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Rowe, and others, wrote less pleasantly of "Greber's Peg" or "The Tawny Tuscan," and her conquests. Posterity has, notwithstanding, judged her character to be one of guileless good nature. The patience with which she endured the name "Hecate," bestowed upon her in consideration of her ugliness by her
212:
On the second appearance of "the
Italian gentlewoman" upon these boards, early in 1704, a disturbance arose in the theatre. Mrs. Tofts's servant was implicated, and Mrs. Tofts felt it incumbent upon her to write to the manager to deny having had any share in the incident. The jealousy between the two
74:
After performing at Venice between 1698–1700, de L'Epine arriving in London in possibly 1702 but for certain the following year as in May 1703, she received twenty guineas "for one day's singing in ye play called ye Fickle
Sheperdesse;" while her appearance at Lincoln's-Inn-Fields Theatre (where she
204:
According to Downes, Margherita brought her husband at least 10,000 guineas. These "costly canary birds," as Cibber called the
Italians, increased their income (8 pounds. a week was a singer's salary) by performances at private houses and other special engagements. Margherita's singing must have
268:, containing a portrait of Margherita, is in the possession of Messrs. John Broadwood & Sons, the pianoforte-makers. In this group of musicians "Margaritta in black with a muff" (as the title runs) is short, dark-complexioned, but not ill-favoured. The original painting is at
261:. It appears from a manuscript diary of S. Cooke, a pupil of Dr. Pepusch, that Mrs. Pepusch fell ill on 19 July 1746, and that on 10 August following, "in the afternoon, he went to Vauxhall with the doctor, Madame Pepusch being dead." She had been "extremely sick" the day before.
425:
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was to sing "four of her most celebrated
Italian songs") on 1 June 1703, though announced to be her last, was followed by another on 8 June, when a song called "The Nightingale" was added to her répertoire.
89:
She danced as well as sang, performing at Drury Lane from 1704–1708, and then at the Queen's
Theatre from 1708-1714. Her repertoire initially consisted of songs and cantatas by such diverse composers as
257:. Margherita, advancing in years, "retained her hand on the harpsichord, and was in truth a fine performer," so much so that amateurs would assemble to hear her play Dr. Bull's difficult lessons out of
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singers, whether real or imagined, now became the talk of the town and the theme of the poetasters. The fashionable world was divided into
Italian and English parties. Hughes wrote:
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201:, 1713. Her services were often engaged for the English operas at Lincoln's Inn-Fields, until 1718, when she married Dr. Pepusch and retired from the stage.
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Her great success induced her to remain in London, and thus she became associated with the establishment of
Italian opera in England. She first appeared at
119:, 29 January 1704, singing some of Greber's music between the acts of the play. Thenceforth she frequently performed not only at that theatre but at the
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possessed great merit and cleverness, and was said to be superior to anything heard in
England at the time. She had been joined in 1703 by her sister
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209:, who, however, did not become equally popular, and her only important rival was Mrs. Tofts, an established favourite at Drury Lane.
86:, the Earl of Nottingham may just be based on Finch paying for her to visit his estate, although he also paid for her subscription.
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of the
Baroque era. She was among the most popular and successful of London's female singers in the years just before and after
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98:, but from 1706 she starred in such Italian operas as began to appear on London stages at this time, the most popular being
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Richard
Leppert (1986). "Imagery, Musical Confrontation and Cultural Difference in Early 18th-Century London".
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Judith Milhous and Robert D. Hume (1983). "New Light on Handel and Royal Academy of Music in 1720".
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became introduced to the city. Today, she is best remembered for her performances in the operas of
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Judith Milhous and Robert D. Hume (1993). "Opera Salaries in Eighteenth-Century London".
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253:, where a singing parrot adorned the window. In 1730 they moved to a house in
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135:, 1706, where, according to Burney, she was the principal singer; in
418: This article incorporates text from a publication now in the
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at the fourth performance, singing the role of the heroine.
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Dr. and Mrs. Pepusch lived for some time at Boswell Court,
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satirized her as "base Greber's Peg" - quoted in Grove.
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349:"L'Epine, Francesca Margherita de (d. 1746), singer"
358:(online ed.). Oxford University Press. 2004.
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50:; c. 1680 – 8 August 1746, London) was an Italian
264:A replica in oils of Sebastian Ricci's picture
232:While list'ning peers crowd to th' estatic joy;
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131:, in 1705; she similarly took part in Greber's
500:(2). Johns Hopkins University Press: 149–167.
515:Journal of the American Musicological Society
238:Lull'd statesmen melt away their drowsy cares
218:Music hath learn'd the discords of the state,
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521:(1). University of California Press: 26–83.
228:We 'ave Roman arts, from Roman bondage free.
82:, although rumours of an affair (1703) with
236:And Nottingham is raptured when she shakes;
234:Bedford to hear her song his dice forsakes;
230:There fam'd L'Épine does equal skill employ
224:The British Tofts, and ev'ry note commend;
25:Margherita de l'Épine (with a red muff),
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220:And concerts jar with whig and tory hate.
66:, whom it seems she married around 1718.
572:18th-century Italian women opera singers
567:17th-century Italian women opera singers
226:To native merit just, and pleas'd to see
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471:(3). Oxford University press: 323–345.
355:Oxford Dictionary of National Biography
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246:husband, has been recorded by Burney.
240:Of England's safety, in Italian airs.
127:. She sang before and after the opera
29:(in white), and some opera musicians
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455:ed L. Macy (Accessed 9 March 2011),
222:Here Somerset and Devonshire attend
147:, where she played Prenesto, 1707;
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426:Epine, Francesca Margherita de l'
424:Middleton, Lydia Miller (1889). "
435:Dictionary of National Biography
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295:A to Z of Women in World History
527:10.1525/jams.1993.46.1.03a00020
259:Queen Elizabeth's Virginal Book
48:Francesca Margherita de l'Épine
171:, 1712 (as Calypso); Handel's
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451:: "de l'Epine, Margherita",
389:UK public library membership
78:She had a relationship with
189:, 1713; and the pasticcios
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138:Thomyris, Queen of Scythia
552:Italian operatic sopranos
297:. "Margherita de L'Epine"
266:A Rehearsal at the Opera
108:, in which she replaced
477:10.1093/earlyj/14.3.323
577:Musicians from Tuscany
459:, subscription access.
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168:Calypso and Telemachus
60:George Frideric Handel
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364:10.1093/ref:odnb/8828
150:Pyrrhus and Demetrius
44:Margherita de L'Épine
33:Rehearsal of an opera
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125:Lincoln's Inn-Fields
96:Alessandro Scarlatti
16:Italian opera singer
562:17th-century births
153:, as Marius, 1709;
453:Grove Music Online
292:Kuhlman, Erika A.
272:, the seat of the
177:(as Eurilla), and
117:Drury Lane Theatre
100:Giovanni Bononcini
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465:Early Music
449:Winton Dean
409:Attribution
255:Fetter Lane
174:Pastor Fido
37:Marco Ricci
546:Categories
391:required.)
280:References
192:Ernelinda
121:Haymarket
183:, 1712;
165:, 1710;
162:Hydaspes
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180:Rinaldo
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186:Teseo
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381:2020
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