From the General Advertiser, April 1, 1747:
At the Theatre-Royal this Day, will be perform'd a New Oratorio, call'd JUDAS MACCHABEUS. With a New Concerto. To begin at Half an Hour after Six o'Clock.
Soloists at the first performance of Judas
Maccabeus:
Judas Maccabaeus - Mr. Beard, tenor
Simon - Mr. Reinhold, bass
Eupolemus - Mr. Reinhold
First Israelite Woman - Signora Gambarini, soprano
Second Israelite Woman - Signora Galli, mezzo-soprano
Israelite Man - Signora Galli
Priest - Signora Galli
Dedication of the original word-book or libretto:
To His Royal Highness Prince William, Duke of Cumberland, this faint portraiture of a Truly Wise, Valiant, and Virtuous COMMANDER, as to the Possessor of the like Noble Qualities, is, with most profound Respect and Veneration, inscribed, by His Royal Highness's Most obedient, and most devoted Servant,
The Author
Letter of Handel's librettist, Thomas Morrell, to an unknown addressee (ca. 1764):
"There was a time (says Mr Addison), when it was laid down as a maxim, that nothing was capable of being well set to musick, that was not nonsense." And this I think, though it might be wrote before Oratorio's were in fashion, supplies an Oratorio-writer (if he may be called a writer) with some sort of apology; especially if it be considered, what alterations he must submit to, if the Composer be of an haughty disposition, and has but an imperfect acquaintance with the English language. As to myself, great lover as I am of music, I should never have thought of such an undertaking (in which for the reasons above, little or no credit is to be gained), had not Mr Handell applied to me, when at Kew, in 1746, and added to his request the honour of a recommendation from Prince Frederic. Upon this I thought I could do as well as some that had gone before me, and within 2 or 3 days carried him the first Act of Judas Maccabaeus, which he approved of. "Well," says he, "and how are you going to go on?" "Why, we are to suppose an engagement, and that the Israelites have conquered, and so begin a chorus as 'Fallen is the Foe' or, something like it." "No, I will have this," [said Handel] and [he] began working it, as it is, upon the Harpsichord. "Well, go on," [said Handel. I replied,] "I will bring you more tomorrow." "No, something now," [Handel insisted, so I offered as a second line,] "So fall thy Foes, O Lord," "that will do," [replied Handel,] and immediately [he] carried on the composition as we have it in that most admirable chorus. . . .
N.B. The plan of Judas Maccabaeus was designed as a compliment to the Duke of Cumberland, upon his returning victorious from Scotland. I had introduced several incidents more apropos, but it was thought they would make it too long and were therefore omitted. The Duke however made me a handsome present by the hands of Mr Poyntz. The success of this Oratorio was very great. And I have often wished, that at first I had ask'd in jest, for the benefit of the 30th Night instead of a 3d. I am sure he would have given it me: on which night the[re] was above L. 400 [400 pounds sterling] in the House. He left me a legacy however of L. 200. . . .
The 2d night of Theodora was very thin indeed, tho' the Princess Amelia was there. I guessed it a losing night, so did not go to Mr. Handell as usual; but seeing him smile, I ventured, when, "Will you be there next Friday night," says he, "and I will play it to you?" I told him I had just seen Mr. Hankey, "and he desired me to tell you, that if you would have it again, he would engage for all the Boxes." "He is a fool; the Jews will not come to it (as to Judas) because it is a Christian story; and the Ladies will not come, because it [is] a virtuous one."
Some monetary amounts:
rental of a theater for one night: L. 20
prices of tickets: orchestra - half a guinea (=10.5 shillings)
gallery - 5 shillings (20 s. = L. 1)
annual salary of a star singer: L. 2000
Sources: Otto Erich Deutsch, Handel: A Documentary Biography
(New York: W. W. Norton, [1955]) 638-9, 851-2, 641, 215, 195.
Also consulted were the facsimiles of the original libretto in
the booklet accompanying the recording (Harmonia Mundi 907077.78)
and Winton Dean, Handel's Dramatic Oratorios and Masques
(London: Oxford University Press, 1959) 460-81.