Event Comment: [Text by MacSwiney. Music adapted by N. Haym. Premiere.] By subscription. None to be admitted into the Boxes or Pit but by the Subscribers' Tickets

Event Comment: Admission as 24 Nov., but stage boxes omitted. At 6 p.m. The Spectator, 26 Dec., has a letter from Thomas Clayton, Nicolino Haym, and Charles Dieupart, who state that they have joined together to offer entertainments of music in the future at Clayton's house in York Buildings

Event Comment: At the Request of seveal Persons of Quality. The Spectator, 18 Jan., has a letter from Thomas Clayton, Nicolino Haym, and Charlies Dieupart, who deny the rumor that their purpose in presenting concerts is to destroy opera. Rather they wish to improve the art of music, which they feel is utterly destroyed at the moment; however, there will be no performances at York Buildings until after that of the Subscription

Event Comment: [Dedication signed by N. Haym.]. A new Opera. Pit and Boxes put together and admission by ticket only at half a guinea. Stage Boxes 15s. Gallery 4s

Event Comment: [Composer unknown. Text by Zeno.] By Subscription. By His Royal Highness's Command. Admission to Pit and Boxes by Ticket only. Stage Boxes 15s. Gallery 2s. 6d. The Book of the Opera given out with tickets. At 6:30 p.m. Colman's Opera Register: ye Musick managed by Nic Haym

Event Comment: [Text by Haym. Music by Handel.] Admission as 7 Nov. Daily Journal, 14 Jan.: On Saturday Night, his Majesty was at the Opera...and Signiora Catzoni, newly arrived from Italy, perform'd for the first Time, to the Surprize and admiration of the Audience, which was very numerous. [See also London Journal and British Journal, 12 and 19 Jan.

Event Comment: [Music by Ariosti. Text by Haym.] Admission as 7 Nov. 1722

Event Comment: [Text by Haym. Music by Handel.] Pit and Boxes at half a guinea. Gallery 5s. By Reason of the shortness of the Opera, to begin exactly at Eight a-Clock

Event Comment: [Text by Haym. Music by Ariosti.] Pit and Boxes half a guinea (not over 340 tickets). Gallery 5s. At 6 p.m

Event Comment: [Text by Haym. Music by Handel.] Admission as 14 Jan. Daily Journal, 21 Feb.: Last Night his Majesty, the Prince and Princess, with great Numbers of the Nobility, went to see the new Opera

Event Comment: [Text by Haym. Music by Bononcini.

Event Comment: [Text by A. Piovene, adapted by N. F. Haym. Music by Handel.] Tickets half a guinea each. And in Regard to the Number of Subscribers, no more than Three Hundred and Forty Tickets will be deliver'd out. N.B. No Tickets will be given out at the Door, nor any Persons whatever admitted for Money. Gallery 5s. At 6 p.m

Event Comment: [Text by A. Salvi, altered by Haym. Music by Handel.] Admission as 31 Oct. 1724

Event Comment: [Text by Haym.] Admission as 30 Nov. 1725. The King and the three Princesses present

Event Comment: [Music by Handel. Text possible by Haym or Rolli. Le Nuove Scene sone del Sigr Giuseppe Goupy.

Event Comment: [Text by Haym. Music by Bononcini.

Event Comment: [Music by Handel. Text by Haym.] The King, Queen, Princess Amelia, and Princess Carolina present

Event Comment: [Text by Haym. Music by Handel.

Event Comment: This date of performance is not a certainty; for the evidence, see Spencer, Shakespeare Improved, p. 94. Neither is Shadwell's authorship of the alterations a certainty, for the contributions of other playwrights have never been fully determined. (See Nicoll, Restoration Drama, p. 43.) The instrumental music was composed by Matthew Lock, with new vocal music by James? Hart and Pietro Reggio. See Songs Set by Signior Pietro Reggio, 1680. And differing versions of the second Prologue and the second Epilogue are in BM Egerton MS. 2623, ff. 54-55. Downes (Roscius Anglicanus, pp. 34-35): The Year after in 1673. The Tempest, or the Inchanted Island, made into an Opera by Mr Shadwell, having all New in it; as Scenes, Machines; particularly, one Scene Painted with Myriads of Ariel Spirits; and another flying away, with a Table Furnisht out with Fruits, Sweetmeats and all sorts of Viands; just when Duke Trinculo and his Companions, were going to Dinner; all things Perform'd in it so Admirably well, that not any succeeding Opera got more Money

Event Comment: London Gazette, No 2919, 30 Oct.-2 Nov. 1693. Whereas last Monday proving to be the Lord Mayors Day Signior Tosi could not play his Consort of Musick, but will do it this present Thursday the 2d instant, and the Thursday following; and afterwards on every Monday, in York-Buildings, during the Winter

Event Comment: Betterton's Company. The date of the first performance is not known, but the fact that the play was advertised in the Post Boy, 25-28 April 1696, suggests that it was acted not later than the period preceding Passion Week (6-11 April 1696). In addition, the large number of minor performers in the cast suggests a Lenten performance by the young actors. In Act I, Scene i, there is an Entertainment of Instrumental Musick, Compos'd by Signior Finger: Then a Song, set by Mr John Eccles, and Sung by Young La Roche. In III, iii: A Dialogue set by Seignior Baptist. The play is an adaptation of John Webster's Cure for a Cuckold. A Comparison Between the Two Stages (1702): The City Bride, by another Player, Damn'd

Event Comment: London Gazette, No. 3250, 31 Dec. 1696-4 Jan. 1696@7: The Musick that was perform'd of St. Cecilia's Day, Composed by Signior Nicola, will be Performed on Thursday night in York Buildings, being the 7th Instant

Event Comment: London Gazette, No. 3264, 18-22 Feb. 1696@7: On Wednesday next, being the 24th instant, will be performed at York Buildings, a New Song Set by Signior Baptist, for the Birth Day of Her Royal Highness the Princess, and by Her Royal Highness's Command