SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "MMr Handel"/1) | (@(roleclean,performerclean) "MMr Handel")') GROUP BY eventid ORDER BY weight() desc, eventdate asc OPTION field_weights=(perftitleclean=100, commentpclean=75, commentcclean=75, roleclean=100, performerclean=100, authnameclean=100), ranker=sph04

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We found 391 matches on Event Comments, 197 matches on Performance Title, 184 matches on Performance Comments, 77 matches on Author, and 0 matches on Roles/Actors.
Event Comment: Benefit for Increase of a Fund established for the support of Decayed musicians and their families. An Oratorio from the Works of the Late Mr Handel, performed but once. The Governors of the Fund spent #628 18s. 6d. last year. Pit and Boxes Half a Guinea. First Gallery 5s. Upper Gallery 3s. 6d. Galleries open at 4, Pit and Boxes at 5. To begin at 6:30 p.m

Performances

Mainpiece Title: Israel In Babylon

Entertainment: I: Solo on the Violincello-Parton; II: Solo on Violin by permission of Lord Tyrawley, -Fisher

Performances

Mainpiece Title: Israel In Babylon

Performance Comment: Parts were for four characters and a Chorus, Music selected from the Works of Handel: Darius-; Zorobabel-; Salathiel-; Pharez-; Chorus of Israelites- (BM 1344 m. 40).

Music: As17650222

Event Comment: By Command of their Majesties. This day Publish'd an Oratorio: The Messiah, the Music composed by Handel. Neville MS Diary: The house very full, being the last this season. Charges: #35 (Account Book)

Performances

Mainpiece Title: The Messiah

Music: As17670306

Event Comment: Mainpiece: By Particular Desire. Paid Mr Vincent for 3 sets of Abels Symphonies #2 5s. (Account Book). Receipts: #116 11s. (Account Book). This was the last time Mr Beard appeared on the stage. John Beard Esq Buried in the vault (at Hampton) 12 Feb. 1791. This celebrated actor was bred up at the King's Chapel, and was afterwards one of the singers at the Duke of Chandos's Chapel at Canons, where he took a part in Handel's Oratorio of Hester. His first appearance on the stage was 30 August 1737, in the character of Sir John Loverule [Devil to Pay], at Drury Lane. In 1739 he married Lady Henrietta Herbert, daughter of James, Earl of Waldegrave, and Widow of Lord Edward Herbert. Upon this event he quitted the Stage. After a few years he returned to it again, and continued to be a great favourite with the public both as an actor and a vocal performer till 1767, when he finally retired from the theatre. Lady Henrietta Beard died in 1753; and in 1759 Mr Beard married a Daughter of John Rich Esq Patentee of Covent Garden Theatre. On this occasion he removed a second time to that theatre, where he had acted from 1744 to 1748; and on the death of his father-in-law in 1761, was appointed Manager. Mr Beard, who was as much esteem'd in private life as he was admired on the stage, was for many years an Inhabitant of Hampton. See Lysons's Middlesex Parishes, p. 89 and 80. Mr Beard died 4 Feb. 1791, aged 74 years. See his Epitaph, ibidem. See Lady Beard's Epitaph in St Pancreas Churchyard (Hopkins MS Notes)

Performances

Mainpiece Title: Love In A Village

Afterpiece Title: Perseus and Andromeda

Event Comment: Mainpiece: Not acted these 12 years. [See 24 Jan. 1758.] Prologue written by Paul Whitehead. Boxes 5s. Pit 3s. First Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Mr Sarjant (only) at the Stage-Door. No persons can be admitted behind scenes, nor any Money returned after curtain is drawn up. To begin exactly at 6 o'clock. [Customary note in succeeding bills.] Receipps: #190 14s. (Account Book). @The New Occasional Prologue@As when the merchant to increase his store@For Dubious seas, advent'rous quits the shore;@Still anxious for his freight, he trembling sees@Rocks in each buoy, and tempest in each breeze@The curling wave to mountain billow swells,@And every cloud a fancied storm fortells:@Thus rashly launch'd on this Theatric main,@Our All on board, each phantom gives Us pain;@The Aatcall's note seems thunder in our ears,@And every Hiss a hurricane appears;@In Journal Squibs we lightning's blast espy,@And meteors blaze in every Critic's eye.@Spite of these terrors, still come hopes we view,@Hopes, ne'er can fail us--since they're plac'd--in you.@Your breath the gale, our voyage is secure,@And safe the venture which your smiles insure;@Though weak his skill, th' adventurer must succeed,@Where Candour takes th' endeavor for the deed.@For Brentford's state, two kings could once suffice;@In ours, behold! four kings of Brentford rise;@All smelling to one nosegay's od'rous savor@The balmy nosegay of--the Public favor.@From hence alone, our royal funds we draw,@Your pleasure our support, your will our law.@While such our government, we hope you'll own us;@But should we ever Tyrant prove--dethrone us.@Like Brother Monarchs, who, to coax the nation@Began their reign, with some fair proclamation,@We too should talk at least--of reformation;@Declare that during our imperial sway,@No bard shall mourn his long-neglected Play;@But then the play must have some wit, some spirit,@And We allow'd sole umpires of its merit.@For those deep sages of the judging Pit,@Whose taste is too refin'd for modern wit,@From Rome's great Theatre we'll cull the piece,@And plant on Britain's stage the flow'rs of Greece.@If some there are, our British Bards can please,@Who taste the ancient wit of ancient days,@Be our's to save, from Time's devouring womb,@Their works, and snatch their laurels from the tomb.@For you, ye Fair, who sprightlier scenes may chuse,@Where Music decks in all her airs the Muse,@Gay Opera shall all its charms dispense,@Yet boast no tuneful triumph over sense;@The nobler Bard shall still assert his right,@Nor Handel rob a Shakespear of his night,@To greet the mortal brethren of our skies [upper galleries]@Here all the Gods of Pantomime shall rise:@Yet midst the pomp and magic of machines,@Some plot may mark the meaning of our scenes;@Scenes which were held, in good King Rich's days,@By sages, no bad epilogues to plays.@If terms like these your suffrage can engage,@To fix our mimic empire of the stage;@Confirm our title in your fair opinions,@And crowd each night to people our dominions.@--(Poems and Miscelaneous Compositions, Ed. Capt. Edward Thompson, 1777) Covent Garden opened with the Rehearsal with alterations. I was in the Pit. Powell, from Drury Lane, one of the new managers who have bought the patent from Rich's heirs, spoke an occasional Prologue. Shuter did Bayes pretty much to my liking, adding many crochets of his own.... Entertainment The Mock Doctor,...Young Jasper pretty well by one Massey, being his first appearance on that stage (Neville MS Diary)

Performances

Mainpiece Title: The Rehearsal

Afterpiece Title: The Mock Doctor

Event Comment: An oratorio compiled from the works of Handel

Performances

Mainpiece Title: Israel In Babylon

Event Comment: By Command of their Majesties. Theatrical Register, 1769: This is a very masterly performance, in general more pleasing (though less grand) than many of Handel's Oratorios, the subject of the drama not requiring that Solemnity of stile which some others demand. Charges: #35 (Account Book)

Performances

Mainpiece Title: Judas Maccabaeus

Music: Concerto on Hautboy-Fischer

Event Comment: By Command of their Majesties. Theatrical Register, 1769: This perhaps is one of the best of all Mr Handel's performances in this species of composition. Charges: #35 (Account Book)

Performances

Mainpiece Title: Samson

Music: Concerto on Hautboy-Fischer

Event Comment: By Command of their Majesties. Theatrical Register, 1769: We cannot rank this among th most capital of Mr Handel's oratorios; and yet it has great merit in one particular, viz. the attempt to characterize the idea of the plagues of Egypt by the power of music, in which, perhaps, the composer has carried the force of imitation to its utmost extent. Charges: #35 (Account Book)

Performances

Mainpiece Title: Israel In Egypt

Music: Concerto on Violin-Paganini

Performances

Mainpiece Title: The Gamester

Entertainment: I: An Overture-; A favourite Song from Pharnaces, Swift Wing'd Vengeance Nerve my Arm-A. Smith (set by Bates); A Favourite Scots air (words and Music by A. Smith)-Miss Dowson; An Overture-Abel; A Celebrated song from Anacreon (set by Starling Goodwin)-A. Smith; II: Soldier Tir'd-Miss Dowson; A New Song-Barnshaw; An Overture from Otho- (Handel); Sweet Echo-a young Gentleman from Italy; Trumpet Concerto-Mas. Green, pupil of Jones; A Celebrated song British Wives-A. Smith; Concerto on Violin-Smart; After the Gamester: Russel's Triumph-A. Smith; in the character of a mid-shipman with a Hornpipe-Rawlins (from the opera house in the Haymarket) in the character of a Sailor

Performance Comment: Smith (set by Bates); A Favourite Scots air (words and Music by A. Smith)-Miss Dowson; An Overture-Abel; A Celebrated song from Anacreon (set by Starling Goodwin)-A. Smith; II: Soldier Tir'd-Miss Dowson; A New Song-Barnshaw; An Overture from Otho- (Handel); Sweet Echo-a young Gentleman from Italy; Trumpet Concerto-Mas. Green, pupil of Jones; A Celebrated song British Wives-A. Smith; Concerto on Violin-Smart; After the Gamester: Russel's Triumph-A. Smith; in the character of a mid-shipman with a Hornpipe-Rawlins (from the opera house in the Haymarket) in the character of a Sailor.
Event Comment: Words from Holy Writ...Music so admirable designed by Handel as to Beggar all description (Theatrical Review). Mr Ponta is Musician to his Serene Highness the Elector of Mentz. Tickets and places for boxes to be taken of Mr Sarjeant at the Stage Door. Box 5s. Pit 4s. First Gallery 3s. Upper Gallery 2s. Books of the performance sold at the Theatre. Doors to be opened at Five o'clock. To begin at half past Six (Account Book). [Messrs Toms and Arnold were putting on the Oratorios at Covent Garden this season.] Charges: #35 (Account Book)

Performances

Mainpiece Title: The Messiah

Music: Part I: Concerto on French Horn-Mr Ponta; End Part II: Concerto on Violin-Sga Lombardini Sirmen (Theatrical Review, 214)

Event Comment: By Command of their Majesties. Oratorio music by Handel

Performances

Mainpiece Title: Joseph And His Brethren

Music: Concerto on Violincello-Janson

Event Comment: Never performed in this Kingdom. In the manner of an Oratorio. This is a species of entertainment borrowed from our volatile neighbors on the continent, and never performed in England before; that is not directly in this manner. [But see 4 May 1759.] The performance was divided into three parts: the First consisted of Mr Addison's celebrated Hymn, set to music by Mr Handel, which is a masterly performance; the second contained Miserere mei Dei, &c., the music compsoed by Sig Pergolesi; this is a noble performance; the third part consisted of a very fine anthem, by Sig Nigri of Milan, a work of great merit. A concerto on the French Horn (as 6 March) and a concerto on the Violin (as 11 March) (Theatrical Review, p. 220). Charges: #35 (Account Book)

Performances

Mainpiece Title: Concerto Spirituale

Performances

Mainpiece Title: Concerto Spirituale

Performance Comment: Part I. Addison's Hymn-(music by Handel); with a solo on the Violincello-Duport; Part II. Milton#s Morning Hymn, with a Duetto on the Hautboy and French Horn-Fisher, Ponta; Part III. Dixit Dominus, with concerto on Violin-Sga Sirmen; Her last time of performing in England. Part IV. Anthem-Negri (Theatrical Review, p. 223).
Event Comment: Oratorio composed by Handel. Tickets to be had and places for the Boxes to be taken of Mr Johnston at the Stage Door of the Theatre, at Half a Guinea each. Pit 5s. First Gallery 3s. 6d. Second Gallery 2s. The Doors to be opened at Five o'Clock. To Begin at Half past Six. N.B. Those ladies who had Side Boxes last year, are humbly requested if they intend to continue them the ensuing season, to give immediate notice to Mr Johnston to have them secured. [The Westminster Magazine (March) commented: "One of those whims by which the public are continually influenced, has made it the ton to resort to this theatre to hear and see Miss Linley, the syren of Bath. This young lady who is greatly indebted to nature for the eclat with which she is followed, and not a little to the fortuitous concurrence of remarkable incidents in her life has drawn crowded houses incessantly; and this success has been insured by the constant attendance of his Majesty and the Royal family at this theatre."

Performances

Mainpiece Title: Judas Maccabaeus

Music: I: Concerto on Violin-Mr ThomasLinley

Event Comment: Ode set by Handel

Performances

Mainpiece Title: Acis And Galatea With Dryden's Ode; Judas Maccabaeus

Music: I: Concerto on Violin (composed by Nardini)-ThomasLinley

Event Comment: A Sacred Oratorio composed by Handel

Performances

Mainpiece Title: The Messiah

Music: Solo on Violincello-Crosdell; Concerto on Clarinet-Mahoon

Event Comment: By Handel

Performances

Mainpiece Title: The Messiah

Music: End Part I: Concerto on the Organ-Burney; After Part II: Concerto on the Violin-Barthelemon

Event Comment: By Handel

Performances

Mainpiece Title: Samson

Music: End Part I: Solo on Violincello-Cirri; After Part II: Concerto on Violin-Barthelemon

Event Comment: A sacred Oratorio never performed in public. Composed by Handel

Performances

Mainpiece Title: Omnipotence

Song: After Part I: A New Italian Song- (Barthelemon) Mrs Barthelemon; accompanied by the Violin Obligato-

Music: After Part II: By Particular Desire, a Concerto on the Violin-Barthelemon; in which will be introduced a favourite Scotch Air, Lochaber-

Event Comment: Composed by Handel. By Command of their Majesties

Performances

Mainpiece Title: Samson

Music: I: New Concerto-Tacet, Fisher, Cramer, Crosdell (Composed by Bach); II: New Concerto on the Organ by Bach-

Event Comment: In the Ode will be introduced two songs from Handel's Oratorios

Performances

Mainpiece Title: Acis And Galatea; With Dryden's Ode

Music: End Part I: Concerto on Organ-Stanley; Part II: Violin concerto-Barthelemon

Event Comment: By Command of their Majesties. Tickets to be had and places for the Boxes to be taken of Mr Fosbrooke at the Stage Door of the Theatre, at Half a guinea each. Pit 5s. First Gallery 3s. 6d. Second Gallery 2s. Doors to be opened at Half past Five. To begin at Half past Six. N.B. Those ladies who have had boxes for the Oratorios and who intend continuing them are humbly requested to give notice to Mr Fosbrooke at the Stage Door. Rec'd Stoppages #1 1s. (Treasurer's Book). [The Westminster Magazine, Feb., p. 75, contained an article on the "Origin of Oratorios," followed by one on the Musical Powers of Handel, particularly relating to his Oratorios. The Morning Chronicle for 24 Feb. commented as follows on Miss Linley's performance in Acis and Galatea: "Miss Linley...gave every delight that the ear, the heart, or understanding could receive from Music...Miss Linley's manner of delivering Recitative is peculiarly distinct and sensible; a circumstance of infinite importance in a performance of this nature. Her voice is clear and melodious, and capable of truest expression as was peculiarly evident in the song of 'Must I my Acis still bemoan?'...Their Majesties' presence and apparent satisfaction lead us to hope that the Royal countenance and encouragement will never again be withdrawn to grace the innovations of foreigners on the only musical ground which is left for English genius to take root and flourish"( (Quoted in Hampden, Journal).]

Performances

Mainpiece Title: Acis And Galatea, With Dryden's ode

Music: Concerto on Organ-Stanley

Event Comment: A sacred Oratorio selected from the works of $George Frederick Handel, Esq.

Performances

Mainpiece Title: Omnipotence; Judas Maccabaeus

Music: End Part First: A New Concerto on 3 Chromatic French Horns-(being their first performance); After Part Second: a Concerto on the Violin-Lamotte

Event Comment: Afterpiece: With Additional Music and Grand Chorusses from Handel; with New Scenery, Dresses and Decorations. Receipts: #190 15s. 6d. (145.1.0; 45.12.0; 0.2.6)

Performances

Mainpiece Title: The Second Part Of King Henry The Fourth

Afterpiece Title: Comus