SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Horace Walpole"/1) | (@(roleclean,performerclean) "Horace Walpole")') 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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We found 59 matches on Event Comments, 27 matches on Author, 25 matches on Performance Comments, 11 matches on Performance Title, and 0 matches on Roles/Actors.
Event Comment: [This was Vestris Jun.'s 1st appearance in England.] "Young Vestris astonished John Bull more by his agility than his grace, and some have been known to count the number of times he turned round like a tee-totum. This may be called les tours des jambes-not dancing' (Angelo, II, 320). "The theatre was brimful in expectation of Vestris. At the end of the second act he appeared; but with so much grace, agility, and strength, that the whole audience fell into convulsions of applause: the men thundered; the ladies, forgetting their delicacy and weakness, clapped with such vehemence, that seventeen broke their arms, sixty-nine sprained their wrists, and three cried bravo! bravissimo! so rashly, that they have not been able to utter so much as 'no' since, any more than both Houses of Parliament' (Walpole [17 Dec. 1780], XI, 340-41)

Performances

Mainpiece Title: Ricimero

Dance: End I: The Fortunate Escape, as17801125, but Mme _Simonet, Henry; End II: +Grand Serious Ballet (composed by Simonet)-Sg and Sga Zuchelli, Henry, Sga Crespi, Mlle Baccelli; to conclude with: Grand Chaconne-Vestris? Jun.; End III new ballet, Les Amans Surpris (composed by Simonet)-Sg and Sga Zuchelli, Henry, Mlle Baccelli, Vestris? Jun

Event Comment: Benefit for Vestris? Jun. Opera: In 2 acts; the music by Piccinni, and conducted by Bianchi. With new Scenes painted by Novosielski. New Dresses and Decorations both for the Opera and Dances. Mme Simonet will this Evening reassume her station at the Opera House; but as she is not perfectly recovered from the consequences of her late Accidnet, she hopes for the indulgence of the Public, from whom she has already received so many flattering proofs of Approbation. Tickets, 10s. 6d., to be had of Vestris, No. 5, Leicester-street, Leicester-fields. "Last Thursday was the benefit of Vestris and son; the house could not receive and contain the multitudes that presented themselves. Their oblations amounted to fourteen hundred pounds" (Walpole [26 Feb. 1781], XI, 406)

Performances

Mainpiece Title: Il Barone Di Torre Forte

Dance: End I: new Pastoral Ballet (composed by Simonet) The Country Diversions-Sg and Sga Zuchelli, Henry, Sga Crespi, Slingsby, Sga Tantini; and to finish with a grand Chaconne-Vestris? Jun

Ballet: End Opera: a new grand Pantomime Ballet in 3 acts (composed by Vestris Sen.) Ninette a la Cour. Sg Zuchelli, Sga Zuchelli, Henry, Sga Crespi, Mlle Baccelli, Vestris Jun., Mme Simonet, Vestris Sen. (1st appearance in England). Cast, with synopsis, from Public Advertiser, 26 Feb.: Nancy-Mlle Baccelli; Colas-Vestris Jun.; Prince-Vestris Sen.; Countess-Mme Simonet; Dancing@Master-Simonet; Mayor of the Town-Delpini; Peasants-Slingsby, Sga Tantini, Traffieri, 16 Figure Dancers; Lords-Zuchelli, Henry; Ladies-Sga Zuchelli, Sga Crespi; Huntsmen-; Captain of Life Guards-; Equerries-; Notaries-

Event Comment: "I have been once to the Opera to hear the Allegranti, whom I like, and who is almost as much in fashion as Vestris the dancer was last year: the applause to her is rather greater. Pacchierotti is much admired too, and thedancers are a capital set" (Walpole [7 Feb. 1782], xii, 156)

Performances

Mainpiece Title: I Viaggiatori Felici

Dance: As17820101 throughout

Event Comment: "I have been for two days in town, and seen Mrs Siddons . . . She is a good figure, handsome enough, though neither nose nor chin according to the Greek standard, beyond which both advance a good deal. Her hair is either red, or she has no objection to its being thought so, and had used red powder. Her voice is clear and good; but I thought she did not vary its modulations enough, nor ever approach enough to the familiar--but this may come when more habituated to the awe of the audience of the capital. Her action is proper, but with little variety; when without motion, her arms are not genteel ... I treated my eyes, not only with Mrs Siddons but a harlequin farce. But there again my ancient prejudices operated: how unlike the pantomimes of Rich, which were full of wit, and coherent, and carried on a story! What I now saw was Robinson Crusoe: how Aristotle and Bossu, had they ever written on pantomimes, would swear! It was a heap of contradictions and violations of the costume. Friday is turned into Harlequin, and falls down at an old man's feet that I took for Pantaloon, but they told me it was Friday's father. I said, 'Then it must be Thursday'" (Walpole [3 Nov. 1782], XII, 356-57, 359). Receipts: #241 6s. (222/4/0; 18/15/6; 0/6/6)

Performances

Mainpiece Title: Isabella

Afterpiece Title: Robinson Crusoe

Dance: As17820921

Event Comment: "The Greybeards have certainly been chastised, for we did not find them at all gross. The piece is farcical and improbable, but has some good things, and is admirably acted. Coeur de Lion did not answer; nor was I much charmed with the music; but my ear is too bad to judge at first hearing. The scenes are excellent; Mrs Jordan is quite out of her character, and makes nothing of the part; and the turning the ferocious Richard into a tender husband is intolerable...It only makes a confusion in one's ideas, to maim a known story" (Walpole [15 Dec. 1786], XIII, 429)

Performances

Mainpiece Title: A School For Grey-beards

Afterpiece Title: Richard Coeur de Lion

Event Comment: 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 Oxford-street. Subscriptions will be received by Messrs Wright and Co., Henrietta-street, Covent-garden (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 Hyde-park. The Doors in Blenheim-mews for chairs only. By Command of His Majesty no person can be admitted behind the scenes during the performance. "We fear that [the Pantheon 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" (Morning Chronicle, 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.]

Performances

Mainpiece Title: Armida

Dance: End I: Divertisement by D'Auberval-

Ballet: End II: an entire new Pantomime Ballet, in I act, composed by D'Auberval, Amphion et Thalie; ou, L'Eleve des Muses. 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 (eleve des Muses)-Didelot; Bergers de la Phocide-Duquesney, Vigano; Thalie (Muse de la Comedie)-Mme Theodore D'Auberval; Jeune Nymphe de la Phocide (eleve de Terpsichore)-Mlle Gervaise Troche; Terpsichore (Muse de la Danse)-Mlle Leonore Simonet; Jeune Nymphe (favorite de Thalie)-Mlle Rosine Simonet; Melpomene (Muse de la Tragedie)-Mme Didelot; Clio (Muse de L'Histoire)-Mlle Augustine Bithmer; Erato (Muse de la Poesie Lyrique)-Mlle Bithmer; Euterpe (Muse de la Musique)-Mlle Rousseau; Uranie (Muse de l'Astronomie)-Mlle Jacobs; Calliope (Muse de l'Eloquence)-Mlle Birt; Polimnie (Muse de la Rhetorique)-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

Event Comment: "There is no peace between the opera theatres; the Haymarket rather triumphs. They have opened twice, taking money in an evasive manner, pretending themselves concerts; the singers are in their own clothes, the dancers dressed, and no recitative--a sort of opera in deshabille (Walpole [31 Mar. 1791], XIV, 399-400)

Performances

Mainpiece Title: Entertainments Of Music And Dancing

Dance: As17910326

Event Comment: 1st piece [1st time; INT 1 by Francis Godolphin Waldron): Altered from THE FATAL EXTRAVAGANCE of [Joseph] Mitchell and Aaron Hill. "I went on Monday evening with Mrs Darner to the Little Haymarket, to see The Children in the Wood, having heard so much of my favourite, young Bannister, in that new piece; which, by the way, is well arranged, and near being fine. He more than answered my expectation, and all I had heard of him. It was one of the most admirable performances I ever saw: his transports of despair and joy are incomparable, and his various countenances would be adequate to the pencil of Salvator Rosa. He made me shed as many tears as I suppose the original old ballad did when I was six years old. Bannister's merit was the more striking, as, before The Children in the Wood, he had been playing the sailor in No Song No Supper, with equal nature" (Walpole [4 Dec. 1793], XV, 266-67)

Performances

Mainpiece Title: The Prodigal

Afterpiece Title: NO SONG NO SUPPER

Afterpiece Title: THE CHILDREN IN THE WOOD

Event Comment: Mainpiece: Not acted these 20 years [not acted since 29 Apr. 1774]. "In the scene where Varanes kills himself, Kemble...was peculiarly striking. His manner of sheathing the sword in his body, after he has exclaimed, 'I feel the art'ry where the life-blood lies! It heaves against the point!-Now-Oh ye gods!' astonished us; and we turned, with horror, from the sight" (Monthly Visitor, Feb. 1797, p. 161). "I asked [Mrs Siddons] in which part she would most wish me to see her? She named Portia in the Merchant of Venice; but I begged to be excused...Mrs Siddons's warmest devotes do not hold her above a demigoddess in comedy. I have chosen Athenais;...her scorn is admirable" (Walpole [15 Jan. 1788], XIV, 42). Receipts: #231 9s. (175.2; 54.14; 1.13)

Performances

Mainpiece Title: Theodosius; Or, The Force Of Love

Afterpiece Title: Robinson Crusoe

Song: Mainpiece: Vocal Parts-Dignum, Sedgwick, Cooke, Wentworth, Maddocks, Welsh, Grimaldi, Evans, J. Fisher, Gregson, Tett, Mrs Butler, Mrs Maddocks, Mrs Granger, Mrs Roffey, Mrs Gawdry, Mrs Benson, Mrs Menage