Italian Opera in Late Eighteenth-Century London: Volume 1: The King's Theatre, Haymarket, 1778-1791
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Product details:
- Edition number and title :Volume 1: The King's Theatre, Haymarket, 1778-1791
- Publisher Clarendon Press
- Date of Publication 23 February 1995
- ISBN 9780198161660
- Binding Hardback
- No. of pages736 pages
- Size 242x162x45 mm
- Weight 1340 g
- Language English
- Illustrations 16 pp plates, 24 music examples 0
Categories
Short description:
This interdisciplinary study of opera and ballet at the King's Theatre in London attempts to make artistic and financial sense of a distinguished company that went spectacularly bankrupt, leaving debts that were to haunt opera in London for more than 70 years. The theatre burned in 1789; it was rebuilt in defiance of the Lord Chamberlain and hired Haydn as house composer, but was not allowed to stage his last opera. This is the first serious study of the company's repertory, personnel, management, and finances.
MoreLong description:
This interdisciplinary study attempts to make sense of what has long been regarded as a chaotic period in the history of opera in London. In 1778 R. B. Sheridan acquired the King's Theatre and its resident opera company in what we would now call a leveraged buy-out, plunging the opera into escalating debts that were to haunt it into the 1840s. The 1780s and early 1790s were a stormy but exciting era: the company hired some of the foremost singers and dancers in Europe; ballet d'action came to London, with Noverre himself as ballet master; the company employed such composers as Sacchini, Anfossi, Cherubini and ultimately Haydn; it went bankrupt and carried on through years of wrangling in Canchery; the King's Theatre burned down in 1789 and was rebuilt and re-opened in defiance of the Lord Chamberlain's refusal to license the new building. Drawing on librettos and scores, ballet scenarios, pamphlets, scattered manuscripts, legal records, architectural drawings, newspapers and other sources, the authors reconstruct the history of the company its shifting artistic policies, analysing opera and ballet repertoy, performers, production circumstances, finances and managerial infighting.
This new study provides some enlightening insights into the business side of 18th-century musical London ... it is compulsive reading for anyone who loves finding out about laundry receipts, diary entries by members of audiences, reviews in contemporary newspapers and the like.
