Event Comment: Sga Sestini thinks it her Duty to assure, in this Public Manner, the English Nobility Gentry and Public, of her unfeign'd Gratitude for their numerous appearance on Thursday Night 28 March at her Benefit as she looks upon it as the most convincing Proof of their honouring her with the continuance of their kind Indulgence and Protection, which she will always use her utmost Endeavour to deserve as long as she shall continue in England, and retain the most grateful Rembrance of wherever her Profession may call her (Public Advertiser)

Event Comment: A Comic Opera (1st time [in London; 1st performed at Rome, 1777]); the Music entirely new, by Anfossi. With new Scenes, painted by Novosielski; new Dresses and Decorations by Sestini, both for the Opera and Dances. By their Majesties Command No Person can be admitted behind the Scenes. Pit 10s. 6d. 1st Gallery 5s. 2nd Gallery 3s. The Doors to be opened at 6:00, and begin exactly at 7:00 [see 7 June 1785]. Subscriptions are received at Messrs Ransom, Moreland and Hammersley's, bankers, No. 57, Pall-mall; who will deliver the Subscription Tickets. The Nobility and Gentry, Subscribers to the Opera-House, are respectfully intreated to send for them, as, in order to prevent future mistakes, no body can be admitted without producing a Ticket

Event Comment: Opera: The Music by Sir Christopher Gluck; with the additons of John Christ. Bach, and with the choice of several pieces of Handel. The Whole under the direction of Anfossi. Director of and 1st singer in the Chorus-Webb. The Scenes invented and painted by Novosielski. The Dresses entirely new, executed by Sestini. [Libretto (J. Jarvis, 1785): SER 3.]

Event Comment: Sga Sestini [who was to sing in La Scuola de Gelosi, announced in Public Advertiser, 6 Mar.] being suddenly ill, Mme Mara, to prevent the disappointment of the Public, has kindly offered to perform this Evening

Event Comment: A new Comic Opera; the Music by Sarti, Storace, Martini. Under the direction of Storace. [on 6 Jan. 1784 this was performed as I Rivali Deluse.] 2nd ballet: [Music by Storace] With Scenery, Machinery and Decorations entirely new, designed and executed by Marinari; the Dresses by Sestini

Event Comment: 2nd ballet: With entirely new Scenery, Machinery, Dresses and Decorations. The Music entirely new, composed by Millerd, composer for the ballets at the Opera at Paris. In the course of the performance the Grand Procession of Iphiginia into Aulide. The Scenery, Machinery, &c. designed by Marinari, and executed by him and his assistants. The decorations by Johnston, the dresses by Sestini. [Scenario published by J. Hammond [1793].] The Managers beg leave particularly to request that no Gentleman will come behind the Scenes, as the number of people engaged in the ballet, and the variety of scenery and machinery, render such admission highly inconvenient. Morning Herald, 24 Apr,: The story [of the ballet] is perhaps not very intelligibly told; but the shew and the dance are admirable. It begins and concludes with magnificent processions, the last of which brings Iphiginia to the altar, where she is saved just as the holy knife is raised for the sacrifice. At this instant the chariot of the Sun, the brilliancy of which is much beyond any former representation of the sort, passes over the stage, and is, for some time, suspended over the altar, while the whole corps de ballet offer their adorations

Event Comment: A new Grand Serious Opera, with Chorusses; the Music by Bianchi, under the direction of Federici. With entirely new Scenes designed by Marinari, Dresses composed and executed by Sestini, and Decorations. "[Banti] I must ever consider as far the most delightful singer I ever heard . . . Her first appearance in this country was in the opera of Semiramide, and all her part in it was of the most beautiful description. In addition to the songs belonging to the opera, she introduced a remarkably fine air by Guglielmi, from the Oratorio of Deborah, with an accompaniment for a violin obligato, originally played by Cramer, afterwards by Viotti and others. This song, though long and one of great exertion, was so prodigious a favourite that it never failed of being encored, not only in its novelty, but in every subsequent revival. Her acting, and recitative were excellent, and in the last scene, where Semiramide dies, was incomparably fine" (Mount-Edgcumbe, pp. 82, 84)