The new opera "Radamisto" was ready early in 1720, and produced at the
Royal Academy of Music, as the theater was now called. The success
of the production was tremendous. But Handel, by his self-will had
stirred up envy and jealousy, and an opposition party was formed,
headed by his old enemy from Hamburg, Buononcini, who had come to
London to try his fortunes. A test opera was planned, of which Handel
wrote the third act, Buononcini the second and a third musician the
first. When the new work was performed, the third act was pronounced
by the judges much superior to the second. But Buononcini's friends
would not accept defeat, and the battle between all parties was
violent. Newspapers were full of it, and many verses were written.
Handel cared not a whit for all this tempest, but calmly went his way.

In 1723, his opera "Ottone" was to be produced. The great singer
Cuzzoni had been engaged, but the capricious lady did not arrive in
England till the rehearsals were far advanced, which of course did not
please the composer. When she did appear she refused to sing the aria
as he had composed it. He flew into a rage, took her by the arm and
threatened to throw her out of the window unless she obeyed. The
singer was so frightened by his anger that she sang as he directed,
and made a great success of the aria.

Handel's industry in composing for the Royal Academy of Music
was untiring. For the first eight years from the beginning of the
Society's work he had composed and produced fourteen operas. During
all this time, his enemies never ceased their efforts to destroy him.
The great expense of operatic production, the troubles and quarrels
with singers, at last brought the Academy to the end of its resources.
At this juncture, the famous "Beggar's Opera," by John Gay, was