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Among the distinguished singers of this epoch the two most celebrated were Faustina Bordoni and Catarina Gabrielli.
Not the least noteworthy episode of this conflict was the feud between two foremost sirens of the lyric stage, Francesca Cuzzoni and Faustina Bordoni.
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.
There are two pictures of Faustina Bordoni in existence. One is in Hawkins's "History," showing her in youth. Brilliant large black eyes, splendid hair, regular features, and a fascinating sweetness of expression, attest how lovely she must have been in the heyday of her charms. The other represents her as an elderly person, handsomely dressed, with an animated, intelligent countenance.
Another Italian opponent was Hasse, a man of true genius, who in his old age instructed some of the most splendid singers in the history of the lyric stage. He also married one of the most gifted and most beautiful divas of Europe, Faustina Bordoni.
This slow procession through these underground halls, the giant black on his heels, the general's lantern throwing its flickering rays over the huge, seamed blocks of granite foundations. It made him think of the Catacombs. It made him think of the Serapeum. It made him think of those damp, tortuous underground ways of the Villa Bordoni.... They seemed to be in the wine cellars.
Faustina Bordoni possessed remarkable beauty of figure and face, an expression full of fire and intelligence, to which she united tact, amiability, and prudence. As singers the rivals were nearly equal; for Faustina, while surpassing the Cuzzoni in power of execution, had not the command of expression which made the latter's art so pathetic and touching. Dr.
Corso, thus finding himself surrounded by his foes, no longer retaining any hope of assistance from Uguccione, and without a chance of victory, thought only of effecting his personal safety, and with Gherardo Bordoni, and some of his bravest and most trusted friends, fought a passage through the thickest of their enemies, and effected their escape from the city by the Gate of the Cross.
In November and December, Muzio Sceaola and Floridante were revived; on January 12, Handel produced a new opera, Ottone, with a new singer, Francesca Cuzzoni, who eclipsed all the other women singers completely, until after some years she herself was driven into eclipse by her historic rival Faustina Bordoni.
Hence to southern climes again, Tuneful mischief, vocal spell; To this island bid farewell: Leave us as we ought to be Leave the Britons rough and free." Faustina Bordoni, who from the time of her radiant début was known as the "New Siren," was the daughter of a noble Venetian family, formerly one of the governing families of the republic.
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