By Professor Philip H Highfill Jr PhD, Professor Kalman A Burnim PhD, Edward A. Langhans
A massive venture all started in 1973 reaches its end with the book of volumes 15 and sixteen of the Biographical Dictionary, a sequence thought of "a reference paintings of the 1st order" by means of Theatre and appearing Arts Collections.Among performers highlighted in those final volumes is Catherine Tofts, a talented singer whose well known acclaim used to be captured in strains through Samuel Phillips: "How are we pleas’d while beauteous Tofts appears, / To scouse borrow our Souls via our attentive Ears?’ / Ravish’d we hearken to th’ inchanting tune, / And trap the falling Accents from her Tongue." the 1st singer of English beginning to grasp the shape of Italian opera, Tofts often received top roles over local Italian singers. Her salary—?400 to ?500 a season—was one of many maximum within the theatre. Her attractiveness declined, even if, as her calls for for check increased—a state of affairs captured in an epigram Alexander Pope can have penned: "So brilliant is thy attractiveness, so fascinating thy music, / As had drawn either the beasts and their Orpheus along; / yet such is thy avarice, and such is thy delight, / That the beasts should have starved, and the poets have died."John Vanbrugh, whose play The Relapse is ranked as the most effective comedies of the recovery interval, grew to become a subordinate crown architect below Sir Christopher Wren in 1702. In 1703, Vanbrugh started plans for the Queen’s Theatre within the Haymarket, an company counseled by way of 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 turned the unique middle for opera in London.
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Extra 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
The two other Persons who fell in the same Machine are like to recover. " Todi, Signora Francesco Saverio, Luiza Rosa, née d'Aguiar 17531833, singer. The mezzo-soprano Luiza Rosa d'Aguiar was born in Setubal, Portugal, on 9 January Page 10 Civica Raccolta Stampe A. Bertarelli, Castello Sforzesco, MilanLUIZA ROSA TODI engraving by DePian, after Bini 1753, according to the notice in The New Grove Dictionary of Music and Musicians, from which many of the facts for this entry are taken. Her first appearances in Lisbon were in straight comedy, in 1768, when she was only 14.
Tidswell, Charlotte 17601846, actress. Charlotte Tidswell was born in 1760 and, according to the notebooks of W. J. Lawrence, performed at the Crow Street Theatre in Dublin as early as 176869. Kathleen Barker places her at Bristol, playing pages, in 1776. The first time Miss Tidswell was mentioned in a London playbill was on 24 January 1783, when she played Scentwell in The Busy Body at Drury Lane Theatre. She went on that season to act Leonora in The Mourning Bride, Miss Flack in A Trip to Scotland, Isabella in The Revenge, Jenny in The Tender Husband, a Beggar in The Ladies' Frolick, a Chambermaid in The Clandestine Marriage, Lucy in The Adventures of a Night, and a Chambermaid in Imitation.
Signora Tinte remained at Covent Garden through the season of 177879 and in that season divided her time between Covent Garden and the King's Theatre. Among the ballets, pantomimes, and specialty dances she appeared in, usually with several other dancers, were: at Covent Garden in 177677, pastoral dances, rural dances, and a Minuet de la cour teamed with the dancing master Bishop, and a minuet with Dumay; at Covent Garden in 177778, a part in The Humours of New Market and the Poney Races, La Soirée à-la-mode, The Garden of Love, the dancing in the new Messink afterpiece The Norwood Gypsies, Columbine in Mother Shipton, and a part in The Russian Light Infantry and Cossack Camp; at Covent Garden in the fall of 1778, a "Principal Character" in The Medley; or, Harlequin At-All, and dancing in Les soirée à-la-mode; at the King's Theatre in 177879, the opera dances in Demofoonte, a Pas de deux anacréontique, a Ballet by the Fairies of the Court of Azore, Feora in La Fête du ciel, and Le paysano vales.