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For the following winter some changes were made in the cast. Senesino and Strada were of course indispensable, and the most important new acquisition was Montagnana, the bass, for whom Handel was to write some of his most celebrated songs. After revivals of Tamerlano and Admeto, Handel brought out Ezio on January 15, 1732; it had only five performances.
In the course of eight years twelve operas were produced in rapid succession: "Floridante," December 9, 1721; "Ottone," January 12, 1723; "Flavio" and "Giulio Cesare," 1723; "Tamerlano," 1724; "Rodelinda," 1725; "Scipione," 1726; "Alessandro," 1726; "Admeto," 727; "Siroe," 1728; and "Tolommeo," 1728.
It is just possible that Handel may have met Alessandro Scarlatti at Pratolino in the previous autumn, as his opera Il Gran Tamerlano was produced there in September; he may well have met him between January and April of 1707. From April to September Alessandro Scarlatti was in Urbino. Handel's movements now become very difficult to follow.
Another masterpiece of Handel's, Tamerlano, inaugurated the autumn season of 1724 in October; in December appeared Ariosti's Artaserse, in January Giulio Cesare held the stage till the production of another Handel opera, Rodelinda, which came out on February 13, and ran for thirteen nights.
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