Entführung aus dem Serail, Die, (I)
Finta Giardiniera, La, (I)
K 399, (I)
K 546 (C minor adagio and fugue), (I)
K 594, (I)
K 608, (I)
Requiem, (I)
Vesperae Solennes de Confessore, (I)
Zauberflöte, Die, (I), (II), (III), (IV)
Muffat, Georg, (I), (II)
Muffat, Gottlieb: Componimenti Musicali, (I)
Munich, (I)
Musical Times, (I), (II), (III), (IV)
Mussorgsky, Modest Petrovich: Boris Godunov, (I)
Nantes, revocation of Edict of, (I)
Naples, (I), (II), (III), (IV), (V), (VI), (VII), (VIII)
Nascenti, (I)
National Anthem, (I)
Nazism (National Socialism), (I)
Needler, Henry, (I)
Negri, Maria Caterina, (I), (II)
Netherlands/Holland, (I), (II), (III)
Neumeister, Erdmann, (I)
New Theatre (formerly Little Theatre), (I), (II), (III)
New York City Opera, (I)
Newcastle, Duchess of, (I)
Newcastle, Thomas, Duke of, (I), (II), (III), (IV)
Newcomb, Thomas: The Manners of the Age, (I)
Newton, John, (I), (II)
Newton, Sir Michael, (I)
Nicholls, John: Anecdotes, (I)
Nicolini (Niccolò Grimaldi), (I), (II), (III), (IV)
Noailles, Duke of, (I)
Noel, James, (I), (II)
Noris, Matteo, (I)
Cato Uticense, (I)
Flavio Cuniberto, (I)
Marcello in Siracusa, (I)
Totila, Il, (I)
Norwich Gazette, (I)
Nottingham, Lord, (I)
Novello, (I)
Noverre (dancer), (I)
Nunes, Isaac, (I)
Oettinger, Frau Anna see Händel, Anna (formerly Anna Oettinger)
Olearius, Johann Christian, (I)
Opera of the Nobility, (I), (II), (III), (IV), (V), (VI), (VII), (VIII)
Orange, Prince of, (I), (II)
Original Weekly Journal, (I)
Orlandini, Giuseppe Maria, (I), (II)
Adelaide, (I), (II)
Amore e Maesta, (I)
Orleans, Duke of, (I), (II)
Osnabrück, (I)
Ottoboni, Cardinal Pietro, (I), (II), (III), (IV), (V), (VI), (VII), (VIII)
Outing, Mr, (I)
Oxford, (I), (II), (III), (IV)
Oxford, Earl of, (I), (II)
Pacchiarotti, Gasparo, (I), (II)
Pachelbel, Johann, (I)
Pacini, Andrea, (I), (II)
Pagliardi, Giovanni, (I)
Pallavicino, Stefano, (I), (II)
Palmer, Mrs, (I)
Pamphilj, Cardinal Benedetto, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX)
Pancieri, Giulio, (I)
Paradies, Domenico: Fetonte, (I)
Pariati, Paolo, (I), (II)
Pariati, Pietro, (I)
Paris, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX)
Parker’s Penny Post, (I), (II), (III)
Parkgate, (I)
Parma, (I)
Partenio, (I)
Pasqualino, (I)
Pasquini, Bernard, (I), (II)
Passerini, Christina, (I), (II)
Pasta, Giuditta, (I)
Patti, Adelina, (I)
Pearce, Dr Zachary, (I)
Pellegrini, Valeriano, (I), (II)
Pembroke, Mary, Countess of, (I)
Pendarves, Mary see Delany, Mary, formerly Mary Pendarves
Pepusch, Johann Christoph, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX)
Apollo and Daphne, (I)
Percival, John, Lord, (I), (II), (III), (IV), (V), (VI)
Pergolesi, Giovanni, (I)
Stabat Mater, (I)
Perti, Giacomo, (I)
Dionisio, Re di Portagello, (I)
Pescetti, Giovanni Battista, (I)
La Conquista del Vello d’Oro, (I)
Philip V, King of Spain, (I)
Philip, Prince of Hesse Darmstadt, (I)
Philips, Ambrose, (I), (II), (III)
The Distrest Mother, (I)
Eternal Source of Light Divine, (I)
Piave, Francesco Maria, (I), (II)
Piazza, Alessandro, (I)
Pietà foundling hospital (Ospedale della Pietà), Venice, (I), (II)
Pietists, (I)
Pigmalion (ballet), (I)
Pilotti, Elisabetta, (I), (II), (III)
Pinacci, Giovanni Battista, (I)
Piovane, Agostino: Il Bajazet, (I)
Poellnitz, Count Carl Ludwig von, (I), (II)
Polani, Girolamo, (I)
Political State of Great Britain, The, (I)
Pollarolo, Francesco, (I), (II), (III)
Ariodante, (I)
Cato Uticense, (I)
Pope, Alexander, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI), (XII), (XIII), (XIV)
Dunciad, (I)
Moral Essays, (I), (II), (III)
Rape of the Lock, (I)
Porpora, Nicola, (I), (II), (III), (IV), (V), (VI), (VII), (VIII)
Arianna in Nasso, (I)
Davide e Bersabea, (I)
La Festa d’Imeneo, (I)
Porta, Giovanni, (I), (II)
Numitore, (I), (II)
Post-Boy, The, (I), (II)
Posterla, Costanza, (I)
Pour et Le Contre, Le, (I), (II)
Poveri di Gesù Cristo, (I)
Pradon, Jacques: Tamerlan ou la Mort de Bajazet, (I), (II)
Praetorius, Michael: ‘Sytagma Musicum’, (I)
Prat, Revd, Daniel: ‘To Mr Handel, On His Playing on the Organ’, (I)
Pratolino, (I), (II), (III), (IV), (V), (VI), (VII)
Prévost, Abbé, (I), (II), (III), (IV)
Manon Lescaut, (I)
Prodicus, (I)
Prokofiev, Sergey: Aleksandr Nevsky, (I)
Protestantism, (I), (II), (III)
Public Advertiser, (I)
Pulteney, William, (I)
Purcell, Daniel, (I)
Purcell, Henry, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X)
‘Britons, strike home’, (I)
I was glad, (I)
In Guilty Night, (I)
King Arthur, (I)
Quantz, Johann Joachim, (I), (II)
Queen’s Arms tavern, St Paul’s Churchyard, (I)
Queen’s Theatre see Haymarket (Queen’s Theatre/King’s Theatre)
Queensberry, Duchess of, (I)
Querini, Giacomo, (I)
Quin, James, (I)
Quinault, Philipp: Thésée, (I)
Racine, Jean, (I), (II)
Andromache, (I)
Athalie, (I)
Bérénice, (I)
Britannicus, (I)
Esther, (I)
Phèdre, (I)
Radeker (organist), (I)
Rameau, Jean Philippe, (I)
Randall, John, (I)
Ranelagh, Lady, (I)
Ranelagh House, (I), (II)
Rauzzini (castrato), (I)
Ray, Martha, (I)
Read’s Weekly Journal, (I)
Reggio, (I)
Reinhold, Henry Theodore, (I), (II), (III), (IV), (V), (VI)
Rembrandt, (I), (II), (III)
Reni, Guido, (I)
Ribbentrop, Joachim von, (I)
Rich, Christopher, (I)
Rich, John, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX)
Richardson, Samuel, (I), (II)
Richmond, Duke of, (I), (II), (III), (IV), (V)
Ridley (organist), (I)
Riemschneider (singer), (I), (II)
Riva, Giuseppe, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX)
Robinson, Anastasia, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI), (XII)
Rocchetti, Fili
ppo, (I)
Roger, Jeanne, (I)
Rolli, Paolo Antonio, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI), (XII), (XIII), (XIV)
as librettist, (I), (II), (III)
Alessandro, (I)
Rolli, Paolo Antonio contd.
Arsace, (I)
Deidamia, (I)
Floridante, (I), (II)
Muzio Scevola, (I), (II)
Numitore, (I)
Riccardo Primo, (I), (II)
Scipione, (I)
Romanticism, (I)
Rome, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI)
Rosa, Salvator, (I)
Roseingrave, Thomas, (I), (II)
Rossi, Giacomo, (I), (II), (III), (IV), (V)
Rossi, Luigi, (I)
Roth, Andreas, (I)
Roubiliac, Louis-François, (I), (II), (III)
Rowe, Nicholas, (I)
The Fair Penitent, (I)
Royal Academy of Music
formation, (I)
preparations for first season, (I), (II)
period of involvement in operas at the Haymarket, (I), (II)
faces problems, (I)
suspends activities, (I)
new plans for continuation of opera performances, (I)
Royal English Opera, (I)
Royal Library, (I)
Royal Society of Musicians, (I)
Rudeluff, Andreas, (I)
Rudolph, Archduke, (I)
Ruggieri, Gaetano, (I)
Ruspoli, Marchese Francesco
Maria, (I), (II), (III), (IV), (V), (VI), (VII), (VIII)
Russell, Wriothesley, Duke of
Bedford see Bedford, Wriothesley
Russell, Duke of
Rutland, Duke of, (I), (II)
Sacchini, Antonio, (I)
Sacred Harmonic Society, (I)
St Andrew’s church, Dublin, (I)
Saint Cyr, (I)
Saint Eustache, (I)
St Giles, (I)
St James, court of, (I), (II)
St James’s Palace, (I), (II), (III), (IV), (V) see also Chapel Royal
St John (minister of Queen Anne), (I)
St John’s College, Oxford, (I)
St Lawrence, Whitchurch, (I), (II), (III)
St Mark’s, Venice, (I)
St Patrick’s Cathedral, Dublin, (I)
St Paul’s Cathedral, (I), (II)
St Peter Cornhill, (I)
Saint-Simon, Duc de, (I)
St Sulpice, Paris, (I)
Salisbury, (I)
Sallé, Marie, (I), (II)
Salmon, Mr (singer), (I)
Salvai, Maddalena, (I), (II)
Salvi, Antonio, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI), (XII), (XIII), (XV), (XV), (XVI), (XVII)
Salway (singer), (I)
Sammartini, Giuseppe, (I), (II), (III), (IV), (V)
San Cassiano theatre, Venice, (I), (II), (III)
San Fantin theatre, Venice, (I), (II)
San Giovanni Grisostomo theatre,
Venice, (I), (II), (III), (IV), (V), (VI), (VII)
San Petronio basilica, Bologna, (I)
San Zanipolo theatre, Venice, (I)
Sancroft, Archbishop, (I)
Sandoni (keyboard player), (I), (II)
Sandwich, Lord, (I)
Sant’ Angelo theatre, Venice, (I), (II)
Santa Maria di Monte Santo, Rome, (I)
Sargent, Malcolm, (I)
Sarro, Domenico, (I)
Sarti, Giuseppe, (I)
Sartorio, Antonio, (I)
L’Adelaide, (I)
Sartorio, Girolamo, (I)
Saxony, Electoral Prince of, (I)
Scalzi, Carlo, (I), (II)
Scandalizade, The (satire), (I)
Scarabelli, Diamante Maria, (I)
Scarborough, (I)
Scarlatti, Alessandro, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X)
Il Gran Tamerlano, (I)
Mitridate Eupatore, (I)
Pirro e Demetrio, (I), (II), (III), (IV)
Scarlatti, Domenico, (I), (II), (III), (IV)
Scheibe: Musiklexicon, (I)
Scheidt, Samuel, (I)
Schiefferdecker, Johann Christian, (I)
Schmidt, Johann Christoph, (I), (II), (III)
Schoelcher, Victor, (I)
Schoenberg, Arnold, (I)
Schubert, Franz, (I), (II)
Schulenberg, Melusine von der, (I), (II), (III)
Schulenberg, Petronilla Melusine von der, (I)
Shumann, Robert, (I)
Schutz, Heinrich, (I)
Scott, Sir Walter: Lives of the Novelists, (I)
Scudery, Georges de: L’amour tyrannique, (I)
Sellars, Peter, (I)
Senesino (Francesco Bernardi)
and contract with Royal
Academy, (I), (II)
arrives in England, (I)
and Rolli, (I), (II), (III), (IV)
clashes with Heidegger, (I)
virtuosity and skill, (I)
absence abroad, (I)
salary, (I), (II), (III)
leaves England, (I)
meets Handel in Venice, (I)
returns to London, (I)
and limitations of Haymarket seasons, (I)
and Opera of the Nobility, (I)
Performances:
Admeto, (I), (II)
Alessandro, (I), (II)
Cariolano, (I)
Elpidia, (I)
Esther, (I)
Ezio, (I)
Flavio, (I), (II)
Floridante, (I), (II)
Giulio Cesare, (I)
Muzio Scevola, (I)
Radamisto, (I)
Riccardo Primo, (I)
Rodelinda, (I)
Scipione, (I)
Tamerlano, (I)
Servandoni, Giovanni Nicola, (I), (II), (III)
Seward, Anna, (I)
Shaftesbury, Lady, (I)
Shaftsbury, Lord, (I), (II), (III), (IV), (V), (VI)
on Handel’s charging for oratorio performances, (I)
on Handel’s health, (I), (II), (III), (IV), (V)
on Handel’s poor seasons, (I), (II)
on Handel’s visit to Ireland, (I)
on Judas Maccabaeus, (I), (II)
on Messiah, (I)
on Semele, (I)
on Serse, (I)
on Theodora, (I)
Shakespeare, William, (I), (II), (III), (IV), (V), (VI)
Much Ado About Nothing, (I)
Sharp, Dr, (I)
Shaw, George Bernard, (I), (II)
Sheldonian Theatre, Oxford, (I), (II), (III)
Shenstone, William, (I)
Sherbatoff, Princess, (I)
Sheridan, Thomas, (I)
Shield, William, (I), (II)
Shrewsbury, Charles Talbot, Duke of, (I), (II), (III), (IV)
Sills, Beverly, (I)
Silvani, Francesco: Il duello d’Amore e di Vendetta, (I)
Simpson, Redmond, (I)
Skillicorn, Captain, (I)
Slaughter’s coffee house, (I)
Smith, John Christopher, (I), (II), (III), (IV), (V)
Smith, Joseph, (I)
Smock Alley theatre, Dublin, (I)
Smollett, Tobias, (I)
Alceste, (I), (II)
The Regicide, (I)
Smyth, James, (I)
Snitterton, (I)
Snow, Jonathan, (I)
Snow, Valentine, (I), (II)
Société George Frederic Handel, (I)
Society for Decayed Musicians see Decayed Musicians charity
Somerville: Hobbinol, (I)
Sophie, Electress of Hanover, (I), (II), (III)
Sophie Charlotte, Electress of Prussia, (I)
Sophocles: Trachiniae, (I)
Sorbonne choral society, (I)
Sorgenti, (I)
South Sea Bubble, (I)
Spectator, (I), (II)
Spen
cer, Henrietta, Duchess of
Marlborough see Marlborough,
Henrietta Spencer, Duchess of
Spenser, Edmund, (I)
Squelch, Eliza, (I)
Stadtgymnasium, Halle, (I)
Stair, Earl of, (I)
Stampiglia, Silvano (Silvio), (I), (II), (III), (IV), (V), (VI)
Stanley, John, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI)
Arcadia, (I)
Choice of Hercules, (I)
Steele, Richard, (I), (II), (III)
Steevens, George, (I)
Steffani, Agostinio, (I), (II), (III), (IV), (V), (VI)
Marco Aurelio, (I)
Tassilone, (I)
Stockholm, (I)
Stollberg, Count, (I)
Stölzel, (I)
Strada, Anna, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI), (XII), (XIII), (XIV)
Performances:
Arianna, (I)
Atalanta, (I)
Esther, (I)
Ezio, (I)
Lotario, (I), (II)
Sosarme, (I), (II)
Stradella, Alessandro, (I), (II)
Qual prodigio, (I)
Stradella, Antonio, (I), (II)
Strafford, Earl of, (I), (II)
Stravinsky, Igor, (I)
Stuart, Charles Edward (the Young Pretender), (I)
Stuart, James Edward (the Old Pretender), (I), (II), (III), (IV)
Stukely, William, (I)
Suckling, Sir John: ‘A Session of Poets’, (I)
Sullivan (alto), (I)
Sutherland, Joan, (I)
Swieten, Baron Gottfried van, (I), (II), (III)
Swift, Jonathan, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX)
Conduct of the Allies, (I)
Swiney, Owen (later known as
Owen MacSwiney), (I), (II), (III), (IV), (V), (VI), (VII), (VIII)
Synge, Dr Edward, (I)
Tacitus: Annals, (I)
Talbot, Catherine, (I), (II)
Talbot, Charles, Duke of Shrewsbury see Shrewsbury, Charles Talbot, Duke of
Tarquini, Vittoria, (I), (II), (III), (IV), (V)
Tasso, Torquato, (I)
Gerusalemme liberate, (I), (II)
Tate, Nahum, (I), (II)
Taust, Dorothea see Händel (née Taust), Dorothea
Taust, Georg, (I)
Taust, Pastor, (I), (II)
Taust family, (I) see also names of individuals
Taylor, John ‘Chevalier’, (I)
Teatro Capranica, Rome, (I), (II)
Teatro Cassiano, Venice, (I)
Teatro del Cocomero, Florence, (I)
Teatro Malibran, Venice, (I)
Teatro Nicolini, Florence, (I)
Teatro Tor di Nona, Rome, (I)
Teddesley Hall, (I)
Telemann, Georg Philipp, (I), (II), (III), (IV), (V), (VI), (VII), (VIII), (IX), (X), (XI), (XII)
Harmonischer Gottesdienst, (I), (II)
Musique de Table, (I), (II), (III), (IV), (V)
Tellez, Don Pedro, Duke of Uceda, (I)
Temple Church, (I)
Tenison, Archbishop, (I)
Tennyson, Alfred, Lord, (I)
Teodoli, Marchese, (I)
Terradellas, Domenico, (I)
Thackeray, William Makepeace: ‘Four Georges’ lecture series, (I)
Handel Page 54