*p1793 04 23 king's Le Nozze di Dorina. ^As17930226^, but Braghetti_; Sga_ Belloli; Sga_ DeMira.*d1793 04 23 king's End I: <i>Les Epoux du Tempe</i>- [^See17930205^].*b1793 04 23 king's End Opera: the Grand Historical Ballet in 4 Parts, which has been so long in preparation, <i>Iphiginia in Aulide; or, The Sacrifice of Iphiginia</i> composed by $Noverre=. Iphiginia-Mlle Hilligsberg; Clytemnestra-Mlle Millerd; Agamemnon-D'Egville; Achilles-Nivelon; Egisthus-Favre Gardel; Young Orestes-Mlle Menage; Lesbian-Gentili; Warriors, Lesbian Slaves, High Priests, Priests, Priestesses-the Corps de Ballet.*c1793 04 23 king's 2nd ballet: With entirely new Scenery, Machinery, Dresses and Decorations. The Music entirely new, composed by $Millerd=, composer for the ballets at the $Opera at Paris=. In the course of the performance the Grand Procession of <i>Iphiginia</i>r into <i>Aulide</i>. The Scenery, Machinery, &c. designed by $Marinari=, and executed by him and his assistants. The decorations by $Johnston=, the dresses by $Sestini=. [Scenario published by $J. Hammond= [1793].] The Managers beg leave particularly to request that no Gentleman will come behind the Scenes, as the number of people engaged in the ballet, and the variety of scenery and machinery, render such admission highly inconvenient. <i>Morning Herald</i>, 24 Apr,: The story [of the ballet] is perhaps not very intelligibly told; but the shew and the dance are admirable. It begins and concludes with magnificent processions, the last of which brings Iphiginia to the altar, where she is saved just as the holy knife is raised for the sacrifice. At this instant the chariot of the Sun, the brilliancy of which is much beyond any former representation of the sort, passes over the stage, and is, for some time, suspended over the altar, while the whole corps de ballet offer their adorations.