Curtain Opens on King's Theatre Exhibition
The Prospect Before Us (1791) depicts King's Theatre performers begging for money in the streets of London after a fire consumed the theater. Harvard Theatre Collection. TS 319.28, From the John Milton and Ruth Neils Ward Collection.
September 26, 2003 -- The Harvard Theatre Collection’s exhibition The King’s Theatre: Ballet and Italian Opera in London, 1706-1883, opening September 30 in the Edward Sheldon Room, Pusey Library, tells the stories behind the performances, and performers, of the King’s Theatre in London. Librettos, printed scores, manuscripts, playbills, and etchings illustrate how the Theatre’s ballets and operas influenced the cultural life of the city and affected music publishing in the 18th and 19th centuries.
The exhibition presents two centuries in which the King’s Theatre burned
down several times, continued under a succession of kings as well as Queen Victoria
-- when it was known as Her Majesty’s Theatre -- held the license that
designated it as the only theater in London that could perform Italian opera,
staged the London premieres of works by Handel and Mozart, and continually employed
a variety of lively, strong-headed, and dramatic characters.
The exhibition is drawn from the John Milton and Ruth Neils Ward Collection and is guest curated by John Milton Ward. Notable in the exhibit is a score published in 1808 with title engraved in a cursive script, O Dolce Concento, A Favorite Song, Sung by Madme Catalani, in the Opera of La Frascatana Composed by W. A. Mozart. The opera, which was not composed by Mozart, demonstrates the star power of the 19th century performers. Catalani, a well-known soprano, rearranged an aria from Mozart’s The Magic Flute and dropped it into La Frascatana in place of the original aria -- a typical practice for popular opera singers with favorite pieces in their repertoire. In addition, a hand-colored caricature entitled John Bull Settling The Opera Disputes illustrates theatre co-owners Edmund Waters and William Taylor and their common backstage disputes over money and control; in the background Catalani sneaks away with bags of money en route to Paris.
Highlighting the theater’s influence on publishing, the exhibition includes three different publications of Handel’s Otho, dating from 1723-1733, arranged for voice and orchestra, voice and piano, and flute, violin, oboe and piano. As certain pieces, such as Otho, became favorites, publishers began to produce them in mass, a revolutionary practice for music publishers of this period. Also in the exhibition are samples of publisher John Walsh’s The Favourite Songs in the Opera series, published in the mid-18th century, which inserted titles of operas into a pre-made template to facilitate fast and easy printing.
A catalogue of the King’s Theatre portion of the John Milton and Ruth Neils Ward Collection has been published in conjunction with the exhibition, and can be purchased by contacting Irina Tarsis at 617.495.2444 or email@example.com.
The King’s Theatre: Ballet and Italian Opera in London, 1706-1883 runs through December 5, 2003. For more information, contact Morris Levy at 617.495.2509.
This story appears courtesy of the Harvard College Library Communications Office
Copyright Â© 2004 President and Fellows of Harvard College