Event Comment: [D$DuBellamy, as would appear from a letter to the Printer of the Public Advertiser, 20 Sept. "Being at the Opera House last week to see the Conscious Lovers and As You Like It, not to mention the various and allowed excellencies of each performer, I was most agreeably surprized at the songs, in the bills said to be sung by a Gentleman, which indeed his genteel figure and polite address, at first sight well authenticated; but for the songs, viz. If Love's a Sweet Passion,--Blow, Blow Thou Winter's Wind,--with some others I must confess I never heard the like; his voice was finely masculine, strong, sweet, clear and articulate; his manner not servilely confined to the pedantic stiffness of some, or the affectation of others; in a word he sung like a Gentleman; and the sound, as Milton elegantly expresses it, 'Floated the Wings of silence.' This is not intended (by doing justice to Mr D. B@@y) to depreciate any....I am told he has applied to Mr Beard, with what success I know not, [hopes he will be one of the new singers at Covent Garden] signed T. S."]

Event Comment: Paid salary list 3 days at #72 4s. 1d. per diem #216 12s. 3d.; Mr Weston on his note #5 5s.; Mrs Abington 3 first days not on list #2 10s. (Treasurer's Book). [From a long review in the Public Advertiser 3 Oct.: Two new performers in parts very difficult to execute-Mr Cautherly a pupil of the greatest master of the art of acting that ever graced the English stage (if not European)...has this summer convinced us that he is susceptible of the most refined instructions of his great patron and tutor. Of the Lady, I can say nothing prior to her appearance 30 Sept. as I am noways acquainted with her history any more than that by declaration of common report; she is the spouse of the brother of that Mr Barry who has so greatly pleas'd the town this summer at the Opera House." [Comments on her figure, voice and countenance well adapted to express the stronger passions.] She seemed to be so much in love with Romeo as to forget she represented a young and inexperienced virgin unused to men...The first scene of consequence is the Masquerade scene, which was as to business very badly conducted; but this, I doubt not will be rectified another night, they were discovered in disorder and they went off in confusion. It appeared a tumultous assembly rather than a Masquerade of nobility in an Italian Palace. Romeo stayed so long behind the crow that he was oblig'd to run to his station opposite Juliet to be in time for "Cousin Benvolio, do you mark that lady." [A long and detailed review of the stage action act by act.] In the Garden scene an unlucky accident happened to Cautherly...his nose ran with blood and he was oblig'd to keep his handkerchief to his nose all through, which was a great loss to the audience...The Apothecary is the best figure I ever saw, and spoke more sensibly than I ever heard an apothecary speak in my life. Mr Castle has rescued that character from ridicule, and worked by pity what buffoonery used to run off with-applause." Receipts: #145 11s. 6d. (Treasurer's Book.

Event Comment: Benefit for Hopkins (prompter) and Mrs Hopkins. Charges #64 17s. [Profit to the Hopkins family #30 19s. plus Tickets.] Tickets delivered by Philips will be taken. Paid B. Johnson's Head bill #1 2s. 3d.; Paid Mr J. Johnston, by order #21; Rec'd Mr Pope's rent 1 year at #30 minus King's Tax of #3 8s.: Total #26 12s. receiv'd. Paid Mr Pope's bill #13 9s. 6d. (Treasurer's Book). Before 4 dined behind St Clements, and went to ye First Gallery to see the Distressed Mother....We had the Capricious Lovers, Lisetta by Mrs Clive, who took off the ridiculous sing-song at ye Opera House charmingly (Neville MS Diary). Receipts: #95 16s. (Treasurer's Book)

Event Comment: Mainpiece: By Particular Desire. Neville MS Diary: Saw Douglas by a Mr Brereton, being his 3rd appearance. He is a pretty figure, but wants lemon in his voice, as Mr Garrick calls it. Lady Randolph by Mrs Barry. The Entertainment was Queen Mab, with a new scene representing the late Masquerade at the Opera House, with all the extravagances and intrigue which it occasions. Was very much squeezed in the Pit. Wish I was settled in th country at a distance from these crowded diversions

Event Comment: A Concert of Vocal and Instrumental Music benefit for Mrs Pinto. Songs by Mrs Forbes, Master Brown, and Mrs Pinto. Concertos on the organ and Hautboy by Hook and Park. After which will be performed for the first time a Pastoral Serenata called Love and Innocence, in two acts composed by Mr Hook, with chorusses. An elegant transparent Temple of Apollo designed and painted by Sig Bigar, machinist to the Opera House. The Gardens will be additionally illuminated. Fireworks. The whole to conclude with a Ball

Event Comment: For the House

Event Comment: [In 3rd piece the playbill retain Iliff, but "On the fifth night of the representation, while R. Palmer was reading the part of Lord Megrim (Iliff being ill) an alarm of fire occasioned a disgreeable tumult; the performers assured the audience there was no danger, it being the opposite theatre (the Opera House, which was consumed) that was in flames. The Ladies, however, still retained their apprehensions, and all were eager to depart; happily this anxiety produced no accident" (Oulton, 1796, II, 52). Iliff perhaps did not act in Vimonda.

Event Comment: By Command of Their Majesties. "There were not an hundred persons in the Pit when their Majesties entered, and there were not double the number at any part of the evening. The Royal box being in the centre, fronting the stage, their Majesties were invisible to the Gallery; and on their entrance solemn stillness prevailed, until the Orchestra, for the first time in an Opera-house, for the first time by the Professional Band, Struck up God save the King. Never, we will venture to say, in any Theatre during the present reign, was there so thin an audience when their Majesties were present; and we pretend not to divine the cause. Whether it is the failure of the Theatre as a musical room--the general poverty of the performance--the little notice that was given of their Majesties' intention to be present we know not" (Morning Chronicle, 23 Feb.)

Event Comment: "Pacchierotti was taken ill on Saturday and was unable to sing his songs. An apology was made for him, and he walked on and walked off without diminution of the public pleasure. Here was an unanswerable argument for the Pantheon as an Opera-House; for the silence of a singer is no injury to the entertainment" (Morning Chronicle, 28 Feb.)

Event Comment: No Money to be returned. Books of the Performance to be had at the Theatre. Places for the Boxes to be taken of Fosbrook, at the Theatre. Boxes 5s. Pit 3s. 1st Gallery 2s. 2nd Gallery 1s. The Doors to be opened a 5:30. To begin at 6:30 [same throughout oratorio season]. [Master Clement was from the Imperial Opera House, Vienna.

Event Comment: Account-Book: Paid Mrs Phillimore on Account of moving the Wardrobe to and from the Opera House #4 4s. Powell, 22 Sept.: Henry V rehearsed at 10; No Song No Supper at 12; 23 Sept.: No Song No Supper rehearsed at 10 (for Bannister and Mrs Bland); Provoked Husband a 11. Receipts: #308 2s. 6d. (218.11.0; 88.15.0; 0.16.6)

Event Comment: On account of the Engagements of some of the principal Performers at the Opera House it is absolutely impossible to give Alexander the Great this Evening; the third night will be on Monday next, and every Accomodations is making for an Arrangement that will prevent any future interruption of this Representation. Powell: New Comedy [The Wheel of Fortune] read at 12. Receipts: #143 19s. 6d. (87.5.6; 48.16.6; 7.17.6)

Event Comment: [In mainpiece the playbill retains Barrymore as Careless, but "Barrymore came too late to play Careless, in consequence of which Dignum did the part and sang Sedgwick's song, who came in time to the theatre [Powell's italics, see 7 Feb.], but begged to be excused going on from the violent pain he was in, occasioned by a swelling upon his finger. Dignum not in time to be discovered at Lady Sneerwell's rout, but came on after the Scene opened. Fisher, one of the waiters in the above Scene, was absent. Caulfield absent from the scene with Charles, and Kelly Jr. not being in time to be discovered With the rest, walked on after the Scene opened." [In afterpiece] the playbill retains Aumer as Hephestion, "Hephestion C. Kemble, Aumer at the Opera House" (Powell).] Receipts: #349 7s. (264.16; 81.10; 3.1)

Event Comment: [In mainpiece "English Herald [omitted from playbill] Trueman; Cooke Ill." In afterpiece the playbill retains Aumer as Hephestion, but "Hephestion C. Kemble, Aumer at the Opera House. Miss Redhead, Miss Leak absent, Ill" (Powell).] Powell, 13 Mar.: King John rehearsed at 10; Edwy and Elgiva at 12; Jack of Newbury read at 2; 14 Mar.: Jack of Newbury rehearsed at 11. Receipts: #255 3s. (204.14.0; 48.8.6; 2.0.6)

Event Comment: The Pas Seul which was only introduced after the above Ballet was composed by Gentili, in order to bring forward Mademoiselle Parisot for a few nights, is obliged to be omitted in future, on account of her engagement at the Opera House. Receipts: #260 13s. 6d. (180.13.0; 76.12.6; 3.8.0)

Event Comment: "Miss B. Menage acted Zingarella for Mrs Bland, who sang at the Opera House" (Kemble Mem.). Receipts: #127 6s. (81.18.6; 43.16.6; 1.11.0)

Event Comment: Mr Salomon having insinuated that he alone is in possession of a correct Score of this celebrated Oratorio, I feel compelled, in justice to myself, to state that the Oratorio was published by subscription at Vienna, and that the printed Copy, from which I had the Parts transcribed, was delivered by Dr Haydn to a subscriber in Vienna, and brought from thence expressly for me, and on which is the Doctor's initials. The accuracy with which it was performed, and the enthusiasm with which it was received, are, I hope, convincing proofs that no other directions are necessary to "produce the effect required by the Author." I should not thus have obtruded myself, but I conceived it requisite to justify myself from the imputation of having attempted to impose a spurious production upon that public to whom I am under so many obligations. I am, with the greatest respect and gratitude, their most obedient servant, John Ashley. March 29. [On 29 Mar. the following card had appeared in most of the daily newspapers: Mr Salomon having received from Dr Haydn an early Copy of his New Oratorio called The Creation of the World, and having been favoured by him exclusively with particular directions on the style and manner in which it must be executed, in order to produce the effects required by the Author, begs to acquaint the Nobility and Gentry, that he means to perform it on Monday, the 21st of April next, at the King's Theatre. The performance took place on that date in the Ancient Music Room, i.e. the large concert-room situated inside the King's, on the east side, level with the first tier of the boxes. The reason for this change was, states the playbill, "the present Performances in the Opera House not allowing sufficient time to erect an Orchestra on the Stage." The principal singers were Mme Mara, Mme Dussek, Small, Page, Denman, Bartleman. Samuel Wesley presided at the organ and at the piano forte.

Event Comment: Benefit for Sga Bossi DelCaro. 2nd ballet: 1st time; composed for the occasion by Dupret; the music by Bossi, composer and leader of the Band at the Opera House. Of Age To-morrow [advertised on playbill of 30 May] is obliged to be deferred on account of the indisposition of Bannister Jun. Morning Chronicle, 30 May: Tickets to be had of Sga Bossi DelCaro, No. 1, Great Suffolk-street, Charing-cross. Receipts: #327 5s. (212.10.0; 61.13.6; 2.18.0; tickets: 50.3.6) (charge: #215 13s. 7d.)

Event Comment: Benefit for the Humane Society. A new grand Commemorative Oratorio [1st time; in two parts], as originally performed by Busby, in aid of the Fund for the Naval Pillar, including the new Music [by Busby: Song and Chorus, From where the sun; Song, To thy brave sons; Recitative and Song, Peace to the soul, Around the ever-honoured urn], introduced in the Grand National Concert, performed the 28th of May, at the Opera House. Leader of the Band-Cramer. Organ-Russell. The performance to be conducted by Busby, who will preside at the Piano Forte. Tickets, at playhouse prices, to be had at all the principal music shops...and of Busby, No. 9, China Terrace, Vauxhall Road. The Doors to be opened at 6:00. To begin at 7:00. "The words [of Part I] are taken entirely from Gray's well-known Pindaric Ode, The Progress of Poesy," with six introductory lines written by John Gretton andthe concluding stanzas by Thomas Dutton; the text of Part II by Gretton (Dramatic Censor, II, 285-86)

Event Comment: The United Company. This performance is on the L. C. list, 5@147, p. 68: The King and Queene & a Box for ye Maydes of Honor at the Opera. See also Nicoll, Restoration Drama, p. 350, and 1 Jan. 1684@5. The opera was certainly given on 3 June, probably on 10 June, and probably on 13 June, the day that the news of the Duke of Monmouth's landing reached London; as Downes states that it was acted six times, there were three additional performances between 3 and 13 June 1685. Downes (Roscius Anglicanus, p. 40): In Anno 1685. The Opera of Albion and Albanius was perform'd; wrote by Mr Dryden, and Compos'd by Monsieur Grabue: This being perform'd on a very Unlucky Day, being the Day the Duke of Monmouth, Landed in the West: The Nation being in a great Consternation, it was perform'd but Six times, which not Answering half the Charge they were at, Involv'd the Company very much in Debt. Roger North: The first full opera that was made and prepared for the stage, was the Albanio of Mr Grabue, in English, but of a French genius. It is printed in full score, but proved the ruin of the poor man, for the King's death supplanted all his hopes, and so it dyed (Roger North on Music, ed. John Wilson [London, 1959], p. 311). The Prologue and Epilogue, published separately, are reprinted in Wiley, Rare Prologues and Epilogues, pp. 244-46. The score and the libretto were published in 1687 (licensing date of 15 March 1686@7): Albion and Albanius; An Opera; Or, Representation in Musick. Set by Lewis Grabu, Esq; Master of His late Majesty's Musick

Event Comment: The United Company. The date of the first performance is not known, but it very probably occurred not later than May 1691, as the play was advertised in the London Gazette, 4-8 June 1691. For discussions of it, see E. W. White, Early Performances of Purcell's Operas, Theatre Notebook, XIII (1958-59), 44-45, and R. E. Moore, Henry Purcell and the Restoration Theatre, Chapter III. Downes, Roscius Anglicanus, p. 42: King Arthur an Opera, wrote by Mr Dryden: it was Excellently Adorn'd with Scenes and Machines: The Musical Part set by Famous Mr Henry Purcel; and Dances made by Mr Jo. Priest: The Play and Musick pleas'd the Court and City, and being well perform'd, twas very Gainful to the Company. Roger North: I remember in Purcell's excellent opera of King Arthur, when Mrs Butler, in the person of Cupid, was to call up Genius, she had the liberty to turne her face to the scean, and ner back to the theater. She was in no concerne for her face, but sang a recitativo of calling towards the place where Genius was to rise, and performed it admirably, even beyond any thing I ever heard upon the English stage....And I could ascribe it to nothing so much as the liberty she had of concealing her face, which she could not endure should be so contorted as is necessary to sound well, before her gallants, or at least her envious sex. There was so much of admirable musick in that opera, that it's no wonder it's lost; for the English have no care of what's good, and therefore deserve it not (Roger North on Music, ed. John Wilson [London, 1959], p. 217-18)