By Professor Philip H Highfill Jr PhD, Professor Kalman A Burnim PhD, Edward A. Langhans
An enormous undertaking all started in 1973 reaches its end with the ebook 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 talented singer whose renowned acclaim used to be captured in traces via Samuel Phillips: "How are we pleas’d whilst beauteous Tofts appears, / To scouse borrow our Souls via our attentive Ears?’ / Ravish’d we hearken to th’ inchanting track, / And capture the falling Accents from her Tongue." the 1st singer of English start to grasp the shape of Italian opera, Tofts usually received top roles over local Italian singers. Her salary—?400 to ?500 a season—was one of many maximum within the theatre. Her recognition declined, even though, as her calls for for check increased—a scenario captured in an epigram Alexander Pope could have penned: "So brilliant is thy good looks, so fascinating thy tune, / 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, turned a subordinate crown architect lower than Sir Christopher Wren in 1702. In 1703, Vanbrugh all started plans for the Queen’s Theatre within the Haymarket, an firm recommended via 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 ultimately turned the specific middle for opera in London.
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Additional info for A Biographical Dictionary of Actors, Volume 15, Tibbett to M. West: Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800
At Castle Howard is a picture by Marco Ricci of an opera rehearsal of Pirro e Demetrio Page 16 in which Mrs Tofts is shown with Margherita de l'Épine, Dr Pepusch, Nicolini, and others. There are some six versions of the painting, which are discussed by Eric Walter White in Theatre Notebook, 14, and by Mollie Sands in the same number of that journal (Autumn 1964). It is suggested to us by Joanne Lafler (author of The Celebrated Mrs Oldfield) that a portrait by an unknown engraver which has been identified in the Harvard Theatre Collection catalogue as Mrs Oldfield as Rosamond (published with an edition of Rosamond in 1778) is not Mrs Oldfield but possibly could be Mrs Tofts.
Mr. SPECTATOR, I write to you thus in Haste, to tell you I am very much at Ease here, that I know nothing but Joy; and I will not return, but leave you in England to hiss all Merit of your own Growth off the Stage. I know, Sir, you were always my Admirer, and therefore I am yours, Camilla. S. I am ten times better dress'd than ever I was in England. On 18 September 1716 Alexander Cunningham wrote (in a letter now at the Public Record Office), "As for Mr. Smith he is so much in love wt. Mrs. Tofts he is fitt for nothing at present.
17941795], dresser. See TINLEY, MR. Tinns, Mrs [fl. 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.
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