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Scan 29
Dictionary of music and musicians, 1908
8 lines. Read by computer on 5 September 2026. Printed page 9. See the scan on archive.org.
1second visit to Rome, where he was anxiously expected. In 1727 he went to Bologna, where he was to meet the famous Bernacchi, the 'King of Singers,' for the first time. Meeting this rival in a grand duo, Farinelli poured forth all the beauties of his voice and style without reserve, and executed a number of most difficult passages, which were rewarded with tumultuous applause. Nothing daunted, Bernacchi replied in the same air, repeating every trill, roulade, or cadenza which had been sung by Farinelli. The latter, owning his defeat, entreated his conqueror to give him some instruction, which Bernacchi, with equal generosity, willingly consented to bestow; and thus was perfected the talent of the most remarkable singer, perhaps, who has ever lived.
3After a second visit to Vienna in 1728, Farinelli went several times to Venice, Rome, Naples, Piacenza, and Parma, meeting and vanquishing such formidable rivals as Nicolini, Faustina, and Cuzzoni, and being everywhere loaded with riches and honours. In 1731 he visited Vienna for the third time. It was at this point that he modified his style, from one of mere brilliance and bravura, which, like a true pupil of Porpora, he had hitherto practised, to one of pathos and simplicity. This change is said to have been suggested by the Emperor Charles VI. 'You have,' he said, 'hitherto excited only astonishment and admiration, but you have never touched the heart; it would be easy to you to create emotion, if you would but be more simple and more expressive!' Farinelli adopted this admirable counsel, and became the most pathetic, as he was still the most brilliant, of singers.
5Returning once more to Italy, he revisited, with ever-increasing renown, Venice, Rome, Ferrara, Lucca, and Turin. In 1734 he made his first journey to England. Here he arrived at the moment when the opposition to Handel, supported by the nobles, had established a rival Opera, with Porpora for composer, and Senesino, who had quarrelled with the great German, for principal singer. The enterprise, however, did not succeed, but made debts to the amount of £19,000. At this juncture Porpora naturally thought of his illustrious pupil, who obeyed the summons, and saved the house. He made his first appearance at the Theatre, Lincoln's Inn, in 'Artaserse,' the music of which was chiefly by Riccardo Broschi, his own brother, and Hasse. The most favourite airs were 'Pallido il sole,' set by Hasse and sung by Senesino; 'Per questo dolce amplesso,' by the same, and 'Son qual nave,' by Broschi, both the latter being sung by Farinelli. In the last, composed specially for him, the first note (as in the song in 'Eumene') was taken with such delicacy, swelled by minute degrees to such an amazing volume, and afterwards diminished in the same manner to a mere point, that it was applauded for full five minutes. After this, he set off with such brilliance and rapidity of execution that it was difficult for the violins of those days to accompany him. He sang also in 'Onorio,' 'Polifemo,' and other operas by Porpora; and excited an enthusiastic admiration among the dilettanti, which finally culminated in the famous ejaculation of a lady in one of the boxes (perpetuated by Hogarth in the Rake's Progress)—'One God and one Farinelli!' In his first performance at Court he was accompanied by the Princess Royal, who insisted on his singing two of Handel's songs at sight, printed in a different clef, and composed in a different style, from any to which he had ever been accustomed. He also confirmed the truth of the story, that Senesino and himself meeting for the first time on the same stage, 'Senesino had the part of a furious tyrant to represent, and Farinelli that of an unfortunate hero in chains; but, in the course of the first song, he so softened the obdurate heart of the enraged tyrant that Senesino, forgetting his stage character, ran to Farinelli and embraced him in his arms. The Prince of Wales gave Farinelli a 'fine wrought-gold snuff-box, richly set with diamonds and rubies, in which was enclosed a pair of diamond knee-buckles, as also a purse of one hundred guineas.' This example was followed by most of the courtiers, and the presents were duly advertised in the Court Journal. His salary was only £1500, yet during the three years 1734, 1735, and 1736, which he spent in London, his income was not less than £5000 per annum. On his return to Italy, he built, out of a small part of the sums acquired here, 'a very superb mansion, in which he dwelt, choosing to dignify it with the significant appellation of the English Folly.'
7Towards the end of 1736, Farinelli set out for Spain, staying a few months in France by the way; where, in spite of the ignorance and prejudice against foreign singers which then distinguished the French, he achieved a great success. Louis XV. heard him in the Queen's apartments, and applauded him to an extent which astonished the Court (Riccoboni). The King gave him his portrait set in diamonds, and 500 louis d'or. Though the singer, who had made engagements in London, intended only a flying visit to Spain, his fortune kept him there nearly twenty-five years. He arrived in Madrid, as he had done in London, at a critical moment. Philip V., a prey to melancholy depression, neglected the affairs of the State, and refused even to preside at the Council. The Queen, hearing of the arrival of Farinelli, determined to try the effect of his voice upon the King. She arranged a concert in the next room to that which the King occupied, and invited the singer to perform there a few tender and pathetic airs. The success of the plan was instantaneous and complete: Philip was first struck, then moved, and finally overcome with pleasure. He sent for the artist, thanked him with effusion, and bade him
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