By Professor Philip H Highfill Jr PhD, Professor Kalman A Burnim PhD, Edward A. Langhans
An enormous undertaking all started in 1973 reaches its end with the e-book of volumes 15 and sixteen of the Biographical Dictionary, a chain thought of "a reference paintings of the 1st order" via Theatre and acting Arts Collections.Among performers highlighted in those final volumes is Catherine Tofts, a talented singer whose renowned acclaim used to be captured in strains through Samuel Phillips: "How are we pleas’d whilst beauteous Tofts appears, / To scouse borrow our Souls via our attentive Ears?’ / Ravish’d we hearken to th’ inchanting track, / And seize the falling Accents from her Tongue." the 1st singer of English beginning to grasp the shape of Italian opera, Tofts usually received prime roles over local Italian singers. Her salary—?400 to ?500 a season—was one of many optimum within the theatre. Her reputation declined, despite the fact that, as her calls for for check increased—a scenario captured in an epigram Alexander Pope could have penned: "So vivid is thy good looks, so fascinating thy track, / As had drawn either the beasts and their Orpheus along; / yet such is thy avarice, and such is thy satisfaction, / That the beasts should have starved, and the poets have died."John Vanbrugh, whose play The Relapse is ranked as the best comedies of the recovery interval, turned a subordinate crown architect below Sir Christopher Wren in 1702. In 1703, Vanbrugh begun plans for the Queen’s Theatre within the Haymarket, an firm recommended through the equipment Cat membership (of which Vanbrugh was once a member). even if his lavish layout was once acoustically faulty, restructuring helped right the matter and the theatre ultimately grew to become the particular middle for opera in London.
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Additional info for A Biographical Dictionary of Actors, Volume 15, Tibbett to M. West: Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800
Title. 2'092'2 [B] 71-157068 ISBN 0-8093-1802-4 Volume 15 Tibbett to M. West Page 1 T Tibbett. See TIBET. Tibet, William c. 17561832, instrumentalist. Born about 1756, William Tibet (or Tebbit, Tebbett, Tibbett) was recommended for membership in the Royal Society of Musicians on 7 April 1782. At that time he was described as about 25, married, (without children), proficient on the violin and viola, and a private musician to the Duke of Marlborough. Tibet played first violin in the Handel Memorial Concerts at Westminster Abbey and the Pantheon in May and June 1784 and viola or violin in the benefit concerts for the clergy at St Paul's in May 1785, 1789, and 1791.
1795], house servant? , presumably per week. He may have been one of the house servants. "Tirenello" [fl. 1754], dancer. " Since the concert was a concoction by Christopher Smart, we cannot tell whether the dancer was a human or a trained animal. Tirrell, Mr. See TIRRELL, MRS. Tirrell, Mrs [fl. 17991808], singer, impresario? The Drury Lane Theatre accounts first named Mrs Tirrell on 8 June 1799, when she was paid 13s. 4d. for singing in the chorus for four days. She served as an extra in the chorus during the summer, and on 12 October she was paid, again 13s.
But she did not return to England. Page 15 "Camilla" wrote to the Spectator on 29 July 1712: Mr. SPECTATOR. I TAKE it extremely ill, that you do not reckon conspicuous Persons of your Nation are within your Cognizance, tho' out of the Dominions of Great-Britain. I little thought in the green Years of my Life, that I should ever call it an Happiness to be out of dear England; but as I grew to Woman, I found my self less acceptable in Proportion to the Encrease of my Merit. Their Ears in Italy are so differently formed from the Make of yours in England, that I never come upon the Stage, but a general Satisfaction appears in every Countenance of the whole People.