Great Singers, First Series / Faustina Bordoni To Henrietta Sontag

e most remarkable musical figures of his age. This great artist, born in Naples in 1705, was the nephew of the composer Farinelli, whose name he adopted. He was instructed by the celebrated

husiasm of the audience to the wildest pitch by the brilliance of his singing and the difficult variations which he introduced. Farinelli left the guidance of Porpora in 1724, and appeared in different European cities with a success which made him in three years a European celebrity. In 1727, while singing in Bologna, he met Bernacchi, at that time known as the "king of singers." The rivals were matched agai

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

s 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

ult was that the singer separated himself from the world of art for ever, and accepted a salary of fifty thousand francs to sing for the King, as David harped for the mad King Saul. Farinelli told Dr. Burney that during ten years he sang four songs to the King every night without any change." When Ferdinand VI., who was also a victim to his father's malady, succeeded to the throne, the singer continued to perform his minstrel cure, and acquired such enormous power and influence that all court favor and office depended on his breath. Though never prime minister, Farinelli's political advice had such weight with Ferdinand, that generals, secretaries, ambassadors, and other high officials consulted with him, and attended his levee, as being the power behind the throne. Farinelli acquired great wealth, but no malicious pen has ever ascribed to him any of the corrupt arts by which royal favorites are wont to accumulate the spoils of office. In his prosperity he never forgot prudence, modesty, and moderation. Hearing one d

emaining twenty years of his life he resided in a splendid palace near Bologna, where he devoted his time and attention to patronage of learning and the arts. He collected a noble gallery of paintings from the hands of the principal Italian and Spanish masters. Among them was one representing himself in a group with Metastasio and Faustina Bordoni, for whose greatness

been heard. He was, moreover, endowed with a creative genius which inspired him with embellishments so new and so astonishing that no one was able to imitate them. The art of taking and keeping the breath so softly and easily that no one could perceive it, began and died with him. The qualities in which he excelled were the evenness of his voice, the art of swelling its sound, the portamento, the union of the registers, a surprising agility, a grace