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,