SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Opera House at Paris"/1) | (@(roleclean,performerclean) "Opera House at Paris")') 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 3135 matches on Event Comments, 3014 matches on Performance Title, 498 matches on Performance Comments, 0 matches on Author, and 0 matches on Roles/Actors.

Performances

Mainpiece Title: The Country Girl

Afterpiece Title: The Son-in-Law

Performance Comment: Cranky-Suett; Vinegar-Wathen; Bouquet-Dignum; Bowkit-Bannister Jun.; Man of the House-Maddocks; Signior Arionelli-Miss DeCamp; Idle-R. Palmer; Mum-Wewitzer; John-Evans; Lilly-Master Chatterley; Cecilia-Miss Leak; Dolce-Mrs Jones.
Cast
Role: Man of the House Actor: Maddocks

Ballet: End: The Scotch Ghost. As17981206

Event Comment: This date of performance is not a certainty; for the evidence, see Spencer, Shakespeare Improved, p. 94. Neither is Shadwell's authorship of the alterations a certainty, for the contributions of other playwrights have never been fully determined. (See Nicoll, Restoration Drama, p. 43.) The instrumental music was composed by Matthew Lock, with new vocal music by James? Hart and Pietro Reggio. See Songs Set by Signior Pietro Reggio, 1680. And differing versions of the second Prologue and the second Epilogue are in BM Egerton MS. 2623, ff. 54-55. Downes (Roscius Anglicanus, pp. 34-35): The Year after in 1673. The Tempest, or the Inchanted Island, made into an Opera by Mr Shadwell, having all New in it; as Scenes, Machines; particularly, one Scene Painted with Myriads of Ariel Spirits; and another flying away, with a Table Furnisht out with Fruits, Sweetmeats and all sorts of Viands; just when Duke Trinculo and his Companions, were going to Dinner; all things Perform'd in it so Admirably well, that not any succeeding Opera got more Money

Performances

Mainpiece Title: The Tempest; Or, The Enchanted Island

Event Comment: Evelyn, Diary: Saw a Comedie at night, at court, acted by the Ladys onely, viz: The Lady Mary & Ann his R. Highnesses two Daughters, & my deare friend Mrs Blagg, who having the principal part, perform'd it to admiration: They were all covered with Jewels. [It seems likely that Evelyn saw a rehearsal or was in error concerning the date of performance.] Newdigate newsletters (Folger Shakespeare Library): On Twelfe day the principallest abt ye Court divert their Matys with a Play & Opera where in ye Splendor & Grandeur of the English Monarchy will be seen (Wilson, Theatre Notes, p. 79). See also Nicoll, Restoration Drama, pp. 357-58, for an order of this date, L. C. 5@141, p. 83, concerning habits for the opera

Performances

Mainpiece Title: Calisto

Event Comment: Edward Bedingfield to the Countess of Rutland, 1 Jan. 1684@5: Wee are in expectation of an opera composed by Mr Dryden, and set by Grabuche [Grabut], and so well performed at the repetition that has been made before his Majesty at the Duchess of Portsmouth's pleaseth mightily, but the rates proposed will not take soe well, for they have set the boxes at a guyny a place, and the Pitt at halfe. They advance 4,000 l. on the opera, and therefore must tax high to reimburse themselves (HMC, 12th Report, Appendix, Rutland MSS., Part V, Vol. II, p. 85)

Performances

Event Comment: The United Company. The exact date of the first production is not known, but the play was entered in the Term Catalogues, February 1691@2, and mentioned in the Gentleman's Journal, February 1691@2 (licensed 12 February 1691@2). In all probability, it was first acted not later than January 1691@2. The music to one song, As soon as the Chaos, was composed by Henry Purcell. See Purcell, Works, Purcell Society, XX (1916), xvii. Two songs--Bonny lad prithee lay thy pipe down, with music by Tollet; Great Jove once made love like a bull, with music by Mountfort--are in The Banquet of Musick, The Sixth and Last Book, 1692. Dedication, Edition of 1692: Having at last so well acquitted it self on the Stage (tho' the thronging, imperfect Action, and worse than all, the faulty length, which I will never be guilty of again, render'd it little Diversion the first day). A Letter to Mr D'Urfey [by Charles Gildon], Edition of 1692: If there be any fault in this Play, 'tis that which few are guilty of; that is, there are too many good Characters, too full of Humour, a very Pardonable failing, which only proceeds from Variety, the life of Pleasure and Wit, tho' that gave it the disadvantage of seeming too long the first days Acting, tho' the Stage's being throng'd with Spectators, did not a little contribute to the imperfect Acting of it, which accidental Misfortunes concurring with the Endeavours of an opposite Faction, must needs have damn'd it, had it not by the Force and Vigour of its own Worthy, rais'd it self the second day with the general Applause of all that saw it....But the Marriage-hater went further, and in spight of all the disadvantages it labour'd under of Action and Audience, pleas'd on, after several times Repetition. See also Poeta Infamis; or, A Poet not worth Hanging (1692) for a variety of comments upon this play. London Mercury, 26 Feb. 1691@2: Query 4. Whether in Justice he [D'Urfey] is not obliged to present Mr Dogget (who acted Solon to so much Advantage) with half the Profit of his Third Day, since in the Opinions of most Persons, the good Success of his Comedy was half owing to that admirable Actor? Query 5. Whether, if there be any Wit in bringing a Person upon the Stage with an extravagantly broad-brimmed Hat, and a Muff of the same Size, so it will not be a very easy Matter for the next Poet that writes a Play, to Out-hat and Out-muff his Predecessors, and consequently to Out-wit him? Downes, Roscius Anglicanus, p. 42: Mr Dogget perform'd the part of Solon Inimitably. Gentleman's Journal, p. 454, February 1691@2 (licensed 12 Feb. 1691@2): I send you the Marriage-hater match'd, a new Comedy by Mr Durfey; it hath met with very good success, having been plaid six days together, and is a diverting Play. Gentleman's Journal, January 1691@2: Now I speak of Music I must tell you that we shall have speedily a new Opera, wherein something very surprising is promised us; Mr Purcel who joyns to the Delicacy and Beauty of the Italian way, the Graces and Gayety of the French, composes the Music, as he hath done for the Prophetess, and the last Opera called King Arthur, which hath been plaid several times the last Month [presumably December 1691]

Performances

Mainpiece Title: The Marriage-hater Matched

Event Comment: Christopher Rich's Company. The date of this revival is not certain. Apparently the revival was in preparation before the division of the company, but the publication of the Songs in 1695 confines the production to the period between mid-April and the late autumn. For the opera, see The Works of John Dryden, Vol. VIII: The Plays, edited by John Harrington Smith and Dougald MacMillan (Berkeley and Los Angeles, 1692), pp. 325-30; Moore, Henry Purcell and the Restoration Theatre, Chapter VI;and Purcell's Works, Purcell Society, Vol. XIX. The Songs (1695), the music by Henry Purcell, lists the following pieces and singers: I, Wake, wake, Quivera, sung by Freeman. I, Why shou'd men quarrel, sung by The Boy, with Flutes. Their looks are such that mercy flows, sung by Freeman. II, I come to sing, sung by Freeman. Scorn'd Envy here's nothing, sung by Freeman. Begone, curst Feinds of Hell, sung by Freeman. III, Ah, how happy we are, sung by Freeman and Church. I attempt from Love's sickness to fly, sung by Mrs Cross. IV, They tell us that you mighty powers above, sung by Mrs Cross. In addition, other parts of the opera appeared elsewhere: Act V, a Masque, set by Daniel Purcell, O Bless the Genial Bed with chast delights, in Deliciae Musicae, First Book of the Second Volume, 1696. [The others, since they do not name the performers, are omitted here.

Performances

Mainpiece Title: The Indian Queen

Event Comment: Alice Hatton, writing on (possibly) 20 Jan. 1699@1700: I was last night (with Lady Longuevil and Lady Arundel) at ye Princess's, and Lady Long: was so kind to offer to carry me to ye Oppera to day with her and Lady Portland; but I was so unfortunate as to be engaged to go to Lady Denbighs to see ye famous Mrs Binges dance, or else I should have bin glad to have waited on Lady Long: tho I had seen it before and think it very silly. Mr Abel is to have a fine musicke meeting to morrow, and ye tickets are guineas a piece, wch is a little to much for me to throw away; so I shall not be there, and I find so many yt can afford it better of my mind, yt I fancy, if he had lower rates, he would have got more (Hatton Correspondence, Camden Society, XXIII [1878], 245). It is difficult to assign a proper date to this letter. It is unlikely that it was written on Saturday 20 Jan., as Abell was not likely to offer a concert on Sunday at which admission would be charged. It is possible that the opera referred to is The Grove, which is known to have been performed on 19 Feb. 1700, but the fact that this opera was unsuccessful makes it unlikely that it had its premiere in mid-January and was played again in mid-February. Perhaps the letter should be dated mid-February

Performances

Event Comment: [Librettist unknown. Premiere. For the identification of this opera, see Loewenberg, pp. 58-59. Downes (p. 48) says that the opera lasted five days; Cibber (I, 325) states that it was given only three days, and those not crowded. This day marked the opening of the Queen's Theater in the Haymarket, the first new theatrical construction of the century. For a discussion of it, see Cibber, I, 319-22.

Performances

Mainpiece Title: The Loves Of Ergasto

Event Comment: [Text by Joseph Addison. Music by Thomas Clayton.] A new Opera never yet perform'd. By Subscription. None to be admitted into the Boxes or Pit but by the Subscribers' Tickets. [Both A Critical Discourse upon Operas (1709) and Jacobs (I, 3) refer to the unsatisfactory nature of the music; as a result, according to Jacobs, "It had not the Success due to its Merit."

Performances

Mainpiece Title: Rosamond

Event Comment: Admission by ticket only at half a guinea. First Gallery 5s. Upper Gallery 2s. At 6 p.m. Letter by Peter Wentworth, 11 Jan.: Wednesday was the Opera and there he [Prince Eugene] brought a great crowd, so much that Operas are to be perform'd thrice a week whilst he stays here (Wentworth Papers, p. 246)

Performances

Mainpiece Title: Antiochus

Performances

Mainpiece Title: The Recruiting Officer

Performance Comment: With a new Prologue-the Lion from the Opera in the Hay-Market; and a new Epilogue-a young Child who play'd the part of the Child in Caius Marius.
Event Comment: [No advertisement of this performance. Nicoll, p. 392, lists this opera, although Colman's Opera Register does not verify it.

Performances

Mainpiece Title: Dorinda

Event Comment: Colman's Opera Register: After these Two Nights [10 and 14 Jan.] Mr Swiny Brakes & runs away & leaves ye Singers unpaid ye Scenes & Habits also unpaid for. The Singers were in Some confusion but at last concluded to go on with ye operas on their own accounts, & divide ye Gain amongst them

Performances

Mainpiece Title: Theseus

Event Comment: [Dedication signed by John James Heidegger.] By Subscription. Never Perform'd before. Colman's Opera Register: Monr John James Heidegger managed both this & ye former Opera for ye Singers & ye Subscription was for Six Nights paying 10 Guin for 3 Tickets each Night, they not to give out above 400 Tickets a Night

Performances

Mainpiece Title: Ernelinda

Performances

Mainpiece Title: Dorinda

Performance Comment: Silvio-Signora Catherina Galerati lately arriv'd from Italy; Nicea-Signora del'Epine. [Colman's Opera Register adds Mrs Barbier, Valentino, without assigning roles.]Colman's Opera Register adds Mrs Barbier, Valentino, without assigning roles.]
Event Comment: The Pit and Boxes to be put together, and no Persons to be admitted without Tickets...at half a Guinea each. The Number not to exceed 400. Boxes upon the Stage 15s. Gallery 2s. 6d. And whereas by the frequent calling for the Songs again, the Operas have been too tedious; therefore the Singers are forbid to sing any Song but once; and 'tis hoped no body will call for 'em, or take it ill when not obeyed. The Book of the Opera at 1s. By Command, to begin exactly at 5. [Prince and Princess of Wales present.

Performances

Mainpiece Title: Arminius

Event Comment: Boxes 8s. Pit 5s. Gallery 2s. 6d. Stage Boxes half a Guinea. At 5:30 p.m. Notices as 23 Oct. It having been the Common Practice of several Persons to come into the Opera and stay a whole Act, and sometimes longer, without paying, to the great Prejudice of the Opera, therefore it is humbly desired for the future, that no Person will take it ill that tney are not admitted without Tickets. [The King present.

Performances

Mainpiece Title: Arminius

Event Comment: [Composer unknown. Text by Zeno.] By Subscription. By His Royal Highness's Command. Admission to Pit and Boxes by Ticket only. Stage Boxes 15s. Gallery 2s. 6d. The Book of the Opera given out with tickets. At 6:30 p.m. Colman's Opera Register: ye Musick managed by Nic Haym

Performances

Mainpiece Title: Lucius Verus

Performances

Mainpiece Title: Amadis

Performance Comment: Advertised, but Colman's Opera Register states that intense heat between 15 and 25 June postponed the operas.
Event Comment: Listed only in Colman's Opera Register: No Opera performed since ye 23 July, ye Rebellion of ye Tories and Papists being ye cause--ye King and Court not liking to go into such Crowds these troublesome times

Performances

Mainpiece Title: Hydaspes

Performances

Mainpiece Title: Amadis

Performance Comment: Amadis-Cavaliero Nicolini Grimaldi; Dardanus-Antonio Bernacchi; Oriana-Mrs Robinson; Melissa-Signora Elizabetta Pilotti; Mrs Robinson will perform all the Songs which was Originally Compos'd for this Opera. Mrs Robinson will perform all the Songs which was Originally Compos'd for this Opera.
Event Comment: [Grasetti] will Sing only Part of the Recitativo, without Songs, to shorten the Opera. This Opera will be perform'd without Scenes, Stage being in the same Magnificent Form as it was in the Ball. Admission as 15 Dec

Performances

Mainpiece Title: Pyrrhus And Demetrius

Performances

Mainpiece Title: Concert

Music: Several choiceConcertos-the Youth [J. Clegg][, never perform'd in Publick; [particularly, Concert of Vivaldi's called La Temista di Mare-; Solo-Mr Kitch; Solo Song [out of the Opera of Julius Caesar. Song Part-Mr Kitch; Violin-the Youth; [as done by Sig Castrucci in the Opera, Solo [of Sig Germiniani's-the Youth

Performance Comment: Clegg=][, never perform'd in Publick; [particularly, Concert of Vivaldi's called La Temista di Mare-; Solo-Mr Kitch; Solo Song [out of the Opera of Julius Caesar. Song Part-Mr Kitch; Violin-the Youth; [as done by Sig Castrucci in the Opera, Solo [of Sig Germiniani's-the Youth.
Event Comment: [No advertisements of opera performances before 1 March are available, but the opera was probably performed on the regular Tuesday and Saturday schedule.

Performances

Mainpiece Title: Siroe

Performances

Mainpiece Title: Hurlothrumbo

Afterpiece Title: The Pleasures of the Town

Performance Comment: Luckless-Mullart; Tragedio-Marshall; Sir Farcical-Davenport; Opera-Stopler; Orator-Jones; Pantomime-Knott; Charon-Ayres; Bookweight-Jones; Scarecrow-Marshall; Harriet-Miss Palms; Goddess of Nonsense-Mrs Mullart; Somebody-Harris; Nobody-Wells; Poet-Hallam; Bookseller-Dove; Mrs Novel-Mrs Martin; Mrs Kingcall-Mrs Clark; Punch-Reynolds; Joan-Hicks.
Cast
Role: Opera Actor: Stopler