Billington, Elizabeth. (1765 - 1818). 1801 Stipple Engraved Portrait and Signed Drury Lane Payment Receipts. Rare pair of original Drury Lane payment receipts (7.5 x 19.3 cm) from performances by the celebrated English soprano. The first being a check in the amount of 105 Pounds, dated 16 March, 1802, signed R. Peake and by Elizabeth Billington on the verso, also including a manuscript history of the check in an another hand, dated May 1802. Affixed to this, an official receipt stating "Received 4th May 1802 of the Proprietors of Drury Lane Theatre by the Hands of Mr. Peake the sume of Three Hundred and Sixty Pounds Nineteen Shillings being the cash Received at said Theatre on Friday 30th April being Mrs. Billington's Benefit Night." The first check with the manuscript text on the verso: " April 30, 1802. At Drury Lane Theatre was performed, for Mrs. B's benefit, an Opera entitled 'Algonah' taken from 'The Cherokee' written by Mr. Cobb [and set to music originally by Storace. It has received considerable additions from Mr. Cobb], and Mr. Kelly has exterted himself to add new music worthy of the talents of the heroine of the piece. He has preserved the choruses, and every thing that was striking of Storace's, and has enriched it by several captivating compositions by later masters and by himself, which were very well received." These remarkable documents sold together with a period stipple engraving of Billington by Ridley / Cosway, issued by Vernor & Hood Poultry (!), Oct. 31, 1801 and measuring 12.5 x 21 cm.
"On her death, the Gentleman's Magazine described her as 'the most celebrated vocal performer that England ever produced’...Her first London stage appearance was as Rosetta in a royal command performance of Love in a Village (February 1786); she was an instant success, commanding high fees and playing only leading roles. She sang Clara in The Duenna, the title role in Rosina and Polly in The Beggar's Opera, and created parts in works by Shield and others. She sang in London concerts, including the Professional Concert, in oratorio seasons and in provincial festivals....The accuracy of her intonation, the brilliance and taste of her ornaments and the high tessitura of her voice dazzled audiences and impressed the connoisseurs. Burney declared: ‘nothing but envy or apathy can hear her without delight’." (Olive Baldwin and Thelma Wilson, Grove Online)
"On her death, the Gentleman's Magazine described her as 'the most celebrated vocal performer that England ever produced’...Her first London stage appearance was as Rosetta in a royal command performance of Love in a Village (February 1786); she was an instant success, commanding high fees and playing only leading roles. She sang Clara in The Duenna, the title role in Rosina and Polly in The Beggar's Opera, and created parts in works by Shield and others. She sang in London concerts, including the Professional Concert, in oratorio seasons and in provincial festivals....The accuracy of her intonation, the brilliance and taste of her ornaments and the high tessitura of her voice dazzled audiences and impressed the connoisseurs. Burney declared: ‘nothing but envy or apathy can hear her without delight’." (Olive Baldwin and Thelma Wilson, Grove Online)
Billington, Elizabeth. (1765 - 1818). 1801 Stipple Engraved Portrait and Signed Drury Lane Payment Receipts. Rare pair of original Drury Lane payment receipts (7.5 x 19.3 cm) from performances by the celebrated English soprano. The first being a check in the amount of 105 Pounds, dated 16 March, 1802, signed R. Peake and by Elizabeth Billington on the verso, also including a manuscript history of the check in an another hand, dated May 1802. Affixed to this, an official receipt stating "Received 4th May 1802 of the Proprietors of Drury Lane Theatre by the Hands of Mr. Peake the sume of Three Hundred and Sixty Pounds Nineteen Shillings being the cash Received at said Theatre on Friday 30th April being Mrs. Billington's Benefit Night." The first check with the manuscript text on the verso: " April 30, 1802. At Drury Lane Theatre was performed, for Mrs. B's benefit, an Opera entitled 'Algonah' taken from 'The Cherokee' written by Mr. Cobb [and set to music originally by Storace. It has received considerable additions from Mr. Cobb], and Mr. Kelly has exterted himself to add new music worthy of the talents of the heroine of the piece. He has preserved the choruses, and every thing that was striking of Storace's, and has enriched it by several captivating compositions by later masters and by himself, which were very well received." These remarkable documents sold together with a period stipple engraving of Billington by Ridley / Cosway, issued by Vernor & Hood Poultry (!), Oct. 31, 1801 and measuring 12.5 x 21 cm.
"On her death, the Gentleman's Magazine described her as 'the most celebrated vocal performer that England ever produced’...Her first London stage appearance was as Rosetta in a royal command performance of Love in a Village (February 1786); she was an instant success, commanding high fees and playing only leading roles. She sang Clara in The Duenna, the title role in Rosina and Polly in The Beggar's Opera, and created parts in works by Shield and others. She sang in London concerts, including the Professional Concert, in oratorio seasons and in provincial festivals....The accuracy of her intonation, the brilliance and taste of her ornaments and the high tessitura of her voice dazzled audiences and impressed the connoisseurs. Burney declared: ‘nothing but envy or apathy can hear her without delight’." (Olive Baldwin and Thelma Wilson, Grove Online)
"On her death, the Gentleman's Magazine described her as 'the most celebrated vocal performer that England ever produced’...Her first London stage appearance was as Rosetta in a royal command performance of Love in a Village (February 1786); she was an instant success, commanding high fees and playing only leading roles. She sang Clara in The Duenna, the title role in Rosina and Polly in The Beggar's Opera, and created parts in works by Shield and others. She sang in London concerts, including the Professional Concert, in oratorio seasons and in provincial festivals....The accuracy of her intonation, the brilliance and taste of her ornaments and the high tessitura of her voice dazzled audiences and impressed the connoisseurs. Burney declared: ‘nothing but envy or apathy can hear her without delight’." (Olive Baldwin and Thelma Wilson, Grove Online)