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The English nobility, having set Handel this example, claimed their own rights, and organised a rival opera-house at Lincoln's Inn Fields. They had no difficulty in seducing, first Senesino, then Montagnana, and finally Heidegger. Only Strada remained faithful to Handel.
Senesino and Cuzzoni, however, were indispensable to the success of the opera, and probably the ridiculous affectations of the one and the abominable manners of the other were not without their attraction to a public which could enjoy all the pleasure of gossiping about them without having to put up with them at close quarters.
Strada was the only member of the company who interested the audience. For the next season something better had to be found, and through Francis Colman, the English Envoy at Florence, Senesino was persuaded to accept 1,400 guineas instead of the 2,000 that he had received before. He opened the season of 1730 on November 3, with his former role of Scipio.
The great power of this singer's art is also happily set forth in the following anecdote: He was to appear for the first time with Senesino, another great singer, who of course was jealous of Farinelli's unequaled renown. The former had the part of a fierce tyrant, and Farinelli that of a hero in chains. But in the course of the first song by his rival, Senesino forgot his assumed part altogether.
Pope and the others." Lavinia looked a little frightened at the idea of singing before musical judges who doubtless were accustomed to listen to the great singers at the King's Theatre Signor Senesino, Signor Farinalli, Signora Cuzzoni, Signora Faustina, and may be the accomplished English singer Anastasia Robinson, albeit she rarely sang in the theatre but mainly in the houses of her father's noble friends among whom was the Earl of Peterborough, her future husband.
The opera was announced for June 11, but Faustina declared herself indisposed. The opera was shut up and the company disbanded. Faustina went with Senesino to Paris, and thence to Venice, where Cuzzoni also made her appearance, and continued in the local dialect the campaign of slander against Faustina's alleged immoralities. There were many reasons for the collapse of the opera.
Giulio Cesare had the advantage of a strong cast; Senesino sang the title part, with Berenstadt and Boschi to support him, and the women included Cuzzoni, as well as Durastanti and Mrs. Robinson, who had not yet quitted the opera company.
The Montagus take a house at Twickenham Lady Mary's liking for country life Neighbours and visitors Pope Bononcini, Anastasia Robinson, Senesino Lord Peterborough Sir Geoffrey Kneller Henrietta Howard Lord Bathurst The Duke of Wharton His early history He comes to Twickenham His relations with Lady Mary Horace Walpole's reference to them Pope's bitter onslaught on the Duke An Epilogue by Lady Mary "On the death of Mrs.
Senesino had the part of a furious tyrant to represent and Farinelli that of an unfortunate hero in chains; but in the course of the very first song, the latter so softened the heart of the enraged tyrant, that Senesino, forgetting his assumed character, ran to Farinelli and embraced him. Weeping at a Play.
She heard Cuzzoni in November privately, or perhaps at a rehearsal, and writes, "my senses were ravished with harmony." The opening, however, was delayed by the absence of Senesino, who had gone to Italy and did not return until fairly late in December.
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