Event Comment: By Particular Desire. Being absolutely the last time of performing this opera

Event Comment: Mainpiece: A new Comic Opera (in 2 acts); the music by Sacchini. Afterpiece: A serious Opera [1st time; SER I, author unknown; a pasticcio]. The music selected from several eminent Composers [BUC lists only Bertoni]

Event Comment: A Serious Opera [1st time; SER 3, author unknown; a pasticcio]. The Music by several celebrated Composers, and conducted [i.e. arranged] by Bianchi. Public Advertiser, 4 Dec.: Roncaglia was welcomed with merited and very flattering Applause, yet he seemed hurt at sharing with Ansani those marks of public Favour. We exhort them both to remember that Persons of their superior Talents ought to lay aside every petty Prejudice and personal Animosity. "[Ansani] had a finely toned, full, and commanding voice, was a spirited actor, and in the first opera, called Ricimero, sustained the most prominent and important part. But he was unfortunately of a most peevish, quarrelsome temper; Roncaglia was saucy and conceited, and neither could brook the superiority claimed by the other. Their mutual jealousy, and the importance assumed by the tenor soon produced an irreconcilable breach, Ansani threw up his engagement, and the season went on heavily to its close for want of him"(Mount-Edgcumbe, p. 29)

Event Comment: A revived Serious Opera, in 2 acts; the Music composed, with Improvements, by Sacchini. Public Advertiser, 25 June: On Saturday last was revived at the King's Theatre the Serious Opera of Creso [see 8 Nov. 1777], under the new title of Euriso

Event Comment: A Serious Opera in 3 acts (1st time [in London; 1st performed at Turin, 1762]); the Music entirely new, composed by Bertoni; with Grand Chorusses. [The playbill also lists, at the end of Act II, the New Dance, as 7 May, but "As for the dances, Le Picq being confined to his bed, we were deprived of that part of the entertainment which we had been given to expect" (Morning Herald, 27 May).]

Event Comment: A Serious Opera in 2 Acts; the Music entirely new by Anfossi; interspersed with Grand Chorusses and Dances incidental to the Opera.

Event Comment: Benefit for Pacchierotti. Opera: A Serious Opera; the Music by several eminent Masters. Pit tickets will admit two persons to the 1st, and three to the 2nd Gallery; but no money to be returned. Tickets to be had of Pacchierotti, No. 7, Great Marylebone-street, near Cavendish-square

Event Comment: [The playbill announces The Strangers at Home and The Romp, but "The Beggar's Opera, with The Humourist [were substituted], on account of Mrs Jordan's being too much indisposed to appear in the new opera and The Romp" (Public Advertiser, 19 Dec.).] Receipts: #162 3s. (125/9/0; 35/8/6; 1/5/6)

Event Comment: A Serious Opera; the music by Tarchi. Mme Mara being indisposed, the new serious Opera, L'Amore Protetto dal Cielo; o sia, La Vestale, is unavoidably postponed; and Sga Benini will appear this evening for the first time in the character of Virginia. Receipts: #104 0s. 6d. [non-subscription]

Event Comment: A new Serious Opera (1st time [in London; 1st performed at Venice, 1781]); the music by Sarti, under the direction of Mazzinghi. "At length in the spring arrived the celebrated Marchesi, whose fame had long reached this country, and who had been extolled to such a degree that impatience and expectation were raised to the highest pitch; and on the first night of his appearance the theatre was not only crowed to the utmost in every part, but on the rising of the curtain, the stage was so full of spectators that it was some time before order and silence could be obtained, and with some difficulty that Marchesi, who was to open the opera, could make his way before the audience. Marchesi was at this time a very well-looking young man, of good figure, and graceful deportment. His acting was spirited and expressive: his vocal powers were very great, his voice of extensive compass, but a little inclined to be thick (Mount-Edgcumbe, 66-67). Receipts: #437 15s. 6d., i.e. 560 tickets delivered to Prendergrass [see 8 Dec. 1787], who sold 558; 110 to Toosey, who sold 86; 400 to Butler, who sold 285; 236 to Snelson, who sold 204. Total non-subscription tickets sold: 1133

Event Comment: Benefit for Marchesi. A new Serious Opera [composed by Cimarosa; 1st performed at Vicenza, 1784]. Under the direction of Mazzinghi. Tickets to be had of Marchesi, No. 37, Upper James-street, Golden-square. There will be no Opera on Saturday on account of Whitsun Eve. Receipts not listed

Event Comment: Benefit for Sga Sestini. Opera: Not acted these 3 years [acted 26 June 1788]. A Comic Opera; the Music by Paisiello. Under the direction of Federici. Tickets, 10s. 6d. each, to be had of Sga Sestini, No. 17, Mount-street, Berkley-square

Event Comment: The Manager most respectfully informs the Subscribers and the Public that the Operas end this evening at this Theatre, and will open on Tuesday next the 15th at Covent-Garden Theatre, to perform the remainder of the Subscription Nights. At which Theatre the Manager has carefully arranged every Box to accomodate the Subscribers according to the plan of the present Opera season

Event Comment: A Serious Opera (1st time at this Theatre [1st performed at Venice, 1783]); the Music by Bianchi. "The splendour of the Opera this year in point of crowd and fashion surpasses every thing within our memory. It used to be only full on the Saturday evening...Mlle Parisot, a new dancer from Paris, is a most beautiful figure, about 18 years of age...Her balance is postively magical, for her person was almost horizontal while turning as on a pivot on her toe" (Morning Chronicle, 10 Feb.). "[Mlle Parisot's] acting proves what art may effect by beautiful simplicity. She never makes use of those tours de force with which the best female dancers at Paris still endeavour to shine. Every step of Mlle Parisot is marked by the greatest truth and dignity of nature. Every one of her movements is expressive, spirited and harmonious" (Goede, pp. 264-65)

Event Comment: A New, Grand, Serious Opera, with Chorusses (1st time [in London; 1st performed at Paris, 1788, as Arvire et Evelina]). The Music by Sacchini (being his last Work). With entirely new Scenes (painted by Greenwood), Dresses and Decorations. Books of the Opera may be had at the Office of the Theatre

Event Comment: Rich's Company. There is no certainly as to whether this performance is the premiere. Because the play was not published until 1715, the cast for the first performance is not known. Lady Morley attended this performance. Hotson, Commonwealth and Restoration Stage, p. 377: Lady Morley and one in the Box att Country House 8s

Event Comment: Benefit Stephens. Tickets at Stephen's House, Paternoster Row

Event Comment: Mainpiece: Not acted these 16 Years. [See 27 Dec. 1746.] Benefit for Shuter. Receipts: #173 16s. 6d. Tickets #150 13s. (boxes 272; pit 551). Charges: #63 (Account Book), [#325 9s. 6d. marks the largest house in money value this season. Shuter advertised his benefit early, then on 28 March inserted this puff in the Public Advertiser: [Mrs Centlivre's Comedies have a vein of pleasantry in them that will always be relish'd. She knew the Genius of this nation, and she wrote up to the spirit of it; her Bold Stroke for a Wife, was a masterpiece that much increased her reputation: it establish'd that of Kit Bullock, a smart sprightly actor. His performance of Col. Feignwell was greatly applauded. Shuter has judiciously chosen to play to at his own benefit, and everyone that knows his powers, knows he will play it at least with drollery and justice equal to him."

Event Comment: Not acted in 5 years. [See 4 Feb. 1758.] The Drummer was revived at this period at both theatres...to take advantage of the reigning weakness of the people, who went in crowds many days and nights to an Haunted House, by what was called the Cock-Lane Ghost-a delusion set on foot, and very ingeniously carried on by a girl of 12 years of age, daughter of a clerk of St Sepulchre's Church, who resided in Cock Lane near Smithfield. [The Ghost was supposed to be that of one Fanny, a gentleman's mistress buried in the church. By knockings and scratchings she supposedly haunted the girl intimating foul practices concerning her death.] It would be incredible to relate the numbers of persons of distinction that attended this delusion! many of whom treated it as a serious and most important affair...at last the girl's father and three or four others were tried in the King's Bench, found guilty' Pillioried and imprisoned. This most effectively laid the Ghost; and is the best and properest cure for every ghost that may arise hereafter. (Victor, History of the Theatres, III, 18 ff). [The theme exploited again by Garrick in The Farmer's Return from London, dl 20 March.

Event Comment: Paid half year's Land Tax for theatre due Mich. last: #61 5s.; half year's window lights for ditto: #6 10s. 6d.; half year's land tax for House in Bow Passage: #2 3s. 9d., and window lights for same 15s.; Paid Stubbs (timber merchant) as per bill #50; Paid Evans (sawyer) #9 5s. (Account Book). Receipts: #240 9s. 6d. (Account Book)

Event Comment: Paid Messrs. Raban & Kime (coal merchants) #56 15s.; Paid Sarjant half aear's rent for the House in Bow Passage due Mich. last #20 (Account Book). Receipts: #195 3s. 6d. (Account Book)

Event Comment: [In mainpiece the playbill retains Miss Farren, "but on account of the sudden indisposition of Miss Farren her part in the play was read by Mrs Ward, who gave it with great effect, and having studied Miss Farren's manner, was a very tolerable substitute" (Diary, 2 May).] Afterpiece [1st time; C 3, by John Philip Kemble]: Taken from [The Country Lasses; or] The Custom of the Manor [by Charles Johnson]. Diary, 6 May 1789: This Day is published The Farm House (1s.). And see 6 May. Receipts: #165 3s. (125.12.0; 34.18.6; 4.12.6)

Event Comment: An accurate Edition of The Farm House to be had at the Theatre. Receipts: #98 16s. (55.4.0; 39.19.6; 3.12.6)

Event Comment: It is not certain what work this is. Boswell, Restoration Court Stage, pp. 111-12, doubts W. J. Lawrence's suggestion that it was Ariadne, which seems not to have been produced until 30 March 1674. It is possible, but perhaps not likely, that it is the Ballet et Musique which is herein assigned to early February 1674

Event Comment: After the Italian manner, All sung, being set to Musick by Master Clayton. No Person to be admitted into the Boxes or Pit but by the Subscriber's Tickets. The Boxes on the Stage and the Galleries are for the Benefit of the Actors. [Premiere of the opera.