Scan 137
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
18 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1recognized. Many violins are in circulation, those of the later period noting their maker's advancing age on the manuscript labels within; they are consistently fine-sounding. Johannes Cuypers was followed by his sons Johannes Franciscus (b 12 Jan 1766, d 16 July 1828) and Johannes Bernardus (b 3 May 1781, d 15 Sept 1840), whose work is of considerably less distinction
3BIBLIOGRAPHY
4R Vannes Essai d'un dictionnaire universel des luthiers (Paris, 1932, 2/1951/R1972 as Dictionnaire universel des luthiers, suppl 1959)
5M Moller Violin Makers of the Netherlands (Amsterdam, 1955)
6CHARLLS BEARF
8Cuzzoni, Francesca (b Parma, c1698, d Bologna, 1770) Italian soprano She was a pupil of Lanzi Her first known appearance was in an anonymous Dalini at Parma in 1716 She sang in June that year at Bologna in Bassani's Alarico re de'Gotti, in spring 1717 at Genoa in C F Pollaro's Venceslao, at Bologna once more in October (in Merope by Gasparini and Orlandini), and again in 1719 She made her Venice début in 1718 as Dalinda in C F. Pollaro's Artodante, with Faustina Bordoni as Ginevra, the future rivals appeared there again in two operas the following year Cuzzoni sang at Turin in 1720, and in five more operas at Venice in 1721–2, in Orlandini's Nerone she played Poppea, Faustina Octavia and Diana Vico Agrippina Cuzzoni was described at this period as chamber virtuoso to the Grand Duchess Violante of Tuscany one of two readings
9Cuzzoni, Francesca (b Parma, c1698, d Bologna, 1770) Italian soprano She was a pupil of Lanzi Her first known appearance was in an anonymous Dalini at Parma in 1716 She sang in June that year at Bologna in Bassani's Alarico re de'Goti, in spring 1717 at Genoa in C F Pollaro's Venceslao, at Bologna once more in October (in Merope by Gasparini and Orlandini), and again in 1719 She made her Venice début in 1718 as Dalinda in C F. Pollaro's Artodante, with Faustina Bordoni as Ginevra, the future rivals appeared there again in two operas the following year Cuzzoni sang at Turin in 1720, and in five more operas at Venice in 1721–2, in Orlandini's Nerone she played Poppea, Faustina Octavia and Diana Vico Agrippina Cuzzoni was described at this period as chamber virtuoso to the Grand Duchess Violante of Tuscany one of two readings
11There was talk of her engagement for London in 1720, but she did not arrive until the last week of December 1722, having married the composer and harpsichordist Pietro Giuseppe Sandoni on the way Her reputation as an extraordinary singer preceded her and was repeatedly mentioned in the press Her King's Theatre début on 12 January 1723 as Teofane in Handel's Ottone was one of the most sensational in London's theatrical history The part had not been composed for her, at rehearsal she refused to sing her first aria, 'Falsa imagine', until Handel threatened to pitch her out of the window, but her triumph was complete, not least in this aria. Half-guinea tickets for the second night changed hands at two and three guineas ('like another Mississippi or South Sea Bubble'), at her benefit on 25 March, with three new bravura arias, 'some of the Nobility gave her 50 Guineas a Ticket'. This was in addition to her salary of £2000 a season She remained a member of the company until the Royal Academy closed in June 1728, and sang a leading part in every opera: Handel's Flavio (Emilia), Giulio Cesare (Cleopatra; she and Senesino had an outstanding success), Tamerlano (Astoria), Rodelinda (title role), Scipione (Berenice), Alessandro (Lisaura), Admeto (Antigona), Riccardo Primo (Costanza), Radamisto (Polissena in the 1728 revival), Siroe (Laodice) and Tolomeo (Seleuce), Ariosti's Coriolano, Vespasian Artaserse, Dario, Lucio Vero and Teuzzone, Bononcini Erminia, Furnace, Calpurnia and Astianatte, and the pasticcios Aquilio Consolo, Elpidia and Elisa The exuberance of Cuzzoni's admirers soon led to quarrels first with the partisans of Senesino and later with those of Faustina Bordoni, who made her London début in Alessandro on 5 May 1726. The rivalry between the two greatest sopranos of the age was notorious, and became a public scandal when ovations, whistles and catcalls in turn led to a scuffle between the artists on stage during a performance of Astianatte on 6 June 1727 in the presence of the Princess of Wales. At some performances Cuzzoni could scarcely be induced to appear; but the final Academy season seems to have been less cantankerous, despite (or because of) the satirical portrait of the ladies as Polly and Lucy in The Beggar's Opera
13Outside the opera house Cuzzoni surprised and delighted 'a very numerous Concourse of the Nobility and Quality' at Burlington House on 18 January 1723 and took part with Faustina and Senesino in a St Cecilia concert at the Crown Tavern on 22 November 1727. Early that year her performance of Bononcini's music at the Duchess of Marlborough's private concerts won her a breathless panegyric from the diplomat Beddevole She gave concerts at Bath in autumn 1723 and according to Anastasia Robinson 'gott a good deal of Money'; Lady Bristol heard her sing, accompanied by a lute, 'for 2 hours like a nightingale, she has learnt two English ballads, which she makes the agreeablest thing you ever heard' In summer 1724 she visited Paris and made a sensation at Fontainebleau in church music by Bononcini She returned to Bath in autumn 1726, and possibly in other years She gave birth to a daughter in August 1725, according to Mrs Pendarves, 'the minute she was brought to bed, she sang "La Speranza", a song in Otho' (not from her part)
15Cuzzoni spent the winter of 1728–9 in Vienna at the invitation of Count Kinsky, the imperial ambassador in London, she made a great impression in court circles but was not engaged for the opera because she demanded the exorbitant salary of 24,000 florins. She sang at Modena and Venice in 1729. Heidegger wished to engage both prima donnas for the Second Royal Academy that autumn, but Handel, who according to Rolli had never liked Faustina and wanted to forget Cuzzoni, preferred to write for new voices. In 1730
17Cuzzoni (left), Farinelli and Heidegger: etching by the Countess of Burlington (Dorothy Boyle) and Joseph Goupy after drawings (c1730) by Marco Ricci and Goupy (for further illustrations see under BERENSTADT, GAETANO, and NICOLINI)
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