"To which will be added, 'The Libertine.' With New Scenery, Dresses, and Decorations, and all the original Music by Mozart" - Collection of London Broadsides for "The Libertine" and "Don Giovanni"

Grouping of London performance broadsides ca. 1820–1840 advertising performances of The Libertine and Don Giovanni in London, primarily at Theatre Royal, Covent-Garden.  Four advertise programs including The Libertine, a musical drama "arranged for the English stage" by Henry Bishop and "Founded on the interesting Story of Don Juan - in which will be introduced the celebrated Musick in Mozart's Don Giovanni," while the remaining seven announce performances of Giovanni in London, or, The Libertine Reclaimed, a play with songs adapted from Don Giovanni by William Thomas Moncrieff (1794–1857).  Creases and rough edges, but overall in fine condition for their age.  Seven approximately 8 x 13 inches (20.3 x 33 cm.), three 8.5 x 5.5 inches (14 x 21.6 cm.), one 7.25 x 20 inches (19 x 50.8 cm.).  An intriguing group. 
Don Giovanni in London, or, The Libertine Reclaimed was first written for the Olympic Theatre in London, where it premiered on 26 December, 1817.  According to an acting edition of the play kept in the John Hopkins Libraries, all vocal numbers were taken from pre-existing popular ballads and songs. Based on these broadsides, it was often accompanied by Mozart's original opera overture to his Don Giovanni. As evidenced here, Henry Bishop, the English composer perhaps best remembered for the songs "Home! Sweet Home!" and "Lo! Here the Gentle Lark," frequently adapted foreign language opera for the English stage. He did so with a great amount of freedom, to put it mildly. His 1819 English-language adaptation of Le nozze di Figaro, for example, incorporated music and characters from several of Mozart's other operas, including Così fan tutte, Don Giovanni, and Idomeneo, as well as Rossini's Il barbiere di Siviglia and Tancredi. The 1885 edition of the Dictionary of National Biography said Bishop's adaptations "must ever remain a disgrace to the man who wrote [them], and a record of the low state of musical opinion that could have allowed such barbarisms to be perpetrated without a protest."

The broadsides speak eloquently to some of the different concert presentation conventions of the time. The December 1828 performance at Theatre-Royal, Hull., was presented for the benefit of Mr. Yarnold, whose listed occupations are described as "Mechanist, Master Carpenter, and Artisan in Fire Works."  Sadly, no indication is given as to whether or not Mr. Yarnold was responsible for the "grand display of fire works" that was to end the evening.  The July, 1833 triple-bill of shows, were all headlined by Harriet Waylett (1798–1851), a prominent English theatre performer of the day who must have had tremendous stamina. The  October 1827 performance of Giovanni in London was preceded by "the Comedy of A Bold Stroke for a Wife," starring Charles Kemble, the most famous English actor of his day. 

"Three main types of concert flourished during the first half of the century: those run by institutions, that is, established organizations of (mostly) professional performers, generally on a subscription basis; concerts for the benefit of individual promoters; and concerts given by amateur musical organizations. Together these served various purposes: 'economic gain, professional recognition, charity fund-raising, celebration of events, product publicity, and indeed simple entertainment'. Sponsorship was equally diverse: 'individual musicians, formal and informal groups of performers, cultural societies, music magazines, charity organizations, theaters, and music publishers', as well as 'government agencies, pension organizations, and even a few fledgling concert managers'. Concerts tended to be either 'popular' in orientation, with the spotlight on instrumental and vocal virtuosity and so-called salon music, or 'classical', featuring the increasingly canonic symphonies, overtures and chamber music of composers like Haydn, Mozart and Beethoven. Other concerts promoted 'ancient' (mainly Baroque) repertory and these, along with classical concerts, occupied the 'high art' or 'serious music' end of a spectrum which in fact was dominated by popular musical events." (The Cambridge History of 19th-Century Music, pp. 59–60) (18510)

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