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SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Dean"/1) | (@(roleclean,performerclean) "Dean")') GROUP BY eventid ORDER BY weight() desc, eventdate asc OPTION field_weights=(perftitleclean=100, commentpclean=75, commentcclean=75, roleclean=100, performerclean=100, authnameclean=100), ranker=sph04

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80 results for: Keyword - Dean
We found 52 matches on Event Comments, 22 matches on Performance Comments, 13 matches on Performance Title, 13 matches on Roles/Actors, and 0 matches on Author.

26
20 March 1747 @ Covent Garden

Performances

Mainpiece Title: Joseph And His Brethren

Performance Comment: Parts were: Pharaoh-; Joseph-; Reuben-; Simeon-; Judah-; Benjamin-; Potiphera-; Phanor-; Asenath-; Chorus of Egyptians-; Hebrews-. [See Dean, Handel's Dramatic Oratorios, pp. 407-8.]See Dean, Handel's Dramatic Oratorios, pp. 407-8.]

27
26 February 1748 @ Covent Garden

Performances

Mainpiece Title: Judas Maccabaeus

Performance Comment: Parts were: Judas-; Israelite Man-; Israelite Woman-; Chorus-; Simon- (brother to Judas); Messenger-; Eupolemus- (Jewish Ambassador to Rome). (Larpent MS) [Winton Dean in Handel's Dramatic Oratorios, pp. 471-72, adds Second Israelite Woman and Priest, noting that Madam Frasi sang the part of the first Israelite woman.]Winton Dean in Handel's Dramatic Oratorios, pp. 471-72, adds Second Israelite Woman and Priest, noting that Madam Frasi sang the part of the first Israelite woman.]

Afterpiece Title: a Ca Concerto

28
27 March 1684 @ Drury Lane Theatre

Event Comment: On this day Luttrell purchased a copy (Bindley Collection, William Andrew Clark@Jr@Library) of The Beggars Delight As it was Sung at the Theatre Royal, published in 1684 by J. Dean

Performances

29
27 February 1697 @ Lincoln's Inn Fields

Event Comment: Betterton's Company. James Brydges, Diary: About 2. I came home to dinner, where I found Lady Hussy, & Cozzen Betty, & Mrs Howard, about 5. After dinner I went to Lord Pembroke's who being abroad, I went to Lord Arundell of Treryce, who not being at home, I went to Ld. Allinton's, but he not being within, I went to Mr Pitts, who being abroad, I went to ye Dean of Peterborough's but he being at church I went to ye playhouse in Lincolns inn fields, where I met Dr Davenant & Ld. Rumny (Huntington MS St 26)

Performances

Mainpiece Title: The Mourning Bride

30
17 December 1707 @ York Buildings

Event Comment: Benefit Dean and Keene

Performances

Mainpiece Title: Concert

Music: Vocal and instrumental Music-the best Masters

31
26 April 1711 @ Stationer's Hall

Event Comment: Benefit Dean. At 7 p.m. Tickets 2s. 6d

Performances

Mainpiece Title: Concert

Music: Vocal and Instrumental Music-the best Masters

32
02 May 1732 @ King's Theatre

Event Comment: An Oratorio in English. Formerly Compos'd by Mr Handel, and now revised by him, with several Additions, and to be performed by a great Number of the best Voices and Instruments. N.B. There will be no Action on the Stage. but the House will be fitted up in a decent Manner for the Audience. The Musick to be disposed after the maner of the Coronation Service. [Their Majesties, Prince, Princess Royal and Amelia present. See also Egmont, Diary, I, 266, and Dean, Handel's Dramatic Oratorios, pp. 205-97.

Performances

Mainpiece Title: Esther

33
28 March 1735 @ Covent Garden

Performances

Mainpiece Title: Deborah

Performance Comment: Cast not listed, but Dean, Handel's Dramatic Oratorios, p. 238, conjectures: Deborah-Signora Strada; Barak-Carestini; Jael-Miss Cecilia Young; Priest of Baal-Hussey, with Reinhold and Beard possibly singing also. With a new Concerto on the Organ;..

Afterpiece Title: the two Concertos in the Oratorio of Esther

34
27 April 1737 @ Lincoln's Inn Fields

Event Comment: Benefit I. Delagarde, At the Desire of several Ladies of Distinction. [Tickets at Delagarde's Lodgings, at Mrs Stafford's, in Dean Street, Fetter Lane,]

Performances

Mainpiece Title: The Funeral

Afterpiece Title: The Lottery

Dance: II: Clown-Vallois; IV: Two Pierrots-Vallois, Delagarde; V: The last new Grand Ballet-Haughton, Mlle Roland,

Song: I: French Horn Song-Miss Jones; III: Singing in Italian-Mrs Chambers

35
13 December 1739 @ Lincoln's Inn Fields

Performances

Mainpiece Title: Acis And Galatea

Performance Comment: Acis-Beard; Galatea-Signora Francescina; Polyphemus-Reinhold; Damon-The Boy (Deutsch, Handel, p. 492; Dean, Handel's Dramatic Oratorios, p.177); With two new Concertos for several Instruments-never perform'd before; The last New Ode of Mr Dryden's-; And a Concerto on the Organ-.

36
28 February 1741 @ Lincoln's Inn Fields

Performances

Mainpiece Title: Acis And Galatea

Performance Comment: for a conjectural cast, see Dean, Handel's Dramatic Oratorios, p. 178. With Concertos on the Organ-; and other Instruments-; And a Concerto-Signior Veracini.

37
02 March 1743 @ Covent Garden

Event Comment: RRoyal family attended.-Deutsch, Handel, p. 561. The new Oratorio...has been performed four Times to more crouded Audiences than ever were seen; more People being turned away for Want of Room each Night than hath been at the Italian Opera.-Quoted by Dean, Handel's Dramatic Oratorios, p. 350, from Faulkner's Dublin Journal, 15 March

Performances

Mainpiece Title: Sampson

Music: Solo on Violin-Dubourg

38
25 November 1743 @ Westminster School

Event Comment: New Dormitory in Dean's Yard, Westminster. Mainpiece: of Terence...acted with great applause by the Scholars to a crowded audience.--Daily Advertiser, 28 Nov

Performances

Mainpiece Title: Phormio

39
24 February 1744 @ Covent Garden

Performances

Mainpiece Title: Samson

Performance Comment: Samson-Beard; Dalila-Signora Francesina; Micah-Signora Francesina, Sullivan; Harapha-Reinhold; Israelite Woman-Signora Avolio (Dean, Handel's Dramatic Oratorios, p. 351). Mrs Delany to Mrs Dewes, 25 Feb.: Francesina sings most of Mrs Cibber's parts and some of Mrs Clive's. [See Deutsch, Handel, p. 585.]See Deutsch, Handel, p. 585.]

40
24 November 1744 @ King's Theatre

Event Comment: The Second Night [sung in Italian (Dean, Handel's Dramatic Oratorios, p. 239)]

Performances

Mainpiece Title: Deborah

Music: Concerto on the Organ-

41
01 December 1744 @ King's Theatre

Performances

Mainpiece Title: Semele

Performance Comment: (See Dean, Handel's Dramatic Oratorios, p. 393, for probable cast.)

42
01 March 1745 @ King's Theatre

Performances

Mainpiece Title: Samson

Performance Comment: Micah-Miss Robinson (Dean, p. 351).

43
13 March 1745 @ King's Theatre

Performances

Mainpiece Title: Saul

Performance Comment: but see suggested cast in Dean, Handel's Dramatic Oratorios, pp. 299-300.

44
14 March 1746 @ Devil Tavern

Event Comment: Benefit Leonardo Pescatore...a Serenata. Music entirely new and composed by himself, 7 p.m., 5s. Tickets at the Mews Coffee House, Charing Cross; at Pescatore's, No 2, Meard's Court, Dean St., Soho. [And a long letter by Pescatore offering to give lessons on the harsichord and wounded by public suspicion of his loyalty.

Performances

Mainpiece Title: La Forza De L'amore

45
15 April 1747 @ Covent Garden

Event Comment: CCatherine Talbot to Elizabeth Carter, 18 April: These oratorios of Handel's are certainly (next to the hooting of owls) the most solemly striking music one can hear....In this last oratorio he has literally introduced guns, and they have a good effect.--Deutsch, Handel, p. 640, who identifies the guns as kettle-drums. But Winton Dean, Handel's Dramatic Oratorios, p. 471, identifies them as the outsize drums from the Tower of London. See Sheridan's The Critic on off-stage gun shots: This hint I took from Handel. Recced of Mr Handell for rent of his 10 Oratorio's #210.--Account Books, Egerton 2268. [Actually there were twelve nights of oratorios.

Performances

Mainpiece Title: Judas Macchabaeus

46
23 March 1748 @ Covent Garden

Event Comment: [For full discussion see Winton Dean, Handel's Dramatic Oratorios, chapt. 21.

Performances

Mainpiece Title: Alexander Balus

47
30 October 1751 @ Drury Lane Theatre

Event Comment: mong the Addresses of the Lords and Commons to the Sovereign which appeared in the Gentleman's Magazine (Nov. 1751, pp. 513-14) one recommended that provision be made for suppressing audacious crimes of robbery and violence. A contributor called Mr Urban's attention to a "method of reformation earnestly recommended more than 40 years ago by an eminent Divine" (Dean Swift). In this treatise occured the following paragraph: "The Reformation of the Stage is entirely in the power of the Court; and in the consequence it hath upon the minds of younger people, doth very well deserve the strictest care. Surely a pension would not be ill employed on some men of wit, learning and virtue, who might have power to strike out every offensive and unbecoming passage from plays already written, as well as those that may be offered to the stage for the future, by which, and other wise regulations, the theatre might become a very innocent and useful diversion instead of being a scandal and reproach to our religion and country."] Receipts: #120 (Cross)

Performances

Mainpiece Title: Oroonoko

Afterpiece Title: The Lottery

Dance: IV: L'Entree de Flore, as17511017; Peasant Dance, as17511017

48
26 March 1754 @ The Great Room, Dean Street, Soho

Event Comment: Benefit for Miss Turner at the Great Room, Dean St., Soho. Oratorio composed by Dr Boyce. To begin at 7:00 p.m

Performances

Mainpiece Title: Solomon

49
28 March 1754 @ The Great Room, Dean Street, Soho

Event Comment: Benefit for Philidor at the Great Room, Dean St. Soho. Tickets 5s. To begin at 6:30 p.m

Performances

Mainpiece Title: The Power Of Harmony

50
02 April 1754 @ King's Theatre

Event Comment: Benefit for Sga Passerini. [From charges and countercharges published in great length in the Public Advertiser, it appears that Sga Frasi had earlier arranged to produce Samson at the King's on this night for her benefit. Learning that the subscribers to the opera season could enter on their own tickets on this night she decided to change nights to avoid any losses, only to find that her singers were engaged at one theatre or another on other nights. Meanwhile, Signor Passerini got permission to have this night scheduled at King's for his wife's benefit, and Sga Frasi lost out all around. Passerini asserted that the charge for renting the Great Room, Dean St. Soho was 5 guineas for a night.

Performances

Mainpiece Title: Didone