A Dictionary of Music and Musicians/Robinson, Anastasia

by William Henry Husk

ROBINSON, Anastasia, was daughter of a portrait painter, who, becoming blind, was compiled to qualify his children to gain their own livelihood. Anastasia received instruction from Dr. Croft, Pier Giuseppe Sandoni, and the singer called The Baroness, successively. She appeared as Ariana in Handel's 'Amadigi,' May 25, 1715; and in 1720 at the King's Theatre as Echo in Domenico Scarlatti's opera, 'Narcisso.' She afterwards sang in the pasticcio of 'Muzio Sczevola,' in Handel's 'Ottone,' Floridante,' 'Flavio,' and 'Giulio Cesare'; in Buononcini's 'Crispo' and 'Griselda,' and other operas. Her salary was £1000 for the season, besides a benefit-night. She possessed a fine voice of extensive compass, but her intonation was uncertain. She quitted the stage in 1723, on being privately married to the Earl of Peterborough, who did not avow the marriage until shortly before his death in 1735, although, according to one account, she resided with him as mistress of the house, and was received as such by the Earl's friends. According to another account, she resided with her mother in a house near Fulham, which the Earl took for them, and never lived under the same roof with him, until she attended him in a journey in search of health, a short time before his death. The Countess survived until 1750. There is a fine portrait of her by Faber after Vanderbank, 1727.

Her younger sister, Margaret, intended for a miniature painter, preferred being a singer. She studied under Buononcini, and afterwards at Paris under Rameau; but though an excellent singer, was said to have been prevented by timidity from ever appearing in public.^[1] A fortunate marriage, however, relieved her from the necessity of obtaining her own subsistence.

[ W. H. H. ]

1. A 'Miss Robinson, jun.,' appeared at Drury Lane, Jan. 2. 1729, as Ariel in 'The Tempest.' It is possible that this was Margaret Robinson.