1 ‘A New Opera’; LS, iii/1, 530.Google Scholar

2 ‘Prince and Princess of Wales expected to attend’; LS, iii/1, 585.Google Scholar

3 Dedicated by Angelo Cori to the Countess of Sunderland.Google Scholar

4 Earl of Ilchester, Lord Hervey and His Friends (London, 1950), 238–9.Google Scholar

5 The Daily Advertiser, 15 December 1735.Google Scholar

6 ‘A New Serious Opera … with dances at the End of the Opera. The Musick entirely new, composed by Sg Ciampi’; LS, iv/1, 176.Google Scholar

7 Benefit: The Lying-in Hospital for Married Women in Brownlow Street, Long Acre; LS, iv/1, 182.Google Scholar

8 Benefit: [Filippo] Laschi. ‘With Comic Interludes between the Acts called La Serva Padrona. The music composed by Sig Gio. Batista Pergolesi’; LS, iv/1, 184.Google Scholar

9 Benefit: [Giulia] Frasi; LS, iv/1, 188.Google Scholar

10 BDL, i, 76 states that when John Francis Croza took his company to the Haymarket for the 1749–50 season Amoretti ‘was not with him’; clearly, she was.Google Scholar

11 ‘New Dances between the Acts… By Command of their Majesties. A new Opera by Mr Back [sic]‘; LS, iv/2, 1095.Google Scholar

12 ‘By Command of their Majesties’; LS, iv/2, 1099.Google Scholar

13 Of the three Young sisters, Esther Young appeared as Mrs Jones after about 1762, while Isabella Young sang regularly as Mrs Scott after about 1760.Google Scholar

14 Temistocle (Act 1, scene vi).Google Scholar

15 Demetrio (Act 2, scene xv).Google Scholar

16 Horace Walpole, Letter to the Earl of Hertford, 27 January 1765, in Horace Walpole, The Letters of Horace Walpole, Earl of Orford, ed. Peter Cunningham (London, 1866), iv, 320.Google Scholar

17 Burney, iv, 486–7.Google Scholar

18 GB-Lbl 11714.aa.23 (3).Google Scholar

19 GB-Lbl 1714.b.39 (3).Google Scholar

20 GB-Lbl 1608/4555 (9).Google Scholar

21 L'asilo d'amore (no. 18).Google Scholar

22 Demetrio (2, xv).Google Scholar

23 Temistocle( vi).Google Scholar

24 Songs not set by Handel. 1. ‘Tiranna le sorte’ (8), by Ristori; ‘Mira virtu che troppo) (40). 2. ‘Per le africane arene’ (48). 3. ‘Sorti illeso Alessandro’ (52).Google Scholar

25 ‘A New Opera’; LS, iii/1, 113.Google Scholar

26 ‘Princesses Royal and Caroline present’; LS, iii/1, 114.Google Scholar

27 ‘Prince of Wales and Princess Royal present’; LS, iii/1, 115.Google Scholar

28 ‘Their Majesties, Prince, and three eldest Princesses present’; LS, iii/1, 116.Google Scholar

29 ‘Their Majesties, Prince of Wales, and three eldest Princesses present’; LS, iii/1, 117.Google Scholar

30 ‘Their Majesties, the Prince, Duke, Princesses Royal, Amelia, and Caroline present’; LS, iii/1, 118.Google Scholar

31 ‘Their Majesties, Princesses Royal and Caroline present’; LS, iii/1, 118.Google Scholar

32 ‘Their Majesties and the three eldest Princesses present’; LS, iii/1, 119.Google Scholar

33 ‘King, Queen, and three eldest Princesses present’; LS, iii/1, 121.Google Scholar

34 ‘Last Night, her Majesty, the Duke and Princesses, were at the Theatre Royal in Covent Garden, to see the Opera call'd Poms’; The Daily Gazetteer, 9 December 1736.Google Scholar

35 ‘Saturday last … their Royal Highnesses sent Notice to the Theatre Royal in Covent Garden, that they could not be present at the Opera of Porus, which they had commanded’; The London Daily Post, 13 December 1736. News of the Princess Royal's miscarriage in The Hague arrived during the afternoon.Google Scholar

36 Attended by Mrs Pendarves and Lady Chesterfield, formerly Petronilla Melusina, nee von der Schulenberg, and Handel's pupil; see [Mary Delany], The Autobiography and Correspondence of Mary Granville, Mrs Delany, ed. Lady Llanover (London, 1861), i, 586.Google Scholar

37 See Timms, Colin, ‘Handelian and Other Librettos in Birmingham Central Library’, Music & Letters, 65 (1984), 141–67.CrossRefGoogle Scholar

38 This libretto can be associated with the November performances of 1731. It survives in two issues, Issue A and Issue B. Issue A (GB-Bp A782.12 Plays B/41 (44316), and GB-En BH.Lib.39) has the new additions printed separately on four sheet at the end of the libretto (although those belonging to GB-En are missing). Issue B (F-Pn Rés V.S. 420) has those same additions incorporated into the text. Issue B, as the final form of this version, is cited here. I am indebted to Tony Hicks for (several) detailed discussions of this matter.Google Scholar

39 This libretto survives in three issues, Issues A, B, and C. Issue A (US-Wc ML48.S4486 and GB-Lv Plays 93 (7)) was published with ‘a leaf of alterations’ (although this list does not survive in either copy). Issue B (F-Pn Res V.S. 421 and GB-Ob Harding D 2447 (6)) incorporated those alterations into the text. Issue C (GB-Lcm XXI.A.10 (5)) has an additional page containing a revised cast list (as well as the original list). Issue C, as the final form of this version, is cited here. I am indebted to Tony Hicks for (several) detailed discussions of this matter.Google Scholar

40 Lampugnani's works list in NG2 (Michael F. Robinson/Fabiola Maffei, Rossella Garibbo, xiv, 204) does not mention this piece, and the article on Metastasio (Don Neville, xvi, 515) does not include it among the settings of the libretto. It is possible that Lampugnani's contribution was confined to the re-cycling (possibly by others) of songs he provided for Roxana, o Alessandro nell'Indie of 1743; he appears to have left London by around the middle of 1745, the season before the opera opened. Deutsch, 572–3, claims that the work also included arias by Cocchi and that Lampugnani assembled the pasticcio, an unlikely circumstance given that he had left London the previous season.Google Scholar

41 ‘With the Alterations of several Airs by the most celebrated Masters’; LS, iii/2, 1240 (also for the performance on 10 May).Google Scholar

42 BDL, vi, 301 records her first appearance as being on 24 March 1757, and only allows her to ‘flourish’ in 1757.Google Scholar

43 BDL, x, 19, records her first appearance as being on 24 March 1757, and only allows her to ‘flourish’ in 1757.Google Scholar

44 ‘A new serious Opera … The music by several celebrated Composers. Pit and Boxes together half a Guinea, Gallery 5s. To begin 6.30pm. No Persons whatsoever to be admitted behind the Scenes, nor into the Orchestra, Vivat Rex et Regina’; LS, iv/2, 896.Google Scholar

45 ‘And by Desire, several favourite songs will be introduced’; LS, iv/2, 903.Google Scholar

46 ‘By Their Majesties’ Command'; LS, iv/2, 906.Google Scholar

47 Musician to H.S.H. the Duke Clemens of Bavaria.Google Scholar

48 Demofoonte (Act 2, scene vi), set by Cocchi for Venice in 1750.Google Scholar

49 Demofoonte (Act 2, scene vi), set by Cocchi for Venice in 1750.Google Scholar

50 ‘By desire’; LS, iv/2, 1047.Google Scholar

51 Benefit: the General Lying-in Hospital; LS, iv/2, 1059.Google Scholar

52 Galliano Ciliberti and Marita McClymonds, ‘Caruso’, NG2, v, 216 attribute the whole of this setting to Luigi Caruso. This was apparently an earlier version of the setting performed in Florence at the Intrepidi in Spring, 1780.Google Scholar

53 ‘A New Serious Opera. The Music entirely new composed by Corri’; LS, iv/3, 1853.Google Scholar

54 ‘By Command of Their Majesties’; LS, iv/3, 1855.Google Scholar

55 BDL, v, 145 states that it is not known what role she sang.Google Scholar

56 BDL, xiii, 265 states that Sestini's first London appearance was not until 13 September 1775.Google Scholar

57 ‘Alessandro Nelle Indie, which was intended to have been performed this Day, is unavoidably postponed till Saturday’; 23 November 1779'; LS, v/1, 298. ‘A New Serious Opera. The Music by several eminent composers. Amongst them several airs by Handel. Under the direction of Bertoni. With entire new Scenes, Dresses and Decorations, both for the Opera and Dances'; LS, v/1, 299.Google Scholar

58 ‘The New Operas which were intended for this Evening, are obliged to be postponed until Thursday’; LS, v/1, 303.Google Scholar

59 Adriano (Act 2, scene vi).Google Scholar

60 29 November 1779, from an unidentified clipping in US-NYp; quoted in Petty, 167.Google Scholar

61 The London Chronicle, 45 (27–30 November 1779), 515.Google Scholar

62 A.A. Le Texier, Ideas on the Opera, trans. anon. (London, 1790), 35.Google Scholar

63 Tarchi set this text again for Turin in 1798.Google Scholar

64 ‘A new Serious Opera; the music entirely new by Tarchi’; LS, v/2, 1162.Google Scholar

65 On the night of 17 June the King's Theatre was burned to the ground. On 27 June performances were resumed at the Theatre Royal, Co vent Garden.Google Scholar

66 Benefit: [Luigi] Marchesi. ‘A Serious Opera; the music by Tarchi. Under the direction of Federici … Two new songs of his own composition by Marchesi; one in Act 1, one in Act ii, accompanied by violin, violoncello and tenor [viola], by Cramer, Cervetto and Shield’; LS, v/2, 1249.Google Scholar

67 Benefit: {Mr} Blake; LS, v/2, 1254.Google Scholar

68 The company moved to Covent Garden when the Haymarket opened its usual summer season on 14 June 1790.Google Scholar

69 BDL, iv, 454–5, claims that Anne Dorival died in Marseilles in 1788, but she is the only plausible candidate for this role.Google Scholar

70 Thos Davies 1789' in handwriting on title page.Google Scholar

71 Imprint not recorded by HS; Hammond (also not recorded by HS) is possibly the J. Hammond who in 1793 published both I zinagri in fiera (PL-Kj Lib.ang.279II) and Odenata e Zenobia (PL-Kj BJ: Lit.ang.280II).Google Scholar

72 ‘Words by Mr Badini’.Google Scholar

73 The Morning Post, 3 June 1789, 2.Google Scholar

74 The Times, 3 June 1789, 2.Google Scholar

75 The World, 3 June 1789.Google Scholar

76 The Times, 8 June 1789, 2.Google Scholar

77 As Poro GB-Lbl 639.d. 19 (2).Google Scholar

78 As Poro F-Pn V. S. 420 ‘Second edition with additions’.Google Scholar

79 As Poro ‘The Fourth Edition, with additions’, GB-Lcm XXI.A.10.(5).Google Scholar

80 GB-Cu MZ0.056.Google Scholar

81 GB-Lbl 63.g.33.Google Scholar

82 Some of Handel's settings are re-used in SOLIMANO DRAMA PER MUSICA … (London: G[eorge] Woodfall, 1758); GB-Lbl 907.i.8(3).Google Scholar

83 Setting by Robert Price according to Jamie C. Kassler, ‘Price’, NG2, xx, 316.Google Scholar

84 Act 1, scene viii omitted in the numbering sequence.Google Scholar

85 Text: Serbati a grandi imprese / Acciò rigmangi ascosa / La macchia vergognosa / Di questa infeldelta.Google Scholar

86 Text: Serbati a grand'impresse / Ora rimanga ascosa / La Maesta gloriosa / Per la mia fedelta.Google Scholar

87 Siroe (Act 3, scene v).Google Scholar

88 The use of inverted commas in the libretto indicates that this setting is not by Handel.Google Scholar

89 The use of inverted commas in the libretto indicates that this setting is not by Handel.Google Scholar

90 The use of inverted commas in the libretto indicates that this setting is not by Handel.Google Scholar

91 Setting by Galuppi. The text is not included in the 1746 libretto.Google Scholar

92 GB-Lbl 639.e.27 (4).Google Scholar

93 D-W Textb. 609.Google Scholar

94 GB-Ob Harding D. 2449 (3).Google Scholar

95 GB-Lbl 907.i.17(1).Google Scholar

96 As La Generosita d'Alessandro; US-SM La 836.Google Scholar

97 As La Generosita d'Alessandro; GB-Lbl 1608/3714.Google Scholar

98 Not in D-WTextb. 609, but appears in Favourite Songs: US-OOm M1506.B34 1764.Google Scholar

99 Text: Serbati a grand impresse / Accior imanga ascosa/ La macchia vergognosa / Di questa infeldelta.Google Scholar

100 Demofoonte (Act 2, scene vi).Google Scholar

101 Setting by Handel.Google Scholar

102 Setting probably from Cocchi's 1756 version.Google Scholar

103 Ipermestra (Act 1, scene ix).Google Scholar

104 Demetrio (Act 2, scene xv).Google Scholar

105 Setting probably from Cocchi's 1756 version.Google Scholar

106 Setting probably from Cocchi's 1756 version.Google Scholar

107 Betulia Liberata (pt. 1).Google Scholar

108 Siroe (Act 2, scene iii).Google Scholar

109 Setting by Handel.Google Scholar

110 Setting by Bertoni.Google Scholar

111 Setting by Myslivecek.Google Scholar

112 Adriano in Siria (Act 2, scene vi), setting by Anfossi.Google Scholar

113 Setting by Sard.Google Scholar

114 Setting by Myslivecbek.Google Scholar

115 Setting by Tozzi.Google Scholar

116 Setting by Molza.Google Scholar

117 Semiramide riconosciuta (Act 2, scene viii).Google Scholar

118 ‘A New Opera’; LS, iii/2, 1241.Google Scholar

119 ‘With new musick composed by Sig Nicola Conforto, and new Dances. A new Scene painted by Mr Mitermayer’: LS, iv/2, 585.Google Scholar

120 Listed as ‘Signor’ Grandis.Google Scholar

121 As advertised. This attribution is disputed in S.W. McVeigh, ‘The Violinist in London's Concert Life, 1750–1784. Felice Giardini and his Contemporaries’ (D.Phil, dissertation, University of Oxford, 1979), ii, 308.Google Scholar

122 ‘A new Opera; music by different masters’; LS, iv/2, 1091.Google Scholar

123 ‘By command of their Majesties’; LS, iv/2, 1091.Google Scholar

124 ‘With alterations and additions to the Opera’; LS, iv/2, 1094.Google Scholar

125 Benefit: [Giusto Ferdinando] Tenducci. ‘By particular Desire’; LS, iv/2, 1106.Google Scholar

126 Listed in the libretto as ‘Giuseppe’.Google Scholar

127 Probably Esther Young, later Mrs Charles Jones. Isabella Young, who married John Scott in 1757, was singing regularly as Mrs Scott by the early 1760s; Polly Young was 11, and in Ireland at the time, while Elizabeth Young, later Mrs Ridley Dorman, appears to have sung only at Drury Lane during this period.Google Scholar

128 The ‘first edition’ appears to be Berenice.Google Scholar

129 Probably Esther Young; see note 129 above.Google Scholar

130 Walsh died in 1766, so this publication must have appeared after his death that year.Google Scholar

131 Catone (Act 3, scene ii).Google Scholar

132 Ipermestra (Act 3, scene iv).Google Scholar

133 ‘A new Serious Opera. Music by Giordani and other eminent Composers’; LS, iv/3, 1790. Daniel Heartz and Marita McClymonds date Traetta's contribution as ?1775 (GDO, iv, 778–9); however, Irena Cholij (GDO, ii, 426) gives 8 March 1774, claiming the work as a ‘collaboration’ between Giordani, Traetta and Vento.Google Scholar

134 ‘By Particular Desire’; LS, iv/3, 1802.Google Scholar

135 ‘By Particular Desire’; LS, iv/3, 1813.Google Scholar

136 The text is a bibliographical shambles, with catchwords relating to the wrong pages, page 23 misnumbered as page 33, and the copy is lacking pages 9–10. A second copy, GB-Ob Harding D4449(2), lacks the title page.Google Scholar

137 The copy has a paste-over advertising the score's sale at G. Smart's music shop.Google Scholar

138 Petty, 148, lists this version as being premiered on 8 March 1774; however, this is a new version.Google Scholar

139 ‘The Music by several eminent Masters; under the Direction of Giardini’; LS, v/1, 62.Google Scholar

140 US-SM La 60.Google Scholar

141 GB-Lbl 1714.b.39 (3).Google Scholar

142 As Berenice: F-Pc Ris. V.S. 728; also as Antigono: US-CAh Hollis TS 8054.512 1760.Google Scholar

143 GB-Lbl RB.23.a.8558.Google Scholar

144 GB-Lbl 907.i.16 (1).Google Scholar

145 Arr. Tommaso Giordani; with Hasse, Mattia Vento and Tommaso Traetta.Google Scholar

146 Arr. Tommaso Giordani; with Anon, Giordani, Jommelli, Sacchini, Tommaso Traetta, Mattia Vento.Google Scholar

147 Setting by an anonymous composer.Google Scholar

148 Setting by Giordani.Google Scholar

149 Setting by Giordani.Google Scholar

150 Setting by Giordani.Google Scholar

151 Setting by Giordani.Google Scholar

152 Setting by Traetta.Google Scholar

153 Set as a duet between Berenice and Demetrio.Google Scholar

154 Set as a duet between Berenice and Demetrio.Google Scholar

155 Set as a duet between Berenice and Demetrio.Google Scholar

156 Setting by Traetta.Google Scholar

157 This text and setting was apparently used by Monticelli in Hasse's setting of Alessandro nell'Indie (under the title of Cleofide) premiered in Venice in 1731, in the season when, according to BDL, x, 286–7, Monticelli was singing there. The song was published in London with heading Sung by Sig^r Monticelli nell Alessandro nell'Indie del Sig^r Hasse in THE Favourite SONGS in the OPERA Call'd ANTIGONO. By Sig^r Galuppi (GB-Lbl G. 191 (2)).Google Scholar

158 No copy of the printed libretto has been located; it seems from the publication information above that the aria was added to the opera between the preparation of the Larpent manuscript copy, and the performances.Google Scholar

159 Alessandro nell'Indie ([v.l] Act 1, scene ix); also used in Didone Abbandonata 1748 (Act 2, scene vii).Google Scholar

160 Catone in Utica (Act 3, scene ii).Google Scholar

161 Ipermestra (Act 3, scene iv).Google Scholar

162 Setting by Sacchini.Google Scholar

163 Setting by Traetta.Google Scholar

164 Setting by Vento.Google Scholar

165 Setting by Traetta.Google Scholar

166 Setting by Giordani.Google Scholar

167 Setting by Jomelli.Google Scholar

168 Setting by Giordani.Google Scholar

169 Setting by Traetta.Google Scholar

170 Setting by Giordani.Google Scholar

171 Setting by Giordani.Google Scholar

172 Setting by Giordani.Google Scholar

173 Setting by Traetta.Google Scholar

174 Also Attilio, 1762 (Act 3, scene v).Google Scholar

175 Winton Dean (GDO, ii, 632) gives 8 January 1734 as the first performance. ‘A New Opera. Their Majesties and three eldest Princesses present’; LS, iii/1, 355.Google Scholar

176 ‘Their Majesties, Duke, and three eldest Princesses present’; LS, iii/1, 357.Google Scholar

177 Benefit: [Margherita] Dursatanti. ‘All the Royal family expected to attend’; LS, iii/1, 381.Google Scholar

178 Issipile (Act 2, scene xii).Google Scholar

179 Attributed in BUCEM to Porpora; according to GDO, iii, 1066–7, Porpora set neither Arbaces nor Artaserse, although he contributed to a setting of the latter in 1721.Google Scholar

180 Semiramide (Act 2, scene vi).Google Scholar

181 His setting of ‘Si qual pace’.Google Scholar

182 ‘A New Opera. Pit and Boxes by Ticket at a half guinea. Gallery 5s. 6 P.M.‘; LS, iii/1, 426.Google Scholar

183 ‘Prince of Wales and Princess Amelia present’; LS, iii/1, 428.Google Scholar

184 Benefit: Carlo Broschi Farinello; LS, iii/1, 469.Google Scholar

185 Benefit: Carlo Broschi Farinello. ‘With an addition of several New Songs’; LS, iii/1, 565.Google Scholar

186 ‘Whereas the repetition of the Songs add considerably to the Length of the Opera, and which hath been much complain'd of, it is hoped that no Person will take it ill, if the Singers do not make any Repetition for the future’; LS, iii/1, 566.Google Scholar

187 Contains MS notes of variable accuracy.Google Scholar

188 Both this and the following edition contain two songs that do not appear in the 1734 or 1735 librettos, ‘Fortunate passate’ (attributed to Hasse) and ‘Quanto affanno o bell'aura’ (attributed to Porpora). However, their inclusion in the 1739 edition as keyboard arrangements of songs sung by Farinelli, and the claim in Delizie dell'Opera (1776: essentially a through-numbered reprint of the earlier Favourite Songs series) that they were both sung by Farinelli, suggests that a) there is a missing set of Favourite Songs from 1730s productions, and that b) both tunes were used in the 1730s. They may have been among the ‘several New Songs’ advertised as having been added for Farinelli's Benefit on 27 March 1736. The two texts were among the three added to the 1766 production which used mainly Hasse's music.Google Scholar

189 This text was included in all eighteenth-century London versions of Hasse's setting of Artaserse, and was retained by Bertoni in his 1779 version setting. However, Tenducci appears never to have sung the role of Arbaces on the stage.Google Scholar

190 The Daily Advertiser, 30 October 1743.Google Scholar

191 The Daily Advertiser, 13 March 1735.Google Scholar

192 Mrs Pendarves to Mrs Granville, 15 March 1735; LS, iii/1, 469.Google Scholar

193 See Coxe, W., Anecdotes of George Frederick Handel and John Christopher Smith (London, 1799), 44 and 64.Google Scholar

194 Michael Burden (GDO, iv, 426) notes that there is an overture in Coxe (see note 193) but this appears to be an error.Google Scholar

195 ‘A New Opera Composed by Hasse’; LS, iv/1, 406.Google Scholar

196 ‘a New English Opera, with music compos'd by Dr Arne. Characters new Dress'd’; LS, iv/2, 915.Google Scholar

197 Benefit; [Charlotte] Brent; LS, iv/2, 927.Google Scholar

198 ‘At the Particular Desire of several Persons of Quality’; LS, iv/2, 928.Google Scholar

199 ‘Books of the Opera to be sold at the Theatre’; LS, iv/2, 980.Google Scholar

200 Benefit: [Charlotte] Brent; LS, iv/2, 986.Google Scholar

201 Benefit: [Thomas Arne]; LS, iv/2, 988.Google Scholar

202 ‘By Command of their Majesties’; LS, iv/2, 989.Google Scholar

203 Benefit: [Giusto Ferdinando] Tenducci; LS, iv/2, 994.Google Scholar

204 Benefit: [Niccolo] Peretti; LS, iv/2, 996.Google Scholar

205 Benefit: [Charlotte] Brent; LS, iv/2, 1049.Google Scholar

206 Benefit: [Giusto Ferdinando] Tenducci; LS, iv/2, 1056.Google Scholar

207 Benefit: [Niccolo] Peretti; LS, iv/2, 1058.Google Scholar

208 Benefit: [Charlotte] Brent; LS, iv/2, 1108.Google Scholar

209 Benefit: [George] Mattocks; LS, iv/2, 1110.Google Scholar

210 Benefit: [Giusto Ferdinando] Tenducci; LS, iv/2, 1113.Google Scholar

211 Benefit: [Charlotte] Pinto [nee Brent]; LS, iv/2, 1392.Google Scholar

212 Benefit: [Giulia] Frasi; LS, iv/2, 1412.Google Scholar

213 Benefit: [George] Mattocks; LS, iv/2, 1468.Google Scholar

214 Benefit: [Frederick] Reinhold. ‘By Particular Desire’; LS, iv/2, 1474.Google Scholar

215 Benefit: [Jane] Thompson [nee Pokier]; LS, iv/2, 1538.Google Scholar

216 Benefit: [Frederick] Reinhold. ‘By Particular Desire’; LS, iv/2, 1627.Google Scholar

217 Benefit: [Ann] Catley; LS, iv/2, 1709.Google Scholar

218 Benefit: [George] Mattocks; LS, iv/2, 1711.Google Scholar

219 Benefit: {Miss} Baker; LS, iv/2, 1719.Google Scholar

220 Benefit: [Isabella] Mattocks; LS, iv/2, 1794.Google Scholar

221 Benefit: [Mary] Jameson; LS, iv/2, 1800.Google Scholar

222 Benefit: [Frederick] Reinhold; LS, iv/2, 1886.Google Scholar

223 ‘Under the direction of Dr Arne’; LS, iv/2, 1922.Google Scholar

224 ‘By Desire of Several Persons of Distinction’; LS, iv/2, 1953.Google Scholar

225 Benefit: [Isabella] Mattocks; LS, iv/2, 1963.Google Scholar

226 Benefit: [Michael] Leoni; LS, iv/2, 1794.Google Scholar

227 ‘With Mrs Farrell's new air, with recitative, composed by Dr. Arne’; The Public Advertiser, 24 January 1777. ‘The orchestra will be considerably augmented’; LS, v/1, 54.Google Scholar

228 Benefit: [Ann] Catley; LS, v/1, 64.Google Scholar

229 Benefit: [Frederick] Reinhold; LS, v/1, 73.Google Scholar

230 Since this was the only performance of the opera this season, it is possible that it was staged only to launch the career of {Miss} Twist at Covent Garden, who appears to have been a pupil of Thomas Arne's; see The Morning Post, 9 January 1778, and BDL, xv, 69.Google Scholar

231 Benefit: [Michael] Leoni; LS, v/1, 247.Google Scholar

232 Benefit: [Margaret] Kennedy; LS, v/1, 327.Google Scholar

233 Benefit: W[illiam] Bates and {Miss} Ambrose; LS, v/1, 247.Google Scholar

234 Benefit: [Margaret] Matyr; LS, v/1, 427.Google Scholar

235 Benefit: [Margaret] Kennedy; LS, v/2, 972.Google Scholar

236 ‘With Dresses and Decorations entirely new’; LS, v/2, 1023.Google Scholar

237 Benefit: [Michael] Kelly; see Boaden, James, Memoirs of the Life of John Philip Kemble (London, 1825), i, 391.Google Scholar

238 Benefit: [Elizabeth] Billington; LS, v/2, 1061.Google Scholar

239 Benefit: [Gertrud] Mara; LS, v/2, 1069.Google Scholar

240 ‘With new Dresses and Decorations’; LS, v/2, 1406.Google Scholar

241 ‘On account of the great number of Ladies and Gentleman who have not been able to obtain places for ARTAXERXES, Mme Mara has very obligingly consented to appear this Present as well as To-morrow evening, being positively the Last Nights of her performing before her departure for Italy’; LS, v/2, 1406.Google Scholar

242 Benefit: [Gertrud] Mara; LS, v/3, 1549.Google Scholar

243 ‘Books of the Opera to be had at the Theatre’; LS, v/3, 1855.Google Scholar

244 Artaxerxes: [Elizabeth] Clendinning [nee Arnold]; LS, v/3, 1857.Google Scholar

245 Benefit: [Gertrud] Mara; LS, v/3, 1863.Google Scholar

246 Listed as ‘2nd time this season’, but no earlier performance can be traced.Google Scholar

247 See Michael Kassler ed., Charles Edward Horn's Memoirs of his Father and Himself (Aldershot, 2003), 61, for mention of this performance.Google Scholar

248 With Mr Pyne.Google Scholar

249 Benefit: the Misses Dennett; Playbill, US-HA.Google Scholar

250 The Times for both 12 and 26 March states that: ‘The performances will commence with the grand anthem “O be joyful, ” arranged to Dr. Arne's favourite Overture to Artaxerxes, by Dr. Arnold …‘Google Scholar

251 James Winston records that this performance—plus the after piece Shakespeare versus Harlequin—took 2 hours and 10 minutes. See Arthur L. Nelson and Gilbert B. Cross eds., Drury Lane Journal: Selections from James Winston's Diaries 1819–1827 (London, 1974), 8.Google Scholar

252 Royal Command Performance. Artaxerxes ([Lucia Elizabeth] Vestris); Arbaces ([John] Braham); and Mandane (Miss Wilson). Nobles, guards, attendants. “The King's Room was fitted up to the reception of His Majesty. Johnstone and Brooks lent chandeliers, lamps, candlesticks, etc., to the amount of £1, 300. The room, stairs, etc., were laid over with drugget, and the King came up the winding stairs near the treasury. He arrived with the Dukes of York and Clarence seventeen minutes before seven and remained in his room until the full seven oclock. A few in the house endeavoured to oppose him, but his reception [was] everything that he could wish [for]. ”God Save the King“ sung before, between, and after play, and ”Rule Britannia“ sung just before the farce. He retired a few minutes after eleven, the performance being over.' Nelson and Cross, Drury Lane Journal, 25.Google Scholar

253 Benefit: Russell; Playbill: US-OHs SPEC.TRI.PLAYBILLS.49.Google Scholar

254 Benefit: Wallack, Nelson and Cross, The Drury Lane Journal, 31.Google Scholar

255 ‘Mr. Elliston persisted in announcing Artaxerxes, although Braham said yesterday he could not perform.‘ Nelson and Cross, The Drury Lane Journal, 82.Google Scholar

256 Playbill, US-HA.Google Scholar

257 Playbill, US-HA.Google Scholar

258 Royal Command Performance; The Times, 20 June 1827.Google Scholar

259 Introduction of a new soprano. Miss Hughes, as also 27 and 30.Google Scholar

260 Royal Command Performance; The Times, 6 February 1828.Google Scholar

261 Benefit: Madame Feron; The Times, 30 March 1828.Google Scholar

262 Benefit: Mr Cooper; Playbill, US-HA.Google Scholar

263 Performed by a cast of children.Google Scholar

264 Artaxerxes was one of the few English operas that travelled; this included Charles Edward Horn's arrangement which opened in New York on 31 January 1828. See Mattfield, Julius, A Hundred Years of Grand Opera in New York 1825–1925; a Record of Performances (New York, 1927), 41.Google Scholar

265 This first edition of the libretto was published in 1761, well in advance of the premiere, suggesting that there may well have been an earlier first performance intended. Clifford Bartlett postulates that the opera was deferred because of the necessity of finding a replacement for Mrs Vernon in the role of Semira; she withdrew from the stage around this time because of ‘marital irregularities’. (Clifford Bartlett, Introduction to Thomas Arne, Artaxerxes (London, 1762; facsimile Cambridge, 1986), p. i). Bartlett's hypothesis is borne out by the dramatis personae in this copy of the libretto (US-NH Rare ML50.2 A78 A748) in which Mrs Vernon's name is struck out and that of Miss Thomas substituted.Google Scholar

266 Miss Thomas sang Semira in the performances.Google Scholar

267 ‘Arbanes’ in this dramatis personae.Google Scholar

268 Bookplate of Robert Finch.Google Scholar

269 An otherwise unrecorded partnership between William Griffin and Kearsley.Google Scholar

270 ESTC dates this at 1763.Google Scholar

271 This is not Elizabeth Miller, for she married Thomas Baker in 1764, while the ‘Miss Miller’ who was working at Covent Garden during this period is only recorded in spoken roles.Google Scholar

272 Frontispiece shows Miss Phillips as Mandane.Google Scholar

273 Imprint does not otherwise appear. Thomas and William Lowndes, however, did team up with Condell to publish the 1783 edition of William O'Brien's two act farce, Cross Purposes.Google Scholar

274 Has plate of Act 1, scene i.Google Scholar

275 Has plate of Act 3, scene ii with Elizabeth Billington as Mandane.Google Scholar

276 Later Mrs George Colman the first; BDL, x, 321–2 records no roles after 1784 for her, so the identification here is open to question.Google Scholar

277 However, the ESTC lists this copy as being published by William Lowndes, and does not record this imprint.Google Scholar

278 Has plate of Michael Leoni as Arbaces.Google Scholar

279 Includes 1761 preface.Google Scholar

280 See note to Dublin, 1792.Google Scholar

281 The firm of J Whitaker was also part owned by James Satcherd and Charles Law.Google Scholar

282 Includes 1761 preface.Google Scholar

283 Seems to be 1792 with a new cover; indeed, the new cover is slightly larger which suggests that the pages were left overs from the previous printing.Google Scholar

284 Texts only; contains Act 1: ‘Fair Aurora prithee stay’; ‘Adieu, thou lovely youth’; ‘Amid a thousand racking woes’; ‘Behold, on Lethe's dismal strand’; ‘Fair Semira, lovely maid’; ‘How hard is the fate’; ‘Thy father, away!'; ‘Lost in anxious doubts, tormenting'; ‘O too lovely, too unkind’. Act 2: ‘In infancy our hopes and fears’; ‘Disdainful you fly me’; ‘If o'er the cruel tyrant’; ‘Monster away from cheerful day’; ‘Thou like the glorious sun’. Act 3: ‘Water parted from the sea’; ‘Let not rage thy bosom firing’; ‘For thee I live my dearest’; ‘The soldier tir'd’.Google Scholar

285 Frontispiece of Mrs Billington.Google Scholar

286 The printing has a frontispiece of Mrs Billington as Mandane, but misattributed to [Martha ‘Maria‘] Dickons [nee Poole]; see the same plate in c.1825, and the portrait of Mrs Billington in GB-Ob 17405.f.86.Google Scholar

287 And sold by Mrs Chapman.Google Scholar

288 The plate in the front of the edition shows Mr Sinclair in the role.Google Scholar

289 Includes plate of Mrs Billington as Mandane.Google Scholar

290 Includes plate of Miss Paton as Mandane.Google Scholar

291 Contains an engraving of Miss Love as Arbaces.Google Scholar

292 Contains an engraving of ‘a drawing taken in the theatre during representation’.Google Scholar

293 Numerous single songs from Artaxerxes were published; only those that appeared in collections from the opera are listed here.Google Scholar

294 Act 1 paginated 16–86; Act 2 paginated 1–46; Act 3 paginated 132–96.Google Scholar

295 The oboist William Parke, claimed that Arne received £60 for the sale of the music in 1763; William Parke, Musical Memoirs (London, 1830), i, 325. Parke's date of 1763 is probably an error.Google Scholar

296 Book plate has the signature of Richard Ripley.Google Scholar

297 A re-issue of [1762] (Ob Tenbury Mus. c.58) with Act 2 paginated correctly.Google Scholar

298 The only time she appears to have sung this opera was in 1796.Google Scholar

299 Contains Mara's signature.Google Scholar

300 ‘Muzio’ is stamped over ‘Longman’.Google Scholar

301 US-NYp dates this score to 1762, but the firm which became known as Clementi and Co. began in 1800 after Clementi reestablished a firm after the bankruptcy of Longman and Borderip.Google Scholar

302 The numbers which lack Arne's name also lack an engraved heading and have only the performers' names. It appears that those with engraved headings were released separately as song sheets, apart from the last number which appears to be a print of an entirely separate engraving. The whole score is through numbered in a single sequence.Google Scholar

303 Signature of Lady Froley(?) on title page.Google Scholar

304 ‘a new edition with the tenor cliff transposed.‘Google Scholar

305 This score has a RISM number because US-NYp have dated the score to the 1760s.Google Scholar

306 Possibly Thomas, who was active during this period in various partnerships including Mayhew and Lee, and Phillips, Mayhew and Co; this partnership is not otherwise recorded.Google Scholar

307 In this instance, a selection of the numerous comments has been made.Google Scholar

308 [Thomas Arne?], Preface to Artaxerxes (London, 1761).Google Scholar

309 The Gentleman's Magazine, 33 (1763), 97.Google Scholar

310 William Hopkins as quoted in LS, iv/2, 1364.Google Scholar

311 [Anon.], A B C Dario Musico (Bath, 1780), 5.Google Scholar

312 Jane Austen to Cassandra Austen, 5 March 1814; The Letters of Jane Austen, ed. Edward, Lord Brabourne (London: 1884), 229–30.Google Scholar

313 For the year 1779; Mark Argent ed., Recollections of R.J.S Stevens, an Organist in Georgian London (London, 1992), 131.Google Scholar

314 Gridiron Gabble, Green Room Gossip (London, 1808), 120–1.Google Scholar

315 The Theatrical Observer, no. 357, 8 January 1823, 1–2.Google Scholar

316 The Theatrical Observer, no. 2119, 25 September 1828, 1.Google Scholar

317 The Theatrical Observer, no. 2523, 13 January 1830, 1.Google Scholar

318 ‘By Command of their Majesties’; LS, iii/2, 1154.Google Scholar

319 A rather odd choice; Savoi had only a moderate competence, and during the 1767–8 season at the King's Theatre was employed as the ‘second man’ for serious opera. BDL, xiii, 222.Google Scholar

320 Costumes: Thomas Luppino.Google Scholar

321 A third performance, scheduled for 11 February, did not take place: Guadagni and Cornelys were arrested that morning for being involved in an unlicensed performance; for one account of these performances, see Summers, Judith, Empress of Pleasure: The Life and Adventures of Teresa Cornelys - Queen of Masquerades and Casanova's Lover (London, 2003), 210–30. For an account of the lawsuit to which this staging gave rise to, see Howard, Patricia, ‘Guadagni in the Dock: a Crisis in the Career of a Castrato’, Early Music, 27 (1999), 87–95.Google Scholar

322 Benefit: [Gaetano] Guadagni. ‘GRAND CONCERT of Vocal and Instrumental Music. Directed by Giardini, in which will be perform'd the Whole of the Music compos'd by Vento for the Harmonical Meeting; besides which Guadagni will sing between the acts a New Song on purposely compos'd by him for Vento; and one by Hasse’; LS, iv/3, 1540.Google Scholar

323 The ‘present opera’ appears to refer to that version performed on 17 April.Google Scholar

324 The page numbers are in two sequences (here expressed as 1/ and 2/); the second sequence includes the songs apparently not sung in Soho Square.Google Scholar

325 Semiramide (Act 2, scene vi).Google Scholar

326 Text from Semiramide, not otherwise set by Mattia Vento.Google Scholar

327 Quoted in Judith Summers, The Empress of Pleasure (London, 2003), 224.Google Scholar

328 ‘A New Serious Opera. Music by Several eminent composers, executed under the direction of Giordani’; LS, iv/3, 1626. First night deferred from 21 April owing to Millico's illness; The Public Advertiser, 22 April 1772.Google Scholar

329 ‘By Command of their Majesties’; LS, iv/3, 1631.Google Scholar

330 ‘By Command of their Majesties’; LS, iv/3, 1634.Google Scholar

331 ‘By the Particular Desire of several of the Nobility, subscribers who are going out of town, who desire the above mentioned to be performed instead of La Buona Figliuola, which is deferr'd until next week’; LS, iv/3, 1634.Google Scholar

332 ‘By Command of their Majesties. In Artaserse will be introduced the celebrated duet composed by Vinci’; LS, iv/3, 1638.Google Scholar

333 ‘N.B. The above opera is oblig'd to be perform'd this day instead of Saturday on account of the preparations making for the entertainment given the Knight of the Bath’; LS, iv/3, 1646.Google Scholar

334 ‘By Particular Desire’; LS, iv/3, 1682.Google Scholar

335 ‘By Command of their Majesties’; LS, iv/3, 1684.Google Scholar

336 ‘By Command of their Majesties’; LS, iv/3, 1686.Google Scholar

337 Benefit: [Giuseppe] Millico; LS, iv/3, 1697.Google Scholar

338 Benefit: [Maria Antonia] Girelli. ‘In the Above Opera Sga Girelli will sing four new airs, one of which, at the end of Act 2, will be accompanied on the French Horn by the celebrated M Spandau’; LS, iv/3, 1703.Google Scholar

339 Benefit: [Simon] Slingsby; LS, iv/3, 1716.Google Scholar

340 ‘By Particular Desire’; LS, iv/3, 1733.Google Scholar

341 Libretto indicates that ‘Non ti son padre, non mi sei figlio’; ‘Figlia ascolta di padre il comando’; ‘Se d'un amor tiranno’; ‘Oh dei, che affanno e questo!'; ‘Mi credi spietata’ were not set by Giordani.Google Scholar

342 Edition has the following new texts as paste-overs, with corresponding English prose texts: ‘Se soffre allor che s'ama’ (10–11), ‘Se da me stessa imparo’ (16–17), ‘Da mille affanni oppressa’ (24–5), ‘Velo l'obia del figlio innocente’ (34–5).Google Scholar

343 However, it seems unlikely that this cast ever performed the opera. GB-Ob Harding D 2443 (5) has a set of paste-overs, one of which gives the cast—with Mandane ([Maria Antonia] Girelli Aguilar); Semira and Megabise ([Leopoldo De] Micheli)—which also appears in 1773 GB-Ob Harding D 2443 (7). Although Cecilia Grassi was still singing, her performances in Demetrio in June 1772 were her last on stage; she was on the verge of marrying J.C. Bach, after which event she sang only once again in public, and that in a concert of her husband's on 26 April 1776; see BDL, vi, 312. Further, the identity of ‘Signora Giordani’ is obscure. Tommaso's mother Antonia, the singer Signora Giuseppe Giordani died in 1764, and Tommaso himself, the only son, did not marry until 1784. Tommaso's twio sisters, Mairna and Nicolina, were both singers too, but Marina seems to have ceased to performed after about 1767. The only possibility seems to be that Nicolina had been planning to sing it under an assumed married state; see BDL, vi, 215–22.Google Scholar

344 Copy not in CS.Google Scholar

345 Libretto gives ‘Non ti son padre, non mi sei figlio’ (J.C. Bach); ‘Figlia ascolta di padre il comando’ (Gusman); ‘Se d'un amor tiranno’ (Vento); ‘Oh dei, che affanno e questo!’ (Sarti); ‘Mi credi spietata’ (Vento). The libretto also gives ‘Conservati fedele’ (Majo), a number attributed to Giordani in 1772.Google Scholar

346 Edition corrects all the paste-overs found in GB-Ob Harding D 2443 (5), above.Google Scholar

347 BUCEM notes two versions in GB-Lbi. Hirsch II. 256, and G. 666. The versions differ only in the ordering of Bremner's publications.Google Scholar

348 RISM A/I/3: G 2098 incorrectly attributes Thomas Arne's setting of ‘For thee I live my dearest’ to Giordani, and to this version of the opera.Google Scholar

349 Edward Piggott, MS dairy in the Beinecke Library, Yale University; in Elizabeth Gibson, ‘Edward Pigott: Eighteenth-Century Theatre Chronicler’, Theatre Notebook, 42/2 (1988), 65.Google Scholar

350 ‘A new Serious Opera. The Music by Giordani and other eminent composers. With alterations and new songs for Miss Davies’; LS, iv/3, 1814. The involvement of Giordani suggests that this may be the same opera as that premiered on 25 April.Google Scholar

351 Cast: Mandane? ([Cecilia] Grassi); Arbace? ([Giuseppe] Millico), and Semira? (Cecilia Davies); plus {Sig.} Schiroli and {Sig.ra} Marchetti; LS, iv/3, 1814.Google Scholar

352 ‘A new Serious Opera. The Music entirely new by Bertoni’; LS, v/1, 230.Google Scholar

353 The copy consulted is not in CS.Google Scholar

354 C. Gilbert to Elizabeth Harris, 19 November 1754; Donald Burrows and Rosemary Dunhill, Music and Theatre in Handel's World: the Family Papers of James Harris 1732–1780 (Oxford, 2002), 1003.Google Scholar

355 The Morning Chronicle, 25 January 1779, 2.Google Scholar

356 Fanny Burney, Cecilia; or. Memoirs of an Heiress, ed. A.R. Ellis (London, 1882), i, 60–62.Google Scholar

357 ‘A Serious Opera; originally written by Metastasio; the Music selected from the most eminent Composers, under the direction of Cherubini’; LS, v/2, 788.Google Scholar

358 Performed instead of La finta principessa, advertised in The Public Advertiser, 18 April 1785.Google Scholar

359 Benefit: [Simon] Slingsby; LS, v/2, 790.Google Scholar

360 There is no trace of a ‘J. Garland’ publishing in London in 1785. However, a ‘Jane Garland’ was released from an apprenticeship by the Stationers in 1778 and may be the ‘J. Garland’ recorded in partnership with Richard Brusby; the firm published two operas, Orione and Telemaco, both in 1777.Google Scholar

361 ‘1st appearance in this country’; LS, v/2, 788.Google Scholar

362 The London Magazine, 2 (January-June 1785), 302–3; verbatim in The Hibernian Magazine, 15 (1785), 259.Google Scholar

363 As Arbace; GB-En Nha.T49 (4).Google Scholar

364 GB-Lbl 11714.aa.21 (12).Google Scholar

365 GB-Lbl 639.d.22 (2).Google Scholar

366 US-SM La 106.Google Scholar

367 GB-Lbl 1608/4555 (8).Google Scholar

368 Semiramide (Act 2, scene vi).Google Scholar

369 Issipile (Act 2, scene xii).Google Scholar

370 In Celebrated Songs GB-Lbl g.444 only.Google Scholar

371 No libretto published; songs taken from GB-Ob Mus.22.c.49 (3).Google Scholar

372 GB-Ob Harding D 2443 (5); also 1773: GB-Ob Harding D 2443 (7).Google Scholar

373 GB-Ob Harding D 2446 (5).Google Scholar

374 D-Hs MS 600/3, Nr 5.Google Scholar

375 The last two songs in the volume—'Mi credi spietata?’ and ‘Se d'un amor tiranno'—appear to be the two which were not performed in this version, but were from ‘another current’ version.Google Scholar

376 An asterisk indicates that this was not set by Giordani.Google Scholar

377 The last two songs in the volume—'Mi credi spietata?’ and ‘Se d'un amor tiranno'—appear to be the two which were not performed in this version, but were from ‘another current’ version.Google Scholar

378 An asterisk indicates that this was not set by Giordani.Google Scholar

379 Text is a paste-over of ‘Bramar di perdere per troppo affetto’.Google Scholar

380 Text is a paste-over of ‘Provera d'amante irata’.Google Scholar

381 Starred as not set by Giordani.Google Scholar

382 Text is a paste-over of ‘Alma dal dudo oppressa’.Google Scholar

383 Text is a paste-over of'Figlio, se più non vici'.Google Scholar

384 US-NH Rare ML50.2 A78 A748; also 1764: GB-Ob Harding 292; 1762: GB-Lbl 1342 k.22.Google Scholar

385 GB-Ob Vet. A4 e.831; also 1764: GB-Ob M.adds. 108 f.104 (5); 1764: GB-Ob Vet. A5 e.4800; 1764: Dublin GB-Lbl 1342 k.36; 1765: GB-Ob M.adds 108 e.105 (2); 1765: GB-Ob Vet. A5 f.677 (5); 1765 Dublin: GB-Lbl 1488 c.31; 1766: GB-Ob Vet. A5 f.1108 (3); 1780: GB-Ob Vet. A5 e.1498 (16); 1790? Dublin: GB-Cu Hib.7.790.61; c.1792 Dublin: GB-Cu Hib.7.792.25.Google Scholar

386 GB-En L. C. 175 (2).Google Scholar

387 GB-Ob D 2415 (6); also 1807: GB-Lbl 1509/487.Google Scholar

388 GB-Ob 293; also 1787: GB-Ob Vet. A5 e.2739.Google Scholar

389 GB-Ob 17405 e.151 (3).Google Scholar

390 US-Wc PR 1241.L6 v.218 no. 3 (Longe Coll).Google Scholar

391 Translation of ‘L'onda dal mar divisa’.Google Scholar

392 'When Dr Arne first brought the Opera of Artaxeres to a rehearsal, Tenducci sung [sic] the Air “Water parted from the Sea” with such effect that Miss Brent (afterwards Mrs. Pinto) for whom the part of Mandane was composed, flew to Dr Arne with some violence, and told him “he might get whom he pleas'd to take Mandane; because he had given the best air in the piece to Tenducci.”’ According to the anecdote the situation was resolved by Arne who sat down, and wrote the words and then the music to ‘Let not rage thy bosom firing;’ Brent was reported pleased with it because of the aptness of the text to her behaviour. James Haslewood, Green Room Gossip (London, 1808), 120–1.Google Scholar

393 Editions not seen which may contain yet more variants: G. Kearsley and W. Griffin, 1768: US-AUS ML 50.2 A713 A764 1768B HRC-TA [nESTC]; T. Lowndes … and J. Condell …; 1776: US-AUS ML 50.2 A713 A764 1776 HRC-TA] [nESTC]; C. Lowndes, 1792: US-HOUr Axson ML50.2 A7 A7 1792 [ESTC N4884].Google Scholar

394 Tune: Braes of Balandene.Google Scholar

395 Tune: Roslin Castle.Google Scholar

396 Tune: Lochaber no more.Google Scholar

397 GB-Lbl 1324 k.39.; also 1802: GB-Lbl T 1605 (4). The contents of this libretto are a composite text of versions performed at Drury Lane and Co vent Garden.Google Scholar

398 GB-Ob D 244.Google Scholar

399 GB-Ob 3862 f.31; also 1825: GB-Ob Shuttleworth 218 (2).Google Scholar

400 GB-Lbl 2304.a.1; also 1840: US-PRu TC023 (Playbooks Collection) Box 4.Google Scholar

401 GB-Ob M.adds 111 f.174; also 1840: GB-Lbl 642 A 10.Google Scholar

402 US-CnY 134.65 no. 118.Google Scholar

403 Performed at Drury Lane only.Google Scholar

404 Performed at Covent Garden only.Google Scholar

405 Translation of ‘L'onda dal mar divisa’.Google Scholar

406 See note 392 above.Google Scholar

407 Performed at Covent Garden only.Google Scholar

408 New scene division at Covent Garden only.Google Scholar

409 Editions not seen which may contain more variants: J. Roach, 1802: US-HA PL82a; J.H. Starie, [nineteenth-century?—title page missing]: US-CAh Hollis 1720319; William Barth, [1840?]: US-COStcl M50.A734 A7 1840; J. Roach, [n.d.]: US-PRu. NJPG89-B46987.Google Scholar

410 Tune: Braes of Balandene.Google Scholar

411 Tune: Roslin Castle.Google Scholar

412 Tune: Lochaber no more.Google Scholar

413 Labelled in the libretto ‘bravura’ for Elizabeth Billington.Google Scholar

414 GB-Lbl RM 11.d.18.Google Scholar

415 ‘A New Opera. First performance in England. The Musick composed by Jomelli’; LS, iv/1, 422.Google Scholar

416 Benefit: [Francesco] Vanneschi; LS, iv/1, 427.Google Scholar

417 ‘From Sig^r- Francesco Vanneschi, Manager of the Operas’; US-SM La 113.Google Scholar

418 Ciro riconoscuito (Act 3, scene x).Google Scholar

419 Opera title added in hand.Google Scholar

420 Ciro riconoscuito (Act 3, scene x).Google Scholar

421 Burney, iv, 463, note (z).Google Scholar

422 ‘Serious Opera. Music by Jomelli’; LS, iv/2, 939.Google Scholar

423 ‘There will be no Opera on Saturday next, being Whitsunday eve’; LS, iv/2, 941.Google Scholar

424 Dedicated to Arthur, Duke of Wellington.Google Scholar

425 Joseph Lunn, Amor Patriea (London, 1823), note; see The Morning Herald, 14 June 1822Google Scholar

426 US-SM La 113.Google Scholar

427 US-LAuc ML50.2.P325 G2 1754.Google Scholar

428 US-CAh Hollis 008007106–5.Google Scholar

429 Crossed out.Google Scholar

430 Ciro riconoscuito (Act 1, scene iii).Google Scholar

431 US-SM La 113 leaves a gap at this point, but cues Amileare.Google Scholar

432 Adriano in Siria (Act 1, scene iii).Google Scholar

433 US-SM La 113 leaves a gap at this point, but cues Attilio.Google Scholar

434 See ‘Deh non oscuri mai’ from the printed 1754 text.Google Scholar

435 Zenobia (Act 2, scene i).Google Scholar

436 Temistocle (Act 3, scene v).Google Scholar

437 Included in what otherwise appears to be a long cut.Google Scholar

438 Antigono (Act 3, scene vii).Google Scholar

439 Ciro riconoscuito (Act 3, scene x).Google Scholar

440 Semiramide ([v.1] (Act 1, scene xiii).Google Scholar

441 Demetrio (Act 2, scene xii).Google Scholar

442 Artaserse (Act 3, scene v).Google Scholar

443 Olimpiade (Act 3, scene iii).Google Scholar

444 ‘A New Opera. Pit and Boxes at half a guniea. Their Majesties, Prince, and three eldest Princesses present’; LS, iii/1, 243.Google Scholar

445 ‘Their Majesties, Prince, and three eldest Princesses present’; LS, iii/1, 244.Google Scholar

446 Hasse's Dalisa, for Venice, 1730.Google Scholar

447 Porpora's Siface for Rome, 1730.Google Scholar

448 Demetrio (Act 1, scene iii).Google Scholar

449 Alessandro nell'Indie (Act 2, scene xi).Google Scholar

450 Irene (no. 2).Google Scholar

451 Artaserse (Act 1, scene xv); Vinci's setting for Rome, 1730.Google Scholar

452 Irene (no. 2).Google Scholar

453 Demetrio (Act 1, scene iii); Hasse's setting for Venice, 1732.Google Scholar

454 Artaserse (Act 1, scene xv); Vinci's setting for Rome, 1730.Google Scholar

455 Lord Hervey to Stephen Fox, 4 December 1732. Lord Hervey and his Friends, ed. Earl of Ilchester (London, 1950), 145–6.Google Scholar

456 The Daily Advertiser, 6 November 1732.Google Scholar

457 GB-Lbl 639.d 19(6).Google Scholar

458 Hasse's Dalisa, for Venice, 1730.Google Scholar

459 Porpora's Siface for Rome, 1730.Google Scholar

460 Vivaldi's setting of Ipermestra for Florence, 1727?, but text not by Metastasio.Google Scholar

461 Demetrio (Act 1, scene iii).Google Scholar

462 Alessandro nell'Indie (Act 2, scene xi).Google Scholar

463 Irene (no. 2).Google Scholar

464 Artaserse (Act 1, scene xv); Vinci's setting for Rome, 1730.Google Scholar

465 Barbara Small, NG2, xxiii, 754, also lists MS copies of two arias in J-Tn, currently inaccessible.Google Scholar

466 Used by Smith in his incidental music to Garrick's version of Shakespeare's The Tempest, DL: 11 February 1756.Google Scholar

467 The volumes of this copy have stamped leather bindings of Henry Dashwood.Google Scholar

468 ‘A new Opera, the music newly compos'd by Sig. Cocchi. With New Decorations and New Dances’; LS, iv/2, 707.Google Scholar

469 Benefit: British Lying-in Hospital for Married Women on Bronlow St.; LS, iv/2, 725.Google Scholar

470 Benefit: [Giuseppe] Forti and {Sig.ra} Forti; LS, iv/2, 731. LS states that this was a charity benefit for the singers whose costumes had been seized by the French.Google Scholar

471 This is as it appears in the libretto; however, to avoid confusion with the earlier Francesco Bernadi more frequently called Senesino, it has not otherwise been used in this catalogue to refer to Tenducci.Google Scholar

472 Siroe re di Persia (Act 1, scene xvii).Google Scholar

473 BUCEM suggests there was a second issue of this anonymously; see 192.Google Scholar

474 ‘A New Tragedy never perform'd’; LS, iv/3, 1372.Google Scholar

475 [James?] Perry replaces [Matthew] Clarke as Astyages; LS, iv/3, 1396.Google Scholar

476 New cast members: Cyrus [Richard] Wroughton; Officer R[ichard] Smith; LS, iv/3, 1433. BDL, xiv, 155–7, describes him as a ‘utility actor’ or a ‘walking gentleman’.Google Scholar

477 [Joseph] Fox replaces [Thomas Dibble] Davis as Mirza; LS, iv/3, 1448.Google Scholar

478 Benefit: Mrs Mattocks. ‘[Thomas Dibble] Davis replaces [Joseph] Fox as Mirza’; LS, iv/3, 1446.Google Scholar

479 ‘New cast members: [John Horatio] Savigny takes over as Cyrus, [Joseph] Fox as Mirza’; LS, iv/3, 1515.Google Scholar

480 ‘[James?] Perry replaces [Matthew] Clarke as Astyages’; LS, iv/3, 1516.Google Scholar

481 ‘[Matthew] Clarke replaces [James?] Perry as Astyages’; LS, iv/3, 1517.Google Scholar

482 Benefit: [Mary Ann] Yates. ‘Part of the pit laid into Boxes. Ladies send servants by 4 o'clock’; LS, iv/3, 1534.Google Scholar

483 ‘By particular desire’; LS, iv/3, 1546.Google Scholar

484 ‘By Desire’; LS, iv/3, 1587.Google Scholar

485 ‘Man and Wife oblig'd to be deferr'd on account of Indisposition of Mrs Green’; LS, iv/3, 1604.Google Scholar

486 Benefit: [Charles] Sarjant; LS, iv/3, 1636.Google Scholar

487 New cast members: Cyrus [John] Brunton; making his debut. Mirza and Officer not listed. ‘Not acted these two year’; LS, iv/3, 1800.Google Scholar

488 New cast members: Cyrus ([Willoughby] Lacy; Hopkins diary quoted in LS, iv/3, 1959–1960 reports that he spoke ‘too low and marked’ but ‘was received with applause’), Astyages ([John?] Palmer), Harpagus ([John Hayman] Packer), Mirza ([John] Whitfield), Officer (Norris), Aspasia ([Elizabeth] Hopkins [later Mrs Michael Sharp]).Google Scholar

489 New cast members: Cyrus ([Joseph George] Holman), Cambyses ([William] Farren), Astyages ([John Richards called] Richardson), Mithranes ([Thomas] Hull), Harpagus ([George Davies] Harley), Mandane ([Mary Ann] Yates [nee Graham]); Mirza and Officer omitted from the bills. Benefit: [Elizabeth] Hull and [William] Hopkins; LS, v/3, 1650.Google Scholar

490 Application 20 November 1768: ‘Sir, This Tragedy is intended to be perform'd at the Theatre Royal in Covent Garden with the permission of The Right Honourable The Earl of Hertford. y^r most humble serv^t G. Colman Nov^br 20^th 1768.‘Google Scholar

491 Davies does not appear on the playbill.Google Scholar

492 However, playbill lists [Jane] Lessingham [née Hemet, formerly Mrs John Stott] in this role until the performance of December 8.Google Scholar

493 Davies does not appear on the playbill.Google Scholar

494 However, playbill lists [Jane] Lessingham [née Hemet, formerly Mrs John Stott] in this role until the performance of December 8.Google Scholar

495 Davies does not appear on the playbill.Google Scholar

496 However, playbill lists [Jane] Lessingham [nee Hemet, formerly Mrs John Stott] in this role until the performance of December 8.Google Scholar

497 Davies does not appear on the playbill.Google Scholar

498 However, playbill lists [Jane] Lessingham [nee Hemet, formerly Mrs John Stott] in this role until the performance of December 8.Google Scholar

499 Davies does not appear on the playbill.Google Scholar

500 However, playbill lists [Jane] Lessingham [nee Hemet, formerly Mrs John Stott] in this role until the performance of December 8.Google Scholar

501 Francis Gentleman, ‘Cyrus, a tragedy, by Mr Hoole’, in The Dramatic Censor (London, 1770), i, 216–38 [GB-Ob Mal E. 151, 152].Google Scholar

502 D-Hs M A/668; from the MS score, no printed libretto available.Google Scholar

503 GB-Lbl 1608/4555 (5).Google Scholar

504 Allocated to Man. and Cir. in GB-Lbl 1608/4555 (5).Google Scholar

505 La Galatea (pt. 1).Google Scholar

506 Siroe re di Persia (Act 2, scene v).Google Scholar

507 Alessandro nell'lndie (Act 2, scene xv).Google Scholar

508 Siroe re di Persia (Act 1, scene xvii).Google Scholar

509 ‘A New Opera’; LS, iii/2, 656.Google Scholar

510 Dedicated to Lady Walpole.Google Scholar

511 ‘A New Opera, with the Addition of a new Singer. Music by Cocchi’; LS, iv/2, 769.Google Scholar

512 ‘Sg Cornacchini is recovered of his cold and will sing this evening’; LS, iv/2, 775.Google Scholar

513 Benefit: [Colomba] Mattei; LS, iv/2, 776.Google Scholar

514 Benefit: General Lying-in Hospital; LS, iv/2, 794.Google Scholar

515 The newly added character (‘singer’) referred to in note 511.Google Scholar

516 Copy from Thomas Jordan Hooker's Circulating Library where ‘Tickets for the Opera … bought and sold’.Google Scholar

517 None of these songs appear in Cocchi's 1765 pastiche of the same opera.Google Scholar

518 There is a chance that this is Signor Magalli recorded at the King's Theatre and in Soho in some of the same company in 1760.Google Scholar

519 See note 511.Google Scholar

520 ‘A favorite serious Opera. The music by several celebrated Composers’; LS, iv/2, 1141. ‘Deferred from Saturday because of Indiposition of Signora Spagnolla’; LS, iv/2, 1142.Google Scholar

521 ‘By Command of their Majesties’; LS, iv/2, 1143.Google Scholar

522 ‘The scenery by Marinari’; LS, v/3, 1914.Google Scholar

525 Contains no cast list.Google Scholar

524 The European Magazine, November 1796, 351.Google Scholar

525 The Morning Herald, 14 November 1796.Google Scholar

126 The first opera by Mozart to be performed in London. Benefit: Mrs Billington.Google Scholar

527 ‘King's Theatre.—Mrs. BILLINGTON respectably informs the Nobility, Gentry, and the Public that her BENEFIT NIGHT is fixed for Thursday, March 27, when will be performed, a Grand Serious Opera, with Chorusses, intitled, LA CLEMENZA DI TITO, entirely composed by MOZART∗: the most celebrated Ouvrage of that great Composer, and the only one of his composition ever produced in this country.‘ The Times, 22 March 1806.Google Scholar

528 ‘M. Kelly, Acting Manager’. Licence £2.2s: US-SM 19926 (1).Google Scholar

529 Edition gives ‘P Da Ponte’.Google Scholar

530 Application 18 February 1812: ‘King's Theatre 18 February 1812. W. Taylor’.Google Scholar

531 The volume has the bookplate of the Bibliotheca Lindesianne Balcarres.l4.c.Google Scholar

532 ‘Second appearance at the theatre.‘Google Scholar

533 Numerous single songs from Mozart's setting were published in London; only those that appeared in collections from the opera are listed here. Emanuele Senici, ‘ “Adapted to the modern stage”: La clemenza di Tito in London’, Cambridge Opera Journal, 7/1 (1997), 4, makes a case for GB-Lbl RM. 22 h 12/13 being the score used by Buonaiuti or at least having a clear connection to the London performances through pencil markings in the score. It does, however, seem far from clear that these markings are contemporary with the performances, and none of the material peculiar to the London version is included. The score, however, has an English title page and contents which suggests that the binding has an English provenance, so a connection is at least possible.Google Scholar

534 A bound collection of Periodical Songs individually numbered, bound up with a separate title page, but with no contents listing.Google Scholar

535 Nineteenth-century MS insertion.Google Scholar

536 With keyboard realisation by Giambattista Cimador.Google Scholar

537 Through numbered as well as individual song sheet numbers.Google Scholar

538 Has illustrated title page.Google Scholar

539 Book plate of Cecil B. Oldman.Google Scholar

540 The Morning Chronicle, 28 March 1806.Google Scholar

541 The Morning Post, 28 March 1806.Google Scholar

542 The Daily Advertiser, 28 March 1806.Google Scholar

543 Edgcumbe, Musical Reminicences, 100.Google Scholar

544 The Morning Chronicle, 1 March 1813.Google Scholar

545 The Morning Chronicle, 4 March 1816.Google Scholar

546 The Morning Chronicle, 14 July, 1817.Google Scholar

547 The Morning Chronicle, 6 April 1818.Google Scholar

548 The Theatrical Observer, no. 2042, 3 March 1828, 2.Google Scholar

549 Contains a short ‘sketch’ of the life of Metastasio.Google Scholar

550 Introduction by James Ford, dated 30 January 1836.Google Scholar

551 D-Hs 5 an MA/401.Google Scholar

552 GB-Lbl 907.8.(1).Google Scholar

553 GB-Lbl 11714.b.39(2).Google Scholar

554 US-SM La 1419.Google Scholar

555 GB-Lbl 907.k.7 (2).Google Scholar

556 US-SM La 1710.Google Scholar

557 GB-Lbl 11716 aa.21 (2);Google Scholar

558 GB-Lbl 1907.k.13 (4).Google Scholar

559 GB-Lbl 11716.a.l8.Google Scholar

560 Cocchi may well have been responsible for both this and Ae 1760 texts.Google Scholar

561 The original adapation for Mozart was done by Mazzola.Google Scholar

562 Setting by Sacchini.Google Scholar

563 Setting by Galuppi.Google Scholar

564 Setting by Galuppi.Google Scholar

565 Setting by Cocchi.Google Scholar

566 Setting by [J.C.?] Bach.Google Scholar

567 Setting by Galuppi.Google Scholar

568 Setting by Hasse.Google Scholar

569 Also Act 3, scene viii (2).Google Scholar

570 Setting by Galuppi.Google Scholar

571 Scenes misnumbered in US-SM La 1479 as v, vi, vii, vi, vii, viii, ix; they have been corrected here.Google Scholar

572 Setting by Galuppi.Google Scholar

573 Seting by Abos.Google Scholar

574 Setting by Maio.Google Scholar

575 Setting by Scarlatti.Google Scholar

576 Setting by Galuppi.Google Scholar

577 Setting Hasse.Google Scholar

578 Setting by Cocchi.Google Scholar

579 Setting by Maio.Google Scholar

580 Setting by Maio.Google Scholar

581 Setting by Galuppi.Google Scholar

582 Setting by Giardini.Google Scholar

583 Setting by Guglielmi.Google Scholar

584 Setting by Galuppi.Google Scholar

585 Setting by Traetta.Google Scholar

586 Setting by Galuppi.Google Scholar

587 Setting by Sarti.Google Scholar

588 Servilia in the printed text.Google Scholar

589 Scenes miscounted; xii in US-SM La 1479.Google Scholar

590 As a trio for Ses., Tit., and Pub.Google Scholar

591 For chorus only.Google Scholar

592 ‘Egidio Duni Nepolitano’.Google Scholar

593 Dedicated by Angelo Cori to the Duchess of Newscastle.Google Scholar

594 ‘A New Opera’; LS, iii/2, 1105.Google Scholar

595 ‘By Particular Desire. The Opera cannot be perform'd on Saturday next, as usual, being Whitsontide’; LS, iii/2, 1110.Google Scholar

596 This list suggests that there is a missing edition of the Favourite Songs collection containing ‘Pensa m'è impossible’ (Lampugnani), ‘Alma che in van s'accende’ (Lampugnani), ‘Quando fu l'erbe amene’ (Lampugnani), and ‘Speme di posseder‘(Lampugnani).Google Scholar

597 The General Advertiser, 4 June 1744.Google Scholar

598 ‘The Overture, Recitativos, March, Cavatina, Chorus, and all the Songs marked (∗) are composed by Signor Gioacchino Cocchi, Neapolitan … by whom was also regulated all the rest of the Musick’ (1757 Libretto). Songs thus marked are ‘Ogni proceller infida’, ‘Scherza il nocchini talora’, ‘Al ciglio lusinghiero’, ‘Se perde l'usignolo’, ‘Parlai per comando’, Dice, che Tama’, ‘Den, cessati funesti pensieri’, Perge, oh dio, che sei crudele’, ‘Qual tea ardito e fiero’, ‘Stanca di piangere di sospirar’, ‘Deh resplendi, replendio chiano’, ‘Quando scende in nobil petto’.Google Scholar

599 ‘With new Decorations’; LS, iv/1, 625.Google Scholar

600 ‘At the particular Desire of Several Persons of Quality’; LS, iv/1, 649.Google Scholar

601 ‘At the particular Desire of Several Persons of Quality’; LS, iv/1, 649.Google Scholar

602 Benefit: The General Lying-in hospital; LS, iv/1, 666.Google Scholar

603 ‘There will be no Opera tomorrow, it being Whitsunday eve’; LS, iv/1, 671.Google Scholar

604 The Grimaldi clan is varied and confusing, but Giuseppe seems to be the only possible Grimaldi for this performance. See BDL, vi, 388 ff. for family tree and related articles.Google Scholar

605 Zenobia (Act 2, scene viii).Google Scholar

606 Achille in Sciro (Act 1, scene v).Google Scholar

607 ‘Voi leggete in ogni cone’, ‘Deh resplendi, resplendio chiaro’, and ‘Ah se un cor barbaro’ all have contemporary ornaments and alterations added by hand in this copy.Google Scholar

608 Also contains two songs from Zenobia; see Zenobia, 1758.Google Scholar

609 ‘Caro spiegar vorrei’ has contemporary ornaments and alterations added by hand.Google Scholar

610 Olimpiade (Act 1, scene ii).Google Scholar

611 Also contains two songs from Zenobia; see Zenobia, 1758.Google Scholar

612 Olimpiade (Act 1, scene ii).Google Scholar

613 Quilici seems not to be otherwise recorded as a composer.Google Scholar

614 ‘All the songs are new of Tenducci and Quilici. By Particular Desire of several Persons of Quality’; LS, iv/2, 701.Google Scholar

615 Benefit: [Colomba] Mattei; LS, iv/2, 714.Google Scholar

616 Benefit: [Giovanni] Gallini; LS, iv/2, 719.Google Scholar

617 It is possible that both Quilici and Tenducci sang in their own opera, and that Colomba Mattei—whose involvement we can deduce from her choice of the work as her benefit on 15 March—reprised her role of Cleonice. The dances on the bill must have been by Giovanni Gallini, who chose the opera for his benefit on 3 April.Google Scholar

618 ‘A New Serious Opera … the Musick compos'd by several eminent Masters. All new Dances; and New Scenes, Dresses, and Decorations’; LS, iv/2, 1023.Google Scholar

619 ‘To which well be added several new airs’; LS, iv/2, 1025.Google Scholar

620 L'isola disabitata (scene x).Google Scholar

621 ‘By command of their Majesties’; LS, iv/3, 1643. Deferred from 30 May to avoid a clash with the Drury Lane benefit for the ‘decayed actors’; LS, iv/3, 1642.Google Scholar

622 Either of the Giordani sisters could have sung this role, although both specialised in comic parts. They both departed for Dublin in 1764, and only Nicolina is recorded in London again, at the King's Theatre in 1774. BDL, vi, 219 erronously states that there is no trace of the singing Giordanis.Google Scholar

623 ‘On account of the sudden Indisposition of Sga Ferrarese the new Serious Opera [Demetrio, announced in Public Advertiser, 31 December 1784] is unavoidably postponed’; LS, v/2, 762. ‘Sga Ferrarese continuing very much indisposed the new Serious Opera [Demetrio] is unavoidably postponed’; LS, v/2, 762. ‘A Serious Opera in 2 Acts; the Music selected from the most eminent Composers by and under the direction of Cherubini’; LS, v/2, 763.Google Scholar

624 'Benefit: [Girolamo] Crescentini. ‘In Act 1 a new Air, composed by Sarti, by Crescentini, and a Duet, composed by Bertoni, by Crescentini and Sga Ferrarese; In Act ii an entire new Aria and a favourite Song of Handel'; LS, v/2, 774.Google Scholar

625 La dates this MS as 1775. However, there are no recorded performances of Demetrio that year, and of the cast, Bartolini is not recorded before 1782, Catenacci and Franchi until 1783, Cremonini and Crescentini until 1784, while Ferraese made her debut in the production.Google Scholar

626 London debut.Google Scholar

627 London debut.Google Scholar

628 Danza (no. 5).Google Scholar

629 Ex Biblioth Regia Berlinesi; see Lewis, Nigel, Paperchase (London, 1981), especially 132–42 for an account of how this manuscript from the Preussische Staatsbibliothek arrived in Kraków. According to NGO, i, 836 the location of this manuscript is unconfirmed.Google Scholar

630 Ex Biblioth Regia Berlinesi.Google Scholar

631 Ex Biblioth Regia Berlinesi.Google Scholar

632 Ex Biblioth Regia Berlinesi.Google Scholar

633 Demofoonte (Act 2, scene vi).Google Scholar

634 Ex Biblioth Regia Berlinesi.Google Scholar

635 Signora Ferrarese [Adriana Gabrielli] (Barsene?).Google Scholar

636 Artaserse (Act 1, scene ii).Google Scholar

637 Ex Biblioth Regia Berlinesi.Google Scholar

638 The Public Advertiser, 10 Jan 1785, 2.Google Scholar

639 The Morning Post, 10 Jan 1785, 2.Google Scholar

640 The London Chronicle, (Jan-June 1785), 38 (Jan 8–11).Google Scholar

641 ‘A Serious Opera in 2 acts; the music by Gresnick’; LS, v/2, 940Google Scholar

642 Benefit: {Mile} Mozon; LS, v/2, 957.Google Scholar

643 Added in hand.Google Scholar

644 Spelt ‘Alcesto’ and subsequently altered by hand to ‘Alceste’.Google Scholar

645 Metastasio, altered C.F. Badini, Alceste (London, 1786), Introduction.Google Scholar

646 The Morning Post, 25 Dec 1786, 2.Google Scholar

647 The Times. 25 Dec 1786, 2.Google Scholar

648 The Morning Herald, 1 January 1787, 3.Google Scholar

649 GB-Lbl 907.i.3 (4).Google Scholar

650 As AIceste; GB-Lbl 907.I.4 (9).Google Scholar

651 GB-Lbl 639.e.27 (2).Google Scholar

652 As Cleonice; GB-Lbl 1608/2620.Google Scholar

653 GB-Lbl 907.i.14 (2).Google Scholar

654 US-SM La 399.Google Scholar

655 As Alceste; US-SM La 751.Google Scholar

656 As Alceste; US-AAu RBR PR4049.B15M6.Google Scholar

657 In GB-Lbl Favourite Songs in the Opera of Cleonice [GB-Lbl G.760.C.4.]Google Scholar

658 Olimpiade (Act 1, scene ii).Google Scholar

659 Zenobia (Act 2, scene viii).Google Scholar

660 Achille in Sciro (Act 3, scene iv).Google Scholar

661 Didone Abbandonata (Act 1, scene v).Google Scholar

662 Nitteti (Act 1, scene i).Google Scholar

663 L'isola disabitata (scene x).Google Scholar

664 Adriano (Act 3, scene viii).Google Scholar

665 Danza (no. 5).Google Scholar

666 ∗ These texts survive only as settings by Cherubini in PL-Kj Inw.nv 6282.Google Scholar

667 Demofoonte (Act 2, scene vi).Google Scholar

668 Artaxerxes (Act 1, scene ii).Google Scholar

669 Aria indicated, but no text inserted.Google Scholar

670 See GB-Ob Mus. Voc.I.23 (32).Google Scholar

671 ‘La destra ti chiede’; see Jamie C. Kassler, ‘Price, Robert’, NG2, ii, 316.Google Scholar

672 ‘A New Opera. Musick: Jomelli’; LS, iv/2, 514.Google Scholar

673 ‘With a change of New Dances’; LS, iv/2, 516.Google Scholar

674 ‘Mingotti will sing’; LS, iv/2, 536.Google Scholar

675 Benefit: Giulia Frasi; LS, iv/2, 540.Google Scholar

676 Benefit: the General Lying-in Hospital in Duke Street, Grosvenor Square; LS, iv/2, 541.Google Scholar

677 BDL, xi, 241 suggests that Pazzaglia's first performance in London was 2 February 1756. Given the other roles ascribed to him (‘Pazzaglia’ (also recorded as ‘Pazzalia’ and ‘Passagli') and ‘Pazagli’ appear to be the same person), the role here recorded appears to be his first appearance in London; see also note below.Google Scholar

678 BDL, xi, 260 suggests that Peralta's first performance in London was 2 February 1756; the role here recorded appears to be an earlier first appearance; see also note above.Google Scholar

679 The copy consulted is not listed in CS.Google Scholar

680 Not by Metastasio in this form.Google Scholar

681 The reason for this second separate publication is given by Burney: ‘At this time, Mingotti and Giardini not allowing the opera-copyist to dispose of the favorite songs to Walsh upon the usual easy terms, had them printed elsewhere; this was also the case with Il re Pastore, some of the songs in Demofoonte, and other operas.‘ (Burney, iv, 466).Google Scholar

682 Regina Mingotti, An Appeal to the Public (London, [1755]), 9–11.Google Scholar

683 Mason to Gray, 25 December 1755; [Thomas Gray], Correspondence of Thomas Gray, ed. Paget Toynbee and Leonard Whibley (Oxford, 1971), i, 451.Google Scholar

684 ‘Music is entirely new’; title page of GB-Lbl RB.23.a.6324.Google Scholar

685 ‘The Music entirely new, composed by Mr Vento’; LS, iv/2, 1101.Google Scholar

686 ‘By particular desire’; LS, iv/2, 1119.Google Scholar

687 ‘By Desire of several Persons of Quality’; LS, iv/2, 1171.Google Scholar

688 The copy consulted is not listed in CS.Google Scholar

689 Walsh died in 1766, so this publication must have appeared after his death that year.Google Scholar

690 Asilo d'amore (no. 13).Google Scholar

691 Burney, iv, 487.Google Scholar

692 Setting not listed in H.Google Scholar

693 ‘A tragedy never performed’; LS, iv/3, 1457.Google Scholar

694 ‘By particular desire’; LS, iv/3, 1504.Google Scholar

695 Benefit: [William] Smith; ‘By Particular Desire’; LS, iv/3, 1533.Google Scholar

696 Benefit: [Matthew] Clarke; ‘By Particular Desire’; LS, iv/3, 1538.Google Scholar

697 Benefit: [Mary] Bulkley; LS, iv/3, 1624.Google Scholar

698 Benefit: [Richard] Wroughton; LS, iv/3, 1632.Google Scholar

699 Benefit: [Robert] Bensley; LS, iv/3, 1710.Google Scholar

700 ‘By Particular Desire’; LS, iv/3, 1878.Google Scholar

701 BDL, i, 229 suggests fl. 1745–1785?Google Scholar

702 LS, iv/3, 1464.Google Scholar

703 The title page to the volume of plays is a dated 1797.Google Scholar

704 ‘An account of the new tragedy called Timanthes …‘; The Freeholder's Magazine, 2 (1770), 38–41. The account also includes a full plot summary and the lyrics of the final musical numbers.Google Scholar

705 ‘A New Serious Opera. The Music by Bertoni and other eminent Masters’; LS, v/1, 219.Google Scholar

706 ‘By Command of Their Majesties’; LS, v/1, 221.Google Scholar

707 Benefit [Gasparo] Pachierotti. ‘End of Act 1 a new song by Pachierotti, with violin obligato composed by Bertoni, by Cramer; In Act iii an additional song, composed by Handel, by Pachierotti’; LS, v/1, 239.Google Scholar

708 ‘End of Act 1 a new song by Pachierotti, with violin obligato composed by Bertoni, by Cramer; In Act iii an additional song, composed by Handel, by Pachierotti’; LS, v/1, 241.Google Scholar

709 However, Sarti did set Metastasio's Demofoonte in 1771 and again in 1782.Google Scholar

710 Richard Edgcumbe, Musical Reminiscences of an Old Amateur (London, 2/1827), 24–5.Google Scholar

711 ‘A Serious Opera; the Music by several eminent Masters’; LS, v/2, 685.Google Scholar

712 Benefit: [Gasparo] Pacchierotti. ‘Pachierotti will conclude the 1st Act with an entire new scene by Sarti; In Act iii a song, composed by Handel, by Pachierotti’; LS, v/2, 685.Google Scholar

713 ‘Opera in place of La Regina di Golconda‘ (announced in Gazetteer, 29 March); LS, v/2, 692.Google Scholar

714 Benefit: [Charles] Le Picq; LS, v/2, 708.Google Scholar

715 Benefit: [Caterina] Lusini; LS, v/2, 715.Google Scholar

716 Timante (Gasparo Pacchierotti); other characters Demofoonte, Cherinto, Matusio, Adrast, Creusa, Dircea, other cast members [Angelo] Franchi, [Vincenzio] Bartolini, [Luigi] Tasca, {Sig.} Schinotti, [Maria] Catenacci, [Caterina] Lusini; LS, v/2, 685.Google Scholar

717 The Public Advertiser, 8 March 1784, 2.Google Scholar

718 26 April 1784, from an unidentified clipping in US-NYp; quoted in Petty, 213.Google Scholar

719 ‘A New Serious Opera; the Music by Federici’; LS, v/2, 1241.Google Scholar

720 Benefit: Jewell; LS, v/2, 1244.Google Scholar

721 Benefit: Labourie; LS, v/2, 1246.Google Scholar

722 Dedicated to the Marchioness of Salisbury.Google Scholar

723 Imprint not recorded by HS; Hammond (also not recorded by HS) is possibly the J. Hammond who in 1793 published both Izingari infiera [PL-Kj Lib.ang.279II] and Odenata e Zenobia [PL-Kj BJ: Lit.ang.280II].Google Scholar

724 BDL says that he disappeared from the playbills until 13 May 1790.Google Scholar

725 BDL suggests that she did not ‘flourish’ until 1795, and did not appear on playbills until 28 November 1797.Google Scholar

726 RISM also offers another print at F 165, but F 164 and F 165 are identical.Google Scholar

727 The Morning Herald, 7 April 1790, 2.Google Scholar

728 The Times, 7 April, 1790, 2.Google Scholar

729 The Times, 12 April 1790, 2.Google Scholar

730 The Public Advertiser, 7 April 1790; quoted in William C. Smith, Handel, a Descriptive Catalogue of the Early Editions (Oxford, 1970), 1.Google Scholar

731 Quoted in Smith, Handel, 14.Google Scholar

732 Printed copy has the completion date of 6 November 1818.Google Scholar

733 Dedicated to William Gifford Esq.Google Scholar

734 Martin's christian name is unrecorded.Google Scholar

735 James Winston, Drury Lane Journal: Selections from James Winston's Diaries 1819–1827, ed. Alfred L. Nelson and Gilbert B. Cross (London, 1974), ii, records that this performance took 2 hours and 35 minutes.Google Scholar

736 Benefit: {Miss} West; The Times, 14 June 1821.Google Scholar

737 Application 21 May 1820. ‘Theatre Royal, Drury Lane, 21 May 1820. Sir, The Annexed opera called Dirce is intended with permission of the Right Honourable the Lord Chamberlain for Representation at the above Theatre I am Sir Your obed^t Servant J Winston’; US-SM La 2229. Licence £2.2s: US-SM 19926 (2).Google Scholar

738 Principal characters: [John] Braham, {Miss} Wilson.Google Scholar

739 Nicholas Temperly in the NG2, xi, 727 states that this duet is all that has survived.Google Scholar

740 GB-Ob Harding D 2444 (2).Google Scholar

741 GB-Lbl RB 23.a.6324; also 1766 US-I ML48.E342 no. 8.Google Scholar

742 GB-Lbl 907.i.16 (8).Google Scholar

743 As L'Usurpator Innocente; GB-Lbl 162.g.31.Google Scholar

744 Setting attributed to Robert Price by Jamie C. Kassler, ‘Price’, NG2, xx, 316.Google Scholar

745 Allocated to Tamiri.Google Scholar

746 Ipermestra (Act 1, scene v).Google Scholar

747 Catone (Act 2, scene xvi).Google Scholar

748 Asilo d'amore (no. 13).Google Scholar

749 Allocated to Tamiri.Google Scholar

750 Musical cues but no texts; the cues were copied at the same time at the rest of the text, but no room was left for the accompanying texts.Google Scholar

751 GB-Ob M.adds. 108 e.129 (5); also 1771: GB-Ob Harding D 1312; 1795: GB-Ob Dunston 2050 (1); 1795: GB-Ob Harding D 1314.Google Scholar

752 US-SM La 2229. The Larpent MS has the airs cued, but there are no song texts.Google Scholar

753 Although there are spaces provided, there are no specific musical cues in Act 3.Google Scholar

754 ‘A New Opera’; LS, iii/2, 657.Google Scholar

755 ‘By Command of their Royal Highnesses’; LS, iii/2, 660.Google Scholar

756 ‘The Duke and the Princess present’; LS, iii/2, 676.Google Scholar

757 The title page of the MS contains additional notes on the opera which are not transcribed here.Google Scholar

758 Endimione (pt. 2).Google Scholar

759 ‘A New Opera … Written by Metastasio and set to Musick by Signor Hasse’; LS, iv/1, 40. ‘We hear from the King's Theatre in the Haymarket, that as the Celebrated Opera Dido, wrote by Abbat Metastasio, and set to Musick by Sig Hasse, cannot be got ready for Representation till almost a fortnight, the Opera Lucius Verus (consisting of chosen Airs from the Compositions of Mr Handel) will be performed next Saturday’; The Daily Advertiser, 14 March 1748.Google Scholar