1726

Jan 1

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 1st of January, will be perform’d, An Opera call’d, RODELINDA. Tickets will be delivered out at the Office in the Hay-Market, this Day; no more than Three Hundred and Fifty will be given out at Half a Guinea each; but if any Tickets are remaining after the Doors are opened, they will be delivered at the first Bar, and no where else. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[1]}

Jan 4

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 4th of January, will be perform’d, An Opera call’d, RODELINDA. Tickets will be delivered out at the Office in the Hay-Market, this Day; no more than Three Hundred and Fifty will be given out at Half a Guinea each; but if any Tickets are remaining after the Doors are opened, they will be delivered at the first Bar, and no where else. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[2]}

Jan 8

This Day is published the Pocket Volume of Opera SONGS,

By PETER FRAZER.

WHICH, if it is not, by all Judges of Musick and Engraving, looked upon to be better worth a Guinea, than Cluer’s and Creak’s, Half a Crown, it being the proper Season, shall be (what their’s is only fit for generously converted to the Use of the Pastry Cooks.

The only Symptom they have shewn of Modesty, as well as Argument, that they think it may, at any Rate, be worth their while; is their advertising to copy and sell this afterward at 5 s. which, even at that Price, after their handling will be 4 s. 10 d. too much.^{^[3]}

Jan 8

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 8th of January, will be perform’d, An Opera call’d, RODELINDA. Tickets will be delivered out at the Office in the Hay-Market, this Day; no more than Three Hundred and Fifty will be given out at Half a Guinea each; but if any Tickets are remaining after the Doors are opened, they will be delivered at the first Bar, and no where else. Gallery 5 s[.] No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[4]}

Jan 11

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 11th of January, will be perform’d, An Opera call’d, RODELINDA. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each; but if any Tickets are remaining after the Doors are opened, they will be delivered at the first Bar, and no where else. Gallery 5 s[.] No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[5]}

The same [Tuesday] Night his Majesty went to the Royal Theatre in the Haymarket, and saw the Performance of the Opera call’d Rodelinda.^{^[6]}

The King, Prince, and Princess, and the young Princesses were present on Tuesday Night at the Theatre Royal in the Hay-Market, to see the Performance of the Opera called Rodelinda.^{^[7]}

February

The next thing to be taken notice of is Elisa, an Opera of a foreign Growth, and of which they promis’d us Wonders before it was brought over. But when it arrived, we soon found to our Cost, that its being far fetch’d and dear bought was the only thing that could recommend it: But even that would not do long, and Audiences grew so thin, that the Royal Academy, for fear of making another Call, was oblig’d to drop it, and Mr. Handel had the Satisfaction of seeing an * old Opera of his not only fill the House, which had not been done for a considerable time before; but People crowding so fast to it, that above 300 were turn’d away for want of room. I cannot help observing on this Occasion, that as much as some despised her, Signora Durastanti was very much miss’d on this Occasion.

* Otho.^{^[8]}

Feb 2

AT the King’s Theatre in the Hay-Market, on Saturday next, being the 5th of February, will be perform’d, An Opera call’d, OTHO. Tickets will be delivered out at the Office in the Hay-Market, on Friday and Saturday. No more than Three Hundred and Fifty will be given out at Half a Guinea each; but if any Tickets are remaining after the Doors are opened, they will be delivered at the first Bar, and no where else. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[9]}

Feb 4

AT the King’s Theatre in the Hay-Market, on Tuesday next, being the 8th of February, will be perform’d, An Opera call’d, OTHO. Tickets will be delivered out at the Office in the Hay-Market, on Monday and Tuesday. No more than Three Hundred and Fifty will be given out at Half a Guinea each; but if any Tickets are remaining after the Doors are opened, they will be delivered at the first Bar, and no where else. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock. N. B. The Indisposition of Signora Cozzoni has put off the Performance of the Opera till Tuesday next.^{^[10]}

Feb 8

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 9th [sic] of February, will be perform’d, An Opera call’d, OTHO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each; but if any Tickets are remaining after the Doors are opened, they will be delivered at the first Bar, and no where else. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[11]}

Last Night His Majesty, and Their Royal Highnesses, were at the Theatre in the Hay-Market, to see the Performance of the Opera called Otho.^{^[12]}

Feb 12

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 12th of February, will be perform’d, An Opera call’d, OTHO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each; but if any Tickets are remaining after the Doors are opened, they will be delivered at the first Bar, and no where else. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[13]}

Feb 15

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 15th of February, will be perform’d, An Opera call’d, OTHO[.] Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each; but if any Tickets are remaining after the Doors are opened, they will be delivered at the first Bar, and no where else. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[14]}

Feb 17

[Giuseppe Riva to Agostino Steffani, London, Sunday 17 February 1726]

Bononcini reminds your m{ost}. i{llustrious}. lordship of his reverent respect, and implores your continued affection. Here the opera is going to perdition. The directors have determined that Handel should assemble an opera with utmost speed while we await the arrival of Faustina [Bordoni], the sole refuge on which their hope is pinned. Bononcini has already presented [102] three concerts at the [home of] the duchess of Marlborough, his good and generous patroness—all new stuff, but not in the new [i.e., pre-Classical] style. Cuzzoni and Senesino sing well at these events, where harmony and expression, nature and art give much pleasure.^{^[15]}

Feb 19

AT the King’s Theatre in the Hay-Market, this present, Saturday, being the 19th of February, will be perform’d, An Opera call’d, OTHO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each; but if any Tickets are remaining after the Doors are opened, they will be delivered at the first Bar, and no where else. Gallery 5 s[.] No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[16]}

Feb 22

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 22d of February, will be perform’d, An Opera call’d, OTHO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each; but if any Tickets are remaining after the Doors are opened, they will be delivered at the first Bar, and no where else. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[17]}

Feb 26

This Day is published, and will be delivered, a beautiful and entire correct Impression of the Pocket Colume of Opera SONGS,

By PETER FRASER.

To be had of the Publisher at the Rainbow Coffee-House the Corner of Ludgate-Fill; Clare’s Coffee-House in Conduit-street near Hanover-Square; Mr. Deard’s and Mr. W[?]dey’s Toyshops, and at the Court of Requests; Mrs. Turner’s the Old Post-Office the Corner of Bow-street, Covent-Garden; Mr. Tomlin’s, a Glass-Shop overagainst Stocks Market; at the Chancery Coffee-House in Chancery-Lane; at most of the great Coffee-Houses and Musick-Shops in Town; and particularly those where the Specimen is seen.

The Second-Volume, which will contain all the remaining Favourite Songs out of Rodelinda, Julius Caesar, &c. with what may be Favourite Songs this Season, Faustina’s (when she comes over), some never in Opera’s and particularly new, which Volume will rather excel this, and compleating the Work, will, together, be the best and most beautiful Collection that ever did, or perhaps ever will, appear in this or any other way, is now going forward will all Expedition, and will certainly be delivered by Michaelmas next, the Work being by Articles under Penalty to be completed on or before that Time.

Whoever buys this First Volume, (which is now 15 s.) upon Entring their Names as Subscribers, where they buy it, shall (without any more Money present) have the Second delivered to them, when done, for Half a Guinea more, which will not likewise be sold to any others under 15 s.

But the Favour is desired of those First Subscribers, who shall also please to subscribe for the Second, to pay their 1st Payment as before, in order to carry on the Work.

And to those who may have a Mind to subscribe for the Second without the First, the Subscription is 7 s. down, and 6 s. more upon Delivery.

All the Names of Encouragers will be curiously engraved together before the Book, and those who subscribe for six, shall have a seventh Gratis.

[N.B.] There having been some few ill printed Books of this first Volume delivered out without the Publisher’s Revising, particularly those where the Dedication is misplaced before the Title-Page; for Fear there should be other more material Errors, the Favour is desired of them who have those Books, or any tht are not correct, to send them to the Publisher at the Rainbow Coffee-House, as above, and they shall be changed for others he will warrant; and also desires, for the future, that none may be taken, unless his Name is writ under the Title Page.

Booksellers, or others, who will correspond with the Publisher for the Country, or otherways, sending to him as above, shall be handsomely dealt with.

N. B. The Publick is desired to distinguish this, from a paltry Imitation of it lately published by Cluer and Creake.^{^[18]}

Feb 26

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 26th of February, will be perform’d, An Opera call’d, OTHO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each; but if any Tickets are remaining after the Doors are opened, they will be delivered at the first Bar, and no where else. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.

N. B. Tuesday next being her Royal Highness’s Birth-Day, the Opera of Otho will be perform’d on Monday the 28th Instant.^{^[19]}

Feb 28

AT the King’s Theatre in the Hay-Market, this present Monday, being the 28th of February, will be perform’d, An Opera call’d, OTHO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each; but if any Tickets are remaining after the Doors are opened, they will be delivered at the first Bar, and no where else. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[20]}

Mar 1

[Lord Chamberlain’s Records]

These are &c. to Mr: Christian Kitsh Hautboi Mr. Godfried Karpa Bason Mr. David

Beswillibald and Mr. George Angel Double Basses, and Mr. Christopher Smith Tenor

the sum of Eighteen pounds Eighteen Shillings for attending two Practices of the Te

Deum and P[er]forming in the same before His Ma[jes]ty at St. James’s. Also to pay

them the sum of One Pound Nineteen Shillings for Office Fees Amounting in all to

the Sum of Twenty Pounds Seventeen Shillings. And &c. given &c. this 1st Day of

March 1725/6 in the Twelfth year of His Majesty’s Reign.

To Charl[es] Stanhope Esq., &c. Grafton

Marginal entry: Hautboys and double Base &c. for P[er]forming in the Te Deum at

St. James’s.

£20.17s[21]

Mar 2

[inscription on Scipione’s autograph]

Fine dell’ Opera GFH March 2 1726.^{^[22]}

Mar 4/15 N.S.

[Owen Swiney, Venice, to Charles Lennox, 2^nd Duke of Richmond,

15 March 1725/6 N.S.]

[…]

Im’e very sorry that your Grace won’t suffer me to write any more to you on Theatrical affairs, for I own to your Grace, that I abhor the thoughts of sending my letters to Mr. Haym: The sinking a letter or keeping it longer than necessary, may be of ye worst consequence to ye academy, and I shall be blamed for negligence, without all doubt.

The Criticism on Sesostri came to me from Mr. Haym, as his private opinion, above a Month before I had it from your Grace: and all ye charges brought against me, [363] were, taken out of his letters tho’ some of the articles were sent to me, not as from the academy, but as from plain Mr. Haym. Mr. Heddeiger may have a great power at ye board but I have experienced him too much, not to suspect him: and pray God that he does not play the same trick with ye academy, that he succeeded so well in, on me.

I wish your Grace wou’d find out some other Member of the academy, to whom I may have the liberty of addressing my letters &c. for I abhor ye thought of corresponding about Theatrical affairs, with Monsieur Haym.

I confesse, fairly, that had I not thought that I was paying a compliment (in some measure) to your Grace, I shou’d not have been displeased at hearing that Messrs. de L’academie had chosen some body else for their agent in Italy: I am commanded in a hurry—countermanded in a greater: I am suspected, condemned & Executed sans Rhime ni raison—and for what? I am obliged, (to serve the academy well) to an Expence of above one hundred pounds per annum: which I must actually spend: and I have, since my being first employed received £150. Fifty (of which) was for ye opera of Elpidia: so that I have received £100 and am out of pocquet £200.

Next week, I shall write to the academy and direct my letter to their secretary: I find a Song of The Faustina’s which I placed in the opera of Vinceslao has been sung in ye opera of Elpidia by the Signora Cuzzoni: it begins—più non sò finger sdegni &c. in the place of this Song I have put one of Orlandini’s, sung, last year, in venice, by the Faustina: it begins Da Torbida Procella &c. This Song I sent over, last year, with a design to have had it sung by Senesino—but—&c. &c. &c. if it shou’d, by any accident, be either mislaid, or lost, Mr. Broderick (who Im’e sure has it) will furnish you with it. [364]

I beg your Grace now that you have got the Faustina, never to consent to any thing that can put the academy into disorder, as it must, certainly, be put into, if what I hear (to have been projected by Messrs. Haym & Handel) is put in Execution: I mean the opera of Alexander the great: where there is to be a Struggle between the Rival Queen’s, for a Superiority.

The interest of the academy is (most certainly) to keep this Superiority, in suspense, if possible: if Messrs. de L’academie are of another opinion, then tis plain, they mean to have but one of ’em: and I think I can give a shrew’d guesse at the person who is to make a speedy visit to Italy.

The opera of Vinceslao is (most certainly) a good one: and Faustina Cuzzoni & Senesino have considerable parts in it: and I tancy ’Twill be more for the Academy’s interest to have it play’d, than that of Alexander: Im’e sure ’twill be but prudent to try the First.

I have prepared a Sett of Songs to be placed in the Room of those sung by the Faustina, Senesino, and the Cuzzoni, in the first run of it, and Im’e ready to forward ’em, on Command.

This new recruit, will (most certainly) carry the opera thro’ the Season, with reputation and great profit.[23]

Mar 5

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 5th of March, will be perform’d, An Opera call’d, OTHO[.] Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each; but if any Tickets are remaining after the Doors are opened, they will be delivered at the first Bar, and no where else. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.

Complaint being made that the Ladies who cannot get away so soon as the Opera is over, are much annoyed by the Footmen coming within the first Bars on each Side the House with lighted Flamboys: To prevent the said Inconveniency for the future, ’tis desired that the Ladies and Gentlemen will forbid their Servants to come within the said Bars with their Flamboys lighted, there being Orders given not to suffer any of them to be admitted.^{^[24]}

Mar 8

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 8th of March, will be perform’d, An Opera call’d, OTHO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each; but if any Tickets are remaining after the Doors are opened, they will be delivered at the first Bar, and no where else. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.

Last Night His Majesty, together with the Prince and Princess of Wales, and the young Princesses, were at the Theatre in the Hay-Market, to see the Performance of the Opera call’d Otho.^{^[26]}

Mar 11/22 N.S.

[Owen Swiney, Venice, to Charles Lennox, 2^nd Duke of Richmond,

22 March 1725/6 N.S.]

[…]

Im’e very Sorry to find that the Academy is likely

to receive any dammage from the opera of ormisda’s not

arriving in London in due Time: The badnesse of the roads

having occasioned its’ delay, above 35 days, more than

the usual time, between Venice and amsterdam: and what is

more unlucky still, is the delay between amsterdam and

London.

The Musick is excellent: the Book a very good one:

and Senesino’s and The Cuzzoni’s parts, are very

considerable ones. [365]

The Faustina (by the time this comes to your

Graces hands) will not be far from London: and I hope

the opera of Vinceslao, will be there before her:

Her songs, as well as Senesino’s & Cuzzoni’s are

prodigiously fine: and, Im’e sure, they are adapted to

each of their talents.

The book is, universally, allowed to be a good

one: and I’ll answer for the Musick & the successe of it

with my life.

Shou’d the opera of Alexander not answer Expectations,

or answer ’em but indifferently: is not the Season

& the crop of it lost?

Shou’d there be any failure in the book of Alexander:

or in the composition of the Musick: or in the

performance of it, in any of it’s parts--is not The

Faustina sacrificed?

If any such Miscarriage shou’d happen, ’twill give

(it may be) an irrevocable wound to the academy.

Nothing is lost by bringing on Venceslao first:

The Faustina has her part and will be ready to go on the

stage, as soon as her cloaths can be made: Senesino has

two of the finest Songs I ever heard: viz. Parto non ho

costanza &c. of Capelli & Date parto &c. of orlandini.

The Cuzzoni has what the stage Lady’s call the First

part: Two of her Songs she herselfe sung in Italy, with

universal applause: The other Two and the Duetto, were

favourite ones at Naples, Venice, and Parma: besides

(shou’d she complain) I have sent the Five Songs she

sung, in this very opera, in Venice: so that she may

place, these in the room of those I have chosen for, if

she likes ’em better.

More than this I cou’d not doe to serve the academy:

and, Methinks, after so much pains and trouble that

they have been at to get the Faustina, ’twou’d be a pitty

that they shou’d be frustrated in their hopes & Expectations

of her: and I declare they run ye utmost risque of

doing it, by bringing her on in any other opera than that

of Vinceslao.

Shou’d there be any struggle, in the academy, about

this affair, I think ’twill not be unreasonable that your

Grace moves for a publick rehearsal of it: this tryal

which costs nor hazards any thing, may possibly, decide

the strife.

I write this, as my own private opinion, to His

Grace of Richmond: and not to the Deputy Governor of the

R. academy of Musick &c. I have nothing in view, but the

interest of ye academy: and ye giving fair English play

to the Faustina, for she deserves it richly.

One thing more, and I have done: but this must be

kept, as a Secret, to your Selfe, Lord Burlington & one

or Two more that you trust it to: ’Tis my opinion that

no opera in the World ever had such a Run <missing page>.[27]

Mar 12

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 12th of March, [will] be perform’d, A New Opera call’d, SCIPIO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.

Mar 15

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 15th of March, [will] be perform’d, A New Opera call’d, SCIPIO[.] Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.

Mar 19

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 19th of March, [will] be perform’d, A New Opera call’d, SCIPIO[.] Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.

Mar 22

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 22d of March, will be perform’d, A New Opera call’d, SCIPIO[.] Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.

Mar 26

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 26th of March, will be perform’d, A New Opera call’d, SCIPIO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each. Gallery 5 s. No Persons to be admitted behind the Scenes[.] To begin exactly at Six a-Clock.

Mar 29

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 29th of March, will be perform’d, A New Opera call’d, SCIPIO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.

Apr 2

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 2d of April, will be perform’d, A New Opera call’d, SCIPIO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each. Gallery 5 s[.] No Persons to be admitted behind the Scenes[.] To begin exactly at Six a-Clock. Being the last Time of performing till Easter[.]

Apr 6

[Lord Chamberlain’s Records]

These are &c. to Mr. [space ] Smith the Sum of Eight Pounds Thirteen Shillings for

Scores and parts &c. in the Te Deum performed before His Majesty at St. James’s Also

to pay him the Sum of Eleven Shillings for Office Fees. Amounting in all to the sum of

Nine Pounds four Shillings and &c. given &c. this 6th. Day of April 1726. in the

Twelfth Year of His Majesty’s Reign.

To Ch[arles] Stanhope Esq. &c. Grafton

Marginal entry: Mr. Smith for Scores &c. in the Te Deum perform’d at St. James’s

£9:4–[35]

Apr 12

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 12th of April, will be perform’d, A New Opera call’d, SCIPIO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each. Gallery 5 s[.] No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[36]}

Apr 12

Apr 16

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 16th of April, will be perform’d, A New Opera call’d, SCIPIO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[38]}

Apr 18/29

Willers’ Hamburg Notes

April 29. Gumbrecht began with the opera Julius Caesar.^{^[39]}

Apr 19

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 19th of April, will be perform’d, A New Opera call’d, SCIPIO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[40]}

Apr 23

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 23d of April, will be perform’d, A New Opera call’d, SCIPIO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[41]}

Apr 26

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 26th of April, will be perform’d, A New Opera call’d, SCIPIO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each. Gallery 5 s. No Persons to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[42]}

Apr 30

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 30th of April, will be perform’d, A New Opera call’d, SCIPIO. Tickets will be delivered out at the Office in the Hay-Market, this Day. No more than Three Hundred and Fifty will be given out at Half a Guinea each. Gallery 5 s[.] No Persons to be admitted behind the Scenes[.] To begin exactly at Six a-Clock.^{^[43]}

April

PUBLICK DIVERSIONS.

SINCE our last the long expected Faustina is arrived, and has

performed several Times amongst us. The Judges are much

divided in their Sentiments about the famous Cuzzoni and this

Lady; but All agree, that the Emulation between them is so

evident, that they are in Pain for the Event. Some fear for their

Favourite Cuzzoni, while others are no less anxious for the Fate of

Faustina. This fine Passion for excelling, so discoverable in these

Heroines, is beautifully described by Mr. PHILIPS, in one of his

Pastorals: with this only Difference, that there the Contention

was between the unhappy Bird and the Instrument; here, the

Prize is more equally contended for by two Nightingales.

CUDDY.

IN Rural Strains we first our Musick try,

[... 23 ...]

Down breathless on the guilty Harp she fell.[44]

May 4/15

Wilhelm Willers
Bemerkungen über Theater Vorfälle	Hamburg Notes
May 15. zum erstenmahl Otto.^{^[45]}	May 15. Otto for the first time.^{^[46]}

May 4/15 NS

Johann Mattheson, Hamburger Opernverzeichnis

204. Otto, König in Teutschland. Music vom Hn. Händel. Übersetzung vom Hn. Glauche, Rev. Min. Cand.^{^[47]}

May 5

AT the King’s Theatre in the Hay-Market, this present Thursday, being the 5th of May, will be perform’d, A New Opera call’d, ALEXANDER. No Subscriber, or any other Person with a Subscriber’s Ticket will be admitted without producing it at the first Bar. Gallery 5 s. No Persons whatsoever to be admitted behind the Scenes. To begin exactly at Seven a-Clock. The Doors to the Pit and Boxes will be opened at Five.^{^[48]}

May 7

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 7th of May, will be perform’d, A New Opera call’d, ALEXANDER. Tickets will be delivered out at the Office in the Hay-Market, this Morning, and no more than Three Hundred and Forty will be given out. At Half a Guinea each. No Subscriber, or any other Person with a Subscriber’s Ticket will be admitted without producing it at the first Bar[.] Gallery 5 s. By His Majesty’s Command, no Persons whatsoever to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[49]}

May 9

[ribbon]

The COUNTRY GENTLEMAN.

____________________________

No. 18. Monday, May 9, 1726.

____________________________

Principiis obsta.

IT has a hard Matter to resist the

Importunity of one’s Friends, especially

when they are back’d by so prevailing

an Advocate as Curiosity. This was

my Case t’other Day, when Will Testy and one

of my Secretaries, who is a Master of

Languages came to see me, and made me promise

I would go along with them to the Opera. When

we came there, we found a prodigious Number

of People drawn together to see two of the

most famous Singers in Europe, Cuzzoni and

Faustina. The latter comes to us with so

superior a Character, that one might expect to

hear from her, in Reality, whatever the Poets

of old, have feign’d of Amphion, Orpheus, or

the Syrens. Will advised me, to lash myself to

one of the Posts of the Gallery, where we sate,

as Ulysses did on the like Occasion, to prevent

any Accident, that might happen to me from

the Power of her Incantations; but I apprehended

not any Danger from this new Comer,

having found no ill Effects in the sweet Captivity

of Cuzzoni.

In a little Time, a Murmur spread itself all [202]

over the House, and every Body seemed to be

engag’d for one or other of these two great

Rivals in Harmony; but as the Generality of

the World is fond of Novelty, the Advocates of

Faustina seeem’d to be much the greater

Number. Some Ladies, who sate near us, were

very partial indeed, and said, There was as

much Difference between ’em, as there was

between Mrs. Robinson and Boschi; but

Nobody equal’d an Italian in the Fulness of Praise,

who (speaking of Faustina) broke out into this

Expression . . . . . . . . . . . . . . . . . . . . . . . . . which

my Secretary told us was in English . . . . . . . . .

While we were thus entertain’d by the

different Opinions of the People about us, we were

join’d by my Poet, whose Curiosity had brought

him to see this Dramatick Performance: He

told us, That the ingenious foreign Bard, the

Compiler of this Opera, intended at first to

adapt the Action to the European Manners,

and therefore, had married Alexander only to

one of these Queens; but it seems, the other

Lady was resolv’d, she would not be put

off so; it being beneath the Dignity of her

high Station to be slighted in such a Manner,

knowing herself to be every Way qualified

for a Wise, as well as the other: Upon this

Remonstrance, he was ordered to married them

both to this great Prince; but he, like a wise

Man, understanding that Bigamy, in this Country

is Felony by the Law, refus’d to do it, not

knowing what Penalties an Accessary, in such,

a Case, might be liable to. As this was thought

a very reasonable Plea, he was in Hopes the

Matter might be accommodated by marrying

neither of them, and so leave them to shift for

themselves, as well as they could in the Opinion [203]

of the World; but it is a very nice Matter to

decide in the Affairs of Princes; and it seems,

our Bard had never in the least, consulted the

Genius of the Emperor: For no sooner had this

uxorious King Intelligence, that he was still to

continue a Batchelor, and to be deprived of

those sweet Hopes, which he conceiv’d to

belong to a conjugal State, but he gave a Loose

to his Passion, and would have killed him, as

sure as he did his old Minister Clytus, but that

his Javelin happened not to be pointed; it

being a Maxim in Dramatick Opera Chivalry, not

to suffer any of their Heroes to carry dangerous

Weapons about them; and indeed (continued

he) I can’t but say, I think this the greatest Affront,

that can be put upon his Imperial Majesty,

considering how quietly and peaceably he

has behav’d himself to all his former Queens;

nor can the most malicious Tongue give any one

Instance of his Inconstancy. ’Tis true indeed,

had this Match gone on, there might have been

some Difficulties raised about the Succession to

this great Empire, but as long as he kept so

able a Minister as Boschi, ’tis very probable he

would have taken Care, and prevented any

Accidents of this Kind.

This Account of the Intrigues of the Graecian

Court diverted us very much; but the rest of

the Audience seem’d to be under the greatest

Uneasiness of Expectation; but in a very little

Time, the Curtain was drawn up, and discover’d

to us these female Potentates, in all the Rivalship

of Glory. They beheld one another with

such an Air of Respect and Caution, as shew’d

they were conscious of each others Merit, and

doubtful of the Event; which put me in Mind

of that Rencounter of the two greatest Captains [204]

in the World, and is describ’d by Lee in this

Manner,

Art thou the Man, they, the fam’d Scipio call?

Art thou the much more famous Hannibal?

I shall not pretend to decide which of these

Ladies has the most Merit, they being Beauties

of a different Sort, and both animated in their

Way; but if Cuzzoni exceeds in the Sweetness

of Voice, and the irresistible Insinuation of

her Manner, Faustina is as excellent in the Modulation

of her Notes, and a distinguish’d Warble

in her Throat, which is peculiar to herself, and

is what the Italians express in an elegant

Manner, Dono del Dio.

These two Rival Queens have divided the

whole Town; and there’s all the Reason in the

World to believe, that in a little Time the whole

Nation will be listed under their several Banners.

It has been the Misfortune of this Country

for many Ages past, to have been torn to

Pieces by Parties and Factions. The different

Interests of the Houses of York and Lancaster

were attended with very fatal Effects; and the

whole Kingdom groan’d under the Calamities

of a Civil War, and notwithstanding this

Difference was made up by the Marriage of Henry

the Seventh, with the Lady Elizabeth, and by

this Means the two Families became united, yet

after a Reign or two the Fires of Persecution

burst forth, and alternately destroy’d both

Papist and Protestant.

During the Reign of King James the First,

our Holy Religion was attack’d by the Batteries

of the Roman Catholick and the Puritan, and

was entirely swallow’d up by the latter, in the

Time of Charles the First, his Successor. The [205]

Unanimity, which appear’d in the Restoration

of the Royal Family, was soon dissolv’d into

Faction, and the fatal Distinction of Whig and

Tory took its Rise under that careless Government.

After that, these Names were buried in the

Ruins of Liberty, but reviv’d again soon after

the Revolution, with this Difference, that they

are now applied to Men of quite contrary

Principles, than those to whom they belong’d at

first. ’Tis said, that a famous State-Chemist

designing to bring in a new System of Physick, and

observing the Tories to give him a great deal of

Trouble in his Practice, had invented a golden

Cordial, which operated in such a Manner, that

whosoever tasted of it, spoke directly contrary

to what he thought: Having distributed this

largely, amongst them, and in a Manner

disabled that Party, he thought himself secure;

but such is the perverse Nature of Men, who

will be always taking Care of their own Health

and Property, that in a very little Time, a set

of honest sturdy Fellows rose up, and under

the Name of COUNTRY GENTLEMEN, oppos’d

this new System; but whether or no [sic] there be

any Thing in this Story, Time alone will shew.

I hope my Readers will pardon this long

Digression, since the Design of it was to shew

the dreadful Consequences of Parties in our

Nation, and how dangerous the Names of

Distinction may be, even from the smallest

Beginnings. For my Part, I can’t help thinking;

but these two Cromatick Queens may be as

fatal to this Island as their Predecessors the

Guelphs and Ghibelins were to Italy; and it looks

the more ominous, because there is a great

deal of Similitude in their History. [206]

I must take the Liberty for the Instruction

of such of my female Readers, whose Occupations

may hinder them from looking into Books,

to inform them of the Origin of those Party

Monsters, who for a long Time wasted that

delightful Country.

These two Names deduce their Original from

a Schism, which molested the Church in 1130,

by the Competition of two Popes, Innocent II.

and Anaclet: The greatest Part of Christendom

acknowledging Innocent, Anaclet the Antipope

had persuaded Roger, Count of Naples and Sicily,

a Norman by Descent, into his Interests, who,

upon the Emperor Conrad the Fourth’s, coming

against him with an Army of Germans, allur’d

to his Defence, Guelph Duke of Bavaria.

During the Course of this War; the Emperor’s

Son Henry, sometimes commanded the Army,

who being brought up in a pleasant Village

of Germany, call’d Ghibelin, the very Name of

it was dear to him. One Day, the Armies

being drawn up, and ready to engage, the

Bavarians to encourage their Comrades, cry’d

out, a Guelf! a Guelf! and the Imperial Troops

being as well dispos’d to their General, in

Complaisance to him, cried out on the other

Side, a Ghibelin! a Ghibelin! These Words

seem’d barbarous to the Italians, who came to

Guelf to know what they meant: He told them,

the Pope’s Party were intended by the Word

Guelf, and the Emperor’s by the Word Ghibelin;

from that Time those Names grew so common,

that they were given to the Italians, according

to the several Sides they took in this War. ’Tis

true, at first, they were us’d only to distinguish

Anaclet’s Party from the Emperor’s; but afterwards

Roger, having vanquish’d Pope Innocent, [207]

at the Price of his Liberty, he oblig’d him to

erect the Countries of Naples and Sicily into

Kingdoms, by which Treaty Roger being taken

off, from the Interest of the Antipope, and

engaging intirely with the Church, he affix’d the

Name of Guelf to the Pope’s Party, and confirmed

the Name of Ghibelin to the Faction of

the Emperor. Now every Body knows, that

Faustina is just come from Vienna, and is, no

doubt, in the Imperial Interest, and consequently

all her Party are Ghibelins: As for Cuzzoni,

’tis universally agreed, that she is a good

Catholick, and attach’d to the Pope, so that her

Friends can be distinguish’d by no other Name

than Guelphs. How far this Contention may

be carried, ’tis a hard Matter for human

Foresight to discern; but I think, every Briton

ought to pray fervently that while his Countrymen

go together by the Ears upon this Occasion,

their Properties may not be given away for a Song.[50]

May 10

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 10th of May, will be perform’d, A New Opera call’d, ALEXANDER. Tickets will be delivered out at the Office in the Hay-Market, this Day, and no more than Three Hundred and Forty will be given out. At Half a Guinea each. No Subscriber, or any other Person with a Subscriber’s Ticket will be admitted without producing it at the first Bar[.] Gallery 5 s. By His Majesty’s Command, no Persons whatsoever to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[51]}

May 12

AT the King’s Theatre in the Hay-Market, this present Thursday, being the 12th of May, will be perform’d, A New Opera call’d, ALEXANDER. Tickets will be delivered out at the Office in the Hay-Market, this Day, and no more than Three Hundred and Forty will be given out, at Half a Guinea each. No Subscriber, or any other Person with a Subscriber’s Ticket, will be admitted without producing it at the first Bar. Gallery 5 s. By His Majesty’s Command, no Persons whatsoever to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[52]}

May 14

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 14th of May, will be perform’d, A New Opera call’d, ALEXANDER. Tickets will be delivered out at the Office in the Hay-Market, this Day, and no more than Three Hundred and Forty will be given out, at Half a Guinea each. No Subscriber, or any other Person with a Subscriber’s Ticket, will be admitted without producing it at the first Bar. Gallery 5 s. By His Majesty’s Command, no Persons whatsoever to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[53]}

May 17

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 17th of May, will be perform’d, A New Opera call’d, ALEXANDER. Tickets will be delivered out at the Office in the Hay-Market, this Day, and no more than Three Hundred and Forty will be given out, at Half a Guinea each[.] No Subscriber, or any other Person with a Subscriber’s Ticket, will be admitted without producing it at the first Bar. Gallery 5 s. By His Majesty’s Command, no Persons whatsoever to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[54]}

May 19

Notice is hereby given, That the Governour of the Royal Academy of Musick has appointed a General Court of the Corporation to be held at their Office in the Hay-Market, To-morrow the 20th Instant, at Eleven a-Clock in the Forenoon.^{^[55]}

May 19

AT the King’s Theatre in the Hay-Market, this present Thursday, being the 19th of May, will be perform’d, A New Opera call’d, ALEXANDER. Tickets will be delivered out at the Office in the Hay-Market, this Day, and no more than Three Hundred and Forty will be given out, at Half a Guinea each[.] No Subscriber, or any other Person with a Subscriber’s Ticket, will be admitted without producing it at the first Bar. Gallery 5 s. By His Majesty’s Command, no Persons whatsoever to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[56]}

May 20/31 N.S.

[Owen Swiney, Venice, to Charles Lennox, 2^nd Duke of Richmond,

31 May 1726 N.S.]

[…] [366]

I hear very seldom from Mr. Haym about opera

affairs; and the news he sends me is handed about here

15 or 20 days before it comes to my hands: I know that

the Faustina is at length arrived, and I hope that ’ere

this Messrs. de L’academie and all Lovers of Musick in

England are persuaded, that the opposition made to her

going for England was very unjust and very unnatural.

I am just returned from Parma where I heard ye Divine

Farinelli (another blazing star) but I am sorry to tell

you that Im’e affraid he’l not be persuaded to goe for

England these two or three years yet, for he has a Mind

to study ye Lombard manner, which will improve him Cent

per Cent: I think I told your Grace in my last letter

that He was engaged to Sing in one of the Theatres of

Rome the next winter.

There are but two Soprano’s that I know of in Italy

(unengaged as I hope) who are fit for the present service

of the Academy: and I have taken all the proper

Measures I can think of to bring ’em to make a proposal

to me for this matter. If they are not engaged, or shou’d

one of ’em be at Liberty, I hope to be able to give an

account to Messrs. de L’academie in a very little time:

if I am disappointed of these two, I confesse fairly to

you that I don’t know of any one fit to supply the want

of such a one.

If Messrs. de L’academie resolve to Honour me with

their further commands this season I hope they’l be full

& positive.[57]

May 21

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 21st of May, will be perform’d, A New Opera call’d, ALEXANDER. Tickets will be delivered out at the Office in the Hay-Market, this Day, and no more than Three Hundred and Forty will be given out, at Half a Guinea each[.] No Subscriber, or any other Person with a Subscriber’s Ticket, will be admitted without producing it at the first Bar. Gallery 5 s. By His Majesty’s Command, no Persons whatsoever to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[58]}

May 24

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 24th of May, will be perform’d, A New Opera call’d, ALEXANDER. Tickets will be delivered out at the Office in the Hay-Market, this Day, and no more than Three Hundred and Forty will be given out, at Half a Guinea each. No Subscriber, or any other Person with a Subscriber’s Ticket, will be admitted without producing it at the first Bar. Gallery 5 s. By His Majesty’s Command, no Persons whatsoever to be admitted behind the Scenes. To begin exactly at Six a-Clock. N[.] B. The same Opera will be perform’d again on Thursday next, and none the Saturday following.^{^[59]}

May 26

AT the King’s Theatre in the Hay-Market, this present Thursday, being the 26th of May, will be perform’d, A New Opera call’d, ALEXANDER. Tickets will be delivered out at the Office in the Hay-Market, this Day, and no more than Three Hundred and Forty will be given out, at Half a Guinea each[.] No Subscriber, or any other Person with a Subscriber’s Ticket, will be admitted without producing it at the first Bar. Gallery 5 s. By His Majesty’s Command, no Persons whatsoever to be admitted behind the Scenes. To begin exactly at Six a-Clock. N[.] B. There will be no Opera perform’d on Saturday next.^{^[60]}

May 27

Extracts from the List of Subscribers for the Score of Scipione

Dr. Arbuthnot, Mr. Cook at New York, J. S. Cousser at Dublin, Henry Carey, William Freeman of Hamels, J. G. Gumprecht at Hamburg, Henry Harrington, Nuburgh Hamilton, Mr. Hare 6 Books, Mr. Jennens, Mrs. Eliz. Legh of Adlington, James Miller, Philarmonica Club, John Rich, Mr. Robinson (Organist), Sgr. Sandoni 6 Books, Mrs. Wiedeman, and Mr. Zollman of Stockholm.^{^[61]}

May 31

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 31st of May, will be perform’d, A New Opera call’d, ALEXANDER. Tickets will be delivered out at the Office in the Hay-Market, this Day, and no more than Three Hundred and Forty will be given out, at Half a Guinea each[.] No Subscriber, or any other Person with a Subscriber’s Ticket, will be admitted without producing it at the first Bar. Gallery 5 s. By His Majesty’s Command, no Persons whatsoever to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[62]}

J. B. Küchelbeckern, Der nach Engelland reisende

Curieuse Passagier, oder kurtze Beschreibung der Stadt London

Moorfields.

Nahe ben dem Collegio der Königlichen

Societät ist ein Platz Moorfields

gennent, allwo sich die Bürger von London

des Sommers promeniren. Es bestehet

solcher in einen grossen Terrain, so in 4

grosse viereckigte Felder eingetheilet, allwo

die Wäscherinnen ihre Wäsche trocknen

und bleichen. Allhier giebt es allerhand

Häuser, wo Music ist, Musick-Houses

gennant, und in welchen sich die gemeinen

Leute mit tanzen, essen und tricken

belustigen. [...]

[79]

Foxhall.

Allernechst darben liegt die plaisante

Promenade Foxhall, welche vor die

angenehmste unter allen, so sich um London

herum befinden, gehalten, und dahero

täglich von viel tausend Menschen,

benderlen Geschlechts, besuchet wird. Und

in Wahrheit der Ort meritiret, daß man

solchem öffters einige Stunden widmet,

und von dessen Annehmlichkeit profitiret;

zumahl, da sich zuweilen die Vornehmsten [122]

vom Hof daselbst divertiren. Dieses

aber muß ich auch noch gedencken, daß

ben Tage allda Frauenzimmer herum

spatzieret, welches man von grossen Rang

judiciren solte; so bald es aber ein bißgen

düster wird, siehet man leichtlich, was es

vor Dames find, indem sie alsdenn keinen

Scheu nicht tragen, ihre willigen Dienste

selbsten zu offeriren.

[121-22]

Londnische Opera

Unter allen andern aber behält die

unvergleichliche Opera ohne Streit den

Vorzug, welche so wohl von In- als

Ausländern admiriret [sic] wird. Die Opera

zu Paris ist gegen die Londnische, was

die Composition und Music [sic] anlanget,

ein Kinder-Spiel, ob man gleich im

Gegentheil wegen der Taenker der Pariser

auch justice thun muss, dass solche in diesen

Stück alle andere übertrifft. Es

wird solche die Woche 2 mahl gespielet,

bissweilen aber auch öffters, wie es dem

Hof, von welchen solche dependiret [sic], und

entreteniret [sic] wird, beliebet. Man trifft

in derselben die unvergleichlichsten

Sänger und Sängerinnen an, viele Italiaener, [131]

und mit einem Worte, lauter solche Leute,

und Virtuosen, wovon ein jedweder

in seinem metier excelliret, welche alle

ungemein starcke Pensionen vom König

bekommen. Was derselben Einrichtung

und Direction anlanget, übergehe

ich aniezo mit Stillschweigen, weil wir

doch nicht willens find, uns den solcher

zu engagiren. Wer ein Liebhaber von

der Music ist, und solche zu judiciren

weiss, wird allhier sein Vergnügen finden,

und thut ein solcher Liebhaber nicht übel,

wenn er von dieser Composition einige

emplettes machet, und die besten Parthien,

so man alle in Kupffer gestocher

haben kan [sic], sich anschaffet. Ubrigens

ist es etwas kostbar, solche zu frequentiren,

indem man, wenn man will honétement

placiret sehn, ein halben Guinée in denen

Loges, und auf dem par terre 1. Crone

wenigstens geben muss: Allein die Sache

ist des Gelds werth, und verdenck

ich es keinen Etranger, wenn er hierinnen

eine Depense machet, und solches ben [sic]

Gelegenheit anderswo meragiret, sintemahl

man desgleichen in Teutschland nicht

finden wird, ohnerachter die Hamburger

Opera auch noch passable ist.

[130-31]

Concerts oder Collegia Musica.

Die Engelländer sind der Music sehr

ergeben, und legen sich starck auf selbige;

Dahero hat man gewisse Concerts oder

Collegia musica, worinnen man lauter

solche Leute, davon einer auf diesen, der

andere auf jenen Instrumente excelliret, [140]

antrifft. Wer nun von der Music ein

Liebhaber ist, der kan dieselben besuchen,

und darff er sich nur mit einem, der

solche frequentiret, bekannt machen, damit

er von solchen praesentiret werde, welches

gar leichtlich zu erhalten. Ein Gelehrter

kan auf das Latin Coffée-House

gehen, worvon wir oben im V. Cap.

gedacht, so wird er allezeit eine gelehrte

Compagnie daselbst finden, welche von

diesem und jenem raisonniret. Es ist

solches in Warwick-lane, nicht weit von

der Pauls-Kirche gelegen. Wer von

dem Zustand von Engelland und London

recht will informiret sehn, der besuche

dieses Caffée-Hauß öffters, mache sich

mit etlichen Gelehrten, so solches

frequentiren, bekannt, so wird er von solcher

Bekanntschafft den grösten Nutzen

haben.

[139-40][63]

Jun 4

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 4th of June, will be perform’d, A New Opera call’d, ALEXANDER. Tickets will be delivered out at the Office in the Hay-Market, this Day, and no more than Three Hundred and Forty will be given out, at Half a Guinea each[.] No Subscriber, or any other Person with a Subscriber’s Ticket, will be admitted without producing it at the first Bar. Gallery 5 s. By His Majesty’s Command, no Persons whatsoever to be admitted behind the Scenes. To begin exactly at Six a-Clock.^{^[64]}

Jun 6

SIR,

I WAS in Company t’other Day, where your

Paper upon the Opera was mention’d very much

to your Disadvantage, by some Ladies not remarkable

for the best Understanding. It seems, they are

very much affronted at your calling them Names,

for their espousing the different Interest of the Rival

Queens Cuzzoni and Faustina. I suppose, they

alluded to the Words Guelphs and Ghibelins, which

are the Appellatives you ingeniously make Use of to

distinguish the different Factions, which have lately

arisen in the Town, upon the Account of these

two Ladies; indeed, they did not venture to speak

out the Words, because, I believe they were too hard

for their Pronunciation; but, Sir, before I left

them, I made them so much ashamed of their

Ignorance, and unjust Malice in this Affair, that they

have promis’d to be reconcil’d to you, and only

desire two or three Days time, to learn how to

express the Words properly, that they may be able to

declare which Side they are of. Sir, I hope for this

good Piece of Service, you will not think me

unreasonable, if I desire to be put upon the List of

your Pensioners, for you must understand the World

so well, that none of us care to give ourselves

Trouble for nothing. Your Compliance in this,

will greatly oblige,

SIR,

Your most obedient Servant,

and Admirer,

E. WILDAIR.

P. S. I am the same Person, who writ to you

once before, to recommend me to the wild Youth; [245]

but you need not be in haste about that Matter,

for tho’ we have had several Meetings, yet we are

not come to an Agreement about the Title, having

submitted it to you, that he should be given to the

fairest; but I don’t know how it is, there is not

one of them has given up their Pretensions yet.

I am very much oblig’d to this Lady for her

Friendship to me, and assure her, that upon the

very next Vacancy she shall be provided for.[65]

Jun 7

AT the King’s Theatre in the Hay-Market, this present Tuesday, being the 7th of June, will be perform’d, A New Opera call’d, ALEXANDER. Tickets will be delivered out at the Office in the Hay-Market, this Day, and no more than Three Hundred and Forty will be given out, at Half a Guinea each[.] No Subscriber, or any other Person with a Subscriber’s Ticket, will be admitted without producing it at the first Bar. Gallery 5 s. By His Majesty’s Command, no Persons whatsoever to be admitted behind the Scenes[.] To begin exactly at Six a-Clock. Being the last Week of performing.^{^[66]}

Jun 11

AT the King’s Theatre in the Hay-Market, this present Saturday, being the 11th of June, will be perform’d, A New Opera call’d, ALEXANDER. Tickets will be delivered out at the Office in the Hay-Market, this Day, and no more than Three Hundred and Forty will be given out, at Half a Guinea each. No Subscriber, or any other Person with a Subscriber’s Ticket, will be admitted without producing it at the first Bar. Gallery 5 s. By His Majesty’s Command, no Persons whatsoever to be admitted behind the Scenes[.] To begin exactly at Six a-Clock. Being the last Week of performing.^{^[67]}

Jun 13

THE Indisposition of Signior Senessino having hindred the Performance of the Opera last Saturday Night, any Person that had Tickets for that Night, will have their Money returned at the Office on the Delivery of their Tickets.^{^[68]}

Jun 21/Jul 2 N.S.

[Owen Swiney, Bologna, to Charles Lennox, 2^nd Duke of Richmond,

2 July 1726 N.S.]

I was Honoured with your letter of May 5th just as

I was stepping into a Burchiello, in order to make a

second Trip to Parma to recover the disorder my Ears were

put into by the Musick (gli Signori impresarii called it)

of the opera perform’d at Venice this ascension: ’twas

the worst I ever heard: and tho’ the book was a good one

(viz. the Generous Rivals) and Nicolino and Signora Tesi

acted very well in it, yet it went the way of all flesh.

Capelli’s Musick at Parma made me ample Satisfaction;

and ye dear Farinelli is another Dear Faustina. [367]

These two, non pareils, touch the hearts of the happy

few, who are endowed with the spirit of the buon gusto,

and I pretend to be one of this number: and I don’t at

all envy the dilettanti who are in raptures with unnatural

squeeks and unmeaning shakes &c. I wish they

cou’d enjoy this their pleasurs in peace and quiet, or

at least, that they wou’d let those that have ears, hear.

I am extreamly, obliged to you for the favour you

did me in sending me the book of Alexander ye great: it

is confessed by all that have read it, to be the weakest

that ever was written: and I confesse ye truth, when I

tell your Grace that I wonder how Messrs. de L’academie

suffer themselves to be so grossly abused.

The Musick is (as I hear) confessed to be the

weakest that ever Handel made yet.

I can’t imagine why these things were suffered,

except it was to hinder Faustina from shewing her beauty’s

to the people of England, which they were affraid might

Eclipse those of her competitor. ’Twou’d have been mighty

well done to have endeavoured to have furnished ’em, both,

with good parts, but instead of that I find that neither

of ’em have the least occasion of introducing a Song of

consequence; and such a part as Senesino’s I believe

never was seen upon any stage.

I hope next winter will produce something more; for

’tis a shame that such a Summe of Money shou’d be given

to a performer, who must not be heard. Surely the opera

of Vinceslao will furnish out a better entertainment. I

dare swear the Musick is better than Myn Heer Hendels, and

the parts of Faustina and Cuzzoni are both very good: I

see my recommendations are suspected by Messrs. de

L’academie, and for this reason, only, I resolve for the future

to obey their commands, and not to inform ’em of what

otherwise might be for their interest and satisfaction.

If your Grace does not interpose your interest &

authority your Entertainments will be much worse tho’ you

have the two first Women in Europe, than when you had the

Cuzzoni alone.

In case I cannot get Signor Domenico Gizzi, or one

Castorino, I have (once more) recommended Signor Giovanni

Batista Minelli to supply the place of Senesino: He sings

in a fine taste, and I hope your Grace is persuaded that

I wou’d not say this, if it was not a noted truth.

Your Grace told me once that the Academy must take

people that the town approv’d, tho’ it were Paul George &

ye Salt-box. I am affraid that they have not followed

this rule when they afresh engaged the Anna Dotti &

another person.

I hope your Grace will Endeavour to introduce

persons who sing in a fine taste, and then let the world [368]

talk and be damn’d: Interest and gain are very proper &

fit to be considered in an undertaker of any Estate &

condition, but are below the thoughts of an Academie

Roiale composed of the first Men for Birth & Estate in

England.

Your Grace is very good in protecting the Faustina

who is so very unnaturally attacked. I hear that her

Antagonists are the people famed for a bad taste, joined

with the band of Italians who are as a gentleman terms

in a letter to his Friends in Bologna--La Feccia della

Terra &c.[69]

This Day is publish’d,

[…] The Specimen, with Proposals for Engraving and Printing by Subscription the 2d Vol. of the most favourite Opera Songs by PETER FRASER, which Vol. will containg the remaining fa[v]ourite Airs out of Rodelinda, Julius Caesar, &c. Those in Scipio, Alexander, with some never printed and compleating the Work, will together be the best and most beautiful Collection ever did, or ever will appear in this or any other Way. As also an English Volume, which will be of the same size and price as the Italian Vol. and fill’d with Cantata’s, Airs with Symphony’s, Songs, &c. upon different subjects, serious and diverting, all in English, the Words almost all new, and the Musick entirely so; done elegantly in the Italian Stile, the whole in such a manner as hath not been yet attempted. Specimens of both these Vols. may be seen, Subscriptions taken in, Receipts given and Proposals Gratis by the Publisher in Kings-Arms Court, or at the Rainbow Coffee-House Ludgate-hill. Likewise at most of the great Coffee-housesn and Musick Shops in Town, the most eminent Booksellers in the Country, and wherever the Specimen is seen. At all which Places the first Italian Vol. may be had. N. B. The 2d Vol. of Opera Songs is half done and will be ready for Delivery by Michaelmas, and the English one not long after.^{^[70]}

Jul 26/Aug 6 N.S.

[Owen Swiney, Bologna, to Charles Lennox, 2^nd Duke of Richmond,

6 August 1726 N.S.]

[…]

I shou’d be glad to know what you have done with

The Faustina and whether she mended upon your hands after

ye first hearing.

A great many of the Italian Company of players

belonging to St. Samuels Theatre in Venice, have run away

from the Service of Signori Grimani; and what is worse,

or aggravates the Matter, is, that every single person of

’em are indebted to these Noble Men.

They give out that they are invited into England by

Messrs. de L’academie, and that they are to Act twice a

Week in the Theatre in the Haymarket.

I can’t think that Messrs. de L’academie will ever

suffer such stuff to come within their doors: And shou’d

any attempt be made to bring ’em there, I hope your Grace

will oppose it stoutly: both out of regard to the Honour

of the academy, and out of Justice to a sett of as worthy

Gentlemen as any in Venice.[71]

Aug 1

AFFECTATION is vain Humour

of endeavouring to appear what we are

not, and therefore it is, that when

People take notice of any one who is

remarkable for some particular Quality which

distinguishes him, they strive by their Imitation to

make themselves considerable, and hope to come

in for Part of his Applause; and if this Emulation

went no farther than in Things really laudable,

it could not be condemned: But the Generality of

the World is too apt to set up a Standard of its

own, and ascribe Merit to those Things, which

are so far from being commendable, that they are a

Disgrace to the Possessors of them. [... 318 ... 319 ...]

Ironia has read some Books, and from hence

concludes herself learned. She despises her own

Sex, because they don’t understand the hard Words

she introduces into Conversation, and they in

Return, laugh at her, because she strives to be

unintelligible. In an Assembly not long ago, talking of

the different Powers of our two famous Songstresses,

she expressed herself in this Manner; ’Tis my

Opinion (says she) that Faustina excels in the

Crummatick and Catsoni in the Harmonick: Monsieur

Toupet, who is entirely careless of what he says,

told her, at that rate we have two of the most

thorough-bred Singers in Europe, for if Faustina is

superior in the Crummatick, to his Knowledge no Body

was equal to his Friend Boschi in the Crustick. This

he delivered with so malicious a Sneer, that every

Body perceived the Mistake of Ironia, which was

followed by so loud a Laugh, that she was forced

to leave the Company.[72]

Aug 2/13 N.S.

[Owen Swiney, Bologna, to Charles Lennox, 2^nd Duke of Richmond,

13 August 1726 N.S.]

Senesino passed thro’ this place, for Florence, on

Wednesday last: I never remember to have seen him in

better health.

I mention this article of his health, because I am

told that the opera of Alexander wou’d have been acted

four or five times more, had not Senesino’s illnesse

prevented it. [369]

He desired me to give his duty to your Grace,

and to tell you that he has been Fedelissimo--not

having staid in Paris above a Week, tho’ he proposed

to have continued there a Month.

I was astonished at his telling me that he was

not to return to London ’till the latter end of January

But I hope Messrs. de L’academie have taken care to go

on, at least, tollerably, ’till that time or something

longer shou’d any accident prevent his arrival at the

time appointed. Mr. Haym leaves me very much in the

dark about Theatrical affairs, tho’ I fancy ’twou’d be

better that he did not.

Senesino tells me that, in all probability, the

Theatre will be opened, next Season, with the opera of

Vinceslao: the parts for the Ladies being to their

Mutual Satisfaction.

He put me in a Sweat in telling me that Parthenope

was likely to be brought on the Stage, for it is, the

very worst book (excepting one) that I ever read in my

whole life: Signor Stampiglia (the author of it) endeavours

to be humourous and witty, in it: If he succeeded

in his attempt, on any stage in Italy, ’twas,

meerly, from a depravity of Taste in the audience--but

I am very sure that ’twill be received with contempt in

England.

I know the Faustina is in love with herselfe in

this opera but if she’l take my advice, she shou’d never

attempt it--she is, in it, a little part coquette, and

neither she herselfe, nor no body else can tell what she

wou’d be at.

Then there’s the part of Parthenope (I suppose for

Cuzzoni) which is only fit for Merighi or The Diana Vico

or some He-She-thing or other. I’ll say no more of it, [370]

but that if ’tis to be done, ’twill bring more scandal

& lesse profit, than any opera, that has been, yet,

acted to the Hay-Market Theatre.

This Notice I think my selfe obliged to give out

of Duty to your Grace and Messrs. de L’academie.[73]

Aug 6

This Day is published,

The whole Opera of ALEXANDER in Score. Composed by Mr. HANDEL. Sold by J. Cluer in Bow Church yard, and B. Creake in Jermyn-street, St. James’s. Where may be had the following Musick, viz.

1. A Pocket Companion for Gentlemen and Ladies. Being a Collection of Favourite Opera Songs. In two Vols. 8vo. A Work never before attempted.

2. The whole Opera of Julius Caesar in Score, and for the Flute.

3. The whole Opera of Tamerlane in Score, and or the Flute.

4. The whole Opera of Rodelinda in Score, and for the Flute.

5. The whole Operas of Scipio and Alexander. All compos’d by Mr. HANDEL.

[…]^{^[74]}

Aug 6

Extracts from the List of Subscribers for the Score of Alessandro

Dr. Arbuthnot, Francis Brerewood, Mr. Cousser at Dublin, Mr. Cook at New York, Henry Carey, William Freeman, Mr. Gumprecht at Hamburg, Henry Harrington, Mr. Hare 18 Books, Mr. Jennens, Mr. Loeillet, Mrs. Elizabeth Legh of Adlington, James Miller, Philarmonica Club, John Rich, Mr. Robinson (Organist), Mr. Sandoni, Mr. Wiedeman and Mr. Zollman (of Stockholm).^{^[75]}

Sep 23/Oct 4 N.S.

[Owen Swiney, Venice, to Charles Lennox, 2^nd Duke of Richmond,

4 October 1726 N.S.]

[…]

By the next post (or that of the week following

it) I shall send your Grace an opera book fitted for the

Meridian of London: wherein the Faustina & Cuzzoni are

to have two very equal and very good parts.

I shall send six or seaven Songs a piece for ’em,

which I think adapted mighty well to their capacity’s:

as for the recitative & the songs for the other actors,

I leave ’em to be composed by Padre Attilio [Ariosti], or

any other Master Messrs. de L’academie think fit to

employ.

The time of Senesino’s return to London is not

certain: accidents may happen to prevent it: and therefore

I thought ’twou’d not be impertinent to provide

something (in such a case) against the calamity.

The book and songs did not cost me much in the

choice or alteration: and they can be attended with no

other Expence but the postage, which must be a trifle.

Such as they are I offer ’em: and I hope they’l be

approved. When I send ’em I shall write more fully to

your Grace about theatrical affairs.[76]

Sep 30/Oct 11 N.S.

[Owen Swiney, Venice, to Charles Lennox, 2^nd Duke of Richmond,

11 October 1726 N.S.]

I have, this post, forwarded to you, an opera

book, intituled Teuzzone e Zelinda: with some songs &c.

In case you are not in London ’twill be opened by Messrs.

les Directeurs de L’academie.

This opera was projected, by me, with a View of

Serving the academy, in the first place: and, in the

next, of quieting the minds of your two contending Ladies

for some small time.

I refer your Grace to my letter on that Subject,

which goes in the same pacquet, with the opera book &c.

[…][77]

[“ARGOMENTO.”]

N. B. Il solo primo Motivo ed alcuni pochi versi di questo Drama sono stati to<iti> da un vecchio Drama del medesimo titolo.

Il celebre Signor FEDERICO HANDEL ne compose la Musica, al sommo espressiva et armoniosa: ed il tutto fu eseguito in tre settimane.[78]

Oct 3

Giuseppe Riva to Ludovico Antonio Muratori

Kensington, 3. Ottobre 1726

Sarà inutile ogni mio desiderio di ubbidirla sull’ affare dell’ opera che V. S. Ill.^a mi dice dover misi spedire per la posta, perchè i maestri di musica hanno già scelti i libretti per la prossima stagione e già son applicati al lavoro. Per un altr’ anno sarà pure difficile di farla accettare perchè l’Accademia ha il proprio poeta e le opere che vengono d’Italia non possono servire per questo teatro. Bisogna riformarle o per meglio dire difformarle per renderle in istato da incontrar favore. Pochi versi di recitativo e molte arie qui vogliono e questa è la ragione che alcune delle migliori opere del Sig.^r Apostolo [Zeno] non si sono mai potuto fare e che le due bellissime del Metastasio, cioè la Didone ed il Siroe, hanno dovuto correre la medesima sorte. Qui per altro vi sono più poeti che non bisogna. Oltre quello dell’Accademia vi è il Rolli ed un tal Brillanti Pistoiese che fa assai bene e tutti gli altri restano oziosi, onde il viaggio dell’amico suo sarebbe dispendioso ed inutile.^{^[79]}

Kensingron, 3rd October 1726.

All my readiness to obey you in the matter of the Opera, which you say will be sent me by post, will be in vain, because the composers of Music have already chosen the librettos for the coming season and are already at work on them. It will also be difficult to have it accepted for the year after, because the Academy have their own poet, and operas that come from Italy cannot be of service in this theatre. It is necessary to revise or rather deform them in order to render them acceptable. Few verses of recitative and many arias is what they want over here, and that is the reason why it has never been possible to perform some of Signor Apostolo’s best operas and why Metastasio’s two finest operas, that is to say his Dido and his Siroe, have met the same fate. Besides, there are more poets here than are required; in addition to the Academy’s poet, there is Rolli, and one Brillanti from Pistoia, who manages very well. All the others remain idle, so that for your friend to make the journey here, would be both expensive and useless. That is what I am able to tell you, Sir, on this matter.^{^[80]}

Nov 4/15 N.S.

[Owen Swiney, Venice, to Charles Lennox, 2^nd Duke of Richmond,

15 November 1726 N.S.]

’Tis with a great deal of pleasure that I tell you [371]

Senesino passed thro’ Bologna (Last Sunday Evening)

with a design of making the best of his way for England.

He lay that Night at Modena; and takes Mantova,

Verona auxbourgh [Augsbourg], Frankfort, &c. in his

road to Brussels, and Calais.

He has carryed his Brother (a Contrealto) with him

with a design of finding employment, for him, in London.

I suppose, by the time that this letter comes to

your hands, that He cannot be, very, far from his

Journey’s end: and I thought it, very, necessary to give you

this information of his departure, that Messrs. de

L’academie, may order affairs accordingly.

I foresaw the difficulty that the academy must be

reduced to by his absence; and, for that reason I have

been solliciting his departure, for England, these Two

Months &c.

I have received no letter this post, from Mr.

Colman: but I make no doubt but that he has given your

Grace notice of Senesino’s setting out.

I desire to know whether I am to send back the

letter you writt to Senesino, or whether I may lay it by.[81]

Nov 11

New Musick publish’d for a German Flute, &c.

A Fourth Collection of the most Celebrated Airs and Song Tunes from the latest Operas. By Mr. Handell; neatly [fitt]ed for a German Flute and a Bass. Also several new Collections for a Violin and a Bass. Correlli’s Solos made into Concertos by Mr. Geminiani; done in an exceeding fine Character. Correlli’s twelve Concertos transposed for Flutes, which plays in Concert with the Violins. The 1st and 2d Collections of Apollo’s Feast: The 1st containing all Mr. Handell’s Favourite Songs throughout all his Operas; The 2d all the Favorite Songs by Bononcinis[,] Attilio, and several other eminent Auhors.

N. B. Where these are sold, may be had all the newest Musick for all his Majesty, at the Harp and Hoboy in Katharine-street in the Strand; and Joseph Hare, at the Viol and Flute in Cornhill near the Royalm Exchange.^{^[82]}

[Nov 18]

Johann Mattheson

Hamburger Opernverzeichnis

Alexander, etwas von dem No. 64 befindlichen durch Hn. Wend verändert und mit neuen Italiänischen Arien versehen vom Hn. Händel.^{^[83]}

Hamburg Opera List

Alexander, somewhat altered by Herr Wend from that listed as No. 64 and provided with new Italian arias composed by Herr Händel.^{^[84]}

Nov 18/29 N.S.

[Owen Swiney, Venice, to Charles Lennox, 2^nd Duke of Richmond,

29 November 1726 N.S.]

The inclosed letter from Marquiss Barbazza is the

occasion of my writing to you, now.

I hope that Senesino will be arrived in London by

this: and that Messrs. de L’academie will be enabled to

bring some opera, of consequence on the stage, by the

supply, that he brings, in himselfe and Brother.

He, certainly, will attempt to provide for him, in

the Theatre; and he will be an usefull person: if you

make him do as Boschi does: that is, go on and off the

Stage without Songs. He is no bad Figure, and he understands

the businesse of the stage, very, well: but as for

his Singing ’tis D---.

The Theatre of St. Gio: Chrysostomo was opened,

last Monday, with an opera intitled: Il Trionfo di Flavio

Olibrio. The Book, the composition of the Musick, [372]

which is Porta’s: and the performers (excepting the

second Woman, who is Nicknamed The Beccaretta from her

Mothers taking delight in a particular piece of Flesh,

belonging to a Butcher of this place) are, most

excellently, well Matched.

The first Woman, whose name is Anna Ambreville,

and who is married to one Perone, a Violoncello, is

commended by some people, but, I think, without reason.

She is a, very, little, awkard Figure, with a

small voice. She Endeavours (and wou’d be thought) to

imitate La Mia Carissima Faustina: but her shoulders are

not strong enough to bear the weight of the first part

in such a Theatre as that of St. Gio: Chrysostomo: &

Every body begins, now, to lament the losse of that

Pillar of the Venetian Theatre.

Andrea Pacini, and Diana Vico, are the principal

Heroes. The above named Ambreville and her Husband, are,

both, in the Emperours Service: & have his liberty for

coming this Carneval to Venice. Borosini is married to

this Woman’s sister.

[…][85]

Nov 19

Note. The following MUSICK is also published by Cluer and Creake, viz. A Pocket Companion for Gentlemen and Ladies. Being a Collection of the choicest Opera SONGS. In two Volumes, 8vo. Also Mr. HANDEL’s Operas of Julius Caesar, Tamerlane, Rodelinda, Scipio and Alexander, in Score and for the Flute. […]^{^[86]}

Nov 19

PROLOGUE, spoken by Mrs. YOUNGER,

on the Revival of the Opera of CAMILLA.

LONG has the Pow’r of Harmony prevail’d,

And Music triumph’d, where the Muse has fail’d;

Hard! That the Views of Interest shou’d divide

The Sister-Arts, in Birth Divine ally’d!

Our Stage attempts this Difference to compound,

And reconcile the Strife of Sense and Sound:

Here, emulous to please, they Both are join’d;

This charms the Ear, while That informs the Mind.

Camilla, the first Favourite of the Age,

Ventures once more upon the English Stage:

Be grateful then —— let her Reception show

To her, your Taste of Harmony, you owe:

Nor think so poorly of your Native Tongue,

That English is unworthy to be sung;

Or that an Opera, where the Music’s good,

Shou’d please the worse for being understood.

We’re told indeed, what, if we cou’d believe,

The English Stage, I own, has Cause to grieve,

That Voices, Nature’s common Charm design’d,

Are now to Italy alone confin’d,

And we, so delicate, as yet have found

Nothing but Screech-Owls on the English Ground.

What Cant is this! —— How Whimsical to see

This Music Farce —— Italian Pedantry!

Ye British Fair, vouchsafe us your Applause,

And smile, propitious, on our English Cause;

While Senesino you expect in vain,

And see your Favours treated with Disdain:

While, ’twixt his Rival Queens, such mutual Hate

Threats hourly Ruin to yon tuneful State,

Permit your Country’s Voices to repair,

In some Degree, your Disappointment there:

Here, may that charming Circle Nightly shine;

’Tis Time, when That deserts us, to resign.^{^[87]}

Nov 22 / Dec 3 N.S.

Willers’ Hamburg Notes

Dec. 3. Julius Cesar. 3 people present; last performance of the company.^{^[88]}

Nov 26

[Mrs. Pendarves to Mrs. Anne Granville, 27 November 1726]

Last Saturday [the 26th] I was at Camilla with Lady Carteret

and her daughter, who grows very handsome. That

morning I was entertained with Cuzzoni. Oh how

charming! how did I wish for all I love and like to

be with me at that instant of time! my senses were

ravished with harmony. They say we shall have operas

in a fortnight, but I think Madam Sandoni [Cuzzoni] and the

Faustina are not perfectly agreed about their parts.

Well, as I was saying, I was at the opera of Camilla:

it is acted at Lincoln’s-Inn play-house, performed by a

Mrs. Chambers, Mrs. Barbiere, Mrs. Fletcher, a Signor

Rochetti, Mr. Leveridge, Mr. Legard. I can’t say I was

much pleased with it, I liked it for old acquaintance sake,

but there is not many of the songs better then ballads. [...][89]

Dec 5

The Governour and Court of Directors of the Royal Academy of Musick do hereby give Notice, That a General Court will be held this Day the 5th of December, in order to Elect a Deputy-Governour and Directors for the Year ensuing.^{^[90]}

Dec 17

A LIST of the Deputy-Governour and Directors of

the Royal Academy of Musick, chosen last Week.

Duke of Richmond, Deputy-Governour.

E. of Albermarle.

E. of Burlington.

Hon. James Bruce, Esq,

Hon. Pattee Byng, Esq;

Sir John Buckworth, Bar[.]

Hon. Ja. Brudenell, Esq;

Marquis of Canarvon.

Earl of Chesterfield.

Henry Davenant, Esq;

Charles Edwin, Esq;

Monsieur Fabrice.^{^[91]}

Sir John Eyles, Bart. Lord Mayor of London.

Lord Viscount Limerick.

Duke of Manchester.

Earl of Mountrath.

Sir Tho. Pendergass, Bar.

Sir John Rushout, Bar.

James Sandys, Esqs[.]

Major-General Wade.

Sir William Yonge.

Dec 31

[Giuseppe Riva to Agostino Steffani, London, Tuesday 31 December 1726]

Here a Musical Academy [the Academy of Vocal, later called Ancient, Music] has been established by the best composers and singers, Italian and English. I have been admitted as a member, but without a vote and as a great amateur, along with three other men of taste with a fine nose. Bononcini and Handel are members and are leading lights of this noble institute. The repertory comprises madrigals, antiphons, duets, psalms and anything in which [true] harmony reigns. {...}[92]

But to return to the present taste in Poetry.—If this Corruption of the Age cou’d excuse a Writer for what he composes now, must it be carried down as far as Homer’s Days? must his Heroes love, and talk, and fight a-la-mode? must his strong, sententious lines, be set to the new polite airs of Handel and Bononcini? Yet, were what you wou’d alledge [sic] of any force, it wou’d carry the matter thus far; and the whole Iliad and Odyssey ought to be enervated down to the present taste.[93]

MUSICK.

APollo’s [sic] Feast: Or, the Harmony of the Opera Stage, being a well chosen Collection in Folio, of the most celebrated Songs out of the latest Operas, compos’d by Mr. Handel; done in a plain and intelligible Character, with their Symphonies for Voices and Instruments; carefully corrected. [...] Printed for and sold by J. Walsh, Musick Printer and Instrument Maker to his Majesty, at the Harp and Hautboy in Catherine-street in the Strand, and J. Hare, at the Viol and Flute in Cornhill.[94]

[1] The Daily Courant, nr. 7554, Saturday 1 January 1726, [2].

[2] The Daily Courant, nr. 7556, Tuesday 4 January 1726, [2].

[3] Mist’s Weekly Journal, nr. 37, Saturday 8 January 1726, [4].

[4] The Daily Courant, nr. 7560, Saturday 8 January 1726, [2].

[5] The Daily Courant, nr. 7562, Tuesday 11 January 1726, [2].

[6] The Weekly Journal: Or, The British Gazetteer, nr. 38, Saturday 15 January 1726, [4].

[7] The British Journal, nr. clxxiii, Saturday 15 January 1726, [4].

[8] The Universal Mercury, no. ii (London: J. Roberts, 1726), 36.

[9] The Daily Courant, nr. 7581, Wednesday 2 February 1726, [1].

[10] The Daily Courant, nr. 7583, Friday 4 February 1726, [2].

[11] The Daily Courant, nr. 7586, Tuesday 8 February 1726, [2].

[12] The Daily Journal, nr. 1582, Wednesday 9 February 1726, [2].

[13] The Daily Courant, nr. 7590, Saturday 12 February 1726, [1].

[14] The Daily Courant, nr. 7592, Tuesday 15 February 1726, [1].

[15] Lowell Lindgren and Colin Timms, “The Correspondence of Agostino Steffani and Giuseppe Riva, 1720-1728, and Related Correspondence with J.P.F. von Schönborn and S.B. Pallavicini,” Royal Musical Association Research Chronicle 36 (2003), 1-174: 101-02.

[16] The Daily Courant, nr. 7596, Saturday 19 February 1726, [1].

[17] The Daily Courant, nr. 7598, Tuesday 22 February 1726, [2].

[18] The Daily Journal, nr. 1597, Saturday 26 February 1726, [2].

[19] The Daily Courant, nr. 7602, Saturday 26 February 1726, [2].

[20] The Daily Courant, nr. 7603, Monday 28 February 1726, [1].

[21] Donald Burrows, “Handel and the English Chapel Royal during the Reigns of Queen Anne and King George I,” 2 vols. (Ph.D. dissertation, Open University, Milton Keynes, 1981), 2:188v; Donald Burrows, Handel and the English Chapel Royal (Oxford and New York: Oxford University Press, 2005), 609.

[23] West Sussex Record Office, Goodwood Ms 105/398: Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 362-64.

[24] The Daily Courant, nr. 7608, Saturday 5 March 1726, [2].

[25] The Daily Courant, nr. 7610, Tuesday 8 March 1726, [2].

[26] The Daily Journal, nr. 1606, Wednesday 9 March 1726, [2].

[27] West Sussex Record Office, Goodwood Ms 105/399: Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 364-65.

[28] The Daily Courant, nr. 9714 [recte 7614], Saturday 12 March 1726, [2].

[29] The Daily Courant, nr. 7616, Tuesday 15 March 1726, [3].

[30] The Daily Courant, nr. 7620, Saturday 19 March 1726, [2].

[31] The Daily Courant, nr. 7622, Tuesday 22 March 1726, [1].

[32] The Daily Courant, nr. 7626, Saturday 26 March 1726, [2].

[33] The Daily Courant, nr. 7628, Tuesday 29 March 1726, [1].

[34] The Daily Courant, nr. 7632, Saturday 2 April 1726, [2].

[35] Donald Burrows, “Handel and the English Chapel Royal during the Reigns of Queen Anne and King George I,” 2 vols. (Ph.D. dissertation, Open University, Milton Keynes, 1981), 2:188v; Donald Burrows, Handel and the English Chapel Royal (Oxford and New York: Oxford University Press, 2005), 609.

[36] The Daily Courant, nr. 7640, Tuesday 12 April 1726, [2].

[37] The Daily Courant, nr. 7640, Tuesday 12 April 1726, [2].

[38] The Daily Courant, nr. 7644, Saturday 16 April 1726, [2].

[40] The Daily Courant, nr. 7646, Tuesday 19 April 1726, [2].

[41] The Daily Courant, nr. 7650, Saturday 23 April 1726, [2].

[42] The Daily Courant, nr. 7652, Tuesday 26 April 1726, [2].

[43] The Daily Courant, nr. 7656, Saturday 30 April 1726, [2].

[44] The Universal Mercury, no. iv (London: J. Roberts, 1726), 21-23.

[48] The Daily Courant, nr. 7660, Thursday 5 May 1726, [2].

[49] The Daily Courant, nr. 7662, Saturday 7 May 1726, [2].

[50] Erasmus Philips, Miscellaneous Works, consisting of Essays Political and Moral (London: Waller, Lewis, Jackson, and Joliffe, 1751), 201-07.

[51] The Daily Courant, nr. 7664, Tuesday 10 May 1726, [2].

[52] The Daily Courant, nr. 7666, Thursday 12 May 1726, [2].

[53] The Daily Courant, nr. 7668, Saturday 14 May 1726, [2].

[54] The Daily Courant, nr. 7670, Tuesday 17 May 1726, [2].

[55] The Daily Courant, nr. 7672, Thursday 19 May 1726, [2].

[56] The Daily Courant, nr. 7672, Thursday 19 May 1726, [2].

[57] West Sussex Record Office, Goodwood Ms 105/401: Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 365-66.

[58] The Daily Courant, nr. 7674, Saturday 21 May 1726, [2].

[59] The Daily Courant, nr. 7676, Tuesday 24 May 1726, [2].

[60] The Daily Courant, nr. 7678, Thursday 26 May 1726, [2].

[62] The Daily Courant, nr. 7682, Tuesday 31 May 1726, [2].

[63] J. B. Küchelbeckern, Der nach Engelland reisende Curieuse Passagier, oder kurtze Beschreibung der Stadt London (Hanover: Nicolaus Förster, 1726), 79, 121-22, 130-31, 139-40.

[64] The Daily Courant, nr. 7686, Saturday 4 June 1726, [2].

[65] The Country Gentleman, no. 26, Monday 6 June 1726: Erasmus Philips, Miscellaneous Works, consisting of Essays Political and Moral (London: Waller, Lewis, Jackson, and Joliffe, 1751), 244-45.

[66] The Daily Courant, nr. 7688, Tuesday 7 June 1726, [2].

[67] The Daily Courant, nr. 7692, Saturday 11 June 1726, [2].

[68] The Daily Courant, nr. 7693, Monday 13 June 1726, [2].

[69] West Sussex Record Office, Goodwood Ms 105/402: Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 366-68.

[70] The Evening Post, nr. 2641, Saturday 25 – Tuesday 28 June 1726, [3].

[71] West Sussex Record Office, Goodwood Ms 105/403: Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 368.

[72] The Country Gentleman, no. 42, Monday 1 August 1726: Erasmus Philips, Miscellaneous Works, consisting of Essays Political and Moral (London: Waller, Lewis, Jackson, and Joliffe, 1751), 317-19.

[73] West Sussex Record Office, Goodwood Ms 105/404: Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 368-70.

[74] The London Journal, nr. ccclxvii, Saturday 6 August 1726, [2].

[76] West Sussex Record Office, Goodwood Ms 105/406: Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 370.

[77] West Sussex Record Office, Goodwood Ms 105/407: Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 370.

[78] Paolo Rolli, P. C. Scipione (London: Thomas Edlin, 1726).

[81] West Sussex Record Office, Goodwood Ms 105/412: Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 370-71.

[82] The Daily Post, nr. 2226, Friday 11 November 1726, [2].

[85] West Sussex Record Office, Goodwood Ms 105/414: Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 371-72.

[86] The London Journal, nr. ccclxxxii, Saturday 19 November 1726, [3].

[87] The London Journal, nr. ccclxxxii, Saturday 26 November 1726, [1].

[89] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed, Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:125.

[90] The Daily Courant, nr. 7843, Monday 5 December 1726, [2].

[91] The London Journal, nr. ccclxxxv, Saturday 17 December 1726, [2].

[93] [Joseph Spence], An Essay on Pope’s Odyssey: In which some particular Beauties and Blemishes of that Work are consider’d (London and Oxford: James and J. Knapton et al., and S. Wilmot, 1726), 22.

[94] The Second Volume of the Monthly Catalogue: Being a General Register of Books, Sermons, Plays, Poetry, Pamphlets, &c. printed and published in London, or the Universities, in the Years 1725, and 1726 (London: John Wilford, 1727), 119.