SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Opera at Paris"/1) | (@(roleclean,performerclean) "Opera 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 2826 matches on Performance Title, 1555 matches on Event Comments, 437 matches on Performance Comments, 0 matches on Author, and 0 matches on Roles/Actors.

Performances

Mainpiece Title: None

Performance Comment: The Manager of the Italian Opera most respecfully acquaints the Public and the Nobility that this Theatre is going under an alteration for the ensuing winter, which will prevent the Opera taking place, as was intended for this Evening.
Event Comment: A Grand Serious Opera; the music by Sacchini, with additions and alterations [by Andreozzi and Mazzinghi]. Under the direction of Mazzinghi. The dresses executed from original drawings of Bartolozzi and Tresham, by Lupino. With dances analogous to the Opera. The Doors to be opened at 6:30. To begin at 7:30 [same throughout season]. Pit 10s. 6d. Gallery 5s. There are a number of green boxes which may be taken on application to Lee, at the Theatre; the entrance to which, and to the Gallery, will be in Oxford-street. Subscriptions will be received by Messrs Wright and Co., Henrietta-street, Covent-garden (only) where tickets are delivering daily; and such Ladies as have not compleated their subscriptions to their boxes are intreated to send their names to the office, in order to have the tickets prepared, as no person can be admitted without producing a ticket. The Nobility and Gentry are intreated to give particular orders to their coachmen to set down and take up with their horses' heads towards Hyde-park. The Doors in Blenheim-mews for chairs only. By Command of His Majesty no person can be admitted behind the scenes during the performance. "We fear that [the Pantheon as converted into a theatre] will gratify only the eye. It must undergo still more changes before the ear will be satisfied. Whether it is that the dome is too high and disproportioned to the breadth, or that the orchestra is sunk too low beneath the audience we cannot tell, but the sound does not swell and spread in equal volume; and it is the most inaudible in the best parts of the Theatre: the Pit and the first and second tier of Boxes hear very indistincly...We found this to be the complaint of every judge of music in the place" (Morning Chronicle, 18 Feb.). "The Pantheon has opened, and is small, they say, but pretty and simple; all the rest ill-conducted, and from the singers to the scene-shifters imperfect; the dances long and bad, and the whole performance so dilatory and tedious, that it lasted from eight to half an hour past twelve" (Walpole [18 Feb. 1791], XIV, 377) [and see 19 Feb.]

Performances

Mainpiece Title: Armida

Dance: End I: Divertisement by D'Auberval-

Ballet: End II: an entire new Pantomime Ballet, in I act, composed by D'Auberval, Amphion et Thalie; ou, L'Eleve des Muses. Principal dancers-[Didelot, Duquesney, Vigano, Fialon, Duchesne, Rousseau, Boisgirard, St.Aumer, Schweitzer, [Mme Didelot, Mme Vigano, Mlle Theodore, [Mlle Gervaise Troche, Mlle Deligny, [Mlle L. Simonet, Mlle R. Simonet, Mlle Puisieux, [Mlle Bithmer Cadette, Mlle Bithmer, Mlle Rousseau, Mlle Vedie, Mlle Durand; [Cast from synopsis (H. Reynell [1791]:) Amphion (eleve des Muses)-Didelot; Bergers de la Phocide-Duquesney, Vigano; Thalie (Muse de la Comedie)-Mme Theodore D'Auberval; Jeune Nymphe de la Phocide (eleve de Terpsichore)-Mlle Gervaise Troche; Terpsichore (Muse de la Danse)-Mlle Leonore Simonet; Jeune Nymphe (favorite de Thalie)-Mlle Rosine Simonet; Melpomene (Muse de la Tragedie)-Mme Didelot; Clio (Muse de L'Histoire)-Mlle Augustine Bithmer; Erato (Muse de la Poesie Lyrique)-Mlle Bithmer; Euterpe (Muse de la Musique)-Mlle Rousseau; Uranie (Muse de l'Astronomie)-Mlle Jacobs; Calliope (Muse de l'Eloquence)-Mlle Birt; Polimnie (Muse de la Rhetorique)-Mlle Watson; Nymphes a la suite des Muses-Mlle Vedie, Mlle Durand, Mlle Berry, Mlle Bougier; Suite d'Amphion-Mme Fialon, Mme Duchesne, Mme Simonet, Mme Menage; Habitants de la Phocide-Mme Boisgirard, Mme Rousseau, Mme Omer, Mme Schweitzer

Event Comment: "There is no peace between the opera theatres; the Haymarket rather triumphs. They have opened twice, taking money in an evasive manner, pretending themselves concerts; the singers are in their own clothes, the dancers dressed, and no recitative--a sort of opera in deshabille (Walpole [31 Mar. 1791], XIV, 399-400)

Performances

Mainpiece Title: Entertainments Of Music And Dancing

Dance: As17910326

Performances

Mainpiece Title: Entertainments Of Music And Dancing

Performance Comment: A new selection of Serious and Comic Music. As17910331but By particular Desire, a favourite Rondeau, and for that night only, a new Song-Sga Sestini; accompanied on the Pedal Harp-Meyer Jun.; the Duetto from the Opera La Buona Figliuola-Sga Sestini, Davide.

Dance: End I: Divertissement-all the Principal Dancers; will be introduced the favourite Pas Russe, as17910519; End II: Orpheus and Eurydice, as17910326but Mlle St.Amand

Event Comment: A Comic Opera, composed by Paisiello; direction of Mazzinghi. "The original score of this beautiful opera was destroyed in the conflagration at the Pantheon [see 14 Jan.]. Mazzinghi and Cramer have been able, from recollection, to bring it again before the public" (Morning Herald, 5 Mar.)

Performances

Mainpiece Title: La Locanda

Dance: As17920214

Event Comment: The King's Theatre having been rented to the Proprietors of Drury-Lane House, with a reserve of the Nights for the Italian Opera to be carried on there for the Opera Trust, the Drury-Land Patent will in future be moved on Tuesdays and Saturdays to the Theatre Royal, Hay-Market, where all old and new Renters, claiming under the Drury-Lane Patent, will be entitled to Free Admission, and to their Rights for each Night of Performance. Half Price not being taken at this Theatre, the Performances will be reduced to the old established Prices. Boxes 5s. Pit 3s. Gallery 2s. Upper Gallery 1s. Places for the Boxes in the Theatre Royal, Hay-Market, to be taken at Fosbrook's Office at the King's Theatre as usual. [Mainpiece in place of Cymon; afterpiece of The Patron, both advertised on playbill of 25 Jan.] Receipts: #140 11s. (139.0; 1.11)

Performances

Mainpiece Title: At Hay Jane Shore

Afterpiece Title: The Cheats of Scapin

Event Comment: A new Grand Serious Opera. With Grand Chorusses, new Dresses, Scenery and Decorations. The Music composed by Paisiello. Under the direction of Pederici. [Bruni was from the Opera, Milan.

Performances

Mainpiece Title: I Giuochi D'agrigento

Dance: End I: Divertisement, as17930126; End II: Les Epoux du Tempe-Mlle Hilligsberg, Mlle Millerd, Favre Gardel, Nivelon, Gentili (1st appearance in this country)

Event Comment: A new Comic Opera (1st time [in London; 1st performed at Naples, 1789]); the Music by Paisiello. Under the direction of Storace. With new Dresses, Scenery and Decorations. Diary, 15 May: The Opera, besides exquisite music, abounds with lively trickery and humourous incident...Kelly shifted his dress nine times, and acted with much pleasantry

Performances

Mainpiece Title: I Zingari In Fiera

Dance: As17930423

Ballet: Iphiginia in Aulide. As17930423

Event Comment: A new Comic Opera; the music by Cimarosa, under the direction of Federici. The music of both dances by Miller. With entirely new Dresses, Scenes and Decorations, both in the Theatre itself, and in the Representations. Pit 10s. 6d. 1st Gallery 5s. 2nd Gallery 3s. No Money to be returned. The Subscribers are respectfully entreated to observe that they are to produce their Tickets at the doors. The Doors to be opened at 6:30. To begin at 7:30 [same throughout season, except on 15 May). The Ladies at the Head of the Boxes arc respectfully reminded that such Boxes as shall not be paid for at the opening of the Theatre become then vacant, and may be claimed by any of the old Subscribers. No one to be admitted behind the scenes. For the greater Safety of the Company in coming and going out of the Theatre Mr Townsend has taken charge of the Peace Officers, and will himself attend every night of Performance. [Morning Herald, 12 Jan., notes than the original gallery is now divided into two, a lower and an upper, and that the chief colors used in the repainting of the auditorium are blue, white and gold. Ibid, 13 Jan.: The scenes [in the opera], which were entirely new, have never been exceeded in splendour of general effect...One, representing the hall of an Italian villa, shews a ceiling designed like that of the theatre itself [which the same newspaper, 4 Jan., describes as being Apollo and the Muses, in a cove enriched with allegorical figures, flowers, and medals, in chiaroscuro].]

Performances

Mainpiece Title: Il Matrimonio Segreto

Dance: End of Act I a new Divertisement, composed by Noverre [performers not listed]; End of Act II a new Pantomimic Ballet, composed by Noverre, Adelaide; ou, La Bergere des Alpes, by Aumer, Gentili, Mme Del Caro, Mlle Hilligsberg, Mme M. L. Hilligsberg Sen

Performances

Mainpiece Title: A Grand Selec Tion Of Music From The Most Eminent Masters

Afterpiece Title: THE GRAND TE DEUM, composed by Paisiello, upon the return of his Majesty the King of the Two Sicilies, from Vienna to Naples, in the summer of 1791

Performance Comment: Vocal Performers-Harrison, Rovedino, Roselli// Sga Banti. With full Double Chorus. Leader of the Band-Cramer. Extra Performers-Lindley, Giornovichi. The Opera Band, with a considerable addition of the best Performers .
Event Comment: Benefit for Sga Morichelli. Tickets to be had of Sga Morichelli, No. 127, Pall Mall. Opera: A Comic Opera [reduced to 2 acts]; the music by Paisiello, under the direction of Federici

Performances

Mainpiece Title: La Frascatana

Dance: As17940531 throughout

Event Comment: A new Comic Opera; the music entirely by Paisiello [performed at the Pantheon, 14 May 1791, as La Molinarella]. Bianchi and Martini [i.e. Martin y Soler] are both engaged as composers to this Theatre, and will each preside at the harpsichord the three first nights of every new Opera of their composition. Pit 10s. 6d. Gallery 5s. No Money to be returned. The Doors to be opened at 6:30. To begin at 7:30 [see 30 Apr. 1795]. The Nobility are intreated to give directions to their servants to set down and take up at the Theatre, with horses' heads towards Pall Mall. On account of abuses practised in the names of the Subscribers it is become necessary to require the production of the Subscription Tickets both at the doors and the Boxes, At the Chair-door in Market-lane Subscribers only will be admitted. "The Pantomime is too much in the gaudy stile of Italy, and even in this respect the ballet-master is not well seconded by the machinist; the decorations were unfinished, and the scenes clumsily shifted...We were sorry to find that the new and superb room, which the proprietor was encouraged to build, and Which was opened in its unfinished state last year, is now entirely shut up, through the cabal of some few of the subscribers who refuse a miserable guinea for its illumination. The inconvenience of getting away from the Theatre will consequently be severely felt by the Beau Monde" (Morning Chronicle, 8 Dec.)

Performances

Mainpiece Title: L'amore Contrastato; Or, La Molinarella

Dance: End I: a Divertisement-Mme Hilligsberg, others; End II: [a grand Heroic Pantomime Ballet composed by Onorati Giustino I Imperatore dei Romani [; or, Il Trionfo dell' Amore e dell' Amicizia-D'Egville, Gentili, Aumer, Mme Ferlotti [Rinaldi], Mlle Rosine, Mme DelCaro, Mme Hilligsberg

Event Comment: A New Opera; the music by Paisiello. [On 8 Dec. 1787 this was performed under its original title of Il re Teodoro in Venezia.] "Whatever we may pretend, we are too ignorant of musical science as a nation to find pleasure in what produces rapture on an Italian stage. The operas that have been successively produced this season would each have been more popular if much shorter" (Morning Chronicle, 15 Apr.)

Performances

Mainpiece Title: Il Conte Ridicolo

Dance: As17950411

Event Comment: Benefit for Mme Rose. The Opera [will be performed] instead of Antigona, already announced in the papers of yesterday, it having been found impossible to get ready the machinery of the new Ballet after the performance of the Serious Opera. Mme Rose having been presented with an Engraving Ticket for her night, she proposes to give one with each Ticket, separately from the Ticket which will be admitted at the door. The Nobility and Gentry are respectfully entreated not be on that part of the stage where the mountain stands, as the machinery of the Ballet will be attended with danger. Tickets to be had of Mme Rose, No. 9, Hay-market. "The most bewitching dance we ever witnessed, for novelty of idea, charm of fancy, and delicacy of passion was performed last night. Not content with the common praise, the audience called forward the author, Didelot, and paid to him the tribute due to original and inventive talents. The ballet was entitled L'Amour Vange. The invention, which was perfectly new, was that of bands of Cupidsv floating in air-suspended seemingly on their own wings, without the intervention of any grosser medium" (Morning Chronicle, 3 June)

Performances

Mainpiece Title: La Modista Raggiratrice

Dance: End II: [a new Ballet Episodique (in the style Anacreontique), in 2 acts, composed by Didelot with music by Bossi] L'Amour Vange- [;ou, La MetamorphoseMme Rose, Mme Hilligsberg, Mlle Parisot, Mme Bossi, Didelot, Gentili

Ballet: End I: a new Indian Divertisement by Didelot, The Caravan at Rest. Cast from Morning Herald, 27 May: Nair (Malabar Officer)-Didelot; Moor-Gentili; Arab (Chief of the Caravan)-Fialon; Malabar Woman-Mme Rose; Negro Caffre (of the natural country)-Mme Hilligsberg; Arab Woman-Mlle Parisot; Young Woman, Wotyake-Mme Bossi; Two Audalisques-Mlles Cabanel

Performance Comment: Cast from Morning Herald, 27 May: Nair (Malabar Officer)-Didelot; Moor-Gentili; Arab (Chief of the Caravan)-Fialon; Malabar Woman-Mme Rose; Negro Caffre (of the natural country)-Mme Hilligsberg; Arab Woman-Mlle Parisot; Young Woman, Wotyake-Mme Bossi; Two Audalisques-Mlles Cabanel.
Cast
Role: Arab Woman Actor: Mlle Parisot
Event Comment: "The Italian singers, male and female, whom I saw on this stage, distinguished themselves by good action, which is uncommon among the Italians. But the Italian opera would instantly be abandoned, notwithstanding the talents of the singers and the beauty of the music, if dancing were not the powerful magnet which attracts the Londoners. All Italian operas are, therefore, abridged, divertisements introduced between the acts, and the ballets considerably lengthened, in order to gratify the public taste" (Goede, p. 263)

Performances

Mainpiece Title: The 1st Act Of Le Gelosie Villane

Afterpiece Title: The 1st Act of Merope

Dance: As17970715

Event Comment: Benefit for the Four Youngest Orphans of the late Mr Palmer [see dl, 18 June]. As it is presumed that the well-known liberality of the Publick will be strongly excited on the present occasion, the Proprietor of the [Haymarket] Theatre has requested the use of the Opera-House for this Evening, that the largest number of persons who wish to patronize the undertaking may be accomodated with places. The Proprietor of the Opera-House has, with the utmost readiness, granted the request. Tickets to be had of the Miss Palmers, at Dixon's, Upholsterer, the corner of Bedford-Court, Bedford-Street, Covent-Garden; of Messrs Ransom, Morland and Co., Bankers, Pall-Mall; of Jewell, No. 26, Suffolk-Street, Charing-Cross, of whom, and of Rice, at the Box-Office, Places for the Boxes may be taken. Boxes 5s. Pit 3s. Gallery 2s. "[His brother] R. Palmer attempted to deliver an address at the end of the play, but he was so much overpowered that he...left the address unrecited, and [his] part in the farce was given up to another performer" (Monthly Mirror, Aug. 1798, p. 117, which also records that the receipts were approximately #700)

Performances

Mainpiece Title: At King's The Heir At Law

Afterpiece Title: The Children in the Wood

Performances

Mainpiece Title: Grand Selection 0 Of Music, From The Works Of handel, boyce, arne, And purcell

Afterpiece Title: Grand Selection 1

Afterpiece Title: Grand Selection 2

Performance Comment: Fourth Concerto, opera quarto (Avison)-; Come ever smiling liberty-Miss Capper; The Lord worketh wonders-Bartleman (Judas Maccabaeus); The many rend the skies-Chorus (Alexander's Feast); Return, O God of hosts-Miss Waters (Samson); Sweet bird-Mme Mara; accompanied on the violin-G. Ashley (L'Allegro); May no rash intruder-Chorus (Solomon); Scene from Joshua: The Falling of the Walls of Jericho-; 'Tis well, six times-Incledon; Glory to God-Incledon; Grand March-; The strong cemented walls-Chorus.
Cast
Role: opera quarto Actor:

Afterpiece Title: Grand Selection 3

Music: End II: concerto on the violoncello-Charles Ashley

Event Comment: The opening of the season was originally announced for 21 Dec. 1799, but on that day the Morning Chronicle carried the following notice: "The Nobility and Gentry, Subscribers to the Opera, and the Public, are most respectfully informed that the opening of this Theatre is unavoidably postponed to Saturday next, the 28th instant, on account of the indisposition of one of the principal Performers." But on the 28th the opening was again postponed to 4 Jan. On 6 Jan. a notice appeared in the Morning Herald, as follows: "King's Theatre, Saturday Evening, January 4, 1800. The Directors beg leave respectfully to inform the Nobility and Gentry (Subscribers) and the Public in general that the Theatre was advertised to be opened This Evening, with the concurrence and approbation of the Trustees, and it was not until this afternoon that they heard of an unforeseen difficulty having arisen with respect to issuing the License. It was then too late to advertise by means of the Public Newspapers the necessary postponement of the opening; but every effort was made on the part of the Direction to apprise the Subscribers, by sending to their respective houses, and by distributing a hand-bill in all the principal streets; notwithstanding which, they lament to find that many Ladies and Gentlemen were disappointed. The Directors humbly hope that on this statement of the fact they shall stand acquitted of all disrespect to the Subscribers and the Public, who shall have the earliest notice of the conclusion of all the arrangements for the immediate opening of the Theatre and performance of Operas for the season." See 11 Jan. A copy of the hand-bill referred to above, making mention of the "unforeseen circumstances," is attached to the Kemble playbill of dl, 4 Jan.

Performances

Mainpiece Title: None

Event Comment: The Public are most respectfully informed that, on account of the danger to Gentlemen frequenting the Scenes, as well as to the Performers, and the other persons necessarily employed in working the machinery, in the scenes and decorations, no stranger can with safety remain upon the stage during the representation of this Opera; it has therefore become unavoidably necessary to shut up the communication between the audience part of the Theatre and the Stage during the performance of Alessandro e Timoteo, but the avenues will be opened as usual as soon as the Opera is over

Performances

Mainpiece Title: Alessandro E Timoteo

Dance: A New Bacchanalian Divertisement Ballet-; La Fille Mal Gardee- As18000415 but no performers listed for either ballet

Event Comment: A Comic Opera; the Music by Paisiello. The Dialogue, for the first time in this Country, will be delivered without the Music of the Recitative. "Nina [Bolla] performed for her benefit in a novel and singular manner, the dialogue being spoken in prose without recitative, which had not a bad effect; but this way of acting it was deemed an infringement of the rights of the English theatres, and after a few nights it was stopped by authority, as unlawful at the Opera" (Mount-Edgcumbe, 111-12). Tickets to be had of Mme Bolla, No. 6, Haymarket

Performances

Mainpiece Title: Nina

Dance: As18000322

Event Comment: 1st piece: A Comic Opera in I act. 2nd piece: A Comic Opera in I act; the music by Ferrari

Performances

Mainpiece Title: il Drammatico Capricioso, Recte Il Capriccio Drammatico

Afterpiece Title: I Due Svizzeri

Dance: End 1st piece: Divertisement, as18000508; End 2nd piece: Laura et Lenza (with alterations), as18000508

Performances

Mainpiece Title: The Siege Of Belgrade

Performance Comment: The Seraskier-Kelly; Cohenberg-Barrymore; Ismael-Caulfield; Yuseph-Suett; Leopold-Bannister Jun.; Peter-Dignum; Anselm-Sedgwick; Lilla-Mme Bolla (First Comick Singer from the Opera House, by permission of the Proprietors; 1st and only appearance on the English [speaking] stage); Ghita (1st time)-Miss Clara Dixon (of the Opera House); Katharine-Mrs Crouch; Page-A Young Lady (1st appearance on any stage [in a speaking part: Miss Jacobs]).in a speaking part: Miss Jacobs]).

Afterpiece Title: Of Age To-morrow

Song: III: a new song (composed by Kelly)-Mme Bolla

Event Comment: [The playbill announces phe 1st night of What a Blunder!, but "In consequence of a severe accident C. Kemble met with yesterday evening by a fall in the last scene of Obi, the new opera of What a Blunder! cannot be acted. This evening will be presented The London Hermit" (MS annotation on hay playbill now at Harvard). "In making his leap from the precipice, the needful precautions to break his fall were not employed With sufficient promptitude. The consequence was that Kemble received several violent contusions, and sprained his back in a dangerous manner...The New Opera, in which that actor was to have performed a principal part, was necessarily postponed, and the above Entertainments substituted in its place. A proper apology was made to the audience, as well on account of the unavoidable disappointment, as the incorrectness which might naturally be expected to occur, from the suddenness of the change, and the absence of some of the regular performers" (Dramatic Censor, III, 83).

Performances

Mainpiece Title: The London Hermit

Afterpiece Title: 'Tis All a Farce

Event Comment: Elizabeth Bodvile, ca. July 1661: One Monday I was at the new apprer [opera] (Camden Society, 1878, XXII, 21). The Duke's Company

Performances

Mainpiece Title: The Siege Of Rhodes, Part I

Event Comment: The Duke's Company. Pepys, Diary: To Sir William Davenant's Opera; this being the fourth day that it hath begun, and the first that I have seen it. To-day was acted the second part of The Siege of Rhodes. We staid a very great while for the King and the Queen of Bohemia. And by the breaking of a board over our heads, we had a great deal of dust fell into the ladies' necks and the men's hair, which made good sport. The King being come, the scene opened; which indeed is very fine and magnificent, and well acted, all but the Eunuch, who was so much out tha he was hissed off the stage

Performances

Mainpiece Title: The Siege Of Rhodes, Part Ii