Great Singers, First Series | Page 7

lessons from him.
Bernacchi generously accorded these, and took great pains with his
young rival. Thus was perfected the talent of Farinelli, who, to use the
words of a modern critic, was as "superior to the great singers of his
own period as they were to those of more recent times."
After brilliant triumphs at Vienna, Rome, Naples, and Parma, where he
surpassed the most formidable rivals and was heaped with riches and
honors, he appeared before the Emperor Charles VI. of Germany, a
momentous occasion in his art-career. "You have hitherto excited only
astonishment and admiration," said the imperial connoisseur, "but you
have never touched the heart. It would be easy for you to create
emotion, if you would but be more simple and natural." The singer
adopted this counsel, and became the most pathetic as he continued to
be the most brilliant of singers.
The interest of Farinelli's London career will be augmented for the
lovers of music by its connection with the contests carried on between
Handel and his rivals, with which we have seen Faustina and Cuzzoni
also to have been intimately associated. When Handel went on the
Continent to secure artists for the year 1734, some prejudice operated
against his negotiation with Farinelli, and the latter took service with
Porpora, who had been secured by the Pembroke faction to lead the

rival opera. Farinelli's singing turned the scale in favor of Handel's
enemies, who had previously hardly been able to keep the enterprise on
its feet, and had run in debt nineteen thousand pounds. He made his
first appearance at the Lincoln's Inn Opera in "Artaserse," one of
Hasse's operas. Several of the songs, however, were composed by
Riccardo Broschi, the singer's brother, especially for him, and these
interpolations illustrated the powers of Farinelli in the most effective
manner. In one of these the first note was taken with such delicacy,
swelled by minute degrees to such an amazing volume, and afterward
diminished in the same manner to a mere point, that it was applauded
for full five minutes. Afterward he set off with such brilliance and
rapidity of execution that the violins could not keep pace with him. An
incident commemorated in Hogarth's "Rake's Progress" occurred at this
time, A lady of rank, carried beyond herself by admiration of the great
singer, leaned out of her box and exclaimed, "One God and one
Farinelli!" The great power of this singer's art is also happily set forth
in the following anecdote: He was to appear for the first time with
Senesino, another great singer, who of course was jealous of Farinelli's
unequaled renown. The former had the part of a fierce tyrant, and
Farinelli that of a hero in chains. But in the course of the first song by
his rival, Senesino forgot his assumed part altogether. He was so
moved and delighted that, in front of an immense audience, he rushed
forward, clasped Farinelli in his arms, and burst into tears. Never had
there been such a ferment among English patrons of opera as was made
by Farinelli's singing. The Prince of Wales gave him a gold snuff-box
set with diamonds and rubies, in which were inclosed diamond
knee-buckles, and a purse of one hundred guineas. The courtiers and
nobles followed in the wake of the Prince, and the costliest offerings
were lavished on this spoiled favorite of art. His income during three
years in London was five thousand pounds a year, to which must be
added quite as much more in gratuities and presents of different kinds.
On his return to Italy he built a splendid mansion, which he christened
the "English Folly."
Farinelli's Spanish life was the most important episode in his career, if
twenty-five years of experience may be called an episode. His purpose
in visiting Madrid in 1736 was to spend but a few months; but he

arrived in the Spanish capital at a critical moment, and Fate decreed
that he should take up a long residence here--a residence marked by
circumstances and honors without parallel in the life of any other singer.
Philip V. at this time was such a prey to depression that he neglected all
the affairs of his kingdom. "When Farinelli arrived, the Queen arranged
a concert at which the monarch could hear the great singer without
being seen. The effect was remarkable, and Farinelli gained the respect,
admiration, and favor of the whole court. When he was asked by the
grateful monarch to name his own reward, he answered that his best
recompense would be to know that the King was again reconciled to
performing the active duties of his state. Philip considered that he owed
his cure to the powers of Farinelli. The final result was that the singer
separated himself from the world of art