Event Comment: A New Serious Opera [1st time; SER 3]. The Poetry by Goldoni; the Music entirely new by Tommaso Tragetta [recte Traetta]. Public Advertiser, 27 Jan.: "A senseless, impertinent Opera:...with Music, in point of Dullness, extremely well suited to the Book." [This review notes that the new scenery was painted by Colomba.

Event Comment: Benefit for Sga Bernasconi. Tickets to be had of Sga Bernasconi, No. 5, Dover-street, Piccadilly. Opera: As originally composed by Piccinni

Event Comment: Benefit for Sga Sestini. Opera: The Music by Piccinni. [Sga Sestini's name is in the playbill, but she did not sing. On 29 May she circulated a card (Public Advertiser, etc.) in regard to her Benefit, saying that she "is exceedingly mortified at the Disappointment which prevented her from being able to perform her Part."] Tickets to be had of Sga Sestini, No. 18, Sherrard-street, Golden-square

Event Comment: A Serious Opera (1st time [in London; 1st performed at Rome, 1766]); the music partly by Sarti and partly [i.e. with additions] by Paisiello. 2nd ballet: With entire new scenes by Degotti and executed by himself and Marinari. "The dresses [in this ballet] are said to be after designs from David; the costume is correct, perhaps, but it may be a little softened without injury to the effect. The contrast of colours is in some of them too harsh...The scenery is in a new stile. It has been our taste to assist the perspective by contracting the stage to a point. This was but a clumsy method, as the illusion was rarely complete, and it gave the idea of littleness. In this instance the stage is thrown open on every side, and the perspective is managed as every painter is obliged to manage it, on the broad surface, but still with the mechanic aids which scenery affords. The effect was enchanting" (Morning Chronicle, 30 Nov.). The Doors to be opened at 6:30. To begin at 7:30 [same throughout season]. Pit 10s. 6d. Gallery 5s. No Money to be returned. The Subscribers are most earnestly entreated to observe that, on account of the abuses frequently practised in their names, it has become absolutely necessary to adopt the former rule for Subscribers themselves to produce their Tickets at the doors as they pass into the Theatre. The Upper Boxes to be lett by the night, at one Guinea each for four persons. The way to them through the Gallery Staircase

Event Comment: At Hippisley's and Chapman's Great Theatrical Booth in the George-Inn Yard. Afterpiece: A new Comic Interlude. While the Booth is filling the Company will be entertained by the surprising little Posture-Boy, a Scholar of Mr Ferguson's, lately arrived from Paris. Books of the Droll will be sold in the Booth

Event Comment: Benefit for one Monett master of ye French Comedians (Cross). [174th and positively the last night.] Receipts: #120 (Cross). Account of Disbursements made by Mr Monnet for his Stage, as well in Ready Money as in Notes of Hand. @Names of Actors and Actresses Their Contracts with Mr Monnet Paid in Money Paid in Notes Whole sum of the Expence, as well in Money as in Notes@Desormes #227 7s. 6d. #65 17s. 9d. #131 5s. #197 2s. 9d.@Mauly & Hamond #301 8s. 9d. #175 #63 #238@Bureau #257 8s. 7d. #122 11s. 3d. #52 10s. #175 1s. 3d.@Toscano #289 7s. 10d. #123 16s. 7d. #66 1s. 3d. #189 7s. 10d.@Durancy and Wife #361 17s. 1d. #147 7s. #210 #357 7s.@Parant #218 15s. #108 10s. 10d. .... #108 10s. 10d.@Terodat #52 10s. #39 2s. .... #39 2s.@Kelly #30 18s. #30 18s. .... #30 18s.@Villiers #32 15s. #32 15s. .... #32 15s.@Chateauneuf #43 15s. #15 17s. .... #15 17s.@Dujoncel #36 15s. #24 13s. 6d. #12 1s. 6d. #36 15s.@Champville #87 10s. #52 10s. .... #52 10s.@StAmand #78 15s. #26 5s. #17 10s. #43 15s.@Totals #1,919 2s. 9d. #965 4s. 3d. #552 7s. 9d.@ @Other Expences@For the Play-House's Rent #110@For the Stage's Taylor #35 14s.@For the Expences of Four Representations acted #65 12s. 6d.@For the traveling Expences of Mr Monnet, and his Residence of twenty Months at London or Paris and the Expences for the Custom-House, Law, Prison #328 12s. 8d.@Whole Sum of the Expence #2,157 1s.@ @RECEIPTS@For Fifty-six Subscriptions, at Five Guineas each #294@Received from Four Representations acted at the Little Theatre in the Hay-Market #188 18s. 4d.@From a Subscription, by Mr Arthur, Master of White's Chocolate-House #367 10s.@Whole Sum of the Receipts #850 8s. 4d. @ Therefore the Expence exceeds the Money received by #1,306 12s. 8d. which Mr Monnet is entirely out of Pocket, besides two Years and a half of his Time spent for it. N.B. The Contracts are all made for Livres Turnois, and this Account is made upon a Calculation of 3 Livres Tournois for 31 1!2d. Sterling.--And the Contracts and Receipts are ready to be produced. [This account is by courtesy of Miss Sybil Rosenfeld from a photostat of the original (which is printed in both French and English) in the Bibliotheque National. See also British Magazine, August 1750, p. 322.

Event Comment: New Dresses and Decorations for the Dances (General Advertiser). Dances-Mons Devisse (from Paris), Auretti; Dances lik'd (Cross). Receipts: #100 (Cross)

Event Comment: Benefit for Daguville (ballet master) and Helme (principal dancer). The Englishman in Paris deferr'd on account of Woodward's Indisposition

Event Comment: Benefit Pullen and Mrs Pullen. Afterpiece: a Ballad Opera of Three Acts. [Author unknown.] This Opera, relating to the Affair of Father Girard with Miss Cadiere, &c. is entirely new, being a faithful Translation from the French Original, as it was forbid in Paris

Event Comment: Benefit for Shuter. Tickets to be had of Shuter at Number 2, in Martlet Court, Bow St. Covent Garden; and of Mr Sarjant, Book-Keeper. Charges: #65 2s. [Profits to Shuter #150 6d., plus #70 11s. from tickets (Box 233; Pit 82).] Paid Miss Elliott the balance of her two nights Jan. 13 and Feb. 18, #90 13s. 6d. and gave her as a present from the managers by deducting the charge of the Farce for her 2nd night, Feb. 18th, #21 (Account Book). Receipts: #215 2s. 6d. (Account Book). About 5 with great difficulty got into the Pit at Covent Garden to see...the benefit for Mr Shuter. Stood all night at the bottom of the Pit in a most disagreeable situation, though I saw very well and heard too, unless when prevented by the noise on occasion of which Shuter very smartly applied the Passage, But if we all speak together, how shall we hear one another," and again when a great noise was made about someone in the Gallery, he cried 'Give him a knock o' the head and make him quiet,' and another bawling Silence," he cried Silence, Silence why don't you be quiet.'At the end of Act II, the Cries of London', with additions by Shuter. In going off he shook his head on hearing it encored, but was oblig'd to comply by repeating the greater part. End of Opera Shuter entertained us with his Serious, Comic Post-Haste Observations in his Journey to Paris, to hear which was a principal reason of my not dining at Holliss's. The Barber in the Upholsterer inimitably played by Woodward (Neville MS Diary)