SELECT * FROM london_stages WHERE MATCH('(@(authnameclean,perftitleclean,commentcclean,commentpclean) "Schuster"/1) | (@(roleclean,performerclean) "Schuster")') 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

Result Options

Download:
JSON XML CSV

Search Filters

Event

Date Range
Start
End

Performance

?
Filter by Performance Type










Cast

?

Keyword

?
We found 2 matches on Event Comments, 0 matches on Performance Title, 0 matches on Author, 0 matches on Performance Comments, and 0 matches on Roles/Actors.
Event Comment: A Serious Opera, altered [by Carlo Francesco Badini] from Metastasio; the Music by Anfossi [a pasticcio, with additions by Sacchini, Piccinni, Gazzaniga, Schuster, Mortellari]. [This was Mme Mara's 1st appearance on the English operatic stage. She had 1st sung in London, in concerts at the Pantheon, in 1784.] "It is with the utmost astonishment we remarked that she unites the talents of an excellent actress with the merit of the most enchanting singer that ever perhaps came forth on any stage" (Morning Herald, 15 Feb.). "Mme Mara delivered the recitatives with a force of expression that produced the strongest interest of character, and the woes of Dido as powerfully engaged the sympathy, as the rich and varied melody of the airs, the admiration of the audience" (Morning Chronicle, 16 Feb.). "The [second] opera was Didone, a pasticcio, for which Mara had made a very judicious selection of songs, introducing four of very different characters, by Sacchini, Piccinni, and other composers, all of which were so much and so equally admired, that two were encored every night, each of them receiving that mark of approbation in its turn. Mara's talents as a singer (for she was no actress and had a bad person for the stage) were of the very first order. Her voice, clear, sweet, distinct, was sufficiently powerful, though rather thin, and its agility and flexibility rendered her a most excellent bravura singer, in which style she was unrivalled" (Mount-Edgcumbe, 59)

Performances

Mainpiece Title: Didone Abbandonata

Dance: As17860124 throughout

Event Comment: Mainpiece [1st time; DO 3, by Prince Hoare, based on Didone Abbandonata, by Pietro Metastasio]: The Musick is chiefly new, and composed by Storace. The Selections are made from the most celebrated works of Salieri, Paer, Rampini, Sacchini, Sarti, Giordani, Cimarosa, Schuster, Andreozzi. The Scenery and Machinery designed by Greenwood and executed by himself and his Pupils. The Dresses of the Tyrians, Trojans and Africans entirely new, and taken from the most accurate descriptions of the Habits of their respective Nations. [Both Miss Barclay and Master Welsh had 1st appeared at the king's oratorios, 24 Feb.]. "A procession was introduced in which an Ostrich, a Dromedary and an Elephant marched to slow music. The Masque, which concluded the opera, was some insipid stuff about Neptune and Nereids, with a representation of the Temple of Neptune. Young Welsh sang prettily in this said Masque" (Morning Herald, 24 May). "[Mara] retained only one song of her Didone [see king's, 14 Feb. 1786]; the brilliant bravura, Son Regina, of Sacchini" (Mount-Edgcumbe, 80). Morning Herald, 28 May 1792: This Day is published Dido (price not listed). Receipts: #244 8s. 6d(213.14.5; 28.15.0; 1.19.0)

Performances

Mainpiece Title: Dido Queen Of Carthage

Monologue: To Conclude Masque, Neptune's Prophecy. Tritons, Neriads-the full Chorus of the Theatre; Neptune-Bannister; Ascanius-Master Welsh (1st appearance on any stage [see 24 Feb.]); Venus-Miss Collins; The Graces-Miss DeCamp, Miss Jacobs, Miss Heard

Afterpiece Title: The Miller of Mansfield