The extraordinary correspondence between the impresario Felice Giardini and his friend Gabriele Leone lies at the centre of this study of Italian opera in London in the eighteenth century. Hired by Giardini in 1763 to engage Italian performers for a season of opera and ballet at The King's Theatre, Leone was sued by the impresario when the performers he had recruited proved to be second rate. His response was to publish the letters and instructions that Giardini had sent to him, which feature the impresario's ten commandments for the novice foreign opera agent. These letters are transcribed and translated in this volume. As the authors reveal, the documents provide a vivid and detailed source of information about the world of eighteenth-century Italian opera, both in London and in Italy.

This interdisciplinary study of opera and ballet at the King's Theatre in London attempts to make artistic and financial sense of a distinguished company that went spectacularly bankrupt, leaving debts that were to haunt opera in London for more than 70 years. The theatre burned in 1789; it was rebuilt in defiance of the Lord Chamberlain and hired Haydn as house composer, but was not allowed to stage his last opera. This is the first serious study of the company's repertory, personnel, management, and finances.

Following on from the volume on The King's Theatre, Haymarket, 1778-1791 (published by OUP in 1995), this interdisciplinary study of opera and ballet now turns to London's Pantheon Opera during the period 1789-95. The Pantheon Opera, founded in 1790, aimed to give London a kind of court opera that would feature opera seria and ballet d'action. It tried to hire Mozart to compete with Haydn, but its high aspirations led only to a quick bankruptcy. A recent major archival discovery has permitted startlingly full analysis of the company's repertoire, costumes, staging practices, and finances.