Critick. The last is a miracle, but the others mere rubbish, that ought to be swept off the stage with the filth and dust.
Hers was a romantic history. Her maiden name was Percival, and she married Mountford the actor, who was killed by Lord Mohun for protecting Mrs. Bracegirdle. Betterton says, 'Her Father Mr. Percival had the Misfortune to be drawn into the Assassination Plot against King William; for this he lay under Sentence of Death, which he received on the same Night that Lord Mohun killed her husband, Mr. Mountfort. Under this, almost insuperable Affliction, she was introduced to the good Queen Mary, who being, as she was pleased to say, Struck to the Heart upon receiving Mrs. Mountfort's Petition, immediately granted all that was in her Power, a Remission of her Father's Execution for that of Transportation. But Fate had so ordered it that poor Mrs. Mountfort was to lose both Father and Husband. For as Mr. Percival was going abroad, he was so weakened by his Imprisonment, that he was taken Sick on the Road, and died at Portsmouth.' She afterwards married Jack Verbruggen, and their married life is thus described by Aston: 'She was the best Conversation possible; never Captious, or displeas'd at any Thing but what was gross or indecent; for she was cautious lest fiery Jack shou'd so resent it as to breed a Quarrel; for he would often say Dammee! tho' I don't much value my Wife yet no Body shall affront her, by G—d; and his Sword was drawn on the least occasion, which was much the fashion in the latter End of King William's Reign.' She is described as being 'a fine fair Woman, plump, full featured, her Face of a fine smooth Oval.'
The theatre never solely depended upon the drama for its attractions, and there was generally a ballet of some description; not, of course, such elaborate affairs as we have now, but performances by one or two artists, such as M. L'Abbé and Mrs. Elford. The dances were such as chacones, minuets, allmands, corantos, jigs, sarabands, etc., and we have already seen the pains taken with this art, and the elaborate instructions of its professors.
CHAPTER XXVI.
OPERA, CONCERTS, MUSIC.
Introduction of Italian opera — Its rapid popularity — Mixture of languages — Handel — His operas, and visit here — Singers — Abel — Hughs — Leveridge — Lawrence — Ramondon — Mrs. Tofts — Her madness — Foreign singers — Margherita de l'Epine — Nicolino Grimaldi — Isabella Girardeau — Composers — Dr. Blow — Jeremiah Clarke — Dean Aldrich — Tom D'Urfey — Henry Carey — Britton, the small coal man — His concerts — His death — Concerts and concert rooms — Gasparini, the violinist — Musical instruments — Musical scores.
'1673.4. 5 Jan. I saw an Italian opera in Music, the first that had been in England of this Kind,' writes Evelyn; but Pepys mentions it even earlier: '1667.8. Jan. 12. With my Lord Brouncker to his house, there to hear some Italian musique, and here we met Tom Killigrew, Sir Robert Murray, and the Italian, Signor Baptista,[466] who hath prepared a play in Italian for the Opera, which Sir T. Killigrew do intend to have up; and here he did sing one of the Acts.' There is, however, no record of either of these being acted. The first opera of which we have any record is a translation of 'Arsinoë,' an Italian opera written by Stanzani of Bologna, for the theatre of that town, in 1677, and here is the premier advertisement of opera in England.
'At the Theatre Royal in Drury Lane, this present Tuesday being the 16th of January, will be presented a New Opera never perform'd before, call'd Arsinoe Queen of Cyprus, After the Italian manner, All Sung, being set to Musick by Mr. Clayton. With several Entertainments of Dancing by Monsieur l'Abbee, Monsieur du Ruel, Monsieur Cherrier, Mrs. Elford, Mrs. du Ruel, Mrs. Moss and others. And the famous Signiora Francisca Margaretta de l'Epine will, before the Beginning and after the Ending of the Opera, perform several Entertainments of singing in Italian and English. No person to be admitted into the Boxes or Pitt but by the Subscribers Tickets, to be delivered at Mrs. White's Chocolate House. The Boxes on the Stage and the Galleries are for the benefit of the Actors.'[467] The singers were all English; and here we have the commencement of the subscription opera.
In the next two years there were but very few operas, although Addison wrote one called 'Rosamond.' During this period, too, the Queen's Theatre in the Haymarket was opened for Opera, with what success we have seen.
The thin edge of the wedge, as regards Italian singing, was introduced in 1707, when Valentini Urbani, a Castrato, and a female singer called 'The Baroness,' came over here. They made their first appearance 'At the Theatre Royal in Drury Lane, this present Saturday, being the 6th of December, will be presented an Opera called "Camilla." All to be sung after the Italian manner. The Parts of Latinus by Mr. Turner, Prenesto by Signiora Margarita, part in Italian, Turnus by Signior Valentino, in Italian, Metius by Mr. Ramondon, Linco by Mr. Leveridge, Camilla by Mrs. Tofts, Lavinia by the Baroness, most in Italian, Tullia by Mrs. Lindsey.'[468]
What a curious mixture it must have been, some singing in Italian and some in English! but it was not the sole example, for when Italian opera was introduced into Germany the recitative was given in German and the airs sung in Italian.