21, 1724), and Rodelinda (February 13, 1725). The last of Tamerlano is a magnificent example of the great music drama, an example nearly unique before Gluck, in its poignancy and passion. Bononcini's party was definitely ruined,[1] but the greatest difficulties now began for Handel. The London Opera was delivered over into the hands of Castrati and Prime Donne, and the extravagances of their supporters. In 1726 there arrived the most celebrated Italian singer of the time, the famous Faustina.[2] From this moment the London representations became mere jousts of song between Faustina and Cuzzoni—jousts as strenuous as the shouting of their various partisans. Handel wrote his Alessandro (May 5, 1721) for an artistic duel between the two stars of his troupe, who acted as the two mistresses of Alessandro.[3] In spite of all, his dramatic genius won the day by several sublime scenes from Almeto (January 31, 1727), the grandeur of which veritably seized hold of the public. But the rivalry of the singers, far from being appeased, redoubled in fury. Each party had its hired pamphleteers, who let loose on the adversary the
- ↑ Bononcini gave his last piece, Kalfernia, on April 18, 1724. Ariosti says possibly in 1725. On the other hand, in 1725 there commenced to be played in London the works of Leonardo Vinci, and Porpora, patronized by Handel himself.
- ↑ Faustina Bordoni was born in 1700 at Venice. She had been educated in the school of Marcello. In 1730 she married Hasse. Her singing had an incredible agility. No one could repeat the same note with such rapidity, and she seemed able to hold on sounds to any extent. Less concentrated and less profound than Cuzzoni, she had an art more moving and brilliant.
- ↑ Two months before Handel had given the opera Scipione (March 12, 1726).
