Event Comment: Mainpiece [1st time; MD 3, by Prince Hoare. Larpent MS 1126; not published; synopsis of plot in Monthly Magazine, May 1796, p. 320]: With new Scenes, Dresses, Decorations, &c. The Musick principally composed by the late Mr Storace [who had died on 19 Mar.], with a few Selections from Paisiello, Haydn and Sarti. [Grove, under Storace, states that the music was completed and prepared for the stage by Kelly and Sga Storace.] The Scenes designed and executed by Marinari and assistants. The Dresses by Johnston, Gay and Miss Rein. Books of the Songs to be had in the Theatre. "It was exceedingly tedious the first night, not being over till eleven o'clock. Since, it has been prudently cut down, and yet has lost nothing. A prologue, written on the very morning of representation, deploring the loss of the composer, was spoken (perfectly) by the last unfortunate Benson [for whom see 9 June. It was written by Hoare (Universal Magazine, May 1796, p. 362), and Was perhaps spoken only on the 1st night; it is not listed on any playbill]" (Monthly Magazine, May 1796, p. 320). "In short, possessing all the science of Harrison, the melody of Incledon, and the pleasing articulation of the late Mrs Kennedy, we have no hesitation in pronouncing [Braham] the first public singer of the present day. He was three times encored. His action is indifferent, and his dialogue scarcely audible" (Morning Herald, 2 May). Receipts: #297 14s. (258.10.6; 38.19.6; 0.4.0)

Event Comment: Among the Principal Instrumental Performers are G. Ashley, Leader of the Band; C. Ashley, Principal Violoncello; Wm. Parke, Sarjant, J. Mahon, Boyce, Bridgtower, Parkinson, Lavenu, Taylor, W. Ware, Flack, Dressler, Gwilliam, Nicks, [the] Munros, I. Sharp, W. Sharp, M. Sharp, J. Sharp, Archer, Cobham, Jackson, Wood, Coyle, Cornish, Purney, Leffler, Woodham, Piele, [the] Cantelos, Skillern, Beale, Lloyd, Franki, Simpson, Jenkinson, &c.; J. Ashley, Organ; R. Ashley, Double Drums (used at Westminster Abbey). The Chorusses will be numerous and complete. The whole under the Direction of Ashley. Boxes 6s. Pit 3s. 6d. Gallery 2s. Upper Gallery 1s. Places for the Boxes to be taken of Brandon at the Office in Hart-street. The Doors to be opened at 6:00. To begin at 7:00 [same throughout oratorio season]. Books of the Performance (with the imprimatur of E. Macleish) to be had at the Theatre. [Sga Galli did not sing in The Messiah when it was originally performed in Dublin in 1742, or in London in 1743, in which year the cg oratories under Handel were established.] "I had the curiosity to go, and heard [Sga Galli] sing, 'He was despised and rejected of men' in the Messiah. Of course her voice was cracked and trembling, but it was easy to see her school was good; and it was pleasing to observe the kindness with which she was received, and listened to; and to mark the animation and delight with which she seemed to hear again the music in which she had formerly been a distinguished performer. The poor old woman had been in the habit of coming to me annually for a trifling present; and she told me on that occasion that nothing but the severest distress should have compelled her so to expose herself, which after all did not answer its end, as she was not paid according to her agreement" (Mount-Edgcumbe, pp. 19-20). [At the rehearsal, 1 Mar., I know that my Redeemer liveth sung by Mme Mara; Comfort ye my people by Braham; But@thou didst not leave by Miss Poole (Morning Herald, 2 Mar.).] "The chorusses are not such as would give satisfaction to a musical amateur: in this department we must endeavour to be content with noise and bawling, instead of sense and science:--they are not, however, worse than usual" (Monthly Visitor, Mar.1797, p. 262)

Event Comment: Benefit for Miss Wallis. 2nd piece: By Permission of the Proprietors of Drury Lane Theatre, and for that night only; with additional Songs [Sga Storace had sung in the oratorios at this theatre in the 1789 season.] True Briton, 13 Apr.: Tickets to be had of Miss Wallis, Gower-street. Receipts: #376 9s. 6d. (192.15.6; 2.16.0; tickets: 180.18.0)

Event Comment: By Permission of the Lord Chamberlain. Benefit for Sga Frasi. Boxes 10s. 6d. Pit 5s. First Gallery 3s. 6d. Second Gallery 2s. To begin at Twelve. Doors open at 11:00 a.m

Event Comment: Benefit for Sga Syrmen

Event Comment: New Overture and Pieces of Music Between the Acts. Music by Barthelemon. New Scenes, Habits and Decorations. The Scenes designed by DeLoutherberg, and painted by Messrs French, Royer, and Greenwood. Books of the songs and Chorusses to be had at the Theatre. This piece is got up in a most Superb manner. The Scenery is beyond description fine -& the whole Performance tho' the most complicated upon the stage went off with uncommon Applause. Mrs Abington played finely--Mr Slingsby & Sga Hidou danc'd for the first time & were Amazingly well Rec'ed. The Ballets are very Grand (Hopkins Diary). [MacMillan's note from Kemble differs slightly in wording.] Rec'd stopages #17 18s.; Paid salary list #567 16s.; J. French on Acct #5 5s. (Treasurer's Book). Mainpiece: Never performed before, by John Burgoyne. [The review in the Westminster Magazine, Nov. 1774, tells the plot, and concludes: "After some superb exhibitions of transparent scenery, several characteristic airs, and elegant dances, Mr Oldworth...proclaims Maria his only daughter and gives her to Sir Harry. After a dance of Cupids, Hymen, &c....offering them eternal wreaths, the Druid of the Oaks, freed by the present powers of Beauty from that sequestered habitation to which by mystic spells he had long been doomed, appears to ratify their union, and astonishes the spectators by his magic influence, in a glorious vision of that felicity the virtues of the happy pair had so justly insured. An admirable vaudeville, and a grand dance, conclude the dramatic entertainment....Had it not appeared obvious that the whole was intended as a mere vehicle for the splendid spectacle, we do not suppose, in spite of the managers Orders and Puffs, that the author's labors would have been tolerated. The very excellent scenery, however, of the ingenious Mr Loutherbourg preserved this piece from that damnation, which as a dramatic production, it justly merited."] Receipts: #263 14s. 6d. (Treasurer's Book)

Event Comment: Benefit for Sga Schindlerini

Event Comment: By Command of Their Majesties. Every Man in his Humour and The Irish Widow [both announced on playbill of 13 May], which were to have been performed this Evening, for the Benefit of Fawcett and Sga Crespi, are obliged to be deferred till Monday next. Receipts: #216 2s. 6d. (193.7.0; 22.7.6; 0.8.0)

Event Comment: Mainpiece: Never acted here. [Sga Sestini was from CG.] 1

Event Comment: Benefit for Sga Sestini [who had 1st acted Phebe at CG on 13 Mar. and 10 May 1784]. Mainpiece: Not acted these 4 years. Afterpiece: Never perform'd here

Event Comment: Benefit for Sga Sestini

Event Comment: Benefit for Sga Fabrizzi

Event Comment: Benefit for Mrs Mountain. [Philipps is identified in Monthly Mirror, Sept. 1796, p. 315. As Mrs Plomer Sga Salvini had 1st appeared at the hay, 12 June 1788.] Afterpaece [1st time; MF 2, author unknown. Larpent MS 1131; not published]: The Music and Overture by Spofforth. Morning Herald, 4 May: Tickets to be had of Mrs Mountain, No. 6, York-street, Covent-Garden. Receipts: #380 18s. 6d. (150.7.6; 5.16.0; 224.15.0)

Event Comment: Sga Sestini thinks it her Duty to assure, in this Public Manner, the English Nobility Gentry and Public, of her unfeign'd Gratitude for their numerous appearance on Thursday Night 28 March at her Benefit as she looks upon it as the most convincing Proof of their honouring her with the continuance of their kind Indulgence and Protection, which she will always use her utmost Endeavour to deserve as long as she shall continue in England, and retain the most grateful Rembrance of wherever her Profession may call her (Public Advertiser)

Event Comment: [Sga Mattei announced her undertaking direction of Italian Serious Operas and Burlettas for the ensuing winter, promised the performance of them for the best advantage of the public, and listed the members of the company she had engaged: For Serious Operas: herself, Philippo Elisi (the first singer in Italy), Gaetano Quilice (tenor), Angiola Calori (second woman), Giovanni Sorbelloni (second man), and a new singer for the lowest character. For the Burlettas: Sga Paganini (the first female character and the foremost in Italy), Gaetano Quilice (the first man), Sga Eleardi (second woman), Paganini (second man), Signor N. N. (third man), Angiola Calori and Sorbelloni (to perform the serious parts in the Burlettas). Dancers: Mlle Asselin (first woman dancer), Gheradi (first dancer of the men, and ballet master), famed both in the serious and comic as well as for his invention as for exercises in dancing. There will also be other comic dancers, and figures both for the serious operas and burlettas.

Event Comment: Sga Allegranti continuing so much indisposed as to be unable to perform, the Comic Opera [I Viaggiatori Felici, announced in Public Advertiser, 15 Feb.] is unavoidably deferred

Event Comment: Sga Sestini [who was to sing in La Scuola de Gelosi, announced in Public Advertiser, 6 Mar.] being suddenly ill, Mme Mara, to prevent the disappointment of the Public, has kindly offered to perform this Evening