DICTIONARY OF MUSIC - El Atril

FARINELLI FAKINELLl
second viait to Rome, Avhere lie was anxiously
expected. In 1727 lie went to Bologna, where
he was to meet the famous Bernacclii, tlie ' 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 dithcult
passages, which were rewarded with tumultuous
applause. Nothing daunted, ]5ernacchi 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 siiiger,
ever lived.
perhaps, who has
After a second visit to Vienna in 1728, Farinelli
went several times to Venice, Rimie, Naples,
Piaeenza, and Parma, meeting and vanquishing
such formidable rivals as Nicolini, Faustina,
and Cuzzoni, and being everyw here 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 Irarura, 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 liy 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 ail-
mirable counsel, and became the most pathetic,
as he was still the most brilliant, of singers.
Returning once more to Italy, he revisited,
with ever-increasing renown, Venice, Rome, Fer-
rara, 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 tiie 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
Flassc. The most favourite airs were ' Pallido
il sole,' set by Hasse and sung by Senesino ;
' Per qucsto dolce amjilesso,' by the same, and
' Son tpial nave,' by Broschi, both the latter
being sung by Farinelli. In the last, composed
speiially for him, the first note (as in the song
in ' Euniene ') 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 tlie
dilettanti, which finally culminated in the famous
ejaculation of a lady in one of the boxes (perpetuated
by Hogartli in the Hake's Progress)—
' One
t-iod and one Farinelli !
' In his (irst per-
formance at Court he was accompanied by the
Princess Royal, wdio insisted on his singing two
of Handel's songs at sight, printed in a different
clef, and composed in a difl'erent 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 liim in his arms. The Prince of "Wales
gave Farinelli a ' fine wrought-gold snnrt'-ljox,
richly set with diamonds and rubies, in which
w^as 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 jiresents 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 net
less than £5000 per annum. On his return to
Italy, he built, out of a small part of the sums
ac(piired here, ' a very superb mansion, in which
he dwelt, choosing to dignify it with tlie sig-
nificant appellation of the English Folly.'
Towards the end of 1736, Farinelli set ont
for Sjiain, staying a few months in France liy
the way ; where, in Sfiite 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 (Riecolioni). The
King gave him his jiortrait set in diamonds, and
500 louis d'or. Though the singer, who had
made engagements in London, intended oiih' a
flying visit to Spain, his fortune kept him there
nearly twenty-five years. He arriveil in JMadi id,
as he had done in London, at a critical moment.
Philip v., a pirey 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 tlie King. Slie 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. Tlie
success of the plan was instantaneous and ci m-
Philip \\"as first struck, then nio\etl, ar.d
l>lete ;
finally overcome with pleasure. He sent for (he
artist, thanked him with effusion, and bade him
b