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CHAPTER I. FROM 1600 TO 1800 A. D.
The year 1600 marked the beginning of a new era in musical history, for in that year the first public performance of regular opera took place in Florence, when the "Eurydice" of Rinuccini and Peri was given in honor of the wedding of Marie de' Medici and Henry IV. of France. The growth and ever-increasing popularity of the opera, the development of civilization, the increase of wealth and the population of new countries, have led not only to the highest{12} cultivation of the human voice, wherein music exerts its greatest power of fascination, but have brought forward hundreds of competitors for the artistic laurels which are the reward of those who reach the highest state of musical perfection.
For nearly a century opera was confined to the continent of Europe, but in 1691 Margarita de L'Epine, a native of Tuscany, appeared in London. She was remarkable for her plainness of speech and of features, her rough manners and swarthy appearance, and she must indeed have been possessed of a fine voice to have been able to retain her hold on public favor. In 1692 she announced her last appearance, but it was so successful that she kept on giving last appearances and did not leave England for several years, thus inaugurating a custom which is observed to the present day. Margarita married the celebrated Doctor Pepusch.{13}
Contemporary with her was Katharine Tofts, an English woman, for an account of whom we are indebted to Colley Cibber, the great critic and playwright. She was a very beautiful woman with an exquisitely clear, sweet voice. Her career was short, for, after having achieved a tremendous success in one of her parts, she became demented, and, though eventually cured, she never returned to the stage. There was a lively rivalry between the two singers, which furnished gossip for the town.
Anastasia Robinson, mild and pleasing in manners, with great sweetness of expression and large blue eyes, was engaged to sing by George Frederick Händel, who at that time was the impresario of the London opera. Other singers he engaged in Dresden, of whom Margherita Durastanti was the soprano. Large, coarse, and masculine, she is said to have been distinguished as much for the high respectability of her character{14} as for her musical talent. Senesino was considered the leading tenor singer of his day. He was a man of imposing figure and majestic carriage, with a clear, powerful, equal, and fluent voice. The basso was Boschi, who was chiefly remarkable for a voice of immense volume and a very vigorous style of acting.
Anastasia Robinson was eclipsed, after a career of twelve years, by Francesca Cuzzoni, and married the Earl of Peterborough. She left a reputation for integrity and goodness seldom enjoyed by even the highest celebrities. Cuzzoni made an immediate and immense success, and Händel took great pains to compose airs adapted to display her exquisite voice. She, in return, treated him with insolence and caprice, so that he looked about for another singer. His choice fell upon Faustina Bordoni, a Venetian lady who had risen to fame in Italy. She was elegant in figure, agreeable in manners, and{15} had a handsome face. Cuzzoni, on the other hand, was ill made and homely, and her temper was turbulent and obstinate. A bitter rivalry at once sprang up, Händel fanning the flame by composing for Bordoni as diligently as he had previously done for Cuzzoni.
The public was soon divided, and the rivalry was carried to an absurd point....