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Updated: May 5, 2025
Contemporary with her was Maria Antonia, daughter of the Emperor Charles VII., and pupil of such famous men as Porpora and Hasse. Her musical aspirations took the form of operas, of which two, "Il Trionfo della Fedelta" and "Talestri," have been published recently.
He explained his riches by saying that he had, while at Constantinople, Bucharest, and Sofia, successfully speculated in war wheat. He wrote this explanation in the German Socialist paper, Die Glocke, and drew from Hugo Hasse the following observation: "I blame nobody for being wealthy; I only ask if it is the rôle of a Social Democrat to become a profiteer of the war."
"We must try to forestall all these prejudices, and win the critics to the side of truth and real art," said Marianne. "The signora is right," said Calzabigi. "It is not so much for our own sake, as for the sake of art, that we should strive to have a fair hearing before the world. We have the powerful party of Metastasio and Hasse to gain. But I will deal with them myself.
In music of this description a misplaced piano or forte, an ill-judged fioriture, an error of movement, either one, will alter the effect of the whole scene. "Well, I am sure, you can manage the whole troupe with that stentor voice of yours," replied Marianne. "If you do not consent, Gluck," interposed Calzabigi, "they will have to rehearse for the birthday fete an opera of Hasse and Metastasio."
Linked with his fame was that of Hasse, who for forty years had been called "Il caro Sassone" Hasse, who had composed so many operas, was often heard to say, that, when it came upon him unawares, he did not know his own music. All Italy had declared for Hasse and Metastasio, and in scornful security the Italians had predicted the discomfiture of the new school of music.
Associated with the life and times of Faustina Bordoni, and the most brilliant exponent of the music of her husband, Hasse, Carlo Broschi, better known as Farinelli, stands out as one of the most remarkable musical figures of his age. This great artist, born in Naples in 1705, was the nephew of the composer Farinelli, whose name he adopted.
This aesthetic monarch squandered great sums on pictures and music, and gave Hasse unlimited power and resources to place the Dresden opera on such a footing as to make it foremost in Europe.
For ten years, that most wonderful of male singers, as musical historians unite in calling Farinelli, charmed away the melancholy of Philip V. of Spain by singing to him every evening the same two melodies of Hasse, taken from the opera of "Artaserse."
The beseeching tones of Orpheus, and the inexorable "No!" of the furies, made every listener tremble. Even Hasse, overcome by the sublimity of the music, bowed his head with the rest; and Metastasio, enraptured with the words, murmured, "Ah, che poesia divina!" Murmurs of applause were heard from every side of the theatre; they grew with every scene, and at last burst forth in wild shouts.
Dresden life at last flowed more easily with Hasse and Faustina on the advent of Augustus III., who possessed his father's connoisseurship without his crotchets and favoritism. Here he remained, with the exception of a short Venetian sojourn, till late in life.
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