*p1796 11 26 king's Zemire et Azor. Azor-Braham (1st appearance at this Theatre); Sandro-Rovedino; Ali-Morelli; Zemire-Mme Banti.*d1796 11 26 king's With <i>Dances</i> [(composed by $Didelot=) incidental to the Opera,-Didelot, Mlle Parisot, Mme Hilligsberg, Mme Rose; End Opera: <i>Flore et Zephire</i>- (originally composed by Didelot and now obligingly revived by him, in the absence of the Ballet-Master [$Gallet=], who is not yet arrived).*c1796 11 26 king's Gentlemen are particularly entreated to observe that in consequence of the displeasure expressed by the Subscribers, as well as the Public, at the frequent interruption of the business of the Representation, by the pressure of people on the Stage, the Company will hereafter be admitted behind the Scenes, before and after the Opera, and during the intervals between the Opera and Ballets only; but while the Curtain is up, Gentlemen are earnestly entreated to withdraw from the Stage; otherwise the request of the Nobility and Gentry, in conformity also to the public opinion, of shutting entirely the doors between the audience part of the Theatre and the Stage, must at last be compiled with. Those persons entitled to Admissions previous to the year 1789, who may not have an opportunity of sending their Securities to be registered before the opening of the Theatre, are requested to produce them at the Door, as they pass. The Public are entreated to observe that Ladies dressed in Bonnets, and Gentlemen in Boots, cannot be admitted into the Pit of the Opera. Pit 10s. 6d. Gallery 5s. No Money to be returned. The Doors to be opened at 6:30. To begin at 7:30 [same throughout opera season]. The Nobility are entreated to give direction to their Servants to set down and take up at the Theatre with the Horse's head toward <i>Pall Mall</i>. On account of the abuses practised in the names of the Subscribers, it is become necessary to require the production of the Subscription Ticket at the Doors and the Boxes. At the Chair-door in <i>Market-Lane</i>, Subscribers only will be admitted. "$Braham= sustained his part so well that we trust he will give us an example that shall induce us to chace from an English stage the degrading and distusting form of a <i>Castrato</i>" (<i>Morning Chronicle</i>, 28 Nov.). [The playbill omits $Rovedino=, but his performance is reviewed in <i>True Briton</i>, 28 Nov. The only other male part in the opera is that of <i>Sandro</i>r. And see 14 Feb. 1797.]