704:. Dibdin introduced very many songs which gained wide popularity, including "Poor Jack," "'Twas in the good ship 'Rover'," "Saturday Night at Sea," and "I sailed from the Downs in the 'Nancy.'" His songs, music and recitations here finally established his fame as a lyric poet. He continued this form of entertainment for nearly twenty years, usually between October and April, in which time he produced eighteen entirely original three-act or three-part productions, as well as several one-act pieces on contemporary themes, or in which to re-introduce some of his popular songs. At Christmas-time or during the spring he commonly cut short the main production to make room for a revival of some items brought out in previous years. Dibdin states that in all these entertainments, he had only the words before him, never having written down the music which was, however, fully composed in his mind.
913:(a medium between the tenor and the bass) of no great power or compass, but of a sweet and mellow quality. He sang with simplicity, without any attempt at ambitious ornament, but with a great deal of taste and expression; and, being a poet as well as a musician, he was particularly attentive to a clear and emphatic utterance of the words... In singing, he accompanied himself with facility and neatness, on an instrument of a peculiar kind, combining the properties of the pianoforte and the chamber organ, and so constructed that the performer could produce the tones of either instrument separately, or of both in combination. To this instrument were attached a set of bells, a side drum, a tambourine, and a gong, which he could bring into play by various mechanical contrivances, so as to give a pleasing variety to his accompaniments.'
1154:
657:
896:, wrote: "Charles Dibdin, year after year... had been giving delight and, for a time, acquiring great emolument, by means of entertainments under different names, in which he not only pleased but instructed the public; advancing the cause of morals by natural and energetic sentiments, and raising the flame of patriotism and loyalty by songs and speeches, just in conception and illustration, and impressive on the memory and the judgement by vivid imagery and pointed expression. His sea-songs form a class by themselves: they are calculated alike to cheer solitude and to animate social assemblages, to raise the laugh and the tear, and to engrave on the heart benevolence, courage, and a trust in Providence." Charles's son Thomas Dibdin, a close associate of
172:, in which he played Watty Cockney, and for which he produced a good deal of the music and airs. He had already confided to Beard that he disliked acting because of the jealousy and spite which his success brought upon him from other actors. Hence he had turned again to composition. But now some of the orchestra complained to Beard that his music was discreditable to the theatre: whereupon Dibdin obtained the direct intervention of Dr. Arne, who (according to Dibdin) pronounced that this was a scandalous attempt to ruin the reputation of a young man whom it was their duty to encourage and protect.
909:
waistcoat, and black silk breeches and stockings; and he wore his hair, in the fashion of the day, fully dressed and profusely powdered. His manner of speaking was easy and colloquial; and his air was more that of a person entertaining a party of friends in a private drawing-room, than of a performer exhibiting to a public audience. He was near-sighted; and, when seated at his instrument, he would bend his head close to his book for a few moments, and then, laying it down, throw himself back in his chair, and deliver his song without further reference to book or music. His voice was a
29:
2299:
440:, the Theatre Manager, appointed him Musical Director at Covent Garden (to write exclusively for him) at the then huge salary of £10 (equivalent to £1,610 in 2023) a week. Attempting to introduce a taste for the French variety theatre, he had adapted six short interludes, with his own music, with a view that one should be introduced between the play and the farce usually presented on the same evening. They included
46:(before 4 March 1745 – 25 July 1814) was an English composer, musician, dramatist, novelist, singer and actor. With over 600 songs to his name, for many of which he wrote both the lyrics and the music and performed them himself, he was in his time the most prolific English singer-songwriter. He is best known as the composer of "Tom Bowling", one of his many sea songs, which often features at the
456:(with songs) was produced, but Mr Pilon, Mr Cumberland, Mrs Cowley and Mr Lee Lewis were permitted to alter it so much that it became almost unrecognisable. However, Dibdin did accept two clever emendations suggested by Garrick, which resulted in a reconciliation between the two men: it is claimed that Garrick's very last step upon the stage was during a rehearsal for
532:) for mixed entertainments of various kinds, he planning to form a combination of the stage and an equestrian ring or hippodrome. Several parties including the landowner advanced the funds and became proprietors, and Dibdin was appointed sole manager for life, to receive a quarter of the profits. Dibdin is credited with coining the term "circus".
1123:(stage name Mrs. Davenet), a chorus-singer at Covent Garden Theatre, and had some children by her. In time he deserted Harriet in favour of Ann Wyld, with whom he remained and had several further children during his wife's lifetime, and finally married Wyld in 1798 after his first wife died. She and only one daughter of that union survived him.
934:. In 1803 he was induced by Pitt's government, with a pension of £200 a year (equivalent to £23,100 in 2023), to abandon provincial engagements to compose and sing 'War Songs' to keep up the ferment of popular feeling against France. This was withdrawn for a time under the administration of Lord Grenville, but afterwards partly restored.
665:
to be received by his brother's old friends, and perhaps to collect certain debts owing to him. Therefore, he made a tour of
England to raise money by giving entertainments of songs and recitations, and he sold the musical compositions he had available at very unfavourable rates to the greedy publishers. He set sail for the
369:
was produced there on 3 May 1775, which Dibdin had sold to
Brereton for £70, who sold it on to Garrick for a hundred. Charles Bannister was again prominent in the cast of all three operas. After being connected with Drury Lane both as composer and as actor for several years, a series of disagreements
551:
Dibdin had ridiculed prominent contemporary figures through the medium of a puppet show. Such things had been tried elsewhere, for instance at the
Marylebone Gardens: but on the first night at the Haymarket 'the puppets were goosed off, and the manager made to apologise for the insult offered to the
664:
In 1788, having dissolved his connection with the existing theatres and in financial straits, Dibdin considered moving to India. His eldest brother, Captain Thomas Dibdin, had formerly invited him to visit, but had since died, prompting Dibdin to write his greatest song, "Tom
Bowling". He now hoped
639:
After three years at the circus, in which Dibdin fell out with his partners and became entangled in litigation; in 1785, he withdrew, and, instead, entered into a speculation to build a theatre at St. Pancras. However, while under construction this was blown down during a storm, and the project had
146:
at Covent Garden. He gained so much success over a run of more than fifty nights, that 'Ralph' handkerchiefs were worn in compliment to him. He agreed to article himself, both as actor and musician, to Beard for three years at a salary rising from three to five pounds a week. However, his contract
272:
was brought out, but was almost withdrawn on the first night owing to the rumour that it was written by
Bickerstaffe, who had fled to France, utterly ruined by the accusation of an 'abominable (i.e. homosexual) attempt'. Dibdin was obliged to appear on stage and claim authorship of both words and
676:
Dibdin then changed his mind and returned to London, resolving to put himself before the public rather than applying again to the theatres. Instead, building on what he had done in his tour, he commenced a new kind of one-man-show, musical variety entertainments, in which he appeared in his own
908:
The author of his memoir, who witnessed one of Dibdin's
Entertainments Sans Souci when a lad, offers the following picture: 'Dibdin was then a handsome man, of middle size, with an open pleasing countenance, and a very gentlemanlike appearance and address. His costume was a blue coat, white
138:. He enjoyed two seasons touring at the Vauxhall in Birmingham, and another at Richmond. Beard exercised a benign and encouraging influence over Dibdin's early career, choosing him, in his first important appearance, for the part of Ralph, in the 1765 premiere of
929:
or working songs, but a form of distinctively
English ballad combining the tonality of the hornpipe with vivid if sentimentalized depictions of the comradeship, the separations from love, the simple patriotism, loyalty and manly courage of Tom, England's
519:
into an opera. He attempted to rewrite it so as to avoid some of the impropriety of the original, and was at first encouraged by Harris, who later changed his mind. Dibdin was left with a difficult task and the result was not a popular success.
559:
Between 1782 and 1783 he engaged some sixty children to act as dancers and singers for his various lively productions at the Circus, for which he supplied many airs, pantomimes, intermezzi and ballets, under such titles as
992:, where he suffered a paralytic stroke in 1813 after which the government granted him a pension of £200. In 1810 a subscription dinner and concert was held for his benefit. This raised £640, of which £560 was invested in
640:
to be abandoned. He then came to an arrangement to supply the manager of the Dublin theatre with music at a cost of £600, of which he received only £140; at the same time he began publishing a weekly magazine, called
87:, but his love of music soon diverted his thoughts from the clerical profession. He possessed 'a remarkable good voice' at a young age and was in demand for concerts even as a boy. Anthems were composed for him by
227:
In 1769 for
Garrick (who had placed him under some financial obligation) he also composed for Garrick's Shakespeare Jubilee at Stratford, but found that Garrick had quietly substituted commissions to Arne and to
693:, and afterwards at Fisher's or Stevens' Auction Room in King Street, in Covent Garden. For several years he also repeated the entertainments in the daytime at the Paul's Head Assembly Rooms in Cateaton Street.
996:
for himself and his family. He died on 25 July 1814 in comparative poverty, and was buried in St Martin's churchyard there. His widow placed a stone over his grave inscribed with a quatrain from "Tom
Bowling".
402:, incorporating the famous rondeau song 'Blow High, Blow Low' (written during a gale returning from Calais) was first acted at Covent Garden in November 1776. The productive season of 1777 included songs for
924:
Dibdin's patriotic sea songs and their melodious refrains powerfully influenced the national spirit and were officially appropriated to the use of the
British navy during the war with France. They were not
1938:
The meaning of 'Sans-Souci' is expressed in a poem, 'Le Philosophe de Sans-Souci', sent by the Revd. P. Stockdale to David Garrick, with the intention that Dibdin should compose an air for it, in 1773. See
1468:
1467:(London 1769–73), (after miniature drawing by Johann Ludwig Wernhard Fäsch, cf. Harvard University, Houghton Library Catalogue ref. MS Thr 647): See at Folger Shakespeare Library, ART File D544.5
289:, he introduced the song 'There was a miller's daughter' and modified other songs without Garrick's knowledge or consent, but with great success. During the same year he worked closely with Garrick at
212:
faded, Garrick acquired it, and acquired Dibdin as composer, whose music for this work was, at Garrick's suggestion, given anonymously. Dibdin made only £40 from it while Bickerstaffe made a fortune.
232:. Garrick, it seemed, wished to control both Bickerstaffe and Dibdin, in case their work should find other patrons, and busied them both, inducing Dibdin to revise and write new music for Cibber's
528:
There was then an argument between Dibdin and Harris over payment for the work, with the result that Dibdin instead embarked on a project to construct the Royal Circus, (afterwards known as the
297:. From this ordeal he acquired the technique of composing the music entire in his mind, writing down nothing until the finished manuscript was needed: to this method he afterwards adhered.
119:
for him. Dibdin held back from this path, but made the most of his introductions: when Rich died in 1761 and Beard succeeded him as manager and part-proprietor, fresh opportunities arose.
95:, where he was a chorister between 1756 and 1759. He went to London at the age of fifteen at his brother's invitation, and was first employed tuning harpsichords in a music warehouse in
1187:
is a distant descendant of Dibdin, having 'Dibdin' as one of his middle names. He is a fan of Dibdin's works, and was responsible for the government's erection of a statue of Dibdin in
1067:, learns to row and 'feathers his oars with skill and dexterity' (Part II Chapter VI), borrowing a line from Dibdin's song "The Jolly Young Waterman." The great Victorian baritone Sir
916:'His manner of coming upon the stage was in a happy style; he ran on sprightly and with nearly a laughing face, like a friend who enters hastily to impart to you some good news.'
681:
was such an entertainment consisting of recitations and songs, and played from October 1788 until the following April, during the whole of which time Dibdin was a prisoner in the
1134:, whose works are often confused with those of their father − were also popular dramatists in their day. Through his son Thomas, Dibdin was an ancestor of the British politician
980:), but the venture was a failure and he was declared bankrupt. He retired from public life in 1805, disposing of his stock (including the copyright of 360 songs) to a firm in
1021:
through England and Scotland (2 vols, 1803) and several smaller works, he wrote upwards of 1400 songs and about thirty dramatic pieces. He also wrote the following novels:
1463:. For an illustration of Dibdin in the role, see 'Mr. Dibden in the Character of Mungo in the Celebrated Opera of the Padlock', engraved for Robert Sayer and John Smith,
273:
music, while salacious tittle-tattle (and worse) sought to embroil both him and Garrick in Bickerstaffe's offence. In November 1773, in a production of the musical drama
198:, Dibdin was ready to part company with Covent Garden. Garrick, who had coached him a little at Richmond in the previous year, was eager to win over Bickerstaffe to
1168:
and Admiral Sir George York. At a public dinner and concert a large sum was raised, but insufficient to complete the project. A second grand musical entertainment,
130:
in two acts, which was produced as Dibdin's benefit at Covent Garden on 21 May 1762 and repeated in 1763. As an actor, Dibdin had constant opportunities to study
677:
person on the stage seated at a harpsichord and played the accompaniments to his own songs, without attempting any theatrical personification of his characters.
869:(1808). (Given at the Lyceum during Lent, supported by professional assistants, though still, after 48 years before the public, playing his own accompaniments).
969:, was first acted at the Haymarket in June 1811. This incorporated his highly successful song 'The standing toast,' which had been written some time before.
965:'s victory and death, produced at Drury Lane with John Bannister in 1806, which was 'damned on the first night, and never published'. His last production,
452:; but Harris instead lumped them together as an after-piece and Dibdin's subtler intention was thwarted. In the following January his speaking pantomime
429:
was produced at Covent Garden, but in Dibdin's absence in France many of the songs were altered by another hand. There also he wrote the libretto of
1206:
to Dibdin, where he is described as a "native of Southampton, poet, dramatist and composer, author of Tom Bowling, Poor Jack and other sea songs".
1607:(T. Becket, London 1774). Cast: Tug, Charles Bannister; Mr Bundle, Mr Wilson; Robin, Mr. Weston; Mrs Bundle, Mrs Thompson; Wilelmina, Mrs Jewell.
370:
with Garrick, partly over Dibdin's desertion of his second partner Mrs Davenet and his children by her, led to the termination of his engagement.
83:
and is often described as the youngest child of eighteen born to a 50-year-old mother. His parents, intending him for the clergy, sent Dibdin to
1177:
2117:
Dwayne Brenna, ‘Pitt, Ann (c.1720–1799)’, Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, January 2013
2356:
1092:
Just before his marriage, James Boswell wrote a song, "A Matrimonial Thought" which was given a tune "by the very ingenious Mr. Dibden."
2252:
1250:
Three recent discs of Dibdin's music have been recorded and released by Retrospect Opera. The first, which appeared in 2017, comprises
355:, a comic opera, the music of which he sold for £30, was produced first at the Haymarket Theatre in 1774. His dialogues and songs for
2283:
1153:
508:
1377:
The Songs of Charles Dibdin, Chronologically Arranged, with Notes Historical, Biographical and Critical, with a Memoir of the Author
1157:
Celtic cross memorial to Dibdin, erected by public subscription in 1889, after his original tomb collapsed, in St Martin's Gardens,
2319:
2208:
1270:. The third, "The Wags", was released in late 2021. All feature the singer Simon Butteriss and the keyboardist Stephen Higgins.
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for £1,800, with £100 a year for the next three years in consideration of whatever songs he might write. He took up residence in
547:
in which characters were represented by puppets, and their songs were performed by singers behind the scenes. It is said that in
2307:
2178:
1119:
Dibdin had married early in life, but deserted his first wife and left her destitute. He then formed an illicit connection with
1089:), Frank 'sang about the lass that loves a sailor' from the song of the same name (also called 'The standing toast') by Dibdin.
496:
2396:
2266:
The Musical Tour of Mr Dibdin; In Which, previous to his embarkation to India, he finished his career as a public character
1759:
The Musical Tour of Mr Dibdin; in which, previous to his embarkation to India, he finished his career as a public character
656:
552:
audience.' Nonetheless some of the songs, including Dibdin's 'Reasonable animals' and 'Pandora', became very popular, and
2376:
2371:
1060:
1986:
Thomas Dibdin, 'Songs, naval and national, of the late Charles Dibdin, with a Memoir... with characteristic sketches by
1608:
2366:
257:
under a two-year contract with the Ranelagh managers for £100 per annum for whatever music he should supply them with.
2391:
1164:
Seven years after his death a subscription to raise a monument to Dibdin was set in train under the patronage of the
2361:
2130:
1665:
1165:
2260:
Anon (Ed.), Memoir, in C. Dibdin, Sea Songs: A New Edition (London, H G Clarke & Hayward and Adam 1846), v–xi.
885:(1809) – the last of these entertainments, a slight piece, was given in a room in the author's shop in the Strand.
437:
2381:
1646:
See a letter of 1775 from Dibdin to Garrick, defending himself against an imputation of breach of contract, in
168:, produced in 1762. For Dibdin the next turning-point was in the 1767 premiere and short run of Bickerstaffe's
2264:
1401:
1051:
1127:
108:
20:
707:
The three-act novelties of each season, or Entertainments Sans-Souci, and their sequels, were as follows:
1991:
1443:
2053:
624:(a kind of mythological burlesque in which the Homeric gods discoursed in a low vernacular). His opera
492:
2279:
2083:
1974:
2386:
1530:(1848), Vol. 1 p. 8. See also 'List of Publications of Charles Dibdin' in the same, pp. xxxiii–xxxiv.
1173:
633:
540:
286:
199:
229:
139:
900:, wrote that "Charles Bannister, and his exemplary son John, were two of most intimate friends."
216:
was produced at Drury Lane under Garrick's management in 1768, Dibdin taking the part of Mungo (a
2048:
For Dibdin's portrayal of nautical character, see VIII, 'Wapping High Street' in Walter G. Bell,
1056:
241:
195:
47:
2156:
1071:
made his farewell performance at Covent Garden in 1911 in the role of Tom Tug in Dibdin's opera
278:
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1338:
1142:
985:
897:
686:
682:
629:
500:
1944:
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1460:
2021:
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1393:
1172:
raised a further £400 and the monument was eventually raised in the Veterans' Library at the
1080:
88:
2038:
1836:
1037:(3 vols, 1806). An edition of his songs by G. Hogarth (1843) contains a memoir of his life.
111:. As his voice was not yet settled, Rich thought he would become a bass, and marked out the
2351:
2346:
1235:
147:
established a precedent by which actors were not paid in case of absence through sickness.
100:
92:
8:
942:
301:
282:
134:'s performances, and befriended his associates, notably his prompter, who could remember
2316:
2216:
1784:
Cole, Richard C. (Fall 1981). "The Siege of Savannah and the British Press, 1779-1780".
176:
was abandoned, but Dibdin's music was successful and was transferred into a play called
1793:
1708:
1131:
697:
543:
in 1780, and at the Haymarket. Dibdin had contributed songs to an entertainment called
361:
155:
104:
84:
1217:, after his original tomb collapsed. A verse from "Tom Bowling" is inscribed upon it:
696:
His monodramatic entertainments continued after 1795 at a theatre which he built, the
2304:
2186:
1987:
1184:
1135:
484:
395:
341:
305:
209:
160:
116:
511:(Garrick's pantomime specialist) contributed the inventions. In 1781 Dibdin adapted
378:
Despite the rift with Garrick, Dibdin's output continued successfully. The dialogue
194:
By 1768, his articles completed, and receiving harsh treatment from his new manager
28:
1334:
1298:
950:
701:
433:, for which Thomas Arne wrote the music, first performed at the Haymarket in 1778.
254:
1301:
label in 1992. There have also been many recordings of Dibdin’s most famous song,
365:), were acted as a ballad opera at Drury Lane in 1774, and his famous short opera
2323:
2311:
1714:
1350:
1239:
1203:
1195:
1068:
876:
651:
290:
178:
36:
19:
For his son, the English dramatist, composer, writer and theatre proprietor, see
122:
With Beard's encouragement Dibdin wrote his first work, both words and music of
2118:
1719:
1715:"The Annual RPI and Average Earnings for Britain, 1209 to Present (New Series)"
973:
972:
During this period, in 1805, he sold Sans Souci and opened a music shop in the
690:
529:
220:
role) so as to cause "that degree of sensation in the public which is called a
2328:
827:(1803). This included a series of war-songs with military-band accompaniments.
773:(1796) – the first production at Dibdin's new Theatre Sans Souci; followed by
628:, containing the successful songs "Jock Ratlin", "The Highmettled Racer" and "
2340:
2241:
1481:
Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity
1342:
1120:
1064:
981:
946:
889:
182:. The association with Bickerstaffe continued in Dibdin's music for the play
135:
131:
58:(1775), and several novels, memoirs and histories. His works were admired by
107:, and, growing addicted to theatre-going, he soon became a singing actor at
1294:
1210:
993:
79:
The son of a silversmith, Dibdin was privately baptised on 4 March 1745 in
1275:
1214:
1199:
1158:
1076:
989:
962:
666:
512:
345:
204:
165:
164:, the highly popular opera (called the first English comic opera) by Dr.
80:
2333:
on YouTube performed by Helen Neeves, voice and Samantha Carrasco, piano
1797:
2035:
The Sea Songs of Charles Dibdin, with a Memoir of his Life and Writings
1046:
926:
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1213:
memorial was erected, by public subscription, in St Martin's Gardens,
503:." He also arranged, wrote and composed the 1780 Christmas pantomime,
387:
2157:"Southampton photos: Towards the Town Quay and the docks and harbour"
2108:
Everyman's Edition of Boswell's Life of Johnson, Vol. I, p. 381.
1188:
1085:
217:
112:
96:
63:
2289:
1379:, 2 Vols. (G.H. Davidson, London 1842, 1848), Vol. 1, p. 1. Dibdin,
1238:
a grave-style musical memorial for Dibdin is placed next to one for
344:
at the Haymarket, for which the overture and dances were written by
2293:
1479:
For a discussion of the impact of this role, see Monica L. Miller,
931:
499:, leader of the French forces during the battle, and then singing "
423:
237:
127:
1605:
The Waterman; or, The First of August: A Ballad Opera, in Two Acts
648:, a two-act comic opera first performed at the Haymarket in 1787.
644:, which failed after 21 issues. His last opera of this period was
2133:, 1921–1922, London, England: Oxford University Press, 1921–1922.
16:
English composer, musician, dramatist, novelist, singer and actor
2016:
John O'Keeffe, 'Recollections of the Life of John O'Keeffe', in
1465:
Dramatic characters, or different portraits of the English stage
1392:
For a very extended listing of Dibdin's operas, 1764-1788, see
670:
50:. He also wrote about 30 dramatic pieces, including the operas
660:
Manuscript in Dibdin's hand of "Mourn Ye Damsels of the Court"
652:
Monodramatic entertainments at King Street and Leicester Place
382:, was written for Sadler's Wells in 1776, and his comic opera
373:
1483:(Duke University Press, 2010), Chapter 1 'Mungo Macaroni' at
941:, which was presented at Covent Garden in February 1803 with
59:
1349:, Vol 2 (Henry Colburn & Richard Bentley, London 1832),
308:, and in that year produced songs for the Musical Dialogues
1459:
Vol. 1 (Henry Colburn & Richard Bentley, London 1831),
479:, most of which was re-presented as a two-act farce called
732:(1791) – Royal Polygraphic Rooms, The Strand; followed by
186:
at Covent Garden in 1767, the year of Beard's retirement.
742:(1792); followed by a compilation from all the preceding.
394:, but with songs and music his own, was performed at the
1761:(Author, J. Gales, Sheffield 1788), Letter XXIX, p. 115.
491:
depicting British grenadiers (one of whom was played by
2069:(Richard Burton, London 1830), Vol. 1, pp. 304–06, 324.
892:, writing of Dibdin's involvement in the entertainment
669:
in summer 1788, but the vessel was forced to put in at
471:(a pantomime) (both 1779), and in 1780 the comic opera
293:
to compose songs and music for Garrick's winter piece,
236:. In addition he provided the score for Bickerstaffe's
523:
336:: and furthermore in the same year he wrote songs for
1400:
Revised Edition (Scarecrow Press, 2012), pp. 748-750
1013:, an autobiography published in 4 volumes in 1803, a
1040:
1757:(1848), Vol. 1 pp. 99, 100, 104–05. See C. Dibdin,
1258:. The second, released in 2019, includes Dibdin's
937:Dibdin still provided texts for operas, including
777:, in honour of the marriage of the Princess Royal.
1455:For a description of the character of Mungo, see
834:, and three compilations of older pieces, namely
253:in that year, which were all produced in 1769 at
74:
2338:
2020:Vol. XVII, No. LXVII, July 1826, pp. 17-30, at
1703:
1701:
422:, all at Sadler's Wells. In 1778 the important
2269:(For the author, by J. Gales, Sheffield 1788).
1837:"The First Circus"; Victoria and Albert Museum
1320:Robert Chambers' Book of Days. See C. Dibdin,
1178:Trinity Laban Conservatoire of Music and Dance
380:The Imposter, or, All's not gold that glitters
316:. He followed that in 1773 with the interlude
91:and his successor Peter Fussell, organists of
1176:, which is now the Peacock Room, part of the
2256:(11th ed.). Cambridge University Press.
1698:
1045:The tune of "Tom Bowling" forms part of Sir
919:
714:– Auction rooms, King Street, Covent Garden.
712:The Whim of the Moment, or, Nature in Little
300:Meanwhile, from 1772 he was also engaged by
99:. Through Mr. Berenger he was introduced to
2052:(John Lane, The Bodley Head, London 1922),
1457:The Private Correspondence of David Garrick
1347:The Private Correspondence of David Garrick
1141:He was also the uncle of the bibliographer
961:was a farce in two acts on the occasion of
374:Sadler's Wells, Haymarket and Covent Garden
1663:J.W. Ebsworth, "Dibdin, Charles" in (old)
903:
483:in 1781. After the British victory at the
264:in 1771. In February 1773 the comic opera
189:
2330:"Soldier’s Adieu", from "The Wags" (1790)
2284:International Music Score Library Project
1827:(1848), Vol. 1 pp. 132–33, and at p. xxi.
1711:inflation figures are based on data from
730:Private Theatricals, or Nature in Nubibus
463:Covent Garden productions continued with
2240:
1152:
957:. At least two further operas appeared:
875:(1808) – Sans-Pareil Theatre (later the
655:
27:
1973:Vol. 2 (Richard Bentley, London 1839),
1941:Private Correspondence of David Garrick
1648:Private Correspondence of David Garrick
752:Great News, or, A Trip to the Antipodes
357:The Cobbler, or, A Wife of Ten Thousand
340:(words by G. A. Stevens), performed by
2339:
2129:Stephen, Leslie, ed. Dibdin, Charles,
1774:(1848), Vol. 1 pp. 106, 111, 113, 116.
783:(1797); followed by a Christmas piece
2037:(G. and W.B. Whittaker, London 1823)
1712:
1015:Complete History of the British Stage
873:The Rent-day, or, The Yeoman's Friend
862:Cecilia, or the Progress of Industry.
1877:(1848), Vol. 1 p. 153 (states 1784).
1783:
1695:(1848), Vol. 1 pp. 82, 85–6, 89, 96.
1221:His form was of the manliest beauty,
830:In 1804 there was a one-act novelty
469:The Mirror, or, Harlequin everywhere
334:None so blind as those who won't see
158:, who had written the libretto for
103:(of whom he became a favourite) and
2305:Retrospect Opera: Christmas Gambols
1971:Memoirs of John Bannister, Comedian
1620:For the circumstances, see Dibdin,
1281:A previous disc featuring Dibdin's
1278:, Robert Murray and Heather Shipp.
1148:
1059:. Verdant Green, eponymous hero of
736:, a compilation from the preceding.
524:The Royal Circus and other ventures
460:a night or two before the opening.
13:
2357:English Classical-period composers
1440:Lionel and Clarissa, a Comic Opera
1100:I lov'd her late, I lov'd her soon
740:The Quizzes, or, A Trip to Elysium
724:The Wags, or, The Camp of Pleasure
436:On his return from France in 1778
398:in the same year. His comic opera
69:
14:
2408:
2273:
2099:(1848), Vol. 1 pp. 166, 169, 173.
1227:Faithful, below, he did his duty;
1194:On the west face of the tower of
1126:Dibdin's two sons with Harriet −
1098:With Kathe's allurements smitten,
1096:In the blithe days of honey-moon,
1041:Allusions in music and literature
1000:
260:Dibdin set a text by Garrick for
2297:
2131:Dictionary of National Biography
1786:The Georgia Historical Quarterly
1666:Dictionary of National Biography
1504:(1803), Vol. 1 pp. 70–74, 79–81.
1104:But now my kitten's grown a cat,
1102:And I called her dearest kitten.
758:in honour of the royal marriage.
202:: and as hopes for his new play
2201:
2171:
2149:
2136:
2123:
2111:
2102:
2089:
2072:
2059:
2042:
2027:
2010:
1997:
1980:
1963:
1950:
1932:
1919:
1906:
1893:
1880:
1867:
1854:
1841:
1830:
1817:
1804:
1777:
1764:
1747:
1734:
1685:
1672:
1657:
1640:
1627:
1614:
1598:
1585:
1572:
1559:
1556:(1803) Vol. 1 pp. 102–04.
1546:
1533:
1520:
1507:
1490:
1473:
1398:Operas in English: A Dictionary
1345:lent £280.10s.0d. in 1762, see
556:was later acted at the Circus.
517:Amphytrion, or Juno and Alcmena
2146:(Hamish Hamilton, 1997), p. 6.
2144:Michael Heseltine: A Biography
1990:' (John Murray, London 1841),
1449:
1433:
1420:
1407:
1386:
1369:
1356:
1327:
1322:Professional Life of Mr Dibdin
1314:
685:. This was first given at the
412:Yo, Yea, or, The friendly tars
277:which he had adapted from the
262:The Installation of the Garter
75:Early life and early successes
1:
2317:Retrospect Opera: The Jubilee
2280:Free scores by Charles Dibdin
2234:
1569:(1848), Vol. 1 pp. 6–7.
1500:(1848), Vol. 1 p. 5. Dibdin,
1256:The Musical Tour of Mr Dibdin
1245:
1108:O! by my soul, my honest Mat,
1052:Fantasia on British Sea Songs
618:The regions of Accomplishment
351:Dibdin's most lasting opera,
2397:Male actors from Southampton
1582:(1848), Vol. 1 pp. 9, 16–19.
1224:His heart was kind and soft,
1007:Musical Tour through England
109:Theatre Royal, Covent Garden
21:Charles Dibdin (the younger)
7:
2296:(public domain audiobooks)
1903:(1848), Vol. 1 p. xxi–xxii.
1110:I fear she has nine lives.
1106:And cross like other wives,
473:The Shepherdess of the Alps
10:
2413:
2377:English operatic baritones
2372:Musicians from Southampton
1960:(1848), Vol. 1 pp. 176–77.
1929:(1803) Vol. 1, pp. 102–04.
1916:(1848), Vol. 1 pp. 176–77.
1864:(1848), Vol. 1 pp. 133–53.
1682:(1848), Vol. 1 pp. 62, 66.
1637:(1848), Vol. 1 pp. 51, 53.
1442:(W. Griffin, London 1768)
1417:(1803), Vol. 1, pp. 46–54.
1274:also features the singers
1055:customarily played on the
791:The Tour to the Land's End
785:The Goose and the Gridiron
493:Frederick Charles Reinhold
475:, and the three-act opera
268:based on an Italian opera
39:(died 1845), oil on canvas
18:
2367:English male stage actors
2080:Memoirs of John Bannister
1624:(1803) Vol. 1 pp. 140–44.
1430:(1803), Vol. 1 pp. 53–57.
1383:(1803), Vol. 1 pp. 29–30.
1366:(1803), Vol 1, pp. 19–22.
1174:Royal Hospital, Greenwich
1114:
955:The British Fleet in 1342
920:War songs and later years
287:Pierre-Alexandre Monsigny
2392:Writers from Southampton
2119:accessed 9 February 2015
2018:The New Monthly Magazine
1308:
1230:But now he's gone aloft.
754:(1794) – followed by an
673:because of bad weather.
606:The Refusal of Harlequin
598:The Barrier of Parnassus
408:She is mad for a husband
2362:English opera composers
2290:Works by Charles Dibdin
2253:Encyclopædia Britannica
2247:"Dibdin, Charles"
2097:Songs of Charles Dibdin
2005:Songs of Charles Dibdin
1958:Songs of Charles Dibdin
1914:Songs of Charles Dibdin
1901:Songs of Charles Dibdin
1888:Songs of Charles Dibdin
1875:Songs of Charles Dibdin
1862:Songs of Charles Dibdin
1849:Songs of Charles Dibdin
1825:Songs of Charles Dibdin
1812:Songs of Charles Dibdin
1772:Songs of Charles Dibdin
1755:Songs of Charles Dibdin
1744:(1803) Vol. 2 pp. 1–13.
1713:Clark, Gregory (2017).
1693:Songs of Charles Dibdin
1680:Songs of Charles Dibdin
1635:Songs of Charles Dibdin
1593:Songs of Charles Dibdin
1580:Songs of Charles Dibdin
1567:Songs of Charles Dibdin
1541:Songs of Charles Dibdin
1528:Songs of Charles Dibdin
1498:Songs of Charles Dibdin
1057:Last Night of the Proms
904:An impression of Dibdin
867:Professional Volunteers
632:", was produced at the
535:Meanwhile, a dialogue,
416:The old woman of eighty
304:to write regularly for
270:Il filosofo di campagna
242:The Recruiting Serjeant
190:Drury Lane with Garrick
124:The Shepherd's Artifice
48:Last Night of the Proms
2213:retrospectopera.org.uk
2183:retrospectopera.org.uk
2007:(1848), Vol. 1 p. xxv.
1890:(1848), Vol. 1 p. xxi.
1851:(1848), Vol. 1 p. 128.
1814:(1848), Vol. 1 p. 124.
1339:Gentleman of the Horse
1297:, was released on the
1161:
1143:Thomas Frognall Dibdin
1112:
1019:Observations on a Tour
679:The Whim of the Moment
661:
630:The Bells of Aberdovey
610:The Land of Simplicity
594:The Lancashire witches
501:The British Grenadiers
487:, he added a scene in
465:The Chelsea pensioners
338:The Trip to Portsmouth
40:
2382:British circus owners
2159:. urban75. March 2007
1595:(1848), Vol. 1 p. 19.
1543:(1848), Vol. 1 p. 37.
1517:(1803), Vol. 1 p. 73.
1394:Margaret Ross Griffel
1324:(1803), Vol. 1 p. 15.
1170:The Feast of Neptune,
1156:
1094:
764:(1795) – followed by
659:
330:England against Italy
247:The Maid the Mistress
31:
2322:20 June 2019 at the
2310:20 June 2019 at the
2033:W. Kitchiner (ed.),
1236:Joseph Grimaldi Park
860:(1805); followed by
848:Britons, Strike Home
825:Britons, Strike Home
793:(1798); followed by
771:The General Election
762:The Will o' the Wisp
636:on 8 February 1784.
359:(based on Sedaine's
320:, and the dialogues
279:French opera of 1769
152:The Maid of the Mill
144:The Maid of the Mill
93:Winchester Cathedral
1341:1760–1782, to whom
1283:The Ephesian Matron
1234:Also in Camden, in
1183:British politician
1033:(3 vols, 1793) and
1031:The Younger Brother
852:A trip to the Coast
505:Harlequin freemason
404:The vineyard revels
324:(text by Garrick),
312:and Bickerstaffe's
310:The Palace of Mirth
283:Michel-Jean Sedaine
251:The Ephesian Matron
184:Lionel and Clarissa
2209:"Retrospect Opera"
2179:"Retrospect Opera"
1709:Retail Price Index
1375:G. Hogarth (Ed.),
1162:
1132:Thomas John Dibdin
953:, and in December
894:Bannister's Budget
746:Castles in the Air
698:Sans Souci Theatre
662:
634:Drury Lane theatre
566:The benevolent tar
539:, had appeared at
537:The Fortune Hunter
362:Blaise le savetier
295:The Christmas Tale
234:Damon and Phillida
208:projected for the
156:Isaac Bickerstaffe
154:was by playwright
85:Winchester College
41:
1988:George Cruikshank
1927:Professional Life
1742:Professional Life
1650:, Vol. 2 (1832),
1622:Professional Life
1554:Professional Life
1515:Professional Life
1502:Professional Life
1428:Professional Life
1415:Professional Life
1381:Professional Life
1364:Professional Life
1287:The Brickdust Man
1252:Christmas Gambols
1185:Michael Heseltine
1136:Michael Heseltine
1011:Professional Life
883:Commodore Pennant
766:Christmas Gambols
485:Siege of Savannah
450:Annette and Lubin
420:The razor grinder
384:The Metamorphosis
342:Charles Bannister
210:Haymarket Theatre
161:Love in a Village
117:Richard Leveridge
2404:
2387:Circus musicians
2331:
2301:
2300:
2263:Charles Dibdin,
2257:
2249:
2229:
2228:
2226:
2224:
2215:. Archived from
2205:
2199:
2198:
2196:
2194:
2185:. Archived from
2175:
2169:
2168:
2166:
2164:
2153:
2147:
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2014:
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1418:
1411:
1405:
1390:
1384:
1373:
1367:
1360:
1354:
1335:Richard Berenger
1331:
1325:
1318:
1166:Duke of Clarence
1149:Public memorials
1029:(3 vols, 1792);
1025:(2 vols, 1785);
1017:(5 vols, 1795),
951:Charles Incledon
879:) in the Strand.
726:(1790) – Lyceum.
720:(1789) – Lyceum.
562:Clump and Cudden
549:The Comic Mirror
545:Pasquin's Budget
495:) defeating the
481:The Marriage Act
314:The Brickdustman
266:The Wedding Ring
255:Ranelagh Gardens
174:Love in the City
170:Love in the City
2412:
2411:
2407:
2406:
2405:
2403:
2402:
2401:
2337:
2336:
2329:
2324:Wayback Machine
2312:Wayback Machine
2298:
2276:
2237:
2232:
2222:
2220:
2219:on 20 June 2019
2207:
2206:
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2192:
2190:
2189:on 20 June 2019
2177:
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2154:
2150:
2142:Michael Crick,
2141:
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2112:
2107:
2103:
2095:Hogarth (Ed.),
2094:
2090:
2077:
2073:
2067:Musical Memoirs
2065:William Parke,
2064:
2060:
2047:
2043:
2032:
2028:
2015:
2011:
2003:Hogarth (Ed.),
2002:
1998:
1985:
1981:
1968:
1964:
1956:Hogarth (Ed.),
1955:
1951:
1943:Vol. 1 (1831),
1937:
1933:
1924:
1920:
1912:Hogarth (Ed.),
1911:
1907:
1899:Hogarth (Ed.),
1898:
1894:
1886:Hogarth (Ed.),
1885:
1881:
1873:Hogarth (Ed.),
1872:
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1860:Hogarth (Ed.),
1859:
1855:
1847:Hogarth (Ed.),
1846:
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1835:
1831:
1823:Hogarth (Ed.),
1822:
1818:
1810:Hogarth (Ed.),
1809:
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1782:
1778:
1770:Hogarth (Ed.),
1769:
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1753:Hogarth (Ed.),
1752:
1748:
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1735:
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1691:Hogarth (Ed.),
1690:
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1678:Hogarth (Ed.),
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1645:
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1633:Hogarth (Ed.),
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1603:
1599:
1591:Hogarth (Ed.),
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1578:Hogarth (Ed.),
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1565:Hogarth (Ed.),
1564:
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1539:Hogarth (Ed.),
1538:
1534:
1526:Hogarth (Ed.),
1525:
1521:
1512:
1508:
1496:Hogarth (Ed.),
1495:
1491:
1485:pp. 27–31
1478:
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1328:
1319:
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1293:, conducted by
1248:
1240:Joseph Grimaldi
1204:memorial plaque
1196:Holyrood Church
1151:
1117:
1109:
1107:
1105:
1103:
1101:
1099:
1097:
1069:Charles Santley
1043:
1003:
967:The Round Robin
922:
906:
877:Adelphi Theatre
858:Heads and Tails
832:Valentine's Day
702:Leicester Place
654:
526:
497:Comte d'Estaing
406:(a pantomime),
376:
192:
150:The script for
77:
72:
70:Life and career
37:Thomas Phillips
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2274:External links
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2244:, ed. (1911).
2242:Chisholm, Hugh
2236:
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687:Lyceum Theatre
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530:Surrey Theatre
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458:The Touchstone
454:The Touchstone
446:Wives revenged
442:Rose and Colin
375:
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306:Sadler's Wells
245:, and for his
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947:Nancy Storace
944:
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890:John Adolphus
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438:Thomas Harris
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322:The Grenadier
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318:The Mischance
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2251:
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2217:the original
2212:
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2191:. Retrieved
2187:the original
2182:
2173:
2161:. Retrieved
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2017:
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1295:Peter Holman
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1268:Datchet Mead
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1211:Celtic cross
1208:
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1073:The Waterman
1072:
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1009:(1788), his
1006:
1005:Besides his
1004:
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839:
836:The Election
835:
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775:Datchet mead
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718:The Oddities
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683:King's Bench
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646:Harvest Home
645:
641:
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626:Liberty Hall
625:
621:
617:
613:
609:
605:
602:The Milkmaid
601:
597:
593:
590:The Passions
589:
585:
581:
577:
574:The talisman
573:
569:
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536:
534:
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516:
507:, for which
504:
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411:
407:
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400:The Seraglio
399:
391:
386:modelled on
383:
379:
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366:
360:
356:
353:The Waterman
352:
350:
337:
333:
329:
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294:
275:The Deserter
274:
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143:
123:
121:
78:
55:
52:The Waterman
51:
43:
42:
32:
25:
2352:1814 deaths
2347:1745 births
1333:Presumably
1303:Tom Bowling
1276:Soraya Mafi
1272:The Jubilee
1260:The Jubilee
1215:Camden Town
1200:Southampton
1159:Camden Town
1077:James Joyce
1035:Henry Hooka
990:Camden Town
963:Lord Nelson
959:Broken Gold
943:John Braham
939:The Cabinet
801:Tom Wilkins
667:East Indies
513:John Dryden
431:The Gipsies
427:Poor Vulcan
346:Thomas Arne
302:Thomas King
214:The Padlock
205:The Padlock
166:Thomas Arne
81:Southampton
54:(1774) and
35:, 1799, by
2341:Categories
2235:References
2163:7 November
2078:Adolphus,
2054:pp. 107-27
1975:pp. 174–76
1945:pp. 576–77
1246:Recordings
1209:In 1889 a
1079:'s story "
1047:Henry Wood
844:The Frolic
840:Most Votes
819:Most Votes
797:(one act).
781:The Sphinx
691:The Strand
614:The Statue
578:The graces
570:The saloon
489:The Mirror
367:The Quaker
200:Drury Lane
105:John Beard
89:James Kent
56:The Quaker
1652:pp.119–20
1609:Read here
1444:Read here
1402:Read here
1351:p. 297-98
1264:Queen Mab
1189:Greenwich
1086:Dubliners
1075:. And in
1061:the novel
1023:The Devil
642:The Devil
586:Tom Thumb
582:Long odds
396:Haymarket
326:The Ladle
218:blackface
142:'s opera
115:roles of
113:pantomime
101:John Rich
97:Cheapside
64:Beethoven
2320:Archived
2308:Archived
2294:LibriVox
1925:Dibdin,
1798:40580789
1740:Dibdin,
1669:Vol. XV.
1552:Dibdin,
1513:Dibdin,
1426:Dibdin,
1413:Dibdin,
1362:Dibdin,
1299:Hyperion
1083:" (from
1049:'s 1905
932:Jack Tar
927:shanties
850:); and,
515:'s play
424:burletta
392:Sicilian
238:burletta
179:The Romp
128:operetta
2286:(IMSLP)
2282:at the
2223:21 June
2193:21 June
1992:p. xiii
1461:p. xlvi
1128:Charles
1081:Eveline
911:baryton
821:(1802).
815:(1801).
813:A Frisk
809:(1800).
803:(1799).
554:Pandora
509:Messink
388:Molière
291:Hampton
132:Garrick
2084:p. 140
2082:, II,
1796:
1115:Family
978:Lyceum
974:Strand
846:(from
838:(from
748:(1793)
671:Torbay
622:Cestus
620:, and
467:, and
332:, and
249:, and
136:Cibber
2022:p. 20
1794:JSTOR
1726:7 May
1309:Notes
1202:is a
230:Boyce
126:, an
60:Haydn
2225:2019
2195:2019
2165:2009
1728:2024
1289:and
1266:and
1254:and
1130:and
949:and
448:and
418:and
285:and
222:rage
62:and
2292:at
1707:UK
1198:in
1063:by
988:in
842:);
756:Ode
700:in
689:in
390:'s
281:by
224:."
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1790:65
1788:.
1717:.
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2197:.
2167:.
2086:.
2056:.
2024:.
1994:.
1977:.
1947:.
1800:.
1730:.
1654:.
1611:.
1487:.
1470:.
1446:.
1404:.
1353:.
854:.
787:.
23:.
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