Theatre

A Biographical Dictionary of Actors, Volume 15, Tibbett to by Professor Philip H Highfill Jr PhD, Professor Kalman A

By Professor Philip H Highfill Jr PhD, Professor Kalman A Burnim PhD, Edward A. Langhans

An important venture began in 1973 reaches its end with the e-book of volumes 15 and sixteen of the Biographical Dictionary, a chain thought of "a reference paintings of the 1st order" by way of Theatre and appearing Arts Collections.Among performers highlighted in those final volumes is Catherine Tofts, a proficient singer whose renowned acclaim used to be captured in strains via Samuel Phillips: "How are we pleas’d while beauteous Tofts appears, / To scouse borrow our Souls via our attentive Ears?’ / Ravish’d we take heed to th’ inchanting tune, / And capture the falling Accents from her Tongue." the 1st singer of English start 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 reputation declined, even though, as her calls for for fee increased—a state of affairs captured in an epigram Alexander Pope could have penned: "So brilliant is thy good looks, so fascinating thy track, / As had drawn either the beasts and their Orpheus along; / yet such is thy avarice, and such is thy satisfaction, / That the beasts should have starved, and the poets have died."John Vanbrugh, whose play The Relapse is ranked as the best comedies of the recovery interval, grew to become a subordinate crown architect lower than Sir Christopher Wren in 1702. In 1703, Vanbrugh started plans for the Queen’s Theatre within the Haymarket, an firm recommended by way of the package Cat membership (of which Vanbrugh was once a member). even supposing his lavish layout was once acoustically faulty, restructuring helped right the matter and the theatre finally turned the unique heart for opera in London.

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Additional resources for A Biographical Dictionary of Actors, Volume 15, Tibbett to M. West: Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800

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She was evidently in Manchester in 1806. Hildebrand in his biography of Edmund Kean collected most of what is known about Charlotte Tidswell's private life, for early sources used sometimes contradictory information about the parentage of Keaninformation gained from Miss Tidswell herself. She was supposedly the daughter of an army officer, tried the stage when he died and left her destitute, was protected by the Duke of Norfolk, and looked after Kean in his early yearsso attentively, in fact, that Kean later supposed she must have been his mother.

Tillemans was buried at Stow Langtoft, near Bury St Edmunds. A portrait of Peter Tillemans holding a palette and brushes was engraved by T. Chambers, after H. Hysing, and published as a plate to Walpole's Anecdotes, 1762. Tilley, Samuel [fl. ], violist? , violist, probably) and a music engraver. Tilley was a member of the Handelian Society and performed in the oratorios at Covent Garden Theatre and in the Handel concerts at Westminster Abbey. Humphries and Smith in Music Publishing in the British Isles list the music engraver S.

1750s], dresser. George Ann Bellamy in her Apology wrote that Mrs Tinns was the dresser she left behind at Drury Lane Theatre when she finished her engagement there. Mrs Tinns therefore must have been active at the theatre in the 1750s. ] Rovedino [fl. 17781780], dancer, singer? Signora Tinte (sometimes, and perhaps correctly, "Tinti") was an Italian dancer whose first recorded appearance in London was at the King's Theatre on 31 October 1775. At the end of La sposa fidele she, with four others, danced in the "New Grand Pantomime Ballet" Pigmalion Amoureuse de la statue.

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