1729
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[Viscount Percival’s Diary, Thursday 9 January 1728-29] The Prince was last night to see a new play of Cibber [Love in a Riddle], which being damn’d the first night, he prevailed that the Prince should come to it in hopes his presence would save it: but the audience without any regard to who was there made such a scandalous noise of hissing, talking and cat-calling, that for two acts not a word could be heard. The Prince went unwillingly and came away very much dissatisfied.[1] |
Jan 13
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The Governour of the Royal Academy of Musick, doth hereby order Notice to be given to the several Subscribers, That a General Court of the said Academy will be held at Eleven a-Clock on Saturday next, the 18th Instant, at the usual Place in the Hay-Market, in order to consider some Proposals that will then be offered for carrying on Operas; as also for disposing of the Effects belonging to the said Academy.[2] |
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[Viscount Percival’s Diary, Saturday 18 January 1728-9] I called Robin Moore and then went to a meeting of the members of the Royal Academy of Musick: where we agreed to prosecute the subscribers who have not yet paid: also to permit Hydeger and Hendle to carry on operas without disturbance for 5 years and to lend them for that time our scenes, machines, clothes, instruments, furniture, etc. It all past off in a great hurry, and there was not above 20 there.[3] |
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[Paolo Antonio Rolli to Senesino] Londra il 25 [January] del 1729 Carissimo Amico, Oh! al fine la mina à preso fuoco, e il tutto è venuto in luce! oh, quanto [12] diversa dalla già scrittavi è questa! Tornò l’Heydeger, disse non aver trovato cantanti in Italia, protestò non volere intraprendere cosa alcuna senza le due donne, parlò solamente di quelle, e propose Farinello: alfine, sentendo che i vostri amici vi rivolevano, cedette, e voi ritornaste su ’l suo tappeto. Egli pensava dunque più ad una lucrosa sottoscrizione che ad altro, e ben pensava, perchè così i due partiti e i vostri amici d’ambedue, avriano ripiena la sottoscrizione annuale di 20 lire a testa. Questa era la macchina su ’1 cui fondamento, a voi già noto, vi scrissi la prima lettera. Ma l’Händel non s’addormentò a tal zuffolo. Rimostrò la malizia dell’Emulo, il di lui vano e ridicolo viaggio il pensiero di guadagnar solo. Disse esservi bisogno di varietà, rinnovò l’antico sistema di cangiare cantanti per avere occasione di compor cose nuove per nuovi esecutori: trova facilità nella Corte al suo nuovo progetto, e lo persuade. Faustina non si vuole. Voi siete stato abbastanza inteso, si vuole Farinello e la Cuzzona, s’ella non resta a Vienna, e si vuol da chi può. Mylord Bingly è alla testa del progetto. Ma fa di mestieri il teatro. Si chiama dunque l’Heydeger e se gli accordano 2200 lire, perchè egli provveda teatro, scene e abiti. L’Händel avrà 1000 lire per la composizione o sua o d’altri ch’egli vorrà. La sottoscrizione sarà di quindici ghinee a testa e fino al presente si crede bastante. Si propongono 4000 lire in tutto per li cantanti – due di 1000 a testa con un giorno di beneficio et il resto etc. L’Händel partirà in breve per l’Italia, ove sceglierà la compagnia. 3 saranno deputati de’ sottoscriventi per avere ispezione etc. Eccovi il nuovo sistema. Riva già ne porta il lutto, perchè ben vedete che malissimo vento spira per il Pallon Bononcino. Dite dunque alla Faustina che il suo caro Handelino verrà in Italia, ma non per lei. Non vi scrissi io già che ella avrialo provato alfine ben contrario alla di lei opinione? Poverina! me ne dispiace. Così merita (e ciò dico per tutti) d’esser trattato chi per fare vigliacchissima corte ai nemici, sacrifica gli amici. Il prezzo ora esclude voi, come temo, altrimenti non dubiterei che o prima, o poi, non avessi qui a rivedervi, in dispetto di chi à avuto in mira il non farvi tornare. Il Farinello verrà, forse, tratto dalla lusinga del beneficio, perchè niuno mai, se non voi, lo à rifiutato, avendo ottima faccia per elemosinare. Ma quando penso alle mille lire senza nemmen parlare de’ viaggi, io rido, fra me stesso, perchè in tal caso, un virtuoso di grido vi rimetterebbe del suo. Pagan doli poscia i viaggi del venire e del tornare, penso ancora che se altri non piacesse e quel grado che siete piaciuto voi, vostro vantaggio sarebbe aspettare l’evento [13] e poi non rifiutare un invito, perchè ardisco dire che in quel caso un vostro beneficio varrebbe mille altre lire, per lo meno. Io vi scrivo quel che penso e quel che mi detta il desiderio di rivedervi qui a mio tempo, e de’ vostri vantaggi. Non mancherò mandarvi informazione d’altro che possa accadere d’importanza. Sento ora che la Cuzzona abbia superate tutte le difficoltà in Vienna, e v’è gran facilità ch’ella vi resti a servizio. Certamente ella piacque al sommo a Cesare e alla Imperatrice; e costà, la compagnia d’un proprio marito, à migliore effetto che quella d’un marito altrui. Addio, caro amico, mandate un mio saluto al vostro Gaetano, e ricevete con gradimento quello del mio fratello. Riamate il vostro Rolli. Al Mio Signore e P.ne Sing.mo Il Sig. Francesco Bernardi – Senesino Venezia.[4] |
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[Paolo Antonio Rolli to Senesino, 25 [January] 1729] Heidegger came back and said he could find no singers in Italy. He declared he would not undertake anything without the two ladies (Faustina and Cuzzoni). He would not even consider any but these two, and he also proposed Farinelli. At last, hearing that your friends wished to get you back, he gave way and you came on to the tapis once more. He was thinking, of course, a good deal more of a big subscription than of anything else and rightly so, for the two parties (i. e., Faustinians and Cuzzonites) and your friends in both would have filled up the [439] annual subscription at twenty pounds a head. This was the supposition on which my first letter to you, as you will remember, was founded. But Handel was not to be lulled to sleep by this sort of piping. He speedily exposed the malice of his rival (Heidegger), the useless folly of his ridiculous journey abroad, and his hopes of private profit. He said that what was wanted was variety. He was in favour of reviving the old system of constantly changing the singers, so as to have an opportunity of composing new songs for new artists. He found supporters for his new scheme in the Court, and soon won everyone to his view. He would not have Faustina. He saw through all your schemes. He wanted Farinelli and Cuzzoni, if she could be got away from Vienna, and in fact anyone who could be got. My Lord Bingley is at the head of the scheme; but then comes the question of the theatre, so Heidegger is called in, and they agree to give him £2,200 for providing theatre, scenery and dresses. Handel is to have £1,000 for composing music himself, or providing that of others. The subscription is to be fifteen guineas, and so far that seems to be enough. It is proposed to spend £4,000 on the singers in all, two at £100[0] a head, with a benefit and all the rest of it, and Handel is to start shortly for Italy, to choose the company.[5] |
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Yesterday Morning Mr. Handell, the famous Composer of the Italian Musick, took his Leave of their Majesties, he being to set out this Day for Italy, with a Commission from the Royal Academy of Musick.[6] |
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[Paolo Antonio Rolli to Senesino] L.[ondra] il 4 di febbraio 1729. Carissimo Amico, Avrete già ricevuto una mia ch’io mandai a Firenze perchè vi fusse mandata a Venezia: e supponendola pervenutavi, vado continuando in questa le notizie musicali. Il nuovo sistema Handeleidegriano (sic) piglia piede. Si fece adunanza generale, ove se ne parlò. Pochi furono gli adunati e di quelli sei o sette sottoscrissero solamente; altri non rifiutarono, altri fecero istanza di notificar loro prima i cantanti. Si spacciò la volontà regale e si disse che l’Haendel partirebbe in breve per l’Italia in cerca di cantanti. Per consenso unanime fu concesso l’uso degli abiti e scene dell’Accademia per cinque anni a i due progettisti. Oggi appunto l’Haendel parte e dieci giorni fa l’Haym mandò lettere circolari in Italia per annunciare a’ virtuosi e virtuose questo nuovo progetto, e la venuta dell’Haendel. Il Farinello è di primo predicamento; e tanto più quanto da poco fa sono venute {Fassini: lettere} da Venezia, e particolarmente a questo residente Vignola, che il teatro dove {Fassini: il} Farinello recita à tutto il concorso, e quello dove voi e la Faustina siete è quasi vuoto. La dichiarazione di questo R. circa le due virtuose è certamente stata questa: che se la Cuzzona e la Faustina vi tornassero, Egli contribuerebbe quello che aveva promesso; se la Cuzzona sola tornasse, Egli contribuirebbe lo stesso. Ma se la sola Faustina tornasse egli non contribuerebbe niente. Se la Cuzzona torni o no, è incertissimo. Mancano lettere di Vienna per arresto di poste; ma le intelligenze ultime parlavano di regali, e non di servizio. Nondimeno, siccome la mira di colei è il servizio, potrebb’essere che le riuscisse, avendo ella già piaciuto e disponendosi a contentarsi d’un mediocre certo e continuo, più volentieri che d’un incerto più lucroso. Ma la Faustina avrà notizie più fresche da Vienna, e dalla sua carissima Imperatrice che tanto e pottanto l’amava. L’intenzione del novo progetto è di avere tutto nuovo. Il caro Hendelino, e per esperienza d’effeti, e per far cause a chi deve, detesta la promotrice del Siroe. Io sempre sono stato, siccome sarò, gravissimo seco, nè gli ò dato buon viaggio; ma giorni sono il [14] Gonpy (?) venne a far visita a mio fratello, interrogandolo circa la gita dell’Haendel e del nuovo sistema per sentire i miei sentimenti. Le risposte furono d’approvazione. Egli disse ancora che la Faustina era stata cagione dei dissapori fra me e l’amico; al che fu risposto con noncuranza e risentimento. Egli detestava la Signora e diceva che il tutto, il tutto sarà nuovo, dicendo ancora che l’Amico odiava la Cuzzona ancora[.] Riva è inferocito, perchè vede il Bononcino escluso dall’orgoglio proprio e dall’orgoglio del Capo Compositore, dal quale dovrà dipendere ogni altro. Dice che la Cuzzona à mandato ordine al Franceschino pittore che ritorna in Italia, di portar seco le di lei figlie, onde così minaccia la nazione della ruinosa mancanza di Madama e del Colonnello. Le nuove che posso vi dò, e spero che le amiate, altrimenti non le manderei. Le nuove che io desidero di costà sono quelle della vostra salute e della salute di Gaetano e sua famiglia. Inquanto alle alme musicali italiche, non me ne curo, e il vostro siciliano non m’importa molto, perchè certamente, entra nel Salmo dell’Universa Pecora. Ma pure se si volesse ammorbidire, io l’amerò, se voi l’amerete, perchè amerò sempre voi e tutto quel che voi amate. Addio, Senesino caro, Giovanni v’abbraccia. il 7. [February 1729] Si dice che il Farinello sia già stato impegnato per l’anno prossimo costì, come pur voi altrove. Se quello è impegnato bisognerà ricorrere a voi; in caso che non lo siate . . . . . . . onde giocate pure la carta e, lasciando a parte ogni altra riflessione, pensate al solo interesse. Si parla ancora del Carestini per secondo. Le sottoscrizioni non saranno difficili; perchè il buonmercato piace e a i più. Ma le buone sicurtà non àn mai fatto danno. Sento per cosa certa che niuna delle due donne sia per essere chiamata: nel che ambo i partiti si accordano; onde, se la Cuzzona non torna di per sè, non sarà certamente fatta venire. Non dubito che vedrete l’Haendel prima della fine del carnevale, perchè, certo, va direttamente a Venezia per Farinello. Sarò curioso del suo portamento con voi e con la celebratissima virtuosa. La quale, temo, che adirata contro allo infedele, non lo faccia buttar zoso in canal. Al Mio Signore e P.ne Sing.mo Il Sig. Francesco Bernardi – Senesino Venezia.[7] |
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[Paolo Antonio Rolli to Senesino, 4, 7 February 1729] The new Handel-Heidegger scheme is finding its feet. There was a general meeting, with a lot of talking. Only a few people came, and of those only six or seven actually subscribed. Some others did not absolutely refuse, and others again insisted on knowing who the singers were to be, before they committed themselves. The royal wishes were explained, and it was decided that Handel should shortly start for Italy to look out for singers. The use of the dresses and scenery of the Academy for five years was unanimously granted to the two managers. Handel is now on the point of starting, and ten days ago Haym sent circular letters to Italy announcing the new undertaking and Handel’s speedy arrival to all the artists concerned. Everybody is talking about Farinelli, all the more so because a short time ago letters came from Venice, in particular to the Ambassador Vignola saying that the theatre where Farinelli was singing was crowded, while that where you and Faustina were was almost empty. The Ambassador also made this statement with regard to the two virtuose, that if both Cuzzoni and Faustina returned he would contribute what he had promised; if Cuzzoni alone returned he would contribute the same, but if Faustina alone returned, he would contribute nothing. It is quite uncertain whether Cuzzoni returns or not. We get no letters from Vienna owing to delay in the post, but the last news spoke of presents and not of engagements, all the same as her great aim always is an engagement, they may succeed in getting her, as she has already made a success here, and is perhaps disposed to content herself with a moderate and permanent certainty rather than wait for a more profitable uncertainty. The aim of the new scheme is to have everything new. Our dear little Handel [“il caro Handelino”] is determined to try experiments and to pay court to the right people. . . . I am still on bad terms with him, and shall remain so, and I refused to wish him a successful journey. [440] But a few days ago Goupy came to pay a visit to my brother, questioning him about Handel’s jaunt abroad and the new scheme, so as to hear what we had to say, and our replies were all approving. He said further that Faustina had been the reason of the disagreement between me and my friend—to which the reply was indifference and resentment. He hated the lady, and said that everything was going to be new, saying also that our friend still hated Cuzzoni. Riva is furious because he sees that Bononcini had been turned out owing to his own arrogance as well as through the arrogance of the Chief Composer, on whom everything depends. . . . .[8] |
Feb 8
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Letters from Vienna say, that Cuzzoni, the famous Singer, is greatly caressed there. [...][9] |
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[Mrs. Pendarves to Mrs. Anne Granville, 16 February 1728-9] There is a tragedy now acting in Lincolns-Inn-Fields that bears a tolerable character: as soon as I have read it I will dispatch it to wait on you; and the Village Opera likewise, though that is but a so-so-affair. There was a masquerade last Thursday at the Opera House, but I have not heard any report about it. People seem to be tired of that sort of diversion; I have not been at one this winter, and don’t find any inclination in myself to make one of the rabble-rout. The subscription for the Opera next winter goes on very well, to the great satisfaction of all musical folks.[10] |
Feb 21
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We hear there will a Concert of Musick, for the Benefit of Mr. Charles Wideman, at the Castle in Pater-Noster-Row, some time in March next, at which will be perform’d the Vocal and Instrumental Musick composed by Mr. Handel for their Majesties Coronation.[11] |
Feb 26
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[Mrs. Pendarves to Mrs. Anne Granville, 28 February 1728-9] On Wednesday [26 February] I dined at Lady Carteret’s, and went in the afternoon to a consort of musick for the benefit of Mr. Holcomb; the Duchess of Manchester and the two eldest Miss Carterets were of the party. Holcomb sung six songs; we had two overtures of Mr. Handel’s and two concertos of Corella by the best hands. I was very well pleased; the house was exceeding full and some very good company. [...][12] |
Mar
2
Rome, March 2 [OS].
The Pretender is at present in so great Favour with the Pope, that his Holiness is continually sending for him, when he treats him magnificently. Yesterday having entertained him at Dinner, he took him into his great Presence Chamber, wherein stood a Crown of beaten Gold, weighing about sixteen Ounces, and adorned with Jewels to a great Value, which the Pretender viewing, much admired its Beauty and Richness, and asked the Pontiff, for whom it was designed. The Pope smiling, answered, For yourself; and putting it on his Head, said, it became him, tho’ not so well as if he had a Kingdom to answer it. The Pretender much pleased, returned his Holiness Thanks, and ordered his Gentleman to carry the Crown to his Palace at Albano, and soon after took his Leave of the Holy Father for that Time, and returned Home.[13]
Mar 4
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[Mrs. Pendarves to Mrs. Anne Granville, 4 March 1728-9] [...] The Duchess of Queensbury, to the great amazement of the admiring world, is forbid the Court, only for being solicitous in getting a subscription for Mr. Gay’s sequel of the Beggars’ Opera, which the Court forbid being acted, on account that it reflected on the Government. The Duchess is a great friend of Gay’s, and has thought him much injured; upon which, to make him some amends, for he is poor, she promised to get a subscription for his [194] play if he would print it. She indiscreetly has urged the King and Queen in his behalf, and asked subscriptions in the drawing-room, upon which she is forbid the Court — a thing never heard of before to one of her rank: [...][14] |
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AMSTERDAM. We hear by our Correspondents from this Place, that the famous Mr. Geminiani has just publish’d here, ‘Concerti Grossi con due Violini, viola e violoncello di concertini obligati, e due altri Violini e Bassa di Concerto Grosso, quali contengono Preludii, Alemande, Correnti[,] Gigue, Sarabande, Gavotte e Follia compositi della Seconda Parte del Opera quinta, d’Arcangelo Correlli per Francisco Geminiani.’ This Work must undoubtedly be very acceptable to all Lovers of Musick.[15] |
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The Subscription for the Sequel, or second Part of the Beggar’s Opera, which had made such a Noise here, is a Guinea each, and the same will be published with all convenient Speed.[16] |
Mar [19/]30
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[Owen Swiney, Bologna, to Charles Lennox, 2nd Duke of Richmond, 30 March 1729 N.S.] Handel sett out yesterday Morning for Rome. Tho’ His Journey was something late for forming a company, fit for London next year, yet by Bernachi’s: Carestini’s & ye Merighi’s discharge from their Engagements at Naples, he’l have a good chance of making a very good one. He tells me that He has Engaged one Madame Somis, of Turin: I have heard a very good Character, of her Voice & manner of Singing. He has, likewise, Engaged Signor Annibale Fabris (a Tenour) who, I formerly, recommended to ye Service of ye academy. This man Sings [381] in as good a Taste as any Man in Italy--if he gets either Carestini or Bernachi, who (by ye by) is ye very best Singer in ye world, with ye Merighi or some
other good Woman, he’l make a formidable Company, & will make ye Idiots (who were not wise enough to maintain their ground) repent their folly, in quitting ye Land of promise--a Land flowing with Milk and Honey. Faustina gain’d immortal Honour this Carneval, but Senesino lost much reputation, in ye first opera: He recovered some of it again, in Orlandini’s which was ye Second. Farinelli carreyed all, before him, at St. Gio: Grisostomo’s Theatre, tho’ Im’e persuaded, were he to sing in London, as he did, there, this Winter, he wou’d, by no means, please ye people of True Taste. He is, certainly, a very valuable man, but he wou’d be, much, more so, were he to moderate his Manner. so, were he to moderate his Manner. Faustina Sings at Parma, along with Farinelli & Bernachi, goes to Bavaria in ye autumn, where she is to have 500 pistols, & to Turin for ye Carneval where she ts to have 600. Cuzzoni is in Bologna, now, sings at Venice, next winter, for Sequeens 1000. They talk of having an opera here in ye Month of May. […][17] |
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AT the King’s Theatre in the Hay- Market, on Thursday next, being the 10th Day of April, will be An ASSEMBLY, To begin with
the Instrumental Opera of Radamistus. Tickets will be deliver’d to the Subscribers on Wednesday next, at White’s Chocolate-House in St. James’s-Street. And if any Tickets remain, more than are subscribed for, they will be delivered at the Opera-Office in the Hay- Market, on Thursday next, at 26 s. each. N.B. Every Ticket will admit either one Gentleman or two Ladies.[18] |
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Mr. Haym has finish’d his History of Music from the earliest Time to this Day. This Work will be in Two Vols. 8vo. embelish’d with a great Number of Copper-Plates engraved by the best Hands. The Author has spar’d no Pains to give it in as great Perfection as possible; and as it is a History of the Science; its State in the several Ages of the World; and of the most eminent Professors of all Nations; the reading of it must necessarily be very agreeable and instructive. As this is the first complete History of Music that was ever written, ’tis presum’d it will meet with Encouragement suitable to the Excellency of the Performance. The Particulars of it will be given in another Paper.[19] |
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St. James’s Coffee-house, Our Accounts from the West Country, take Notice of a Distemper which rages there, and carries off great Numbers of People; which is supposed to be occasioned by the Poverty of the People, during this severe Winter. But these Advices affect not us, for we have receiv’d from Italy the joyful News, that Mynheer Hendel has made up a Company of Singers; so that we shall have Italian Operas next Winter.[20] |
May 16
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[Paolo Antonio Rolli to Checco] il 16 di Maggio Rispondo alla vostra d’Aprile. Le nuove che vennero al Riva dell’arrivo dell’Haendel in Venezia, furono che voi freddamente lo accoglieste e che egli se ne lamentàva e querelava e diceva che i Principi avean braccia lunghe, onde al [15] fine vi riconciliaste seco, ed egli promisevi al ritorno di Napoli venire a Siena. Riva a quest’ora è già in Vienna, onde non vedrò più sue lettere fino all’inverno prossimo. Gneo, è in quello il nome di Faustina, e Pallone il vostro. La vostra dichiarazione per la Cuzzona è presa per corte che la facciate. Non è necessario dire alcune verità; com’è bene non dir mai la bugia. Che importa di due donne dir chi canti meno male, o sia meno cattiva attrice? La compagnia nuova endeliana è questa. La Stradina, la Somis, Carestini, Balino Fabbri con sua moglie in occasione di terza donna, e un basso italicoalemanno. L’Haendel à scritto che Carestini era l’emulo di Bernacchi. Ne vedremo l’evento, e ve ne informerò esattamente. – Avete ben toccato e visto che io meglio degli altri v’ò saputo informare, e dir quello che veramente è accaduto, e alle prime recite vi scriverò altri prognostici. Spero che vi sarà occasione di desiderar Senesino, ma non le due BB. Lodo molto le vostre risoluzioni circa i contratti, e non dubito che dovunque vi sarà vero gusto teatrale, voi non siate per lasciarvi addietro qualunque altro. Godo poi che cotesti Metastasj ed altri parolai, vi riescano quel che veramente sono, e che qui non vi pareano. Vi ricordarete ancor più adesso che in tutti i miei intieri drami, non mancaste mai di risplendere. Io mir rido delle mode e dei lombardismi in materia teatrale. L’imitazione de i gran fonti antichi, non manca mai di buon successo, quando vien fatta da chi à l’esperienza, ed eseguita da vostri pari. Ma siccome questa è la minima abilità della quale io debba pregiarmi, così non ne fo altro conto che quello d’un accidente lucroso, e v’assicuro che in caso io sia qui creduto giovevole, non diminuerò un soldo del prezzo passato, e non farò passo veruno. Mi faceste ridere con l’osservazione di quei Satrapi che non iscrivono nè in fretta, nè ad agio (sic), e che dicono ch’io rispondessi in fretta al mio critico. Ma dite loro da mia parte, quel ch’io feci a tali persone rispondere in Firenze dal mio amico, autore Anton M.a Salvini: cioè ch’io non rispondo se non a chi stampa; e dite loro anche che la mia maniera sarà sempre di rispondere in quella sorta di fretta, ond’essi traggan vantaggio. Che coglioneria far tanto mistero d’una lingua vivente! e voler dare ad intendere ch’ella sia può astrusa che le orientali, e le profonde cognizioni mattematiche e filosofiche, le quali, in ogni parte del culto mondo sono a perfezione conosciute e poi che questa astrusità sia facile e notissima sola a’ Toscani. Ma per lo più, Senesino mio, coloro che fan professione di conoscere più degli altri le parole, non le sanno poi mettere insieme. Abbiate per certo che gli ottimi poeti san quella lingua in cui scrivono meglio degli altri, e ciò è tanto vero, quanto gli ottimi poeti nostri ànno scritto ottime prose e gli ottimi pensatori, mediocrissimi versi. O’ tenerezza ora per la città degli Intronati, e non vorrei che vi fossero se non spiriti superiori e vasti che lasciassero a’ Fiorentinelli coteste puerilità: dico a’ Fiorentinelli per distinguerli da’ buoni e veri fiorentini, i migliori autori de’ quali sono più noti a me forse che a moltissimi di loro e talmente noti che gli so quasi tutti a mente, come ò fatto alcune volte sestine, improvvisando e riempiendo de’ loro versi le mie stanze, quando cadevano in acconcio; il che facea tal’effetto, come voi osservaste fare alle vostre espressive ariette, espressivissimamente cantate e atteggiate da voi a perciò mi lascio trasportar [16] da un estro di confidenza. Io non risponderò più al Buonamici: ci vuol’altr’uomo per meritare mia secona risposta. Rido poi molto dello studio di camei di 30 mila scudi, come ancora che cosa di tal prezzo possa qui vendersi dove le due o tre persone, al più, dilettanti in tali cose n’àn più di quel che loro basta, ma riderei più ancora delle venticinque ghinee in caso di una tal vendita, nella quale il minimo impiegato uomo non si contenterebbe di meno di tre o quattro mila scudi. Ma per seriamente parlarvene, supponendo vi prema servir l’amico, fategli sapere che bisognerebbe mandar solamente cinque o sei pezzi sublimi per volta, e di questi mostrarne uno di quando in quando, e lasciarlo al curioso su ’l momento dell’offerta che giunga presso al prezzo domandatone. Un solo zolfo, non che una quantità, se mai piacesse, farebbe uscire o di memoria, o di desiderio all’inglese compratore, l’originale ch’egli venisse. Questo è retto, il solo retto, consiglio, come ben potrà attestare in Roma al suo ritorno, un certo abate Sterbini, antiquario romano, qui venuto e partitone, e meglio di lui il Barazzi, droghista in Campo di Fiore, partito seco. Il vostro Alberti si va stampando, presto saranno finiti tutti i volumi dell’Istoria Romana, in Parigi, e vi scrissi già che saria necessario mandaste un de’ vostri volumi per legarli uniformi, perchè quel francese, legatore, fece bancarotta e fuggì in Olanda. Farò tutte le diligenze per servire il sig. Cav. Buoninsengni, al quale rassegnerete il mio rispetto. In breve comincerò a stampare la prima parte del Milton e ve la manderò subito, come ancora ne manderò un esemplare a cotesta accademia; la quale dovrebbe avere una libreria nel suo sito, a cui contribuissero gli accademici tutti per uso pubblico, sì con le proprie edizioni che con altri libri. Ravvivatemi nella memoria del Cavaliere Perfetti ch’io tanti stimo ed amo. Mio fratello vi saluta affettuosamente, egli entra in ottimi affari e, come l’olio, s’insinua e sparge senza strepito, ma non ancora intieramente ristabilito in salute. Godo che la casa Bernardi cresca e moltiplichi: i vostri nepoti saranno una vostra continua lode. Addio Checco mio caro, saluterò i vostri Amici, e saluto il mio buon Gaetano
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May [16/]27
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[Owen Swiney, Venice, to Charles Lennox, 2nd Duke of Richmond, 27 May 1729 N.S.] I hope you’l sollicite my
affair when Messrs. de L’academie meet. They have money in Bank as both Mr. [382] Heidegger & Mr. Handel tell me--and I hope they’l not forget ye past real Services of an old Grey-headed Servant of theirs. Mr. Heidegger & Mr. Handel have promised me that they’l lay my case in ye best light they can before ye board. I am indebted £22 odd money to Mr. John Smith for ye postage of pacquets of Musick & letters on their account & I do declare I am above £140 poorer than I shou’d have been had I not been Messrs. de L’academies agent. Mr. Handel (notwithstanding his coming so late into Italy) has made (I think) a very good Company. Comparisons are odious, they say, & I hope none will be made between your late two contending Lady’s, & ye present ones. I believe ’twill suffice that this new company (taken in ye lump) will far Exceed your late one and cou’d The Faustina creep, into it, I’d Engage that ’twou’d exceed in Worth any other company, & I’d give any undertaker ye liberty of forming it out of all the Singers in Italy put together. Most of ’em are making interest to have my recommendations to their Graces of Richmond & Im’e affraid I shall be persuaded to gratify ’em, in this polite request.[22] |
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His Royal Highness the Prince of Wales is to sup next Week [Tuesday Night] with Mr. Heydegger the Manager of the Masquerades, at his House at Barn-Elms; on which Occasion the Trees leading from the Water-Side to the House are to be illuminated with Flambeaux.[23] |
Jun
18
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Mrs ECCHO, THE likeing [sic] I have
for Musick cannot but make me lament the great Decay of it in this
City and Suburbs, especially among the Female Sex; tho’ I must own to the
Honour of the Members of that Musical Society in Mary’s Chappel,
(which goes under the Name of the Gentlemens Consert) that they have
endeavour’d as much as they can to restore it to its antient Dignity, both by
the Force of good Musick, and of the fine Company who are concern’d in it;
and have in some measure succeeded. But as Harmony for the most Part
promotes Concord and Agreement, (I say for the most part only, for generally
all the Musick-masters are Exceptions to this Rule) so I think every Body
should endeavour to recommend it, but especially one of your Ladyship’s good
Taste, whose Approbation will add a great deal to the Weight of the Argument. The Objections that are offered
against it are various, and I must own of some Weight; yet I do not doubt,
with a little of your Ladyship’s Help and Approbation, but I may in some
Measure alleviate, if not altogether remove them. The First and most common
Objection is, That ’tis always Italian Musick that’s played, and that
they do not understand it. Whether
this Objection is well founded, or only offered to cover another, which is,
that ’tis long, and obliges them to be silent, I shall leave you to judge;
only one Thing I cannot help observing, that the Noise of the Ladies Voices,
to my Ear, seems just to be as loud, at the Hearing of a Scots Tune,
as they are when a Piece of Correllie is play’d. Tho’ talking and laughing gives
sometimes an agreeable Turn to the Face, and so in some measure excusable;
yet I dare swear if a Lady once could get a right View of her self when
pleased with Harmony, she wou’d be easily perswaded [sic], that the
chearful Calmness of the Mind produces a more beautiful and easie Gayety,
than all the forc’d or affected Lisps or Smiles she can invent. Another great Objection is, That
Musick does not give a Lady such a good Opportunity to show her fine
Shapes. There seems to be something in
this Objection at first Sight; but when we consider the many fine Postures
that Musick gives them, join’d with its other Advantages, the Difficulty
intirely vanishes; for my Part I think a Lady, sitting at her Harpsicord,
one of the most agreeable Postures she can be in. If she sings, then her fine Voice charms
your Ears, when at the same Time the pretty Heaving of her Bosom entertains
your Eyes; if you chance to look downwards the Nimbleness of her fine white
Fingers surprises you, not to mention the pretty Motion of her Foot and Body
when she beats the Time. My Letter being already too long
I shall leave the rest to you. Pardon
this Presumption, and oblige Your most humble Servant, ORPHEUS. P. S. I had forgot to tell you that Musick has this Property, that it keeps People from turning soon old like; good Humour being a great Preservative of both the Features and Complexion.[24] |
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Hanover, June 27, N. S. [...] Mr.
Hendel passed through this Place some Days ago, coming from Italy, and returning to England. [...][25] |
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Mr. Handel, the famous Composer of the Musick for the Italian Opera’s, arrived here last Sunday Night from Italy, having contracted with 3 Men and 4 Women to come over hither in the Winter, to sing in the Opera’s, for four thousand Pounds.[26] |
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LONDON, July 2. Mr. Handel, who is just returned from Italy, has contracted with the following Persons to perform in the Italian Opera’s, vz. Signor Bernachi, who is esteem’d the best Singer in Italy. Signora Merighi, a Woman of a very fine Presence, an excellent Actress, and a very good Singer — A Counter Tenor. Signora Strada, who hath a very fine Treble Voice, a Person of singular Merit. Signor Annibal Pio Fabri, a most excellent Tenor, and a fine Voice. His Wife, who performs a Man’s Part exceeding well. Signora Bartoldi, who has a very fine Treble Voice; she is also a very genteel Actress, both in Men and Womens Parts. A Bass Voice from Hamburgh; there being none worth engaging in Italy.[27] |
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[Sunday morning, 6 July 1729] N.B. Met Mr Smith the Opera Copyest in the Park, who told me the Performers Mr Handel Engag’d in Italy whe[re] very good and Cheap.[28] |
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[Gio. Giacomo Zamboni to Count Ernst Christoph Manteuffel in Dresden, 8/19 July 1729] Mr Handel, who has lately arrived from Italy, has made contracts with the best artists to put on good Italian opera,…viz. Bernachi,…Mirighi [Antonia Margherita Merighi],…[and] Bartoldi [Francesca Bertolli]. Also he has engaged a bass in Hamburg [Johann Gottfried Riemschneider], not having been able to find one in Italy.[29] |
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[...] Monday died Signor Attilio, a celebrated Composer of several Italian Opera’s.[30] |
Aug 9
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LONDON. On Thursday was Se’night last, died at his House in Wardour-street, Old Soho, aged just 50, Mr. Nicholas Francis Haym, a Native of Rome, who was Secretary for many Years to the Royal Academy of Musick in this City, in which Employment he distinguish’d himself by his indefatigable Industry, and the general Satisfaction he gave to all the Directors. Among the many excellent Talents he possess’d, he was deservedly famous for divinely touching the Violoncello, or Four string Base, in which he was not equal’d by more than two or three Persons in Europe. It were needless to mention his Genius for Musick as a Composer, whereof the many excellent Pieces already publish’d, are an ample Testimony; and we hear he has left several fine Cantata’s behind him. Notwithstanding his close Application to the above- mention’d Science, he nevertheless devoted several Hours daily to the Belles-Lettres, in which he had made a very great Progress; not to mention his Skill in the learned Languages, of both which his Works already publish’d, and that he has left behind, entitled, A General History of Musick, the Particulars whereof were inserted in our 28th Medley, and which Providence just indulg’d him Time to finish, will be a lasting Monument. The Knowledge he had in Medals is sufficiently known, by his Work, entitled, Tesoro Britannico. He design’d very well, which was of great Service to him in correcting the Plates of his different Works. These great Abilities, heighten’d by an uncommon Modesty, Candour, Affability, and all the amiable Virtues of Life, make all his Friends sincerely regret his Loss. He was, by his own Desire, privately interr’d in St. Ann’s, Westminster; the Aversion he had always shewn to Pomp and Ostentation, accompanying him to the Grave.[31] |
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[The Epilogue. By John Byrom.] […] A Theme so true, a Play so fit for Laughter; There never was before, nor ever will be after. No never! never! not while vital Breath, Defends you from that long-liv’d Mortal, Death. Death! something hangs Prophetick on my Tongue: I’ll give it Utterance, be it Right, or Wrong: HENDEL himself shall yield to HURLOTHRUMBO; And BONANCINI too, shall cry Succumbo. That’s if the Ladies condescend to smile: Their Looks make Sense, or Nonsense, in our Isle. FINIS.[32] |
Sep 3
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[Paolo Antonio Rolli to Senesino, 3 September
1729] You knew before
that Attilio and Haym have joined forces. Now learn that the famous Rossi,
Italian author and poet, is Handel’s accredited bard. Nothing is yet known of
Cuzzoni.[33] |
Sep 16
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This Week the Voices hired by Mr. Handel for the Italian Opera’s in the Hay-market, are expected from France.[34] |
[Sep 20/]Oct 1
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[Owen Swiney, Venice, to Charles Lennox, 2nd Duke of Richmond, 1 October 1729 N.S.] […] When your Grace returns to London, I hope you’l recommend my case to Messrs. de L’academie--£120 Sterling am I out of pocquet, on their account besides a bill of £22 charg’d to my account for Mr. John Smith, tho’ ’twas for pacquets of Musick, poetry, letters &c. sent by me, for the use of Messrs. de L’academie. I am (with my duty to her Grace of Richmond) your Grace’s most oblig’d and most obedient humble Servant. P.S. I recommend ye whole Troop of Singers, to their Grace’s of Richmonds protection.[35] |
Sep 22
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The Persons who were hired by Mr. Handel beyond Sea, to perform in the Italian Opera’s at the Theatre in the Haymarket, are arrived at Dover.[36] |
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Three new Sets of Scenes are painting for the King’s Theatre in the Haymarket, which will open with the Italian Opera’s about the 6th of November.[37] |
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I HAVE sometimes taken it in my
Head, that I might make a Fortune by writing for the Stage. As a Proof that I have an excellent Taste,
I always despised the Tragedies of Shakespeare, Otway, and Young,
and preferr’d with Admiration Mr. Rolli’s Opera’s [sic] at the Hay-Market. I wonder, that the Success of the Latter
shou’d be applied to Mr. Hendell’s Musick, or the Performances of Senesino,
Faustina, and Cutzoni: the Town in this have been shamefully
blind to the Merit of Mr. Rolli.
He has followed the Antients so closely in the Propriety of his
Conduct, the Unity of his Characters, the natural Variety of Passions, the
Strength of Sentiment, and the Elegance of Diction, that I here invite him to
join with me in an English Tragedy on an Opera Plan. If the Gentleman thinks this too arduous an Undertaking, let us venture at a lower Cast! In fine, let us make the Town an ample Amends for the Suppression of Mr. Gay’s Sequel! without any Recourse to Wit, Humour, Natural Dialogue, Songs aptly introduced, or any other of those Trifles with which the Beggar’s Opera abounds. We have one sure Comfort; that is, we cannot fall short of Mr. Johnson’s Village Opera, nor be excell’d by R---m and his Didapper Knight: R---m cannot excel me, unless he excels himself.[38] |
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[description of the Muse:] [Canto V.] […] Thus in the Dame each nobler Grace we find, Fair Wortley’s angel-Accent, Eyes, and Mind. Whether her
Sight the dew-bright Dawn surveys, The Noon’s dry Heat, or Evening’s temper’d Rays, The Hours of Storm, or Calm, the gleby Ground, The corral’d Sea, gem’d Rock, or Sky profound, A Raphael’s Fancy animates each Line, Each Image strikes with Energy divine; Bacon, and Newton in her Thought conspire; Not sweeter than her Voice is Hendel’s Lyre.[39] |
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A LIST OF THE SUBSCRIBERS. […] Mr. George-Frederick Handel [no pagination] […] BLUNDRELLA: OR,THE IMPERTINENT. A TALE. […] SHE talk’d of Singers and Composers, Of their
Admirers and Opposers, Of the Cuzzoni and Faustini, Of Handel and of Bononcini; One was too rough, t’other too smooth, Attilio only hit her Tooth; And Tamo Tanto was a Song Would give her Pleasure all day long.[40] |
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The Establishment of their Royal
Highnesses the Princess Royal, the
Princess Amelia, and the Princess
Carolina. […] Pages
of the Back-Stairs. […] Musick-Master, Mr. George-Frederic Handell [per annum] 200 0 0[41] |
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[list of
subscribers] Mr Handell[42] |
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[“A Proposal to prevent the expensive Importation of
Foreign Musicians, &c. by forming an Academy of our own.”] Our Quality,
Gentry, and better sort of Traders must have Diversions; and if those that
are commendable be denied, they will take to worse: Now what can be more
commendable than Musick, one of the seven liberal Sciences, and no mean
Branch of the Mathematicks? Were it
for no other Reason I should esteem it, because it was the favourite
Diversion of his late Majesty, of glorious Memory; who was as wise a Prince
as ever fill’d the British Throne.
Nor is it less esteem’d by their present Majesties, whose Souls are form’d
for Harmony, and who have not disdain’d to make it a part in the Education of
their sacred Race. Our
Nobility and Gentry have shown their Love to the Science, by supporting at
such prodigious Expence, the Italian Opera improperly call’d an
Academy; but they have at the same time shown no small Partiality in
discouraging any thing English, and over-loading the town with such
heaps of Foreign Musicians. An Academy, rightly understood, is a Place for the Propagation of Science, by training up Persons thereto from younger to riper Years, under the Instruction and Inspection of proper Artists: How then can the Italian Opera properly be call’d an Academy, when none are admitted but such as are, at least are thought, or ought to [18] be, adepts in Musick? If that be an Academy, so are the Theatres of Drury-Lane, and Lincolns-Inn-Fields: Nay, Punch’s Opera may pass for a lower kind of Academy. Would it not be a glorious thing to have an Opera of our own, in our own most noble Tongue, in which the Composer, Singers, and Orchestre, should be of our own Growth? Not that we ought to disclaim all Obligations to Italy, the Mother of Musick, the Nurse of Corelli, Handel, Bononcini, and Geminiani; but then we ought no to be so stupidly partial, to imagine our Selves too Brutal a part of Mankind, to make any Progress in the Science: By the same reason that we love it, we may excel in it; Love begets Application, and Application Perfection. We have already had a Purcel, and no doubt, there are now many latent Genius’s, who only want proper Instruction, Application, and ENCOURAGEMENT, to become great Ornaments of the Science, and make England emulate even Rome it self.[43] |
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[London] October 14. On Friday last [the 10th] several of the Italian Singers lately arrived from Italy, who are to perform in the Opera’s, had the Honour of a private Performance before their Majesties at Kensington; when the Harpsichord was played on by Mr. Handell, and their Performances were much approved. It is said, that at every opera Mr. Heydegger, who is master of the House, receives above £1000.[44] |
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[Princess Amelia to
her governess Lady Portland] [Kensington] 11 October 1729 ... We had yesterday twice the new Singer her name is Strada it is a charming voice and think her beyond all her predecessors. She is mighty good and easie and hath exactly the way of talking of Cozzony [Cuzzoni]. The others ant [aren’t] yet come but indeed if they proove but half as good we shall be very happy this Winter.[45] |
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[Princess Amelia to
her governess Lady Portland] Kinsington [sic] October 23 1729 ... We have heard now all the Singers and are mightily satisfied it is the compleatest troop one could have expected ...[46] |
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[Paolo Antonio Rolli to Senesino, 6 November 1729] Do you really want me {...} to give you musical news? If everyone were as well satisfied with the company as is the Royal Family, we should have to admit that there never had been such an opera since Adam and Eve sang Milton’s hymn in the Garden of Eden. They say that little Strada has all the rapid execution of Faustina and all the sweetness of Cuzzoni, and so on about all the others! We shall see how it turns out. The proof of the pudding is in the eating, as the English proverb says. The truth is that Strada is simply a copy of Faustina with a better voice and better intonation, but without her charm and brio.[47] |
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They write from Milan, that the celebrated Signiora Faustina, who performed in the Opera there, since her Departure from England, is set out for Munich, the Capital of Bavaria, having engaged herself to sing on the Theatre of that City.[48] |
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[Lord Lansdowne to Mrs. Pendarves, 21 November 1729] The opening of the Parliament will fill your town, and revive all your pleasures. I am told there are arrived here lately two Roman ladies who equal Cuzzoni in their voices, and surpass all the world in their beauty. There is an Italian concert established here by subscription, for those of this country who have that taste: the performance is twice a week. None are permitted to enter but subscribers; I can therefore say nothing of it from my own knowledge; only by hearsay I learn they have made their appearance with great applause. [...][49] |
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[Mrs. Pendarves to Mrs. Anne Granville] Bernachi has a vast compass, his voice mellow and clear, but not so sweet as Senesino, his manner better; his person not so good, for he is as big as a Spanish friar. Fabri has a tenor voice, sweet, clear, and firm, but not strong enough, I doubt, for the stage: he sings like a gentleman, without making faces, and his manner is particularly agreeable; he is the greatest master of musick that ever sung upon the stage. The third is the bass, a very good distinct voice, without any harshness. La Strada is the first woman; her voice is without exception fine, her manner perfection, but her person very bad, and she makes frightful mouths. La Merighi is the next to her; her voice is not extraordinarily good or bad, she is tall and has a very graceful person, with a tolerable face; she seems to be [185] a woman about forty, she sings easily and agreeably. The last is Bertoli, she has neither voice, ear, nor manner to recommend her; but she is a perfect beauty, quite a Cleopatra, that sort of complexion with regular features, fine teeth, and when she sings has a smile about her mouth which is extreme pretty, and I believe has practised to sing before a glass, for she has never any distortion in her face. The first opera is Tuesday next [2 December], I have promised Mrs. Clayton to go with her. [...][50] |
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AT the KING’s-THEATRE in the HAY-MARKET, this present Tuesday, being the 2d Day of December, will be perform’d, A NEW OPERA, call’d LOTHARIUS. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d This Day at the Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. By HIS MAJESTY’s COMMAND, No Persons whatever to be admitted behind the Scenes. To begin exactly at Six o’Clock. NOTE, The SUBSCRIBERS TICKETS will be deliver’d this Day to such as have not received the same, at the Office in the Hay-Market, on Payment of the Money due on the Subscription.[51] |
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[Mrs. Pendarves to Mrs. Anne Granville, 5 December 1729] Yesterday I went with Mrs. Percival and Miss Donellan to the Crown in the Strand, to hear some music of Dr. Blow’s and Purcell’s. I was very well pleased with the solemnity of it: it is performed by the gentlemen of the club — the vocal part by the King’s choir. Saturday Morning, 6 Dec. 1729. I think I have not said one word of the opera yet, and that is an unpardonable omission; but when you know the salutation I had upon my entrance into the Opera-house, [229] you will not be surprized that I forgot all things I heard there. Mr. Cole sat by me and told me that the news of Bas was confirmed. I had not so much hardness in my nature as to hear of his deplorable end without being shocked, and whether it was owing to that, or that the opera really is not so meritorious as Mr. Handel’s generally are, but I never was so little pleased with one in my life. Bernachi, the most famous of the men, is not approved of; he is certainly a good singer, but does not suit the English ears. La Strada and the rest are very well liked. [...][52] |
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AT the KING’s-THEATRE in the HAY-MARKET, this present Saturday, being the 6th Day of December, will be perform’d, A NEW OPERA, call’d LOTHARIUS. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d This Day at the Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. By HIS MAJESTY’s COMMAND, No Persons whatever to be admitted behind the Scenes. To begin exactly at Six o’Clock. NOTE, The OPERAS will continue to be Performed on Tuesdays and Saturdays.[53] |
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AT the KING’s-THEATRE in the HAY-MARKET, this present Tuesday, being the 9th Day of December, will be perform’d, A NEW OPERA, call’d, LOTHARIUS. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d This Day at the Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. By HIS MAJESTY’s COMMAND, No Persons whatever to be admitted behind the Scenes. To begin exactly at Six o’Clock. NOTE, The OPERAS will continue to be Performed on Tuesdays and Saturdays.[54] |
Dec 11
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[Paolo Antonio Rolli to Giuseppe Riva, 11 December 1729] Ten days ago the opera began with “Lotario.” I only went last Tuesday, to the third performance. Everyone thinks it a very bad opera. Bernacchi failed the first night, but at the second performance he changed his method and had a success. In person and voice he does not please like Senesino, but he has his great reputation to fall back upon. The libretto was sung last year by Faustina and Senesino at Venice under the name “Adelaide.” Strada pleases mightily, and the Great Man says that she sings better than the two who have left us, [441] because one of them never really pleased him, and he would like to forget the other. The truth is that she has a penetrating thread of a soprano voice which tickles the ears—but, oh! how far removed from Cuzzoni! Bononcini, who was with me at the opera, agrees entirely with me as to this. Fabri is a great success. He really sings very well. Would you have believed that here in England, a tenor could have such a triumph? Merighi is really a perfect actress, and this is the general opinion. There is a certain Bertolli, a Roman girl who plays men’s parts. O! my dear Riva, if you could only see her perspiring under her helmet—I am sure you would fall in love with her in your most ... Modenese fashion. [“Son certo che la desidererete Modenesissamente!” An untranslatable pun.] O! she is a pretty girl! There is also a bass from Hamburg [Riemschneider], whose voice is more of a natural contralto than a bass. He sings sweetly in his throat and nose, pronounces Italian alla Cimbrica, acts like a sucking-pig, and looks like a valet de chambre. O! it is fine, you may trust me. They are preparing “Giulio Cesare,” perhaps because the audiences are diminishing. I think the storm is about to break on the head of our proud Bear. Beans are not for all markets, especially beans so badly cooked as this first basketful. Heidegger has got great credit for his dresses and scenery, though the latter does not rise much above mediocrity. We shall see what we shall see![55] |
Dec [13/]24
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[Edward Holdsworth in Lyons to Charles Jennens] I hear Cuzzoni & Farinelli are to sing at the Opera this next Carneval at Turin wch is but 6 days journey from hence, but Musick has not charms to draw me over the mountains this winter; However if you will leave Bernacchi for your favourite Cuzzoni I assure you your company will engage us to pass the snows with you, otherwise we shall content our selves wth such an Opera as we meet with here; wch indeed is but indifferent; but perhaps You will think it may suit well enough with my ears. If you are settled near Sr James, and ever see him, pray give my humble respects, & let him know his grandson is well. […2r…] I am sorry to hear yt London has been so sickly, but I hope it had not affected you, tho’ to tell you the truth, self interest almost forces me to be so cruel as to wish you as bad a winter this year as the last, that we may have the pleasure of your company the [2v] next year in Italy. Your fellow traveller pass’d the last summer so agreably, yt He wishes to spend the next in the same company, […][56] |
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AT the KING’s-THEATRE in the HAY-MARKET, this present Saturday, being the 13th Day of December, will be perform’d, A NEW OPERA, call’d, LOTHARIUS. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d this Day at the Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. By HIS MAJESTY’s COMMAND, No Persons whatever to be admitted behind the Scenes. To begin exactly at Six o’Clock. NOTE, The OPERAS will continue to be Performed on Tuesdays and Saturdays.[57] |
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AT the KING’s-THEATRE in the HAY-MARKET, this present Tuesday, being the 16th Day of December, will be perform’d, A NEW OPERA, call’d, LOTHARIUS. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d To-morrow [sic], at the Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. By HIS MAJESTY’s COMMAND, No Persons whatever to be admitted behind the Scenes. To begin exactly at Six o’Clock. Note, The Silver Tickets are ready to be deliver’d this Day to the Subscribers, at the Office in the Hay-Market, in Exchange for the Paper Tickets that have been already deliver’d to them.[58] |
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AT the KING’s-THEATRE in the HAY-MARKET, this present Saturday, being the 20th Day of December, will be perform’d, A NEW OPERA, call’d, LOTHARIUS. Pit and Boxes to be put together, and no Persons to be admitted without Tickets, which will be deliver’d This Day, at the Office in the Hay-Market, at Half a Guinea each. Gallery 5 s. By HIS MAJESTY’s COMMAND, No Persons whatever to be admitted behind the Scenes. To begin exactly at Six o’Clock. Note, The Silver Tickets are ready to be deliver’d this Day to the Subscribers, at the Office in the Hay-Market, in Exchange for the Paper Tickets that have been already deliver’d to them. N.B. This will be the last Time of performing till after the Holiday.[59] |
Dec 20
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[Mrs. Pendarves to Mrs. Anne Granville, 20 December 1729] The opera is too good for the vile taste of the town: it is condemned never more to appear on the stage after this night. I long to hear its dying song, poor dear swan. We are to have some old opera revived, which I am sorry for, it will put people upon making comparisons between these singers and those that performed before, which will be a disadvantage among the ill-judging multitude. The present opera is disliked because it is too much studied, and they love nothing but minuets and ballads, in short the Beggars’ Opera and Hurlothrumbo are only worthy of applause.[60] |
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[Genoa] Every Sunday evening, during the winter, an oratorio, or religious opera, is performed in this church [“St. Philippo Neri”], which is founded on some scripture history, and is succeeded by a sermon of near half an hour long; then the service concludes with a piece of church music. As the design of this is to keep people from ill company, and at the same time to incite them by the most animated exhortations to sanctity of life, no great objection I think can lie against it; but the summer diversion, though with he like view, cannot be looked upon with equal indulgence. Near prince Doria’s palace, without St. [386] Thomas’s-gate, these fathers have a garden, with a beautiful edifice in it, where every Sunday in the afternoon they permit several kinds of games, as draughts, chess, billiards; dice and cards indeed are excepted. It is true they do not play here for money, but for ave-maria’s, pater-nosters, and other prayers; and at the breaking up of a party, the losers kneel before an image of the virgin Mary, and there, according to their losings, discharge them to her, or to God, by pater-nosters, &c. In the evening they leave off playing, and an oratorio is performed; next comes a spiritual exhortation, and at length this medley of levity and religion closes with a solemn piece of music. The intent indeed is far from culpable, being to divert the commonalty from riotous meetings; and an excessive fondness for gaming is gratified without prejudice to their substance and families: but how this abuse of God’s name in these lost prayers can be justified, or such babbling, to which many have but little inclination, can be termed lawful or edifying, is a mystery to me.[61] |
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Among the
Italian female singers the precedency is not determined by the
connoisseurs; some declaring in favour of Francesca Cuzzoni Sandoni,
and others of Faustina Bordoni.
Neither of them indeed has any pretence to beauty, but of the two Cuzzoni
has the advantage in that particular.
Her voice is also clearer, and she is mistress of a greater compass of
notes. On the other hand Faustina
has a very graceful manner of singing, more skill and variety of the
modulations, makes quicker trills or shakes, and acts better on the stage
than Cuzzoni. As these two
ladies are declared rivals, they never sing together; especially since their
late return from England, where they endeavoured to mortify each other
to the utmost of their power. It was
indeed contrived to bring an opera on the stage, applicable to these two
performers, in which two enamoured and jealous princesses were introduced;
and, as far as possible, all precedency to either of them avoided. But this did not totally remove their
jealousy. As the virulence of party-spirit
in England plainly [263]
discovers itself in many things quite remote from politics, it proved so with
respect to these two Italian singers.
But since the origin of this difference of parties is foreign to my
purpose, I shall only say, that the party which opposed the court espoused Faustina. The two directors of the opera also
departed from their neutrality. And
whenever the famous Handel favoured Faustina in the
composition, and gave her opportunities to display her voice and skill to the
utmost, Buonancini [sic] took care to give Cuzzoni the
like advantage. This affair produced
several private quarrels. The ladies
particularly expressed great warmth for the different causes which they had
espoused. Those who favoured Faustina,
used to hiss and make a noise whenever Cuzzoni began to sing. And this rudeness was, with no less
violence, returned by Cuzzoni’s adherents, when Faustina was to
perform. At last, when the opera
subscriptions came to be renewed for the succeeding year, several absolutely
refused to subscribe if Faustina was allowed to sing any longer, and
others entered the like protest against Cuzzoni; so that the only
expedient for continuing the opera’s, and restoring harmony among the politer
part of the nation, was to send the two rival heroines out of England. Upon this, Handel himself made a
voyage to Italy, on purpose to provide new singers, who might be
persuaded to agree together without causing such heart-burning among the
audience. At Turin,
Handel laboured hard to prevail on Mademoiselle Somis, sister
to the celebrated musician and director of the royal chapel there, to
accompany him to London. But
her brother, from his nice sense of honour, strenuously opposed her appearing
on the stage, notwithstanding Mr. Allen, the English minister,
offered to be answerable that, for five or six years, she should have an
annual salary of a thousand pounds sterling, or twenty thousand Piedmontese
livres, though she could not appear in a principal character, as she
never had been upon the stage. The vast
sum of money which Faustina must have amassed in England,
appears from what she got by one benefit-night, the clear profit of which
amounted to fifteen hundred pounds sterling.
Besides, she received of my lady——, during her stay in England,
above a thousand pounds sterling in money and presents. The agreeableness of her conversation also
procured her admittance to all the assemblies of those persons of quality who
favoured her. Though a voyage to England
is so advantageous to the Italian singers of both sexes, who are
treated there with the greatest civility, yet they do not seem to be very
willing to undertake it, from a pretence, or a real persuasion, that the
saline exhalations of the sea is detrimental to a fine voice: But probably
this prejudice may wear off, since Faustina and Cuzzoni are
returned from England with their voices unhurt, and their fortunes
greatly improved. The [264] English have taken a
great deal of pains to induce Farinelli to take a voyage to London;
but hitherto to no purpose *. This
refusal may possibly proceed from the great sums of money which fine singers
get even in Italy; Farinelli having, during the last carnaval
at Venice, received five hundred pistoles †, and Cuzzoni a
thousand Zequins §. And very
lately Faustina, in five weeks, during which she performed about
fifteen times, brought away from Turin five hundred Louis d’ors
||; and for performing in seven or eight operas, acted about Ascension-time
at Venice, she received three hundred Louis d’ors. Senesino, during the last carnaval
at Turin, got six hundred Louis d’ors. He has now above twenty thousand Piedmontese
livres ‡ a year (being the interest of the money he has saved) with a
country-house near Sienna, which cost him above a hundred thousand Piedmontese
livres +, and has some thoughts of quitting the stage, and living on his
estate. * Farinelli was at last
prevailed upon in the year 1734, to go to England, when an offer was
made him of an annual allowance of two thousand five hundred pounds
sterling. His stay at London
was not long; for he had still more advantageous offers made him by the Spanish
ambassador, to engage him to go to Madrid, that his music might
sometimes divert the melancholy into which Philip V. was then fallen. † 447 l. 18 s. 4 d. § 616 l. 8 d. || About 500 l.
sterling. ‡ About 1000 l.
sterling. + 5000 l. sterling. Faustina
has likewise amassed a considerable fortune; and is going to be married to M.
Hasse, a native of Brunswick, whose skill in music is so great
that not a few connoisseurs in Italy think him equal to Handel. Some of these singers, however, seem to
despise all oeconomy: And as they get large sums without much trouble, so
they lavishly spend them by keeping elegant tables, wearing rich dresses, and
other extravagances; but throw away still more by gaming. [...] Other
famous female singers, besides Faustina and Cuzzoni, are Selvai,
or Maria Maddalena Frigeri, Anna Ciro, Giustina Turcotti,
Ceresina, and Lancetti.
A young woman called La Rosa, has been for some years
instructed in music here at the expence of the elector of Bavaria, and
great things are expected from her.
Mr. Handel, who at present resides at London, the
above-mentioned M. Hasse, Nicola Porpora, director of the band
of music in the hospital of incurables at Venice, Giovanni Porta,
of the chapel of the hospital della Pietà at Venice, Geminiano
Giocamelli, and [265] Luca
Antonio Predieri are highly celebrated as excellent composers of music.[62] |
[1] Manuscripts of the Earl of Egmont. Diary of the First Earl of Egmont (Viscount Percival). Vol. III. 1739-1747 (London: His Majesty’s Stationery Office, 1923), 325.
[2] The Daily Courant, no. 8506, Monday 13 January 1729, [2]; repr. (as from the London Gazette, 14 January), Deutsch, 234.
[3] Manuscripts of the Earl of Egmont. Diary of the First Earl of Egmont (Viscount Percival). Vol. III. 1739-1747 (London: His Majesty’s Stationery Office, 1923), 329 [Appendix I].
[4] Biblioteca Comunale, Siena, “Autografi porri,” filza XXVI, fascio IV: Luigia Cellesi, “Attorno a Haendel: Letter inedite del poeta Paolo Rolli,” Musica d’Oggi 15 (1933), 7-16: 11-13; partly repr. Sesto Fassini, “Il melodramma italiano a Londra ai tempi del Rolli,” Rivista musicale Italiana 19 (1912), 35-74, 575-636: 577-78; and Sesto Fassini, Il melodramma Italiano a Londra nella prima metà del Settecento (Torino: Bocca, 1914), 84-85.
[5] R. A. Streatfeild, “Handel, Rolli, and Italian Opera in London in the Eighteenth Century,” The Musical Quarterly 3 (1917), 428-445: 438-39.
[6] The Daily Post, no. 2918, Monday 27 January 1729, [1]; repr., Deutsch, 236.
[7] Biblioteca Comunale, Siena, “Autografi porri,” filza XXVI, fascio IV: Luigia Cellesi, “Attorno a Haendel: Letter inedite del poeta Paolo Rolli,” Musica d’Oggi 15 (1933), 7-16: 13-14; partly repr. (February 4 section) Sesto Fassini, “Il melodramma italiano a Londra ai tempi del Rolli,” Rivista musicale Italiana 19 (1912), 35-74, 575-636: 578; and Sesto Fassini, Il melodramma Italiano a Londra nella prima metà del Settecento (Torino, Fratelli Bocca, 1914), 164-65.
[8] R. A. Streatfeild, “Handel, Rolli, and Italian Opera in London in the Eighteenth Century,” The Musical Quarterly 3 (1917), 428-445: 439-40.
[9] The Universal Spectator, and Weekly Journal, no. 18, Saturday 8 February 1729, [4].
[10] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:188.
[11] The Daily Journal, no. 2535, Friday 21 February 1729, [1].
[12] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:189.
[13] The Eccho: Or, Edinburgh Weekly Journal, no. 10, Wednesday 12 March 1729, 40.
[14] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:193-94.
[15] The
Eccho: Or, Edinburgh Weekly Journal, no. 10, Wednesday 12 March 1729, 38.
[16] The
Eccho: Or, Edinburgh Weekly Journal, no. 11, Wednesday 19 March 1729, 43.
[17] West Sussex Record Office, Goodwood Ms 105/435: Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 380-81.
[18] The Daily Journal, no. 2573, Monday 7 April 1729, [2]; repr., Deutsch, 240.
[19] The
Eccho: Or, Edinburgh Weekly Journal, no. 114, Wednesday 9 April 1729, 54.
[20] Fog’s Weekly Journal, no. 33, Saturday 10 May 1729, [2].
[21] Biblioteca Comunale, Siena, “Autografi porri,” filza XXVI, fascio IV: Luigia Cellesi, “Attorno a Haendel: Letter inedite del poeta Paolo Rolli,” Musica d’Oggi 15 (1933), 7-16: 14-16.
[22] West Sussex Record Office, Goodwood Ms 105/436: Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 381-82.
[23] The Flying-Post: Or, Weekly Medley, no. 36, Saturday 7 June 1729, [4]; The Country Journal: Or, The Craftsman, no. 153, Saturday 7 June 1729, [2]. The visit did not take place (The London Evening-Post, no. 235, Tuesday 10 – Thursday 12 June 1729, [2]).
[24]
The Eccho: Or, Edinburgh Weekly Journal, no. 24, Wednesday 18 June 1729,
86.
[25] The London Gazette, no. 6789, Saturday 21 – Tuesday 24 June 1729, [1]; repr., Deutsch, 243.
[26] Brice’s Weekly Journal, no. 220, Friday 4 July 1729, 3; repr., The Country Journal: Or, The Craftsman, no. 157, Saturday 5 July 1729, [2]; The Flying-Post: Or, Weekly Medley, no. 40, Saturday 5 July 1729, [4].
[27] The Daily Courant, no. 8650, Wednesday 2 July 1729, [2]; repr., The London Evening-Post, no. 245, Tuesday 1 – Thursday 3 July 1729, [2]; repr., The Universal Spectator, and Weekly Journal, no. 39, Saturday 5 July 1729, [2]; The London Journal, no. 518, Saturday 5 July 1729, [3]; repr., Victor Schoelcher, The Life of Handel (London: Robert Cocks, 1857), 89-90.
[28]
John Grano, Handel’s Trumpeter: The Diary of John Grano, ed. John Ginger
(Stuyvesant, New York: Pendragon Press, 1998), 284.
[29]
Lowell Lindgren, “Musicians and Librettists in the Correspondence of Gio.
Giacomo Zamboni (Oxford, Bodleian Library, MSS Rawlinson Letters 116-138),” [Royal Musical Association] Research Chronicle 24 (1991), 1-194:
112.
[30] The London Journal, no. 523, Saturday 9 August 1729, [3].
[31] The Weekly Medley. By a Society of Gentlemen, no. 45, Saturday 9 August 1729, [2].
[32]
[Amos Meredith and John Byrom], The Prologue and Epilogue to the New
Tragi-Comical-Farcical Opera, call’d Hurlothrumbo: Or, News from Terra Australis
Incognita (London: R. Walker, [?1729]), 8; see also, Deutsch, Handel,
241.
[33]
R. A. Streatfeild, “Handel, Rolli, and Italian Opera in London in the
Eighteenth Century,” The Musical Quarterly 3 (1917), 428-445, 440.
[34] The Daily Post, no. 3117, Tuesday 16 September 1729, [1]; repr., The Country Journal: Or, The Craftsman, no. 168, Saturday 20 September 1729, [2].
[35] West Sussex Record Office, Goodwood Ms 105/437: Elizabeth Gibson, The Royal Academy of Music, 1719-1728: The Institution and Its Directors (New York and London: Garland, 1989), 382.
[36]
The Daily Post, no. 3122, Monday 22 September 1729, [1].
[37] The Daily Post, no. 3142, Wednesday 15 October 1729, [1]; repr., Brice’s Weekly Journal, no. 240, Friday 24 October 1729, [1].
[38]
Iscariot Hackney [=Richard Savage], An Author to be Lett. Being A proposal humbly address’d to the
Consideration of the Knights, Esquires, Gentlemen, and other worshipful and
weighty Members of the Solid and Ancient Society of the Bathos (London: A.
Moore, 1729), 8.
[39] Richard Savage, The Wanderer: A Poem. In Five Cantos (London: J. Walthoe, 1729), 103.
[40] H[enry] Carey, Poems on Several Occasions, 3rd edn (London: E. Say, 1729), 12, 16.
[41]
John Chamberlayne, Magnae Britannia
Notitia: Or, the Present State of Great Britain (London: D. Midwinter, J.
Tonson et al., 1729), 267.
[42]
[Joseph Mitchell], Poems on Several
Occasions, 2 vols (London: the author, 1729), 1:list is not paginated.
[43]
Andrew Moreton [= Daniel Dafoe], Augusta Triumphans: Or, The Way to make
London the most flourishing City in the Universe, 2nd edn
(London: J. Roberts, 1729), 17-18.
[44]
Norwich Gazette, 18 October 1729: Deutsch, 245.
[45]
Richard G. King, “Two New Letters from Princess Amelia,” Händel-Jahrbuch
40-41 (1994-95), 169-71: 169.
[46]
Richard G. King, “Two New Letters from Princess Amelia,” Händel-Jahrbuch
40-41 (1994-95), 169-71: 169.
[47] R. A. Streatfeild, “Handel, Rolli, and Italian Opera in London in the Eighteenth Century,” The Musical Quarterly 3 (1917), 428-445: 440.
[48] The Daily Journal, no. 2762, Thursday 13 November 1729, [1].
[49] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:221.
[50] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:184-85.
[51] The Daily Journal, no. 2778, Tuesday 2 December 1729, [1].
[52] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:228-29.
[53] The Daily Journal, no. 2782, Saturday 6 December 1729, [1].
[54] The Daily Journal, no. 2784, Tuesday 9 December 1729, [1].
[55] R. A. Streatfeild, “Handel, Rolli, and Italian Opera in London in the Eighteenth Century,” The Musical Quarterly 3 (1917), 428-445: 440-41.
[56] Foundling Museum, Gerald Coke Handel Collection, accession no. 2702, “Jennens Holdsworth Letters 1,” nr. 1, ff. 1r–2; repr. Amanda Babington and Ilias Chrissochoidis, “Musical References in the Jennens–Holdsworth Correspondence (1729–46),” Royal Musical Association Research Chronicle, 45:1 (2014), 76–129: 85–86.
[57] The Daily Journal, no. 2788, Saturday 13 December 1729, [1].
[58] The Daily Journal, no. 7893 [2790], Tuesday 16 December 1729, [2].
[59] The Daily Journal, no. 2794, Saturday 20 December 1729, [2].
[60] The Autobiography and Correspondence of Mary Granville, Mrs. Delany, ed. Lady Llanover, 3 vols. (London: Richard Bentley, 1861), 1:229.
[61]
John George Keysler [= Johann Georg Keyssler], Travels through Germany,
Bohemia, Hungary, Switzerland, Italy, and Lorrain. Giving a True and Just Description of the
Present State of those Countries, 4 vols. (London: A. Linde, and T. Field,
1757), 1:385-86; repr. Travels through Germany, Hungary, Bohemia,
Switzerland, Italy, and Lorrain.
Containing an accurate Description of the Present State and Curiosities
of those Countries...To which is prefixed, The Life of the Author, by M.
Godfrey Schutze, 4 vols. (London: the editor, 1758), 2:139-40.
[62]
John George Keysler [= Johann Georg Keyssler], Travels through Germany,
Bohemia, Hungary, Switzerland, Italy, and Lorrain. Giving a True and Just Description of the
Present State of those Countries, 4 vols. (London: A. Linde, and T. Field,
1757), 3:262-65.