33:
668:. Kelly took his most famous premiere role as Don Curzio (the stuttering role), and also Don Basilio, with Storace as Susanna. He was on most friendly terms with Mozart, and was the first to hear the duet "Crudel, perche finora?" played over by Mozart while the ink was still wet. Kelly argued with Mozart, who wished him not to stutter in the concerted ensembles. Kelly insisted, threatening to walk out, and carried it off to Mozart's great satisfaction.
1982:
2019:
1456:
Kelly tells the story that, arriving at
Livorno from Sicily, he was as thin as a rake, with a mass of fair hair, and had not long ceased singing treble. Nancy and Stephen, whom he did not know, stood together on the Livorno Mole, and Nancy said in English to her brother, "Look at that girl dressed in
1044:
he lists 62 works for various London theatres, which he had "composed and selected". This means that he often mixed his own music with that of other composers or arranged works by others to suit his purposes. In these cases, therefore, the share of his original contribution is not at all clear and
851:'s "Deeper and deeper still", and brought fresh humour to "Haste thee, nymph" (coached by Linley) to the delight of the royal audience. "In singing sacred music I was aware of its value, and fagged at the tenor songs of Handel with unremitting assiduity", he wrote. In October 1788, he sang
685:, before setting off with Nancy and Stephen Storace and their mother, and Thomas Attwood, all together in a carriage for England. He and Mozart parted in tears of friendship. They stopped in Munich, Augsburg and Stuttgart, where Kelly went to the top of the spire with
347:, met the tenor Giuseppe Viganoni (1754-1823), appeared at the theatre with soprano Clementina Baglioni, and dined with the violinist Soderini. At Florence, Campigli gave him a spring season as first comic tenor at the Teatro Nuovo, and at Lord Cowper's house he heard
230:, was ill, and Kelly (who still sang treble) was brought in and made a great success. However Martini failed to pay, and the distinguished cast immediately struck and dispersed. Michael Arne then had him play the role of Cymon for three nights at
51:, composer and theatrical manager who made an international career of importance in musical history. One of the leading figures in British musical theatre around the turn of the nineteenth century, he was a close associate of playwright and poet
671:
With new offers pending for Drury Lane, Kelly had one more
Luxembourg season, and then obtained a year's leave to visit home and his ailing mother. Yet he remained until February 1787 at Vienna, appearing in Paisiello's
950:
in 1787, Kelly enjoyed great success, and thenceforth was the principal
English-language tenor at that theatre. In 1793, he became acting manager of the King's Theatre, and he was in great demand at concerts.
482:. When his contract was completed, through Countess Rosenberg he (and Storace) received an invitation to join an Italian company then being assembled to occupy a permanent residency at the court of Emperor
1182:
508:
was to be staged first. He had a successful debut. The theatre was in the palace, and the
Emperor attended performances and many rehearsals. Kelly was friendly with Salieri and with the actors
99:, the seat of British government in Ireland. Michael was given a serious musical education (mainly voice and keyboard) from a young age, his first teachers being the Italians, Passerini (of
1045:
may vary a lot. In a number of cases, Kelly merely wrote the melody and "relied on professional assistants in matters of orchestration and technique." It is claimed that the first
361:, coached by the actor-tenor Filippo Laschi), opposite the charming Signora Lortinella (called "Ortabella"), and Andrea Morigi as primo buffo. He was in lodgings with the composer
321:
and other
Italian poets and, their season ended, told him he was now ready to sing in any theatre in Europe. He wrote letters of introduction to Andrea Campigli, impresario of the
199:
with words by
Sheridan as "By him we love offended"). Rauzzini advised he should be sent to a conservatory in Rome or Naples, and his father laid plans accordingly. Meanwhile,
121:'little understood by the 1820s.' With him Kelly studied the air 'In infancy our hopes and fears', composed for Peretti. Kelly also studied keyboard with Thomas Arne's son,
593:
was presented with Nancy
Storace: Kelly and Mandini alternated in the role of the Count. When Paisiello came to the court Kelly witnessed his meeting with Mozart. The poet
332:. "Under his care and patronage," said Aprile, "you cannot fail of success because you have the peculiar distinction of being the only public scholar I ever taught."
402:
making many musical acquaintances, but found the project had collapsed. Out of money, he still managed to attend operas and concerts and met the singer and actress
513:
189:. While in Dublin in 1778, he took Michael Kelly under his wing, gave him lessons and taught him several songs, including his own "Fuggiamo di questo loco" (which
357:
674:
137:
128:
Sent to Dr Burke's academy, Kelly met many "men of genius" at friends' houses during vacations. He received singing lessons from a "signor St
Giorgio" at the
729:
436:
739:, adding a GlĂĽck song in English, and next appeared at Theatre Royal opposite Mrs Crouch, who was his stage partner for many years. He became a friend of
608:
373:
362:
778:
459:
802:
403:
1997:
1591:
The singer Anna Benini was the wife of
Guarducci's pupil, the composer and singer Bernardo Mengozzi (1758–1800): see Highfill, Burnim and Langhans,
301:, where he studied several hours a day as his voice dropped to a tenor. He was soon singing the tenor arias which formed the original repertoire of
2064:
2049:
478:, for whom he sang and played billiards for a week. He returned to Venice in October for Vidiman, where Nancy Storace was appearing in an opera of
216:
Kelly also made his stage debut in Dublin. A promoter, Pedro
Martini, brought an Italian company (including Peretti) to perform comic opera at the
2054:
463:
314:
310:
2069:
2059:
2109:
394:, arranged by Stephen Storace, was blocked by Kelly's father. After the Florence contract Campigli offered him six months as primo tenore in
1129:, performed by Sasha Abrams (S), Dan Klein (tenor), Peter Alexander (piano): Decca Ace of Diamonds SDD 273 (LP, 1971). Contains the songs:
1164:
213:, for which he had written the music: in exchange for his father's kindnesses, Arne gave Michael daily lessons and regular encouragement.
83:, doubt has been cast on the reliability of his own account, and it has been said that 'ny statement of Kelly's is immediately suspect.'
2002:
343:, who, aged 15, was then prima donna of the comic opera there. Stephen Storace helped him mount a concert, and with funds he went on to
1558:
973:. He combined his professional work with conducting a music shop and a wine shop, but with disastrous financial results. He died at
904:
in the evergreen "Spirit of my sainted sire". In August 1790, he spent some weeks with Mr and Mrs Crouch in Paris, seeing Grétry's
17:
447:, which he rehearsed and began performing with Ortabella, but the jealous sponsor-manager became murderous, and Kelly escaped to
547:. He often dined with Mozart and invariably lost at billiards to him: he became close friends with Mozart's young English pupil
2074:
2099:
2104:
1472:
A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660-1800
999:
2094:
2089:
147:
800:. This summer tour set the pattern for future years. For their London season commencing in September Linley revived his
891:
1122:
Recordings of Kelly's music are extremely rare. They can be found on one 1971 LP and two CDs issued in 2011 and 2012.
689:. They witnessed some of the greatest theatrical artists performing in Paris, before arriving in London in mid-March.
1936:
1318:
589:
1457:
boy's clothes." Kelly then astonished her by replying, also in English, "You are mistaken, Miss; I am a very proper
1910:
262:, with privileges. He began to attend operas and ballets, and received introductions at many noble houses, meeting
1291:
By using the word 'true', Kelly indicates that he means not what was vulgarly thought to be a portamento, i.e. a
959:
1911:"Reminiscences of Michael Kelly of the King's theatre, and Theatre royal, Drury lane [ed. by T.E. Hook]"
2084:
2079:
2023:
1238:
This name was given by Father Dolphin, Prior of the Convent of St Dominic at Naples, cf Thal (ed.) 1972, p. 85.
475:
259:
1479:
483:
309:(1744–1826). With Aprile he visited many noble houses and made his first regular Festival appearance at the
719:
536:
572:
in performances witnessed by that writer. He and one Calvasi played the two Antipholus roles in Storace's
509:
1190:
251:
938:(Storace) for the very last night of the Old Drury Lane Theatre, which was then closed and demolished.
912:, which they were to perform in English versions. They began 1791 at Drury Lane with Stephen Storace's
416:
1099:
1089:
1073:
894:, where at St Lawrence's the organ had been played by Handel). Kelly scored a great hit in Storace's
865:
Festival. With her he often performed the recitative "And Miriam the prophetess took a timbrel" from
646:
548:
518:
391:
271:
185:
who, after a period at Vienna and Munich, settled in England c.1774 and was the teacher of the young
52:
1052:
in England was the 1804 production at Drury Lane, for which the music was by Michael Kelly. An 1801
479:
67:, he was one of the first tenors of that era from Britain and Ireland to become famous in Italy and
747:
599:
629:
for three months. In Vienna, Joseph had two operas staged for the benefit of visiting potentates,
103:) and Niccolò Peretti, a male contralto, who sang at Covent Garden in the original productions of
698:
679:
594:
540:
504:
274:, for whom he sang, and with Hamilton (a vulcanologist) he witnessed the August 1779 eruption of
190:
159:
631:
1028:
923:
832:
733:, introducing an original duet which Storace orchestrated. He was then Young Meadows in Arne's
664:
267:
95:
wine merchant and dancing-master, held an important social position as Master of Ceremonies at
1596:
1519:
1502:
146:. At various times the visitors to the Kellys' house included such distinguished musicians as
1846:
914:
875:
658:
560:
441:
285:(1732–1813) (also a teacher of Cimarosa) offered him free tuition during a festival visit to
151:
1163:, performed by Amanda Pitt (soprano), John Lofthouse (baritone), David Owen Norris (piano):
641:. Kelly played in both, being Pylades to Bernasconi's Iphigénie and the Oreste of the tenor
2044:
2039:
808:
613:
580:
378:
367:
163:
8:
1014:- Kelly's description of a string quartet party at which Haydn and Mozart played together
760:
740:
642:
231:
217:
221:
63:, and created roles for the operas of both composers. With his friend and fellow singer
1961:
1873:
934:
824:
710:
565:
235:
226:
113:
1962:
Russell A. Peck (John Hall Deane Professor of English at the University of Rochester)
1932:
1493:
1017:
955:
883:
755:
735:
714:
604:
325:
263:
174:
564:. After she lost her voice for a time he sang in three operas with Mmes Cortellini,
426:
1209:
1057:
1011:
1005:
928:
857:
840:
702:
653:
568:
and Laschi, and won applause humorously modelling a character on the mannerisms of
544:
539:, but a special friendship began at a dinner where he found himself seated between
411:
1181:, performed by Gudrún Ólafsdóttir (mezzo) and Francisco Javier Jáuregui (guitar):
758:. In June, with Mrs Crouch in Dublin he played Lionel, and was first bacchanal in
887:
867:
637:
555:
554:
Kelly sang opposite Nancy Storace in this company. In 1785, they were performing
499:
336:
306:
282:
255:
129:
462:. She invited Kelly to sing with her in Anfossi's new oratorio, and her consort
37:
32:
1084:
1022:
879:
773:
724:
348:
302:
182:
92:
2033:
1993:
1988:
1330:(i.e. Mattia Vento, 1735–1777, Neapolitan composer): Thal (ed.) 1972, p. 370.
1295:, but some lost idea of carrying-over on the breath from one note to another.
993:
970:
765:
340:
266:, Fenaroli's favourite pupil, at one. Hamilton gained him a meeting with the
204:
186:
167:
96:
64:
1514:
Thal (ed.) 1972, p. 66–68. For Soderini see Highfill, Burnim and Langhans,
1314:
1111:
1062:
886:, La Storace, Mme Mara and Dr Arnold he assisted a large Handel concert at
686:
574:
297:
under Aprile, who continued to give him daily lessons and dinners: then to
200:
155:
133:
122:
1928:
1478:(Carbondale and Edwardsville: Southern Illinois University Press, 1993),
1158:
1053:
706:
220:. Sig. Savoy, who was to have sung the high soprano role of the Count in
104:
2006:. Vol. 15 (11th ed.). Cambridge University Press. p. 720.
1292:
947:
844:
828:
784:
626:
524:
318:
195:
142:
140:, a constant family visitor, tutored him in an aria from Vento's opera
108:
1049:
816:
797:
60:
1952:, ed. H. White & B. Boydell (Dublin: UCD Press, 2013), p. 560–1.
831:, and Kelly decided not to return to Vienna. His oratorio work with
421:
1874:"030.106 - Spirit of My Sainted Sire. | Levy Music Collection"
569:
322:
275:
1987:
This article incorporates text from a publication now in the
974:
862:
820:
618:, Laschi, Storace and Viganoni, and Kelly took the buffo role of
471:
455:
431:
399:
352:
329:
298:
100:
68:
1092:), musical play; London, Theatre Royal, Drury Lane, 24 May 1799.
250:
In May 1779, Kelly travelled to Naples where, as protégé of Sir
2018:
1102:), comic opera; London, Theatre Royal, Haymarket, 25 July 1803.
848:
751:
532:
487:
448:
395:
286:
56:
1040:
There is no reliable register of Kelly's compositions. In his
918:(incorporating a Martini scena), and his version of Salieri's
878:
for the first time in April 1789, with Mrs Crouch (Polly) and
597:
also arrived, and in 1784 with Paisiello produced a new opera
789:
768:) duet 'O thou wert born to please me.' Then the pair led at
528:
467:
290:
209:
178:
48:
1531:
Filippo Laschi (1739-1789), see short biography in L. Macy,
1501:, 4th, enlarged edition, vol. 1 (Munich: K. G. Saur, 2003),
996:- on the flamboyant virtuosity of this singer as a teenager
769:
458:
he met the 'greatest reputed dilettante singer in Europe',
430:. He returned to Venice for Easter and was recruited for a
407:
344:
1805:
1803:
1260:
Richard Graves: "The Comic Operas of Stephen Storace", in
1569:
1567:
1106:
Kelly also wrote many songs, one of the best-known being
625:
In each year the Italian company attended the Emperor to
498:
At Vienna Kelly presented himself to the Court composer
117:(title role). Kelly remarked that Peretti possessed the
1847:"Little Stanmore: Church | British History Online"
1800:
1461:
animal, and quite at your service!"; Thal (ed.), p. 64.
1065:, was not successful. Some of his original operas are:
234:, and he had a benefit performance as Master Lionel in
1564:
1157:
Entertaining Miss Austen. Newly discovered music from
1080:"; London, Theatre Royal, Drury Lane, 16 January 1798.
697:
In London, Kelly and Stephen Storace met at once with
989:
are quoted in several articles in this encyclopedia:
1317:, 1750–1813, composer, harpsichordist, organist of
652:In 1786, three operas were being rehearsed, one by
466:engaged him for four months, sending him first to
451:, slipping out of the theatre in mid-performance.
390:The offer of a five-year contract from Linley for
79:. Although the primary source for his life is his
1470:P. H. Highfill, K. A. Burnim and E. A. Langhans:
47:(25 December 1762 – 9 October 1826) was an Irish
2031:
1497:: see K.-J. Kutsch and L. Riemens, ed. H. Rost,
1214:Solo Recital. The Reminiscences of Michael Kelly
55:. He also became friends with musicians such as
1321:, 1780–1806, then teacher): van Thal 1972, 338.
531:for three days. In Vienna he met the composers
1264:vol. 95 no. 1340 (October 1954), pp. 530–532.
1189:in a 19th-century arrangement with guitar by
1026:on its performers at the first rehearsals of
1282:van Thal, 1972 (biographical index), p. 329.
1149:, as well as the Kelly/Mozart collaboration
692:
1216:(London: Folio Society, 1972), p. 19, note.
926:text) was given. On 4 June, they performed
839:for him. Engaged as principal tenor of the
328:, and obtained Kelly's place on a ship for
420:, and for the Carnival opposite Benini in
1931:(London: Oxford University Press, 1975);
1491:La Baglioni was Mozart's first Rosina in
750:was delayed, but he sang in the May 1787
355:'s sonata. He made a successful debut in
1992:
1251:(London: Oxford University Press, 1974).
622:, which became his nickname thereafter.
260:1537 Conservatorio Santa Maria di Loreto
31:
2065:19th-century British male opera singers
2050:18th-century British male opera singers
1020:- the extraordinary effect of Mozart's
965:In 1826, he published his entertaining
662:(to a text by Casti), and one Mozart's
645:, in all of which they were coached by
14:
2055:18th-century Irish classical composers
2032:
1225:This article includes text drawn from
454:After a benefit concert at Verona, at
2070:19th-century Irish male opera singers
2060:18th-century Irish male opera singers
1950:The Encyclopaedia of Music in Ireland
1908:
958:, whom he shared for a time with the
493:
1002:- his physical description of Mozart
406:, who took him on an autumn tour to
289:in Spring 1780. Kelly went first to
136:. Also the famous surgeon-violinist
86:
29:Irish tenor and composer (1762–1826)
1948:Basil Walsh: "Kelly, Michael", in:
1913:. Colburn – via Google Books.
1179:English and Scottish Romantic Songs
1008:- Mozart as a highly skilled dancer
245:
24:
1689:Thal (ed.) 1972, pp. 123, 126–127.
1626:Thal (ed.) 1972, pp. 93–94, 96–99.
1249:Concise Oxford Dictionary of Opera
723:. Kelly's Drury Lane debut was in
25:
2121:
2110:Wolfgang Amadeus Mozart's singers
2011:
1165:Dutton Epoch CDLX 7271 (CD, 2011)
969:, written with the assistance of
835:began, and she played Mandane in
387:singer) gave Kelly some lessons.
91:Michael Kelly's father Thomas, a
2017:
1980:
1420:cf. Rosenthal and Warrack, 1974.
1061:, written in collaboration with
317:. Aprile taught him the work of
173:Among them was the male soprano
71:. In Italy he was also known as
1955:
1942:
1917:
1909:Kelly, Michael (18 June 1826).
1902:
1893:
1884:
1866:
1857:
1839:
1830:
1821:
1812:
1791:
1782:
1773:
1764:
1755:
1746:
1737:
1728:
1719:
1710:
1701:
1692:
1683:
1674:
1665:
1656:
1647:
1638:
1629:
1620:
1611:
1602:
1585:
1576:
1553:Highfill, Burnim and Langhans,
1547:
1538:
1533:The Grove Book of Opera Singers
1525:
1508:
1485:
1464:
1450:
1441:
1432:
1423:
1414:
1405:
1396:
1387:
1378:
1375:Thal (ed.) 1972, pp. 29, 32–33.
1369:
1360:
1351:
1342:
1333:
1324:
1307:
1070:Blue Beard, or Female Curiosity
1035:
855:for Sheridan in London, and in
815:In summer 1788, they toured in
1319:St Patrick's Cathedral, Dublin
1298:
1285:
1276:
1267:
1254:
1241:
1232:
1219:
1203:
372:(1755–1826): the male soprano
148:François-Hippolyte Barthélemon
13:
1:
2075:19th-century Irish memoirists
1535:, 2nd edition (O.U.P., 2008).
1247:H. Rosenthal and J. Warrack:
1197:
1117:
985:The zestful anecdotes of the
941:
603:. The cast included Mandini,
484:Joseph II, Holy Roman Emperor
2100:Composers from Dublin (city)
1899:Thal (ed.) 1972, p. 178–179.
1890:Thal (ed.) 1972, p. 174–178.
1836:Thal (ed.) 1972, p. 166–171.
1827:Thal (ed.) 1972, p. 163–166.
1818:Thal (ed.) 1972, p. 162–163.
1779:Thal (ed.) 1972, p. 156–157.
1770:Thal (ed.) 1972, p. 150–156.
1752:Thal (ed.) 1972, p. 143–144.
1743:Thal (ed.) 1972, p. 140–142.
1734:Thal (ed.) 1972, p. 138–140.
1716:Thal (ed.) 1972, p. 131–132.
1698:Thal (ed.) 1972, p. 130–131.
1680:Thal (ed.) 1972, p. 118–121.
1662:Thal (ed.) 1972, p. 110–111.
1644:Thal (ed.) 1972, p. 104–107.
1582:Thal (ed.) 1972, pp. 74, 78.
1183:EMEC Discos E-104 (CD, 2012)
898:, delivering a ringing top B
335:At Livorno, Kelly first met
203:stayed in Dublin to produce
150:, Wilhelm Cramer (father of
7:
2105:Pupils of Venanzio Rauzzini
980:
281:At Naples the male soprano
10:
2126:
2095:Singers from Dublin (city)
2090:Irish male opera composers
1973:
1878:levysheetmusic.mse.jhu.edu
1544:Thal (ed.) 1972, p. 68–71.
1438:Thal (ed.) 1972, p. 54–60.
1411:Thal (ed.) 1972, p. 52–53.
1393:Thal (ed.) 1972, p. 42–43.
1384:Thal (ed.) 1972, p. 39–40.
1366:Thal (ed.) 1972, p. 26–28.
1357:Thal (ed.) 1972, p. 24–26.
1339:Thal (ed.) 1972, p. 21–22.
1127:Michael Kelly & Mozart
962:, added to his notoriety.
746:His entry to oratorio for
474:to present himself to the
1964:A Cinderella Bibliography
1851:www.british-history.ac.uk
1788:Thal (ed.), 1972, p. 158.
1100:George Colman the Younger
1090:Richard Brinsley Sheridan
1074:George Colman the Younger
693:Old Drury Lane, 1787–1791
510:Friedrich Ludwig Schröder
434:production of Cimarosa's
392:Theatre Royal, Drury Lane
313:, Palermo, in a motet of
53:Richard Brinsley Sheridan
1863:Thal (ed.) 1972, p. 173.
1809:Thal (ed.) 1972, p. 161.
1797:Thal (ed.) 1972, p. 160.
1761:Thal (ed.) 1972, p. 146.
1725:Thal (ed.) 1972, p. 134.
1707:Thal (ed.) 1972, p. 140.
1671:Thal (ed.) 1972, p. 112.
1653:Thal (ed.) 1972, p. 108.
1635:Thal (ed.) 1972, p. 103.
1429:Thal (ed.) 1972, p. 328.
1348:Thal (ed.) 1972, p. 362.
1096:Love Laughs at Locksmith
890:(the former home of the
600:Il re Teodoro in Venezia
18:Michael Kelly (musician)
2003:Encyclopædia Britannica
1617:Thal (ed.) 1972, p. 87.
1608:Thal (ed.) 1972, p. 85.
1593:Biographical Dictionary
1573:Thal (ed.) 1972, p. 73.
1555:Biographical Dictionary
1516:Biographical Dictionary
1447:Thal (ed.) 1972, p. 62.
1402:Thal (ed.) 1972, p. 45.
1304:Thal (ed.) 1972, p. 20.
1273:Thal (ed.) 1972, p. 19.
1227:Encyclopædia Britannica
1151:Grazie agl'inganni tuoi
1000:Wolfgang Amadeus Mozart
946:Appearing in London at
776:, also giving Arnold's
595:Giovanni Battista Casti
398:, and he travelled via
177:(1746–1810), friend of
132:and piano lessons from
40:, between 1802 and 1814
1167:. Contains the songs:
1078:Grand Dramatic Romance
1029:The Marriage of Figaro
954:His relationship with
665:The Marriage of Figaro
514:Johann Franz Brockmann
480:Vicente MartĂn y Soler
41:
2085:Irish operatic tenors
2080:Irish opera composers
1499:Grosses Sängerlexikon
1143:Placa gli sdegni tuoi
915:The Siege of Belgrade
880:Marie Therese De Camp
853:Richard Coeur de Lion
809:Doctor and Apothecary
720:Richard Coeur de Lion
659:La grotta di Trofonio
590:The Barber of Seville
561:Gli sposi malcontenti
358:Il francese in Italia
35:
2026:at Wikimedia Commons
1185:. Contains the song
1173:The Husband's Return
1161:'s family collection
1135:Soffri che intraccia
806:, and Dittersdorf's
772:in these works, for
675:La frascatana nobile
632:Iphigénie en Tauride
581:The Comedy of Errors
505:La scuola de' gelosi
207:'s dramatic romance
164:Johann Peter Salomon
1169:The Wife's Farewell
764:, introducing the (
741:John Philpot Curran
730:Lionel and Clarissa
701:and his daughters (
643:Valentin Adamberger
254:, he enrolled with
240:Lionel and Clarissa
232:Crow Street Theatre
218:Smock Alley Theatre
1595:, vol. 10 (1984),
1518:, vol. 14 (1991),
1476:Tibbett to M. West
935:No song, no supper
566:Antonia Bernasconi
494:Austria, 1783–1787
437:Il pittor parigino
293:, where he sang a
236:Baldassare Galuppi
227:La buona figliuola
42:
2022:Media related to
1557:, vol. 5 (1978),
1494:La finta semplice
1262:The Musical Times
1131:Cara son tuo così
1018:Francesco Benucci
956:Anna Maria Crouch
896:The Haunted Tower
861:with Mme Mara at
794:Love in a Village
756:Westminster Abbey
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605:Francesco Benucci
410:. He appeared in
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363:Gaetano Andreozzi
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87:Dublin beginnings
16:(Redirected from
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107:'s opera (on a
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1994:Chisholm, Hugh
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1110:to words by
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1056:
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1042:Reminiscence
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127:
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44:
43:
38:Adèle Romany
36:Portrait by
26:
2045:1826 deaths
2040:1762 births
1929:Roger Fiske
1559:pp. 438–440
1474:, vol. 15:
1210:H. van Thal
1159:Jane Austen
1054:comic opera
977:, aged 64.
906:La Caravane
711:John Kemble
709:), and saw
678: [
649:in person.
612: [
578:, based on
537:Dittersdorf
517: [
476:Archduchess
440: [
377: [
366: [
105:Thomas Arne
2034:Categories
1597:pp. 196 ff
1480:pp. 162-64
1198:References
1118:Recordings
1047:Cinderella
948:Drury Lane
942:Later life
884:Mrs Crouch
847:, he sang
845:Joah Bates
837:Artaxerxes
829:Birmingham
785:The Duenna
715:Mrs Crouch
627:Luxembourg
525:Eisenstadt
383:(a famous
319:Metastasio
196:The Duenna
143:Demofoonte
138:John Neale
114:Artaxerxes
109:Metastasio
1599:(Google).
1561:(Google).
1505:(Google).
1482:(Google).
1191:C.M. Sola
1050:Pantomime
825:Worcester
817:Liverpool
798:Wakefield
748:Dr Arnold
638:L'Alceste
558:'s opera
527:to visit
385:cantabile
61:Paisiello
1966:(online)
981:See also
901:♭
876:Macheath
833:Mme Mara
570:da Ponte
541:Wolfgang
502:, whose
323:Florence
276:Vesuvius
256:Fenaroli
222:Piccinni
75:or even
1991::
1974:Sources
1229:, 1911.
1212:(ed.):
1085:Pizarro
975:Margate
863:Norwich
858:Messiah
821:Chester
766:Martini
654:Righini
620:Gaforio
472:Colorno
456:Treviso
432:Brescia
400:Bologna
353:Tartini
337:Stephen
330:Livorno
299:Palermo
258:at the
205:Garrick
130:Rotunda
101:Bologna
73:O'Kelly
69:Austria
1985:
1935:
1927:, ed.
1520:p. 193
1503:p. 205
1313:(i.e.
849:Handel
843:under
792:, and
752:Handel
725:Dibdin
533:Wanhal
488:Vienna
449:Verona
422:Grétry
404:Benini
396:Venice
287:Sicily
191:Linley
160:George
111:text)
57:Mozart
790:Leeds
761:Comus
682:]
647:Gluck
616:]
529:Haydn
521:]
468:Parma
444:]
381:]
370:]
351:play
291:Gaeta
210:Cymon
179:Haydn
152:John)
49:tenor
1933:ISBN
1293:slur
1076:), "
932:and
908:and
827:and
770:York
713:and
705:and
635:and
543:and
535:and
512:and
470:and
408:Graz
345:Pisa
339:and
305:and
270:and
268:King
181:and
59:and
2000:".
788:at
727:'s
717:in
486:at
424:'s
414:'s
238:'s
224:'s
162:),
2036::
1876:.
1849:.
1802:^
1566:^
1459:he
1171:,
1145:,
1141:,
1137:,
1133:,
1114:.
871:.
819:,
812:.
743:.
680:ca
614:it
607:,
584:.
551:.
519:de
490:.
442:it
379:it
368:it
278:.
242:.
170:.
154:,
125:.
1939:.
1880:.
1853:.
1522:.
1193:.
1175:.
1153:.
1098:(
1088:(
922:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
