1s. No Money to be returned. Places for the Boxes to be taken of Brandon, at the Office, in Hart-street. The Doors to be opened at 5:30. To begin at 6:30 [see 11 Nov.]. Receipts: #276 14s. 6d. (269.15.0; 6.19.6)

Event Comment: "Spectas, et tu Spectabere is the inscription over the curtain in the Little Haymarket Theatre. I was there on 29th [sic] July 1794: they gave a National opera, N. B. a piece in Scottish costumes. The men were dressed in flesh-coloured breeches, with white and red ribbons twisted round their stockings, a short, brightly-coloured, striped masons' apron, brown coat and waistcoat, over the coat a large, broad ensign's sash in the same style as the apron, and black cap shaped like a shoe and trimmed with ribbons. The women all in white muslin, brightly coloured ribbons in their hair, very broad bands in the same style round their bodies, also for their hats. They perform the same abominable trash as at Sadlers Wells. A fellow yelled an aria so horribly and with such exaggerated grimaces that I began to sweat all over. N. B. He had to repeat the aria. 0 che bestie!" (Haydn, pp. 294-95)

Event Comment: Afterpiece [1st time; BALL. P 2, by James Byrn. Synopsis of action, somewhat enlarged from that on playbill (H. Macleish, 1794)]: The Music partly new by Shield, and partly selected from Haydn, Mazzinghi, Gluck, Baumgarten, Gretry, Martin? y Soler, Dezede, Eley. With a new Overture for a Double Orchestra composed by Reeve. The Scenery, Machinery, Dresses and Decorations are entirely New. The Scenery painted by Hodgins, Walmsley, Phillips and Lupino Jun., assisted by Hollogan, Byrn, &c. The Dresses chiefly designed by Lupino Sen., and executed under the direction of Dick. "This ballet [is] the most magnificent exhibited on the English stage for many years" (Universal Magazine, Nov. 1794, p. 378). Receipts: #136 13s. 6d. (123.12.6; 13.1.0)

Event Comment: king's "On 28th March 1795, I saw the Opera Aci & Galathea by Bianchi. The music is very rich in parts for the wind instruments, and I rather think one would hear the principal melody better if it were not so richly scored. The Opera is too long, especially since Banti has to keep everything going all by herself; for Brida is a good youngster with a beautiful voice but very little musical feeling; and Rovedino, and the good old Braghetti, and the wretched Seconda Donna-they all deserved, and received, not the least applause. The orchestra is larger this year, but just as mechanical and badly placed as it was before, and indiscreet in its accompaniments; in short, it was the 3rd time that this Opera was performed, and everyone was dissatisfied. It happened that, when the 2nd Ballet began, the whole public suddenly became dissatisfied and yelled 'off-off-off,' because they wanted to see the new Ballet which Madam Hilligsberg had given at her Benefice 2 days earlier. Everyone was embarrassed-there was an interval lasting half an hour-until at last a dancer came forward and said, very submissively: 'Ladies and Gentlemen: since the performer [sic, instead of proprietor] Mr Taylor cannot be found, the whole Ballet Company promises to perform the desired ballet next week, for which, however, the Impresario must pay Madam Hilligsberg #300.'That satisfied them, and they then yelled, 'go on-go on;' and thus the old Ballet was performed' (Haydn, 293)