*p1787 12 08 king's Il Re Teodoro in Venezia; or, Theodore (King of Corsica) at Venice. Principal Characters by Morelli, Morigi, Balelli, Calvesi, Fineschi (1st appearance); Sga Sestini, Sga Storace. Cast from libretto ($D. Stuart=, 1787: Taddeo-Morelli; Acmet-Morigi; Gafforio-Balelli; Teodoro-Calvesi; Sandrino-Fineschi; Belisa-Sga Sestini; Lisetta-Sga Storace.*d1787 12 08 king's End I: a new <i>Divertissement</i> (composed by $Chevalier=)-Chevalier, Coulon, Vestris, the two Miss Simonets, Sga Bedini, Mlle Coulon (1st appearance); End Opera: a new ballet (composed by $Noverre=) <i>Les Offrandes a l'Amour</i>-Didelot (1st appearance), Coulon, Vestris, Mlle Hilligsberg, Mlle Vedie, Mlle Coulon, Saulnier, Henry, Sala, the two Miss Simonets, Mlle Grenier, Mezierres.*c1787 12 08 king's A Serio-Comic Opera in 2 acts (never performed here [1st performed at <i>Vienna</i>, 1784; and in April 1795 performed at <i>king's</i> under the title of <i>Il Conte Ridocolo</i>]). The Music composed in his best style by $Paisiello=. Under the direction of $Mazzinghi=. $Fineschi= being hardly recovered from his late severe indisposition humbly hopes for the indulgence of the public, whom rather than disappoint, he would run any danger. $Gallini=, for the last time, most respectfully entreats those few Subscribers who have hitherto delayed of declaring themselves, or sending in the names of their Co-subscribers, to do it immediately, as no one can be admitted without showing the Ticket for this year; and the Boxes not bespoke cannot remain empty after the opening of the House. Tickets to be had, and Subscription paid, as usual, at Messrs <i>Ransom, Morland and Hammersley's</i>, bankers, No. 57, <i>Pall-Mall</i>. The Doors to be opened at 6:00. To begin precisely at 7:00 [see 3 Jan. 1788]. Pit 10s. 6d. 1st Gallery 5s. 2nd Gallery 3s. "The only Part of the scenery which is interesting is the <i>bridge Rialto</i>v, and this is badly executed; it looks like a pantomimic show, but not like a grand opera scene; the bridge is crowded with figurative passengers, and small gondolas appear beyond it. The first idea is a capital error, for the representation of the bridge is supposed sideways, and being covered with shops, no passengers can be seen; the latter idea of boats being placed beyond the bridge crowds the scene, and makes the bridge lose its grand appearance at a distance...The Managers of the Opera are exceedingly to blame for having substituted a Soprano to a Tenor in the character of <i>Gafforio</i>r" (<i>Public Advertiser</i>, 17 Dec.). Receipts: #164 14s. [These receipts, and those on all other nights throughout the opera season, represent the sale of non-subscription tickets. On this night 400 tickets were delivered to $Prendergrass=, office-keeper at the <i>Haymarket</i> pit entrance; of these he sold 159 at 10s. 6d. (i.e. #83 9s. 6d.). 100 were delivered to $Toosey=, office-keeper at the <i>King's Door</i> pit entrance; he sold 26 at 10s. 6d. (i.e. #13 13s.). 300 were delivered to $Butler=, office-keeper of the 1st Gallery; he sold 190 at 5s. (i.e. #47 10s.). 200 were delivered to $Snelson=, office-keeper of the 2nd Gallery; he sold 118 at 3s. (i.e. #17 10s.). Sale of one box #2 2s. "Difference from Gallery to Pit" (i.e. money received from persons who changed their seats from gallery to pit, 5s. 6d.). The delivery of 1,000 non-subscription tickets to be disposed was almost invariably the case on every night of the season; but see 5 Apr. 1788.]