By Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans
To be accomplished in 12 volumes, this huge paintings the following starts off publication with the 1st volumes—Abaco to Bertie and Bertin to Byzard. while accomplished, it's anticipated that the biographical dictionary will comprise information on greater than 8,500 individuals. Hundreds of published resources were hunted for this undertaking, and dozens of repositories combed, and the names of team of workers indexed were filtered via parish registers every time attainable. From released and unpublished resources, from wills, data societies and guilds, from documents of schools, universities, and golf equipment, and from the contributions of selfless students, the authors have the following assembled fabric which illuminates theatrical and musical job in London within the 1660–1800 period. The details right here collected will no doubt be augmented through different specialists in recovery and eighteenth-century theatre and drama, however it isn't most likely that the variety of people referred to now without doubt or conjectured eventually to were attached with theatrical enterprise during this interval will ever be increased significantly. definitely, the contributions made right here upload immeasurably to latest wisdom, and in a few cases right normal histories or reference works. The accompanying illustrations, estimated to be a few 1,400 likenesses—at least one photograph of every topic for whom a portrait exists—may turn out to be a useful characteristic of the paintings. The authors have long past past embellishment of the textual content, and feature tried to checklist all original images any wisdom of that is now recoverable, and feature attempted to ascertain the current position of graphics in each medium.
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Additional info for A biographical dictionary of actors, actresses, musicians, dancers, managers & other stage personnel in London, 1660-1800
From 1748, his twenty-fifth year, until 1759 he played under Hasse in the court band of the electoral King of Poland at Dresden. " By the early spring of 1759 he was in London and on 5 April began a series of concerts at the Great Room in Dean Street, Soho, where he played with great charm and expertise not only his chief instrument, the viola da gamba, but also on a variety of other instruments, including harpsichord, horn, and pentachord. For these performances he hired such singers as Signora Passerini, Quilici, Tedeschino, Tenducci, and Mrs Storer; and his instrumentalists were of the caliber of Pinto, Tacet, Barbandt, and Paxton.
Though records of his nineteenth-century efforts are incomplete, it is much to be feared that the description remained apt. This Abbott was probably the one in the cast of Richard III at the opening of the New Theatre Royal, Bath, on 12 October 1805. In the summer season of 1809 an Abbott who was a veteran of London conducted with Mallinson a momentarily successful theatrical venture at Tenby. Possibly T. Abbott was also the one at Covent Garden in 181213, and at Edinburgh in 181516, 1818, 1819, and 1821, who was said to have had the permission of the manager Harris at Covent Garden to play in Scotland.
In addition to the favor he had obviously gained within the two chief musical organizations Abell must have attracted the attention of the King himself, for soon after these appointments Charles 11 sent him to Italyto study, according to some sources, but, say others, to show the Italians that England also had good singers. " The diarist Page 7 called Abell a "Trebble" but he was, more correctly, a countertenor or alto. The King continued his favors by sending the singer to Scotland, probably in February, for Abell was paid £20 for the charges of his journey on 9 March 1682.
A biographical dictionary of actors, actresses, musicians, dancers, managers & other stage personnel in London, 1660-1800 by Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans