although of Italian parentage. He was early sent to Italy, and studied
at the Conservatorio of St. Onophris, at Naples, in 1787, being then
24 years of age. He returned to England, and, soon afterwards, was
appointed Composer to Drury Lane; and, up to his death, in 1796, he
was actively engaged on Operas, &c.
_Thomas Linley_ received his musical education from Chilcott, the
organist at Bath. One of his daughters, Eliza, married Sheridan, and,
soon after the production of his first theatrical essay, "The Duenna,"
he became joint patentee, with his son-in-law, in Drury Lane Theatre,
and, leaving Bath, went to reside in London. There, he wrote for the
Stage, and composed many operas, besides songs, madrigals, &c. He
received a severe shock, when his son was drowned, in 1778--and,
although he lived till 1795, he never recovered from it.
William Jackson (whose _Te Deum_ is, or was, such a favourite), was
born, at Exeter, in 1730, and was afterwards Organist to the Cathedral
of that city. He did not write much for the Stage, preferring sacred
music, songs, and canzonets.
The following paragraph shows a curious state of things at the
Opera:--
"When the Gallery at the Opera House, on Saturday night,
expressed its disapprobation of the crowded stage, _Sir John
Gallini_!!![9] who was part of that crowd, _very modestly_
declared, that, unless the gentlemen behind the scenes left the
House, there would be no Opera.--But, upon being asked where the
_half guineas_ should remain, if the gentlemen retired, this
_shark for words_ recanted his former assertion, and, very
composedly, swallowed the gilded pill."--(_Morning Post, Apr. 10,
1788._)
[Footnote 9: Sir John Gallini, was connected with the
Theatre. It was to him that "The Monster," was sent to learn
dancing.]
[Illustration: The Operatical Finale to the Ballet of "Alonzo e
Caro."]
The same paper (15 Ap. 1788) in its Notice "to Correspondents" rather
injures him with its forbearance. "The various articles sent to this
paper against Mr. Gallini, previous to his Benefit, we have uniformly
refused to insert, being unwilling to injure a POOR MAN, at so
important a period."
"How we are ruined! Bruni, the new singer, has 1400 guineas, Mara
1000, and a benefit, and Millerd, 1000 for the present Opera
season."--(_Times, Febr. 16, 1793._)
* * * * *
"Haymarket Opera. Almost all the subscribers, in Town, graced the
Boxes, with the Prince of Wales, and Duke of Clarence, at the
head of the list. The Pit had some pretty, as well as well
dressed, women; but we were sorry to observe several of the
gentlemen in round hats, and many of them slovenly to a degree,
descending even to boots. This ought not to be
permitted."--(_Times, Jan. 13, 1794._)
* * * * *
OPERA.
"Il Capriccio Dramatico, considerably curtailed, on Saturday,
again introduced Signora Negri, and her reception was again most
flatteringly favorable. The Burletta has to boast some very
beautiful music, and the _Finale_ in particular is much indebted
to the exertions of the performers. So far, all was peace, and
harmony. Would we could say the same of Don Giovanni, whose
reception was, throughout, disapproved. So determined an
opposition to this kind of entertainment we have never witnessed:
and, indeed, some of the occurrences were so peculiarly
_striking_, as to baffle all description. Several blows passed in
the pit; and one gentleman, who was remarkably forward in having
a slap at Don Juan, got a slap in the face from an enraged
_amateur_, who, perhaps, would have been better employed in
_beating_ time. In short, till the fall of the curtain, Morelli's
pretty Venetian Ballad, excepted, which gained an encore, all was
noise and uproar; and the scene of Hell, magnificent, and
terrific, as it was, had so far the characteristic accompanyment
of _groans_, not of the damned, but of those troubled spirits who
wished to torment the Manager.
"The Procession was totally omitted, and several other judicious
alterations made, but, as the sense of the subscribers, as well
as the public, seems decidedly against a repetition of this
Opera, we have no doubt but the Manager will submit,
respectfully, to their _fiat_--comforting himself with the
_reflection_, that his liberal exertions deserve--though it is
not always in the power of mortals to command--success.
"The Opposition to the new Opera of Don Giovanni, on Saturday
night, is said to have been preconcerted: and it was known in the
morning of that day that there was to be a riot. In one part of
the Pit, the disturbance became so serious, that two Gentlemen
called each other out, and agreed to meet, as yesterday morning.
Sir W. H. was at the head of the opposition party. In justice to
the Manager of the Opera, it should be recollected by those who
are dissatisfied with the present company of performers, that the
same unprecedented circumstances which prevented several Dancers
from leaving France, also deterred several singers from coming
from Italy, as they must pass through a part of France. This
inconvenience is only of a temporary nature, and cannot be
prevented. In the meantime, the subscribers, and the public, have
the most magnificent, as well as the most commodious, theatre in
Europe to resort to."--(_Times, Mar. 10, 1794._)
* * * * *
"_Tweedle dum_, and _Tweedle twee_--the Soprano, and Tenor, of
the Italian Opera are objects equally important, no doubt, in the
eye of the public. Instead of _high notes_ they have gone to
_high words_. Signor _Tenor_, not having taken the precaution to
soap his nose,--Signor _Soprano_ got fast hold, and gave it a
musical shake, not perfectly in unison with the feelings of the
tenor, who, now, if he wishes to sleep in a whole skin, will, no
doubt, alter the _tenor_ of his conduct!!"--(_Times, Jan. 14,
1795._)
* * * * *
"The Opera.--The Public are acquainted, that on Saturday
se'nnight there was a violent disturbance at the Opera House, in
consequence of the Subscribers shewing great dissatisfaction at
the want of novelty in the Performances. The Manager, having
understood that the greatest clamour came from the Boxes of the
Countess Spencer, and Mr. Pole, Mr. Taylor (a few days since)
sent a letter to her Ladyship, and Mr. Pole, saying, that as they
were not satisfied with the Performances, he desired to return
them their subscription money, which he did. The Subscribers have
taken up this business, which they consider as a gross affront,
and disrespect, and yesterday there was a meeting of them at the
Thatched House Tavern, the result of which we have not learnt. We
are sorry that there should be any misunderstanding respecting an
Entertainment, where harmony only ought to prevail: and, we are
equally concerned, that the Manager should, so indiscreetly, send
such a letter to Lady Spencer, who is the last person in the
world who would be suspected of any impropriety of behaviour,
for, a Lady of greater accomplishments, and more unaffected
manners, is not to be found in the whole circle of
Nobility."[10]--(_Times, Febr. 20, 1795._)
[Footnote 10: _Feb. 29._--A long Advertisement appeared in
the form of an apology from Mr. Taylor to the Duke of Leeds,
who presided at the Meeting of the Subscribers at the
Thatched House.]
* * * * *
"The excuse for the _rows_, in a certain box, at the Opera, is,
that the Gentlemen come in tipsy. This is an excuse, (whether
good, or bad, we will not determine) for the Gentlemen. But, as
we take for granted the Ladies are not tipsy, pray what excuse is
to be offered them?"--(_Times, Dec. 26, 1796._)
[Illustration: Mdlle. Parisot.]
The Ballet does not receive so much attention in the public press, as
the Opera--and, as far as I know, there are no means of getting at the
biographies of the _premieres danseuses_.
The first of note during this period is Mdlle. _Guimard_, who was
then playing in the ballet of "Ninette." It is _just possible_ that
there may be a suspicion of caricature in the illustration.
The Ballet was a special feature at the Pantheon Theatre (the site of
which is now occupied by Messrs. W. & A. Gilbey of Oxford Street),
which was built as a counter attraction to Carlisle House, then
popularly conducted by Madame Cornelys, of whom more anon.
"The _Pas Trois_, introduced into the Ballet at the Opera House
on Tuesday night, for the first time, had a very pretty effect.
It goes to the tune of 'God save the King,' and is intended as a
compliment to his Majesty."--(_Times, Feb. 16, 1793._)
* * * * *
"Simonet, the dancer, and Grenier, who keeps the hotel in Jermyn
Street, were, last week, ordered to depart the
kingdom."[11]--(_Times, March 26, 1793._)
[Footnote 11: Probably for political reasons.]
The centre figure in this illustration is M. Didelot--and the danseuse
on the left, is Miss Rose, an English-woman, who was not bewitchingly
handsome, though a good ballerina. The lady on the right is probably
Mdlle. Parisot.
"The OPERA.--The mania of expectation was, on Saturday night, at
the very acme of curiosity. The Pit was so crowded even before
the drawing up of the curtain, that it was not possible to edge
another face into the area. Stars, garters, feathers, and
turbans, were so jumbled, and intermixed, at the doors, that all
sex and identity were indistinguishable. The stage itself was
crammed on all sides, and in such a manner, as to render the
shifting of the scenery 'a work of labour, and a service of
danger.' So eager, indeed, was the desire of seeing Didelot and
Rose, that the wings were crowded with Ladies. Amongst those
Ladies who thus made their _first appearance_ on the stage, we
heard some very respectable, and titled names.
"The new Ballet of _Les Trois Sultanes_ taken from _Marmontel
Hillisberg_, is the '_Cock-nosed English-woman_,' yet while we
remember _Abingdon_ and _Jordan_ in Roxalana, with all the
roguishness of language, mere action must appear dull, and
unentertaining. It were injustice, to be sure, to decide what
effect the Ballet might have produced, could it have been
fairly exhibited: but the stage was so very full, that figure
dancers could scarce round a horse-shoe to trip in, and no
performer could make an exit. _Didelot_ and _Rose_ appeared
again in the Ballet, lugged in without character, merely to shew
themselves. We hope that some Ballet will be got up wherein they
may display the fulness of those powers, and talents, which the
great world allow them to possess."--(_Times, Feb. 22, 1796._)
* * * * *
"The Stage at the Opera is so crowded, that Madame Rose, in
throwing up her fine muscular arm into a graceful attitude,
inadvertently levelled three men of the first quality at a
stroke."--(_Times, May 9, 1796._)
[Illustration: Durham Mustard too powerful for Italian Capers--1798.]
Mdlle. Parisot.
The length of Mdlle. Parisot's skirts would have delighted the Bishop
of Durham (Shute Barrington), who was much exercised in his mind, in
1798, as to the brevity of those worn by the ladies of the ballet. He
seems to have entered into a crusade against the ballet, before he
made his memorable speech in the House of Lords, on 2nd March,
1798--for the next illustration is dated January in that year.
It was, however, on the occasion of the second reading of Esten's
divorce bill, that the wrath of the Right Reverend Father in God,
fairly boiled over, and the _Times_ of 3rd March, reports him to have
spoken thus. "He considered it a consequence of the gross
immoralities, imported of late years, into this kingdom, from France;
the Directory of which country, finding that they were not able to
subdue us by their arms, appeared as if they were determined to gain
their ends by destroying our morals. They had sent over persons to
this country, who made the most indecent exhibitions on our Theatres;
exhibitions which would not have been allowed even in France; and
which, so far from being allowable in a Christian Country, would have
disgraced the ancient Theatres of Athens and Rome.
"It was his intention to move, on some future day, that an Address be
presented to his Majesty, beseeching him to order all such persons out
of the Kingdom, as people who were likely to destroy our morality, and
religion; and who were very probably, in the pay of France."
This tirade made him a fitting subject for the Caricaturists, and they
did not forget him.
In a picture by Gillray, 14th Mar. 1798, "Operatical Reform, or La
Danse à l'Evêque," we recognise Miss Rose, on the extreme right of the
three ladies, who have little other covering for their bodies but the
episcopal apron and lawn sleeves. At the foot, is this verse--
"'Tis hard for such new-fangled orthodox rules,
That our Opera troupe should be blamed;
Since, like our first Parents, they only (poor fools!)
Danced naked, and were not ashamed."
And there was yet another amusing Caricature of the Prelate, in
connection with this subject. In July 1798, Gillray published a
picture of "More short Petticoats, or the Highland Association under
Episcopal Examination." The Bishop is accompanied by Lord Salisbury,
the then Lord Chamberlain, and inspects the Kilts of three
Highlanders, who assure him "You'll find them exactly according to the
rules of the Highland Association." But the Bishop's modesty is
blushing violently, and he replies "Don't tell me of rules, I say it's
abominable! It's about half a foot too short according to the opera
Standard. Bring the large breeches directly; why, the _figurantes_
would be ashamed of it."
[Illustration: Ecclesiastical Scrutiny.--or--the Durham Inquest on
Duty.--1798]
MASQUERADES, CONCERTS, &c.
Masquerades were introduced into England by Henry 8th, but, perhaps,
at no time were they so fashionable, as during the latter half of the
18th Century, although they do not always seem to have been
successful. The _Morning Post_, Feb. 6, 1788, speaks of a Masquerade
at the Opera House, thus:--"The Supper and Wines were consistent with
the well known parsimonious principle of the conductor, the provision
being very unequal to the _appetite_, and _number_, of the guests. The
music was very indifferent." Thus we see that these amusements were
not of equal quality, and the Critics did not fear to say what they
thought of them.
"Pantheon, Jan. 26, 1788. The Nobility and Gentry are
respectfully acquainted that the First Masqued Ball, at this
place, will be on Thursday next, the 31st Instant. There will be
a Supper as usual, with Wines, &c. Tickets at One Guinea each may
be had at the Office."--(_Morning Post, Jan. 26, 1788._)
This Masquerade seemed to be very popular.
"The Prince's visit to the Brandenburgh-house Masquerade was to
have been in _female habiliments_; but the shortness of the
notice did not allow time for preparing them, and neither the
shoes, corsette, nor robe, of Mrs. Vanneck, for which his Royal
Highness sent, could be made capacious enough for a momentary
covering. The sailor's habit was, therefore, adopted without any
preparation for the character. The Margravine's Masqued Ball
produced many whimsical events, but none more than that from a
character representing Acteon, who, in brandishing a huge pair of
_antlers_, run full _butt_ against a French looking-glass of 300
guineas value, and smashed it to pieces. The Margrave being near,
endeavoured to give the accident a pleasant turn, by remarking in
German 'that there could be no jollity where they let the _glass
stand_.'"--(_Times, March 1, 1794._)
* * * * *
"The MASQUERADE.
"The entertainment given by the Manager of the Opera House, on
Monday night, was the best attended of any we have seen for many
years, and fully answered the expectations that had been formed
of it. The space allotted, however, large as it was, with the
addition of the new room, and another above stairs, was by no
means sufficient for so large a company: and the pressure of the
crowd rendered the rooms insufferably hot, as well as prevented
the masks from appearing to advantage. For so large an assembly,
there were fewer masks than usual, but the hilarity of the
company made amends for this deficiency. The Prince of Wales was
in a black domino, arm-in-arm with Captain Churchill, and Lord
George Conway; the Duke of Clarence was the whole evening with
Mrs. _Jordan_ in a private box upstairs. _Michael Angelo Taylor_
was dressed in women's cloaths, but was less talkative than
usual. The supper was extremely well conducted, and the
provisions better than usual. The refreshments were also
liberally supplied. There were about 2700 persons in the rooms,
and among them some of the prettiest women in town."--(_Times,
March 5, 1794._)
* * * * *
"MASQUERADE AT THE OPERA HOUSE.
"On Thursday night, for the first time this season, there was a
grand masquerade at this House, which was very numerously
attended, as every room was crowded, and the numbers computed
at about 1600. A party of _Bon-vivans_, unmasked, came into the
rooms about two o'clock, who had evidently made too free use of
the juice of the grape. The primitive dress of one of them, who
appeared to be a Quaker, did not quite accord with his manners,
which were more prone to the flesh than the spirit. Although the
new regulations in price is in favour of Masquerades, yet the
freedom of conversation which is allowed in these motley
meetings, became, on this occasion, indecent ribaldry, and
licentiousness. The _lowness_ of the price of admission was in a
great measure the cause of introducing many _low_ visitors, who
made themselves obnoxious to delicacy, and good manners, by the
coarsest language."--(_Times, Feb. 17, 1798._)
[Illustration: Madame Cornelys.]
There is a paragraph in the _Times_ of August 23, 1797, whereby "hangs
a tale"--
"The miserable death of Mrs. Cornelys, in the Fleet Prison, adds
another melancholy instance to the catalogue of vicissitudes in
what is generally termed _fashionable life_. She was formerly the
law-giver of the circles of dissipation, and gaiety, yet closed
her existence in the hospital room of the prison, in which she
had obtained permission to reside, by the kindness of the
Warden."
The history of Teresa Cornelys is very singular, showing how a
nobody--for no one knows even from what part of Germany she
came--could come here, and, by her business qualities, and tact,
become a person absolutely indispensable to Society. All we know of
her is that she was supposed to be a German, who had been a public
singer, both in France, and Germany, and that she came over here about
1756 or 1757. Whether there was a Herr Cornelys alive, we have no
knowledge--but she had a son, and daughter. That she was not bad
looking, is evidenced by her portrait, which must have been taken in
her declining years: that she must have been shrewd, business-like,
and possessed of much _savoir faire_, is undeniable--for she held
"Society" in her grasp, and, for a time, made it do just what she
wanted.
What she did for the first five, or six years, after her coming to
England is not known, but she must have been possessed of some
Capital, or she could not have taken, as she did, Carlisle House--a
mansion in Soho Square. Here she started a sort of fashionable Social
Club, called "The Society," either in 1762, or 1763, and this was its
programme. "The subscription is seven guineas for twelve nights, one
ticket each, which introduces only one person, whether gentleman, or
lady; but there are frequent subscriptions in the year, and two ladies
may be admitted six nights on one subscription. No person can be
admitted a Subscriber to this Society, but through the recommendation
of a subscriber. Four ladies of quality, having each of them a book,
have the joint management, direction, and choice, of the subscribers;
every one's name must be entered in one of those ladies' books.
"A non-subscriber can only be admitted by a subscriber's ticket,
writing his, or her name on the back; in consequence of which rule,
and to avoid the possibility of improper company, their names are,
immediately after the night is over, printed, and hung up in the outer
room.
"The doors are opened, at 9 o'clock, of the lower rooms, which consist
of six, each superior to the other; few people, however, assemble
before 10, and those who profess themselves of the genteelest order,
not till eleven, when they walk about, and amuse themselves with
accosting their acquaintance, and forming themselves into select
parties for the evening; then regaling with jellies, syllabubs, cakes,
orgeat, lemonade, fruits, &c., prepared in a kind of arched shelving
all round the hangings of the tea room.
"At ten, the upper flight of rooms open, which consist of two large
rooms, besides a very large ball room, furnished, and hung, in the
most superb taste, with an exceeding good band of music in an
orchestra erected at the upper end, and rows of benches, down the
sides, placed one above the other. In this room they dance country
dances, but no minuets at all.
"At half-past eleven, the company in general repair to tea, and have
small round tables for their separate parties.
"At twelve, the Cotillion gallery opens, with another range of seven
rooms underground, which, from the vast variety of furniture and
ornaments, the grandeur, and magnificence, of some, the elegant
simplicity of others, together with the amazing beauty of the lights,
one of the principal excellencies of the whole, form a view, on
descending a perpendicular flight of stairs most sumptuously, and
pleasingly, striking.
"In these lower range of rooms, the company finish the evening, the
young in dancing cotillions, the others in looking on; for there are
no cards, nor gaming, of any kind. At one, the company begin to
separate, and continue going till four, but the major part break up
about two."
By which set of rules we see that Madame Cornelys, started her
establishment in the strictest propriety, whatever became of it
afterwards; and these rules were strictly carried out. The rooms, on
off nights, were used for other purposes; for instance, she, knowing
the power of the class, gave a servants' ball; and the Old Westminster
scholars held their Anniversary Meeting in her rooms.
Her prosperity excited envy, and many were the rumours set afloat, to
her detriment. For instance, in 1766, it was said she owed her late
cook £50, and that she had run away from her ruined creditors, to
France, with many thousand pounds.
She had to contradict these reports, and said that she had, within
thirteen months, spent £11,000, on the house, &c.
Concerts, both instrumental and vocal, were given at Carlisle House,
and the tickets for them, which survive, are very beautiful, many of
them being drawn by Cipriani, and engraved by Bartolozzi.
The Royal Family used to patronise her _soirées_, as did also the King
of Denmark, when he visited England in 1768.
Early in 1770, she gave her first Masquerade, which immediately
lowered the tone of her establishment, and was the precursor of her
downfall. This was under the patronage of the "Tuesday Night's Club,"
and the Dukes of Gloucester, and Cumberland--besides numbers of the
aristocracy of both sexes, were present, and it was a very brilliant
affair.
She had another grand Masquerade on 6 February 1771, to which the
price of admission was two and a half guineas. The same Royalty was
present, and also the leading Nobility--Among the masques were five
devils, a bear, and, worst of all bad taste, a shrouded corpse in a
coffin, (said to be a brother of Colonel Luttrell), but he was, after
a short time, ejected by some pseudo sailors.
[Illustration: The Female Coterie.]
From this time her fortunes declined--she was twice fined £50 for
performing Operas, under the guise of harmonic meetings, and Guadagni,
her principal vocalist, had been fined £50 for singing in the same,
and these musical performances were put a stop to.
But, in spite of all her enemies could do to her, she still had some
friends, if we can believe the _London Chronicle_, 19-21 February
1771.