*p1791 02 17 pan Armida. Principal Characters-Pacchierotti, Lazzarini, Benigni, Garelli, Mme Mara, Sga Salimbeni. Cast from libretto ($H. Reynell=, 1791): Rinaldo-Gasparo Pacchierotti; Ubaldo-Gustavo Lazzarini; Idreno-Giuseppe Benigni; Carlo-Giovanni Garelli; Armida-Mme Mara; Zelmira-Sga Giovanna Salimbeni.*d1791 02 17 pan End I: <i>Divertisement</i> by $D'Auberval=-.*b1791 02 17 pan End II: an entire new Pantomime Ballet, in I act, composed by $D'Auberval=, <i>Amphion et Thalie; ou, L'Eleve des Muses</i>. Principal dancers-[Didelot, Duquesney, Vigano, Fialon, Duchesne, Rousseau, Boisgirard, St.Aumer, Schweitzer, [Mme Didelot, Mme Vigano, Mlle Theodore, [Mlle Gervaise Troche, Mlle Deligny, [Mlle L. Simonet, Mlle R. Simonet, Mlle Puisieux, [Mlle Bithmer Cadette, Mlle Bithmer, Mlle Rousseau, Mlle Vedie, Mlle Durand; [Cast from synopsis ($H. Reynell= [1791]:) Amphion (<i>eleve des Muses</i>r)-Didelot; Bergers de la Phocide-Duquesney, Vigano; Thalie (<i>Muse de la Comedie</i>r)-Mme Theodore D'Auberval; Jeune Nymphe de la Phocide (<i>eleve de Terpsichore</i>r)-Mlle Gervaise Troche; Terpsichore (<i>Muse de la Danse</i>r)-Mlle Leonore Simonet; Jeune Nymphe (favorite de Thalie)-Mlle Rosine Simonet; Melpomene (<i>Muse de la Tragedie</i>r)-Mme Didelot; Clio (<i>Muse de L'Histoire</i>r)-Mlle Augustine Bithmer; Erato (<i>Muse de la Poesie Lyrique</i>r)-Mlle Bithmer; Euterpe (<i>Muse de la Musique</i>r)-Mlle Rousseau; Uranie (<i>Muse de l'Astronomie</i>r)-Mlle Jacobs; Calliope (<i>Muse de l'Eloquence</i>r)-Mlle Birt; Polimnie (<i>Muse de la Rhetorique</i>r)-Mlle Watson; Nymphes a la suite des Muses-Mlle Vedie, Mlle Durand, Mlle Berry, Mlle Bougier; Suite d'Amphion-Mme Fialon, Mme Duchesne, Mme Simonet, Mme Menage; Habitants de la Phocide-Mme Boisgirard, Mme Rousseau, Mme Omer, Mme Schweitzer.*c1791 02 17 pan A Grand Serious Opera; the music by $Sacchini=, with additions and alterations [by $Andreozzi= and $Mazzinghi=]. Under the direction of Mazzinghi. The dresses executed from original drawings of $Bartolozzi= and $Tresham=, by $Lupino=. With dances analogous to the Opera. The Doors to be opened at 6:30. To begin at 7:30 [same throughout season]. Pit 10s. 6d. Gallery 5s. There are a number of green boxes which may be taken on application to $Lee=, at the Theatre; the entrance to which, and to the Gallery, will be in <i>Oxford-street</i>. Subscriptions will be received by Messrs <i>Wright and Co.</i>, <i>Henrietta-street</i>, <i>Covent-garden</i> (only) where tickets are delivering daily; and such Ladies as have not compleated their subscriptions to their boxes are intreated to send their names to the office, in order to have the tickets prepared, as no person can be admitted without producing a ticket. The Nobility and Gentry are intreated to give particular orders to their coachmen to set down and take up with their horses' heads towards <i>Hyde-park</i>. The Doors in <i>Blenheim-mews</i> for chairs only. By Command of $His Majesty= no person can be admitted behind the scenes during the performance. "We fear that [the <i>Pantheon</i> as converted into a theatre] will gratify only the eye. It must undergo still more changes before the ear will be satisfied. Whether it is that the dome is too high and disproportioned to the breadth, or that the orchestra is sunk too low beneath the audience we cannot tell, but the sound does not swell and spread in equal volume; and it is the most inaudible in the best parts of the Theatre: the Pit and the first and second tier of Boxes hear very indistincly...We found this to be the complaint of every judge of music in the place" (<i>Morning Chronicle</i>, 18 Feb.). "The Pantheon has opened, and is small, they say, but pretty and simple; all the rest ill-conducted, and from the singers to the scene-shifters imperfect; the dances long and bad, and the whole performance so dilatory and tedious, that it lasted from eight to half an hour past twelve" ($Walpole= [18 Feb. 1791], XIV, 377) [and see 19 Feb.].