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Updated: May 13, 2025
The final result was that the singer separated himself from the world of art for ever, and accepted a salary of fifty thousand francs to sing for the King, as David harped for the mad King Saul. Farinelli told Dr. Burney that during ten years he sang four songs to the King every night without any change."
Contemporary critics appear to have been highly pleased with the result but there is some excuse for H. T. Finck's impatience, expressed in "Songs and Song Writers": "The favourites of the eighteenth-century Italian audiences were artificial male sopranos, like Farinelli, who was frantically applauded for such circus tricks as beating a trumpeter in holding on to a note, or racing with an orchestra and getting ahead of it; or Caffarelli, who entertained his audiences by singing, in one breath, a chromatic chain of trills up and down two octaves.
The heart of Pollnitz beat loud and quick as he glanced at Anna, who stood proud and grave, in costly French toilet, far removed from the Farinelli. Anna examined the court circles quietly, and looked as unembarrassed as if she had been long accustomed to such society. The chorus was at an end, and Laura Farinelli had the first aria to sing. Anna Prickerin could have murdered her for this.
Cecilia's Day, apart from the greater services and anthems of Purcell, which were composed, not for entertainment, but for liturgical use. After the Oxford concerts, Handel and Schmidt went to Italy to look for singers. They heard Farinelli, the most famous castrato of the century, but did not engage him; perhaps his demands were too high.
The Farinelli saw all this, and the royal applause stimulated her; her full, glorious voice floated and warbled in the artistic "Fioritures" and "Roulades," then dreamed itself away in soft, melodious tones; again it rose into the loftiest regions of sound, and was again almost lost in the simple, touching melodies of love. "Delicious! superb!" said the king, aloud, as Farinelli concluded.
Pendarves, after the rehearsal of Alcina, described Handel as himself "a necromancer in the midst of his own enchantments," but he could not prevail against the enchantments of Farinelli, who had been engaged by the rival opera company. There could be no competing against a combination that included along with him Senesino, Cuzzoni, and Montagnana.
Caffarelli died in 1783, leaving his title and wealth to his nephew, some of whose descendants are still living in enjoyment of the rank earned by the genius of the singer. By some of the critics of his time Caffarelli was judged to be the superior of Farinelli, though the suffrages were generally on the other side.
He is merely an executive genius, like Moscheles on the piano, Paganini on the violin, or Farinelli on his own larynx, men who have developed enormous faculties, but who have not created music.
Graun had composed a piece of music in honor of this occasion, and not only the Italian singer, Laura Farinelli, but a scholar of Graun and Quantz, a German singer, Anna Prickerin, would then be heard for the first time. This would be for Anna an eventful and decisive day; she stood on the brink of a new existence an existence made glorious by renown, honor, and distinction.
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.
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