Editing Farinelli (section)

==Farinelli in London==
In London the previous year, [[Senesino]], a singer who had been a part of [[George Frideric Handel]]'s "Second Academy" which performed at the [[Her Majesty's Theatre, London|King's Theatre]], [[Haymarket, London|Haymarket]], quarrelled with Handel and moved to a rival company, the [[Opera of the Nobility]], operating from a theatre in [[Lincoln's Inn Fields]].  This company had Porpora as composer and Senesino as principal singer, but had not been a success during its first season of 1733–34.  Farinelli, Porpora's most famous pupil, joined the company and made it financially solvent.
[[File:Jacopo amigoni, il cantante farinelli con amici, 1750-52 circa.JPG|left|thumb|387x387px|Farinelli and his friends. 1750–1752. Oil on canvas, by Amigoni. depicted from left to right: [[Pietro Metastasio|Metastasio]], [[Caterina Amigoni Castellini|Teresa Castellini]], Farinelli with the score "Vi conosco amate stelle" from Metastasio's ''Zenobia'' in a musical setting, the painter Amigoni, Farinelli's dog, Farinelli's page]]
He first appeared in ''Artaserse'', a {{lang|it|[[pasticcio]]}} with music by his brother Riccardo and [[Johann Adolph Hasse]]. He sang the memorable arias "Per questo dolce amplesso" (music by Hasse) and "Son qual nave" (music by Broschi), while Senesino sang "Pallido il sole" (music by Hasse). Of "Per questo dolce amplesso", [[Charles Burney]] reported: "Senesino had the part of a furious tyrant, and Farinelli that of an unfortunate hero in chains; but in the course of the first air, the captive so softened the heart of the tyrant, that Senesino, forgetting his stage-character, ran to Farinelli and embraced him in his own". "Son qual nave", on the other hand, was composed by Riccardo Broschi as a special showpiece for his brother's virtuosic skills. Burney described it thus: "The first note he {{As written|sung}} was taken with such delicacy, [[messa di voce|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 brilliancy and rapidity of execution, that it was difficult for the violins of those days to keep pace with him." In 1735 Farinelli and Senesino also appeared in [[Nicola Porpora]]'s ''[[Polifemo (opera)|Polifemo]]''.

Both the cognoscenti and the public adored him. The librettist [[Paolo Rolli]], a close friend and supporter of Senesino, commented: "Farinelli has surprised me so much that I feel as though I had hitherto heard only a small part of the human voice, and now have heard it all. He has besides, the most amiable and polite manners ....". Some fans were more unrestrained: one titled lady was so carried away that, from a theatre box, she famously exclaimed: "One God, one Farinelli!", and was immortalised in a detail of Plate II of [[William Hogarth]]'s "[[A Rake's Progress]]"{{citation needed|date=March 2020}} (she may also appear in Plate IV of his series "[[Marriage A-la-Mode (Hogarth)|Marriage A-la-Mode]]" of 1745).

Though Farinelli's success was enormous, neither the Nobility Opera nor Handel's company was able to sustain the public's interest, which waned rapidly. Though his official salary was £1500 for a season, gifts from admirers probably increased this to something more like £5000, an enormous sum at the time. Farinelli was by no means the only singer to receive such large amounts, which were unsustainable in the long term. As one contemporary observer remarked: "within these two years we have seen even Farinelli sing to an audience of five-and-thirty pounds".<ref>{{Cite book |url=https://www.google.com/books/edition/A_General_History_of_Music_from_the_Earl/dAk3KEKVUjEC?hl=en&gbpv=1&dq=within+these+two+years+we+have+seen+even+Farinelli+sing+to+an+audience+of+five-and-thirty+pounds&pg=PA412&printsec=frontcover |title=A General History of Music, from the Earliest Ages to the Present Period. To which is Prefixed, a Dissertation on the Music of the Ancients. By Charles Burney, Mus. D. F.R.S. Volume the First [-the Fourth! |date=1789 |publisher=Robson and Clark, Bond-Street |pages=412 |language=en}}</ref> Nonetheless, he was still under contract in London in the summer of 1737 when he received a summons, via Sir Thomas Fitzgerald, Secretary of the Spanish Embassy there, to visit the Spanish court.