667:
592:
690:...Cuzzoni had been publicly told...she was to be hissed off the stage on Tuesday; she was in such concern at this, that she had a great mind not to sing, but I...positively ordered her not to quit the stage, but let them do what they would...and she owns now that if she had not had that order she would have quitted the stage when they cat-called her to such a degree in one song, that she was not heard one note, which provoked the people that liked her so much, that they were not able to get the better of their resentment, but would not suffer the Faustina to speak afterwards.
29:
702:. With royalty again present in the person of the Princess of Wales, Cuzzoni and Faustina were onstage together and members of the audience who were supporters of one of the prima donnas were loudly protesting and hissing whenever the other one sang. Actual fist fights broke out in the audience between rival groups of "fans" and Cuzzoni and Faustina stopped singing, began trading insults and finally came to blows onstage and had to be dragged apart.
607:, to join established London favourites Francesca Cuzzoni and the star castrato Senesino in the company's performances. Many opera companies in Italy featured two leading ladies in one opera and Faustina (as she was known) and Cuzzoni had appeared together in opera performances in various European cities with no trouble; there is no indication that there was any bad feeling or ill-will between the two of them prior to their London joint appearances.
461:
805:
151:
711:
Indecencies: And notwithstanding the
Princess Caroline was present, no Regards were of force to restrain the Rudeness of the Opponents....(the two singers) pull'd each others' coiffs (hair)...it is certainly an apparent Shame that two such well-bred ladies should call each other Bitch and Whore, should Scold and Fight like any Billingsgates (fishmongers).
52:
445:
897:
and the anti-German faction of the
English nobility who backed the Opera of Nobility sought to gain ground against the German court by attacking the foreigner Handel, little concerned about the paradox of the situation: the nationalistic faction fought with the weapon of the foreign Italian opera and
784:
and ran for 62 consecutive performances, the longest run in theatre history up to that time. It marked the beginning of a change in London musical taste and fashion, away from
Italian opera in favour of something less highbrow, more home-grown, and more easily intelligible. The 1727–28 season boasted
685:
on 4 April 1727 with members of the royal family present, elements of the audience were extremely unruly, hissing and interrupting the performance with cat-calls when the "rival" to their favourite was performing, causing public scandal. Cuzzoni issued a public apology to the royal family through one
710:
On
Tuesday-night last, a great disturbance happened at the Opera, occasioned by the Partisans of the Two Celebrated Rival Ladies, Cuzzoni and Faustina. The Contention at first was only carried on by Hissing on one side, and Clapping on the other; but proceeded at length to Catcalls, and other great
610:
The three stars, Bordoni, Cuzzoni and
Senesino commanded astronomical fees, making much more money from the opera seasons than Handel did. The opera company would have been aware that the story of the two princesses in love with Alexander the Great chosen for the two prima donnas' first joint
749:
The Royal
Academy of Music collapsed at the end of the 1728 – 29 season, partly due to the huge fees paid to the star singers, and Cuzzoni and Faustina both left London for engagements in continental Europe. Handel started a new opera company with a new prima donna,
633:...never to consent to any thing that can put the Academy into disorder, as it must, certainly, if what I hear … is put in Execution: I mean the opera of Alexander the great; where there is to be a Struggle between the Rival Queen’s, for a Superiority.
602:
As the newspaper notes, full houses were by no means a regular occurrence by that time, and the directors of the Royal
Academy of Music decided to increase audiences' interest by bringing another celebrated international opera star, Italian soprano
677:
Many audience members were extremely enthusiastic about the singers. At the conclusion of one of
Cuzzoni's arias at a performance of the original run, a man in the gallery called out "Damn her: she has got a nest of nightingales in her belly".
771:
to be postponed until the next season and prompted both librettist Paolo Rolli and composer to make significant changes to their work. They decided to give the patriotic drum a good thump by adding gratuitous references to
British
758:, wrote in a letter (the original is in Italian) that Handel said that Strada "sings better than the two who have left us, because one of them (Faustina) never pleased him at all and he would like to forget the other (Cuzzoni)."
916:
after quarrels with the directors, disagreement between the directors themselves, about the employment of new singers and squabbles on stage, but for all the
Academy's problems, its success was enormous.
625:, first performed in 1677 and often revived and it may be that they were encouraging the idea that the two singers were rivals. One of the agents who had arranged Faustina's appearances in London,
641:
went off with no signs of animosity between Bordoni and Cuzzoni or their respective supporters, but it was not very long after that tension between the two erupted. As 18th century musicologist
169:
The capital of ÂŁ10,000 was divided into 50 shares of ÂŁ200 each. Sixty-three people initially subscribed for shares. The issue was rapidly oversubscribed: several took more than one share:
354:, and engaged leading members of the cast on behalf of the Royal Academy of Music. In April 1720 the Academy began producing operas. The orchestra consisted of seventeen violins, two
108:
for a term of 21 years with a governor, a deputy governor and at least fifteen directors. The (first) Royal Academy lasted for only nine seasons instead of twenty-one, but both the
796:
The Royal Academy produced 461 performances, 235 were works by Handel: 13 operas. Eight operas were by Bononcini (114 performances) and seven operas by Ariosti (54 performances).
587:
Handel had the satisfaction of seeing an Old Opera of his not only fill the House, which had not been done for some time, but above three hundred turn'd away for want of room.
785:
three new operas, but in 1729 the directors agreed to suspend activity after losing money. Not Handel, he had been the only one on their pay list. He immediately started a
725:
of 1728, and tainting the entire reputation of Italian opera in London with disrepute in the eyes of many. The most popular account of the onstage fight between the two
131:
responsible not only for engaging soloists but also for adapting operas from abroad and for providing possible libretti for his own use, generally provided from Italy.
181:
carried 73 names. The extra ten were perhaps those admitted at the directors' meetings on 30 November and 2 December 1719. This would give a total capital of ÂŁ17,600.
1563:
681:
However, some members of the London audience had become fiercely partisan in favouring either Bordoni or Cuzzoni and disliking the other and at the performance of
570:(1725) "one of the finest pathetic airs that can be found in all works." Eventually Bononcini was dismissed, and went into private service, Robinson retired and
503:, had not yet arrived in London. Senesino had obligations to fulfill and arrived in September 1720, accompanied by a group of outstanding singers: the castrato
1589:
1486:
629:, explicitly warned against the choice of libretto as likely to cause "disorder" in a letter to the directors of the Royal Academy of Music, imploring them:
303:
508:
504:
666:
271:
251:
583:, which had been spectacularly successful at its first performances in 1723 and was again a hit at its revival, with a London newspaper reporting
428:
1687:
Dean, W. (2006) "Handel's Operas, 1726–1741", p. 215 (The Boydell Press); Winton Dean: "Handel's Sosarme, a Puzzle Opera", in: Essays on Opera
731:
The Devil To Pay at St. James's: Or, A Full And True Account of a Most Horrible And Bloody Battle Between Madam Faustina And Madam Cuzzoni, Etc
19:
This article is about the company founded to support the performance of operas by Händel in London. For the music conservatoire in London, see
829:, a former theatre manager from London. Back home he composed seven more operas. On his way back he visited his mother and probably met with
663:, again with roles for both sopranos, was well-received and had nineteen performances in its initial run, a mark of success for those times.
403:
was the trumpeter, John Festing played oboe; Charles Frederick Weideman was the flautist and oboist and is also known from his appearance in
912:
The Academy survived until 1734, after which it encountered many difficulties: arguments between Handel and his singers, the dismissal of
37:
1660:
299:
999:
Handel, A Celebration of his life and times, 1685–1759. Edited by Jacob Simon. Published by the National Portrait Gallery, London.
283:
736:
Despite this fiasco, both ladies continued to appear together onstage in several more operas presented by the Academy, among them
1775:
216:
204:
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295:
988:(1948) Music in the Baroque Era. From Monteverdi to Bach. J.M. Dent & Sons Ltd. London, Toronto, Melbourne. Reprint 1983.
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among his most pleasing; Dean states the opera does more honour to Handel as a musician than as a dramatist. Handel composed
291:
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975:(1955), Handel: A Documentary Biography. W.W. Norton & Company Inc Publishers. New York. Reprint 1974, Da Capo Press.
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The performance was abandoned, creating an enormous scandal reported gleefully in newspapers and pamphlets, satirised in
315:
1525:
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532:. It became his most successful opera in the years of the Academy. In 1724 and 1725 Handel wrote several masterpieces:
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841:, arrived too late to meet with his famous colleague, who had left earlier that day. Back in London Handel produced
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492:. The great singers who were to be the brightest stars of the Royal Academy during the next few years, such as the
259:
1790:
694:
These sort of disturbances continued however, climaxing that June in a performance at the Academy of an opera by
453:
560:(also 1724). Insisting on adding the death of Bajazet he had a direct role in shaping the climax of the work.
1541:
1461:
1307:
961:
Dean, W. (1993) "Handel's Sosarme, a Puzzle Opera". In: Essays on Opera. Oxford University Press. Oxford.
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and governor of the corporation, the Duke of Newcastle, to look for new singers. Handel travelled to
105:
1724:
818:
92:
It commissioned large numbers of new operas from three of the leading composers in Europe: Handel,
55:
381:
and John Jones were violinists. Bononcini was a cellist, he and Handel presumably accompanied the
830:
781:
267:
89:. It is not connected to the London conservatoire with the same name, which was founded in 1822.
239:.In 1723 the Academy paid a dividend of seven percent. It was the only dividend they ever paid.
1785:
1675:
75:
63:
20:
1222:
1221:
The birth of the orchestra: history of an institution, 1650–1815 by John Spitzer, Neal Zaslaw
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941:& J.M. Knapp (1995) Handel's operas 1704–1726. Revised Edition. Oxford: Clarendon Press.
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875:, but with mixed success with the public. In the long run Handel failed to compete with the
822:
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8:
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summoned the aid of foreigners such as Hasse, himself an Italianized German like Handel.
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135:
28:
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Handel had composed about 30 operas for the Royal Academy. and moved his productions to
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1678:(1802) Ăśber Johann Sebastian Bach: Leben, Kunst und Kunstwerke, p. 63 (reprint 1950).
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The duke of Newcastle (left) and the Earl of Lincoln, brothers-in-law as painted by
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82:
51:
1707:(1948) Music in the Baroque Era. From Monteverdi to Bach, p. 325. Reprint 1983.
825:. Handel travelled to Italy to engage seven new singers. In Bologna he met with
951:
Dean, W. (2006) “Handel’s Operas, 1726–1741”, (The Boydell Press). Woodbridge.
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848:
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270:, Mr George Harrison, Mr (Thomas?) Smith, Mr Francis Whitworth (a brother of
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Extravagant fees were offered to entice the best performers from Italy. For
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653:, as for two people to ride on the same horse, without one being behind.
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16:
Company founded to support the performance of operas by Händel in London
1329:
A General History of Music from the Earliest Ages to the Present Period
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it seems impossible for two singers of equal merit to tread the stage
85:, by a group of aristocrats to secure themselves a constant supply of
1469:
888:
859:
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1760:
1023:
Dean, W. & J.M. Knapp (1995) Handel's operas 1704–1726, p. 298.
804:
716:
496:
493:
464:
395:, also played cello, Pietro Giuseppe Sandoni, who would soon marry
150:
254:, noted for his musical talents who had studied harpsichord under
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809:
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367:
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339:
1749:
1054:
Dean, W. (2006) "Handel's Operas, 1726–1741", pp. 125, 274, 399.
1187:
Handel: tercentenary collection by Stanley Sadie, Anthony Hicks
659:
579:
524:
138:
was the "Italian secretary of the Academy"; he was replaced by
738:
355:
191:
appointed as governor but never on duty as such, followed by
1629:"George Frideric Handel: his story from Germany to England"
742:
by Handel, the first time he used a libretto originally by
448:
A caricature of Margherita Durastanti, drawn while she was
359:
184:
The first twelve and main subscribers listed, were the
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was familiar to London audiences through a tragedy by
1067:
Essays on Handel and Italian opera by Reinhard Strohm
623:
The Rival Queens, or the Death of Alexander the Great
1736:
Handel, A Celebration of his life and times, p. 111.
1340:
1338:
1278:"Books – Lindgren 13 (1): 75 – The Opera Quarterly"
1618:Dean, W. (2006) Handel's Operas 1726–1741, p. 67.
1267:. London: Adams and Charles Black Limited, p. 89.
474:, engaged by the Academy for as long as possible.
1767:
1335:
645:observed about the Cuzzoni / Faustina rivalry:
74:was a company founded in February 1719, during
342:to attend the newly built opera house. He saw
1582:
799:
177:printed a list of 63 names, a later list by
1408:
1406:
1387:The Gilded Stage: A Social History of Opera
1331:(1935 ed.). Oxford Publishing Company.
1304:Handel's trumpeter: the diary of John Grano
817:In 1729 Handel became joint manager of the
574:may have been employed as a scene-painter.
488:, Handel wrote one of his favourite arias,
104:corporation under letters patent issued by
1380:
1378:
1376:
1183:
1128:
1126:
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1101:
564:called the prison scene's "Chi di voi" in
546:as Cornelia. Not a castrato but a tenor,
412:The first opera staged by the Academy was
1481:
1479:
1352:
1350:
1327:Burney, Charles (1789). F. Mercer (ed.).
1104:"The life of Handel by Victor Schoelcher"
833:, sent by his father, as the story goes.
733:, an anonymous poem in rhyming couplets.
554:in Handel's most powerfully tragic opera
334:On 14 May 1719 Handel was ordered by the
1415:"Programme Notes for "The Rival Queens""
1403:
1134:"Features: Handel and the Royal Academy"
803:
776:, justice and power. In 1728 John Gay's
665:
590:
459:
443:
149:
50:
27:
1384:
1373:
1280:. Oq.oxfordjournals.org. Archived from
1184:Sadie, Stanley; Hicks, Anthony (1987).
1121:
358:, four cellos, two double basses, four
124:until the expiry of the original term.
100:. The Academy took the legal form of a
1768:
1476:
1429:
1347:
1326:
1320:
1302:Grano, John Baptist and Ginger, John.
1063:
1596:. Handel House Museum. Archived from
1566:. Handel House Museum. Archived from
439:
399:, was the second harpsichord player.
264:Benjamin Mildmay, 1st Earl FitzWalter
1649:Dean, W. & M. Knapp, p. 308-309.
1542:"Handel and the Battle of the Divas"
1515:
1509:
1435:
879:, who had engaged musicians such as
577:In February 1726 Handel revived his
1356:
1306:, p. 13-14. Pendragon Press, 1998.
851:ranked the score of his next opera
13:
1468:. Handel Institute. Archived from
813:, frontispiece to the score, 1732.
145:
14:
1802:
1743:
1412:
1254:Deutsch, O.E. (1955), p. 96, 123.
1170:Dean, W. & J.M. Knapp (1995)
1064:Strohm, Reinhard (20 June 1985).
1317:Dean, W. & M. Knapp, p. 307.
1034:"Handel Reference Database 1719"
837:, working only 20 miles away in
456:, Venice, between 1709 and 1712.
120:seem to have operated under its
1730:
1717:
1698:
1681:
1669:
1652:
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1296:
1270:
1265:Handel: A Documentary Biography
1257:
1248:
1226:
1215:
1136:. PlaybillArts. 1 December 2004
754:. One of Handel's librettists,
1776:1719 establishments in England
1177:
1164:
1148:
1095:
1057:
1048:
1026:
1017:
909:took over the King's Theatre.
542:arias that became famous, and
454:Teatro San Giovanni Grisostomo
350:, composed for the wedding of
1:
1781:Companies established in 1719
1010:
468:
159:
782:Lincoln's Inn Fields Theatre
518:Handel used the libretto of
329:
318:, Brigadier-General Hunter,
242:
7:
1102:Schoelcher, Victor (1857).
920:
550:, sang the leading role of
10:
1807:
932:
895:Frederick, Prince of Wales
821:with the Swiss aristocrat
765:caused the performance of
389:, one of the composers of
373:The brothers Prospero and
18:
1750:Handel Reference Database
1172:Handel's operas 1704–1726
847:, an expensive disaster.
800:The New or Second Academy
134:Initially the librettist
106:George I of Great Britain
45:National Portrait Gallery
1725:List of operas by Handel
1462:"List of Handel's works"
1385:Snowman, Daniel (2010).
887:and the famous castrato
426:by Handel and the third
312:Brigadier-General Dormer
127:Handel was appointed as
1234:"Portrait of Blathwayt"
831:Wilhelm Friedemann Bach
791:Second Academy of Music
611:appearance in Handel's
490:Ombra cara di mia sposa
129:Master of the orchestra
1791:George Frideric Handel
1676:Johann Nikolaus Forkel
1263:Deutsch, O.E. (1955),
814:
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304:Thomas Coke of Norfolk
292:the Earl of Waldegrave
284:the Duke of Queensbury
233:the Earl of Litchfield
229:the Earl of Burlington
217:the Earl of Sunderland
205:the Duke of Manchester
166:
76:George Frideric Handel
72:Royal Academy of Music
67:
48:
21:Royal Academy of Music
1727:, numbers 12 till 42.
1590:"Synopsis of Lotario"
1516:Dean, Winton (1997).
1436:Dean, Winton (1997).
1361:. Handel House Museum
1159:The Earls of Creation
907:Opera of the Nobility
877:Opera of the Nobility
835:Johann Sebastian Bach
807:
708:
706:of 10 June reported:
688:
669:
657:Handel's next opera,
647:
631:
594:
585:
480:Margherita Durastanti
463:
447:
262:, Mr James Bruce, Mr
221:the Earl of Rochester
207:the deputy governor,
193:the Duke of Newcastle
153:
140:Nicola Francesco Haym
118:Opera of the Nobility
54:
31:
1663:23 June 2009 at the
1518:The New Grove Handel
1438:The New Grove Handel
823:John James Heidegger
637:The performances of
406:The Enraged Musician
352:August III of Poland
280:John James Heidegger
256:Alessandro Scarlatti
225:the Earl of Berkeley
213:the Duke of Montrose
201:the Duke of Portland
142:within a few years.
1491:Handel House Museum
1344:Burrows 2012, p.154
1036:. Ichriss.ccarh.org
927:Handel House Museum
704:The British Journal
686:of her supporters:
538:, (1724) with many
385:in all the operas.
379:Johan Helmich Roman
237:the Earl of Lincoln
209:the Duke of Chandos
197:the Duke of Grafton
136:Paolo Antonio Rolli
1631:. Baroquemusic.org
1570:on 10 October 2014
1417:. Hyperion Records
1389:. Atlantic Books.
881:Johann Adolf Hasse
815:
778:The Beggar's Opera
722:The Beggar's Opera
696:Giovanni Bononcini
675:
600:
548:Francesco Borosini
544:Anastasia Robinson
528:, with Cuzzoni as
476:
458:
440:Operas and singers
434:Domenico Scarlatti
401:John Baptist Grano
324:Major-General Wade
175:Otto Erich Deutsch
173:subscribed ÂŁ1000.
167:
98:Giovanni Bononcini
68:
60:Haymarket (London)
56:The King's Theatre
49:
1756:Jstor.org 3207146
1564:"Ricccardo Prino"
744:Pietro Metastasio
596:Francesca Cuzzoni
501:Francesca Cuzzoni
420:, the second was
397:Francesca Cuzzoni
288:the Earl of Stair
272:Charles Whitworth
1798:
1761:Jstor.org 735336
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1493:. Archived from
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1472:on 17 July 2012.
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1440:. W. W. Norton.
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1413:Hicks, Anthony.
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671:Faustina Bordoni
605:Faustina Bordoni
509:Maddalena Salvai
499:and the soprano
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375:Pietro Castrucci
336:Lord Chamberlain
320:William Poultney
186:Lord Chamberlain
164:
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41: 1710–1744
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482:in the role of
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768:Riccardo Primo
651:a parte eguale
643:Charles Burney
562:Charles Burney
507:, the soprano
441:
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418:Giovanni Porta
387:Filippo Amadei
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1470:the original
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1359:"Alessandro"
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1282:the original
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1209:Google Books
1207:– via
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530:prima donna
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450:prima donna
383:recitatives
377:as well as
163: 1721
102:joint-stock
87:opera seria
1770:Categories
1635:2 February
1288:2 February
1240:2 February
1203:2 February
1140:2 February
1109:2 February
1083:2 February
1040:2 February
1011:References
827:Owen Swiny
700:Astianatte
639:Alessandro
627:Owen Swiny
614:Alessandro
274:), Doctor
32:Handel by
1174:, p. 300.
889:Farinelli
860:Partenope
567:Rodelinda
557:Tamerlano
485:Radamisto
423:Radamisto
330:Musicians
243:Directors
1723:See the
1661:Archived
1487:"Admeto"
939:Dean, W.
921:See also
763:George I
717:John Gay
522:for his
497:Senesino
494:castrato
465:Senesino
414:Numitore
364:bassoons
362:, three
116:and the
1161:1962:96
933:Sources
872:Orlando
854:Sosarme
810:Sosarme
552:Bajazet
540:da capo
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452:at the
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368:theorbo
344:Teofane
340:Dresden
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360:oboes
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