1 John Walter Hill, ‘Pescetti, Giovanni Battista’, NG2, xix, 481 claims that this is not by Metastasio, and, indeed, the introduction suggests that it is from Ariosto. However, the aria tables suggest otherwise.Google Scholar

2 ‘A Pastoral Opera’; LS, iii/2, 763. Advertised in The London Daily Post 26 February 1739 as ‘a new serenata’ to be acted in the manner of an opera.Google Scholar

3 Dedicated to Lady Margaret Cecil.Google Scholar

4 It was said that Angelica and Medoro was staged by Lord Middlesex (Charles Sackville, Second Duke of Dorset after 1765) as a showcase Panichi's talents; she was at this stage his mistress, and would remain so until about 1742.Google Scholar

5 Or ‘Moscovite’.Google Scholar

6 Attribution in the libretto.Google Scholar

7 ‘A New Pastoral Opera’; LS, iv/1, 232.Google Scholar

8 Benefit: [Giulia] Frasi. LS, iv/1, 240.Google Scholar

9 Gli orti esperidi (pt. 1).Google Scholar

10 La Galatea (pt. 1).Google Scholar

11 Endimione (pt. 1).Google Scholar

12 Gli orti esperidi (pt. 1).Google Scholar

13 La Galatea (pt. 2).Google Scholar

14 La Galatea (pt. 2).Google Scholar

15 Endimione (pt. 1).Google Scholar

16 Temistocle (Act 3, scene i)?Google Scholar

17 Endimione (pt. 1).Google Scholar

18 Gli orti esperidi (pt. 1). Omitted from GB-Ltm Plays 93 (1).Google Scholar

19 Omitted from GB-Ltm Plays 93 (1).Google Scholar

20 Omitted from GB-Ltm Plays 93 (1).Google Scholar

21 Gli orti esperidi (pt. 1). Omitted from GB-Ltm Plays 93 (1).Google Scholar

22 Endimione (pt. 1).Google Scholar

23 Endimione (pt. 1).Google Scholar

24 As Angelica and Medorus; GB-Lbl 907.i.3.(7).Google Scholar

25 As Laforza d'amore; GB-Ltm Plays 93 (1).Google Scholar

26 GB-Lbl 907.i.3 (7) has a small hand-written cross against this number, perhaps suggesting that it was omitted in performance.Google Scholar

27 See note 26.Google Scholar

28 See note 26.Google Scholar

29 See note 26.Google Scholar

30 Gli orti esperidi (pt. 1).Google Scholar

31 La Galatea (pt. 1).Google Scholar

32 Endimione (pt. 1).Google Scholar

33 Gli orti esperidi (pt. 1).Google Scholar

34 La Galatea (pt. 2).Google Scholar

35 La Galatea (pt. 2).Google Scholar

36 Endimione (pt. 1).Google Scholar

37 It is possible that the text is from Temistocle.Google Scholar

38 ‘A new Interlude’; LS, iii/2, 768.Google Scholar

39 ‘A New Serenata by the most eminent Masters’; LS, iv/3, 1890.Google Scholar

40 ‘THIS little piece is alter'd from L'Asilo d'Amore, a kind of masque, which Metastasio wrote for the birthday of the present Empress of Vienna.‘Google Scholar

41 Not listed in the dramatis personae, but included in the text.Google Scholar

42 GB-Lbl copy misbound, transposing title page with Marco Cotellini's Piramo e Tisbe.Google Scholar

43 As La difesa d'amore; GB-Lbl 907.i.14 (11).Google Scholar

44 The scenes are numbered i, ii, ii, iii, etc. As no correction is made, the second scene ii is labelled iia.Google Scholar

45 For Mer., Mar., and Pal.Google Scholar

46 Set as a final chorus for Amo., Ven., Mar., Mer., Pal.Google Scholar

47 The character ‘Corebo’ makes this single appearance and is not listed in the dramatis personae.Google Scholar

48 ‘A New Serenata’; LS, iii/2, 806. It was of this season that Mrs Pendarves wrote to Lady Throckmorton on 28 November: ‘The concerts begin next Saturday at the Haymarket. Caristini sings, Peschetti composes; the house is made up into little boxes, like the playhouses abroad; Lord Middlesex is the chief undertaker, and I believe it will prove to his cost, for concerts will not do’; [Mary Delany], The Autobiography and Correspondence of Mary Granville, Mrs Delany, ed. Lady Llanover (London, 1861), ii, 66.Google Scholar

49 Not previously published in Favorite Songs.Google Scholar

50 ‘In this abridgement of the Serenata, all the recitatives are left out, except just so much as were judged indispensably requisite for the introduction of each song’. GB-Lbl 1342.k.40.Google Scholar

51 Boydell, 237, attributes this setting to Andrea Bernasconi (?1704–84) whose setting was first performed in Venice on 6 February 1742; however, Hanns-Bertold Dietz in NG2, xxii, 62–3, gives Dublin 1758 as the first performance.Google Scholar

52 ‘As it was publicly performed in Support of a Charity by the Ladies and Gentleman who contribute to the Musical Academy’. GB-Lbl 1342.k.40; see also Boydell, 237.Google Scholar

53 ‘Printer to the Academy’; the 1759 libretto calls him ‘Streater’.Google Scholar

54 A correspondent (‘R.I.’) to Notes and Queries, iii, 3rd Series, 28 Februay 1863, 167 was also in search of the name of the translator.Google Scholar

55 ‘In this abridgement of the serenata, all the recitatives are left out, except just so much as were judged indispensibly requisite for the introduction of each song.‘ Note to title page.Google Scholar

56 Publishing information from the recto of the singelton last leaf.Google Scholar

57 A correspondent (‘R.I.’) to Notes and Queries, iii, 3rd Series, 28 Februay 1863, 167 was also in search of the name of the translator.Google Scholar

58 ‘It is but justice to inform the public that this little drama is only an abridgement in English of Metastasio's justly admired serenata L'Endimione. The translator of this fragment humbly hopes indulgence of the many bold liberties taken with the excellent original, warrantable only by the necessity of contracting the respresentation to a space of two hours. N.B. The name “Cynthia” which so often occurs, is one of the appellatives of Diana.‘ US-Wc ML 50.2 E388G5 case.Google Scholar

59 Omitted from the NG2, ix, 886–7 works list.Google Scholar

60 Giordani dedicated the score to her as ‘a distinguished patroness of music’.Google Scholar

61 Benefit: [Johann Baptist] Wendling. ‘A Serenata written by Metastasio, set by Bach, with Grand Chorusses’; LS, iv/3, 1623.Google Scholar

62 Special permission was given to a number of performers, including Charles Frederick Abel to perform in this work. See BDL, i, 4.Google Scholar

63 GB-Cfm Mu. MS. 215 consists of volume 1 (and therefore part 1) only, and is considered to be autograph. W1 suggests that it is a complete manuscript.Google Scholar

64 ‘Non so dir se sono amante’ is a duet using the texts of G15/7 and G15/8.Google Scholar

65 No libretto survives; arias from US-Wc M 1500. P438 D5 case; as Diana and Endymion.Google Scholar

66 GB-Lbl 1342.k.40.Google Scholar

67 US-LAuc ML48.C73 v.1 no. 6.Google Scholar

68 F-Pn Yd (2)5471.Google Scholar

69 Sinfonia by the Count Giulini; see libretto: F-Pn Yd (2) 5471.Google Scholar

70 Sung by {Sig.ra} Monck.Google Scholar

71 Sung by {Sig} Lyons.Google Scholar

72 Sung by {Sig.na} Plunket.Google Scholar

73 Sung by {Sig} Shenton.Google Scholar

74 Sung by {Sig.na} Plunket.Google Scholar

75 Sung by {Sig.na) Stewart.Google Scholar

76 Sung by {Sig} Lyons.Google Scholar

77 Sung by {Sig.ra} Monck.Google Scholar

78 Sung by {Sig.ra} Monck, and {Sig.na} Stewart.Google Scholar

79 Sung by {Sig.na} Plunket.Google Scholar

80 Sung by {Sig.na} Bayly.Google Scholar

81 Sung by {Sig.na} Stewart.Google Scholar

82 Sung by {Sig.na} Bayly.Google Scholar

83 Sung by {Sig.} Shenton.Google Scholar

84 Sung by {Sig.na} Stewart.Google Scholar

85 Seting by Sabatini.Google Scholar

86 Setting by the Earl of Mornington.Google Scholar

87 Sung by {Sig.na} Plunket.Google Scholar

88 US-Wc ML 50.2 E388G5 Case.Google Scholar

89 Spring Gardens.Google Scholar

90 According to Ernest Warburton, The Collected Works of Johann Christina Bach, xlviii/1: Thematic Catalogue (London, 1999), 317–18 (G12).Google Scholar

91 GB-Lbl 11715.aaa.26.Google Scholar

92 Angelica ed Medoro (pt. 2).Google Scholar

93 Gli orti esperidi (pt. 2).Google Scholar

94 ‘With new Scenes, Cloaths, and other Decorations’; LS, iv/2, 771.Google Scholar

95 The one song ‘What tho’ his guilt my heart has torn' is inserted on a separate leaf at the front (which also contains a song for The Way to Keep Him).Google Scholar

96 Application 2.i.1760. ‘Sir, This Piece we intend to perform at our Theatre, if it meets with the approbation of my Lord Chamberlain from y^r humble serv^ts D Garrick & J Lacy. Jan^ry 2^d 1760.‘Google Scholar

97 The volume contains the bookplate of Robert Finch.Google Scholar

98 The second numeral of II has been carefully added in ink.Google Scholar

99 Previously recorded as closing in 1761; associated with Samuel and Ann[e] Thompson.Google Scholar

100 See The Critical Review or Annals of Literature, ix 1st series (1760), 133–40 for plot summary.Google Scholar

101 David Garrick.Google Scholar

102 From edition of John Jarvis, 1793.Google Scholar

103 Elma Hailey ed., ‘Charles Brietzcke's Diary, 1760‘, Notes and Queries, 197 (1952), 70.Google Scholar

104 Jommelli later set this text as a pastoral: first performed at Ludwigsburg on 4 September 1761; this was revised for performance at the Quelez Palace on 31 February 1780. See Marita P. NcClymonds (with Paul Cauthen, Wolfgang Hockstein and Mauricio Dottori), ‘Jommelli’, NG2, xiii, 182.Google Scholar

105 Benefit: Gaetano Quilici. ‘An Opera by Metastasio, with Music by Jomelli. Books of this elegant poetical Composition, with an English translation, will be sold at the Performance’; LS, iv/2, 778. Gaetano Quilici (fl. 1754–64?) had first arrived in London as part of a foreign burletta company; he return to the King's Theatre for the 1758–9 season as principal tenor, and it is possible that he brought Jommelli's setting of L'isola disabitata with him; it certainly seems to pre-date the recorded first performance given above.Google Scholar

106 Benefit: {Sig.ra} Provenzale; LS, iv/2, 782.Google Scholar

107 ‘For the benefit of Signora Laura Rosa having sustained the loss of her salary by the late failure at the Opera House’; LS, iv/2, 791.Google Scholar

108 Dedicata a sua Eccellenza il Signor Marchese d'Abreu, Cavaliere dell'Ordine di San Gioacomo, inviato straordinario, e Ministro plenipotenziario di sua maesta cattolica appresso il re della Gran Bretagna.Google Scholar

109 A single aria from L'isola disabitata, ‘Non so dir se pena sia’ set by Giardini, appeared in Cleonice (1763), but there is no evidence of a link with this version. See p. 326.Google Scholar

110 Thomas Robinson to James Harris, 20 May 1761; Donald Burrows and Rosemary Dunhill, Music and Theatre in Handel's World: the Family Papers of James Harris 1732–1780 (Oxford, 2002), 357.Google Scholar

111 MS note in US-Cn C PV X 60582–7 claims that Anna Williams lived for many years with Doctor Johnson who was also the author of the Advertisement to the volume.Google Scholar

112 Il re pastore (Act 1, scene xviii).Google Scholar

113 Il repastore (Act 1, scene xviii).Google Scholar

114 ‘Duetto: Vanne a regnar ben mio’ review in The Musical Library, Supplement, 1 (1834), 66–7.Google Scholar

115 US-SM La 167; also 1760: GB-Ob M.adds. 108 e.120 (3); 1762: GB-Ob M.adds. 108 e.218; 1786: GB-Ob Harding D 1681/3.Google Scholar

116 GB-Lbl 907.i.8 (2).Google Scholar

117 As the duet is the sole surviving fragment of Ouseley's setting, there is no evidence to show what else was included.Google Scholar

118 GB-Lcm 658 (2).Google Scholar

119 The score is misbound.Google Scholar

120 Set as a quartet for Silvia, Enrico, Germando, and Constantia.Google Scholar

121 Il re pastore (Act 1, scene xviii).Google Scholar

122 This number is the sole surviving section of Ouseley's work.Google Scholar

123 Printed note in 1773 US-Cn K-D 413 libretto claims Arne for the translator.Google Scholar

124 ‘A Serenata of one Act set to Music by Dr Arne’; LS, iv/2, 919.Google Scholar

125 ‘Written on the late Royal Nuptials’; LS, iv/2, 920.Google Scholar

126 ‘After which (being particularly desired) will be performed ther New Serenata, composed by Dr Arne in honour of the late Royal Nuptials’; LS, iv/2, 923.Google Scholar

127 Benefit: [Charlotte] Brent.Google Scholar

128 Application 23.ii.1762. ‘If this piece meets the approbation of the Lord Chamberlain, we intend to have it performed at the Theatre Royal in Drury Lane 23d February 1762.’ James Lacy. D. Garrick. Virtue and Beauty reconcil'd'.Google Scholar

129 Printed note in libretto claims Arne for the translator.Google Scholar

130 ‘Act II a Serenata, Beauty and Virtue, translated from Metastasio and composed by Dr Arne’; LS, iv/3, 1704.Google Scholar

131 Metastasio, The Contest of Beauty and Virtue (London, 1773), To the reader.Google Scholar

132 As Beauty and Virtue Reconciled; US-SM La 201.Google Scholar

133 As Beauty and Virtue Reconciled; GB-Lbl RM 5.e.6 (7).Google Scholar

134 As The Contest of Beauty and Virtue; US-SM K-D 413.Google Scholar

135 ‘From your boundless treasure shed’.Google Scholar

136 ‘With New Decorations, New Dances, and all the Characters dressed suitable to the subject’; LS, iv/2, 708.Google Scholar

137 ‘With new Alterations. By Particular Desire’; LS, iv/2, 712.Google Scholar