By Ian Woodfield
This e-book explores the cultural and advertisement lifetime of Italian opera in overdue eighteenth-century London. via fundamental resources, many analyzed for the 1st time, Ian Woodfield examines such matters as funds, recruitment coverage, dealing with of singers and composers, hyperlinks with Paris and Italy, and the function of girls in opera administration. those key issues also are put in the context of a dispute among of an important managers of the day, Frances Brooke and David Garrick, and the foremost venues of the time: the King's Theatre and its competitors Drury Lane and Covent backyard.
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Additional resources for Opera and Drama in Eighteenth-Century London: The King’s Theatre, Garrick and the Business of Performance
The anonymous London critics in general reﬂected the high esteem in which Sacchini was held; operas by composers who might be regarded as rivals (Anfossi and Traetta) were coolly received. Adverse criticism in a newspaper, however, could not stop a winner. After the ﬁrst London performance of Paisiello’s La frascatana, a critic savaged it: ‘There never was an Opera more heavy and tedious than La Fraschetana. ’25 With ﬁfty performances by , it proved the most popular comic opera of the century after La buona ﬁgliuola.
Earl Cowper’s second wife wrote to him on January : ‘I don’t like ye new Opera so well as ye last, but there was a very full House on Satturday, to ye great joy of Giardini and Mingotti. ’1 It was apparently something of a surprise to her that the season was likely to continue at all. 2 Managerial shortcomings were more than matched by the sense of artistic decline. Indiﬀerent performers and an over-reliance on the pasticcio had become perennial problems. Until the arrival of Cocchi, there was not even a resident composer at this period.
I have a very bad opinion of all these gentry, & my greatest hope is that as neither of the installations [theatres] seem to please violently, one of them will have a vacancy & take it for their own sakes. I know neither will for mine. 18 She explained the course of action that she would take if, as seemed likely, Colman refused: There is nothing to me so astonishing as that Colman should be another Garrick, which I am told he is: I scarce know how to believe it, & hope I shall not be convinced.
Opera and Drama in Eighteenth-Century London: The King’s Theatre, Garrick and the Business of Performance by Ian Woodfield