Senesino

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Senesino, around 1720

Senesino , actually Francesco Bernardi (born October 31, 1686 in Siena , † November 27, 1758 ) was an important Italian opera singer and castrato ( alto or mezzo-soprano (?)), Who was especially known for his participation as primo uomo in numerous operas by Georg Friedrich Handel is famous, including Giulio Cesare , Rodelinda and Tamerlano .

Life

Youth and early career

Francesco Bernardi's stage name Senesino is derived from his native city of Siena. Later the castrato singers Andrea Martini and Giusto Ferdinando Tenducci were also referred to as “Senesino”, but Bernardi is the most famous of these three.

As a child he sang in the cathedral of Siena and received his first musical training from the cathedral organist , Giuseppe Fabrini. There he got his first job as a church singer in 1699.

Various sources report that he was a student of the famous castrato Antonio Maria Bernacchi , but this is uncertain as he was apparently almost the same age.

Senesino had his first stage appearances probably in 1707 in what was then the center of the Venice Opera , in works by the now forgotten composers Giovanni Maria Ruggeri and Giuseppe Boniventi. Important composers soon became aware of him, and in the 1708–1709 season he sang at the Teatro San Cassiano alongside Santa Stella and the famous Domenico Cecchi (“il Cortona”) in Tomaso Albinoni's operas Astarto (premiere: November 11, 1708) and Engelberta (premiere: January 26th 1709), as well as in Carlo Francesco Pollarolo's Il falso Tiberino (premiere: January 12th 1709).

As a result, his career took him to the stages of various Italian cities. In 1708 he was in Vicenza , in 1709 in Bologna in Antonio Caldara's opera L'inimico generoso .

Senesino, around 1730?

From 1709 to 1712 he was engaged in Genoa . During this time he also sang in Rome in 1711 in the private theater of the music-loving Cardinal Pietro Ottoboni .

Meanwhile he was one of the leading singers in Italy, because in the season 1713-14 he appeared in the finest theater in Venice, the San Giovanni Grisostomo , in Antonio Lotti's Irene Augusta (premiere: November 22, 1713) and in two operas by Carlo Francesco Pollarolo, including Semiramide (premiere: January 6, 1714). He was also in Venice for the Carnival in 1715 and this time sang at the Teatro Santi Giovanni e Paolo in Lotti's Polidoro (premiere: February 4, 1715), alongside Diamante Maria Scarabelli and Giuseppe Maria Boschi .

Until 1717 he also sang in Reggio nell'Emilia , Ferrara , Brescia , Florence and Livorno .

From 1715 to 1717 he had an engagement at the important Teatro San Bartolomeo in Naples , where he participated in a total of six operas, including Alessandro Scarlatti's Carlo re d'Alemagna and La virtù trionfante . Senesino is said not to have been a good actor in the beginning, but concentrated primarily on his singing. The Neapolitan impresario Count Zambeccari reported that he only “stood there like a statue” or always “did the opposite of what was desired”.

His reputation as a singer has now also extended abroad and so Senesino was hired as primo uomo at the Dresden court in 1717 , as did the composer Antonio Lotti and his wife Santa Stella , as well as the singers Margherita Durastanti and Vittoria Tesi and the bassist Giuseppe Maria Boschi. In Dresden Senesino appeared in Lotti's operas Giove in Argo , Ascanio and Teofane . He is said to have received a fee of 7,000 thalers for his services . At this time the later flute teacher of Friedrich II. And Hofkapellmeister in Berlin Johann Joachim Quantz heard him and later reported about him:

“Senesino had a penetrating, bright, level and pleasant deep soprano voice, (mezzo soprano) a pure intonation , and a beautiful trillo . In height it seldom exceeded the double-crossed f. His way of singing was masterful and his performance complete. The Adagio he overwhelmed just not too much with arbitrary embellishments : On the other hand, he brought the essential manners out with the greatest Feinigkeit. He sang the Allegro with a great deal of enthusiasm, and he knew how to push the running passages out with his chest, at a fair speed, in a pleasant way. His shape was very beneficial to the theater, and the action natural. The role of a hero dressed him better than that of a lover. "

When Georg Friedrich Handel was looking for singers for the newly founded Opera Academy in London on the continent in 1719 , he heard Senesino in Dresden and entered into negotiations with him and other singers.
Senesino was released from Dresden in 1720 along with the other Italian singers. Before that, however, according to Quantz, Senesino and the soprano Matteo Berselli had a violent argument with the court conductor Johann David Heinichen during the rehearsal for his opera Flavio Crispo . The two Italians had pointed out to the German composer that the text of an aria intended for Berselli was inappropriately set to music. In the end Senesino “tore up” the role of Berselli and threw it at the feet of the Capellmeister. ... With this the operas came to an end for this time ”.

Senesino in London

Caricature of Senesino (left) in Handel's opera Flavio with Francesca Cuzzoni and Gaetano Berenstadt

In September 1720 Senesino came to London accompanied by his brother and was one of their train numbers from the second season of the Royal Academie until it was dissolved in 1728. As a fee he received 3,000 guineas .

He made his first appearance on November 19, 1720 in Giovanni Bononcini's Astarto , together with his old colleagues Margherita Durastanti and Boschi; the success was so enormous that the opera saw the large number of 30 performances at the time. In the same season he sang the title role in a new version of Handel's Radamisto (premiered December 28, 1720). In the years that followed, Handel composed the leading male roles for Senesino in all of his new operas: Muzio Scevola (together with Bononcini and Amadei), Floridante (1721), Ottone and Flavio (1723), Giulio Cesare and Tamerlano (1724), Rodelinda (1725 ), Scipione and Alessandro (1726). From 1722 on, his partner as prima donna was the celebrated soprano Francesca Cuzzoni . Senesino had special audiences with the hero roles in Giulio Cesare and Alessandro . During the same period he also sang in operas by Giovanni Bononcini, Giuseppe Maria Orlandini , Attilio Ariosti and in various pasticci .

Caricature of Senesino (center), who, on his arrival in England and his riches , is greeted by his admirers and the “rival queens” Francesca Cuzzoni and Faustina Bordoni . (approx. 1726–27)

In the summer of 1726 he fell ill and in the meantime traveled to Italy on home leave to relax, but was back in London in winter and was able to take part in the first performance of Ariostis Lucio Vero on January 7, 1727 in the old freshness . He sang from Handel until 1728 in the world premieres of the operas Admeto , Riccardo Primo , Siroe and Tolomeo , of which Riccardo Primo was particularly successful. At that time Senesino was standing next to two prima donnas on stage, as the famous Faustina Bordoni had joined the ensemble in addition to the Cuzzoni . In 1727 he went on tour to Paris with the other singers .
However, the Royal Academy of Music went bankrupt in the summer of 1728. Senesino is also said to have had a terrible argument with Handel and returned to Italy.

Italian interlude

In Venice he appeared together with Faustina Bordoni at the Teatro San Cassiano, in Geminiano Giacomelli's opera Gianguir (premiere: December 27, 1728) and in Giuseppe Maria Orlandini's Adelaide (premiere: February 8, 1729). He then sang again with the Bordoni in Turin in Siroe by Andrea Stefano Fiorè (premiere: December 26, 1729) and in Nicola Porporas Tamerlano (premiere: Carnival 1730).

Back in London

After Handel had opened a second opera academy in London, at which the famous alto Bernacchi (and allegedly Senesino's teacher) was initially engaged as primo uomo , but was unsuccessful with the audience, Senesino rejoined the ensemble in October 1730, this time with a little lower salary for 1400 guineas .
Until 1732 he sang the leading roles alongside the new prima donna Anna Maria Strada in the premieres of Handel's operas Poro , Ezio , Sosarme and Lucio Papirio , as well as in several revivals of older operas and in pasticci with music by the most modern composers. Handel also used it in his first English oratorios Esther (1732) and Deborah (1733) and had him sing in a new version of Acis and Galatea . In connection with the latter works, however, Senesino had to take criticism from the English audience and an anonymous author publicly made fun of the Italian singer's star's English, which was not without an accent:

"Senesino and Bertolli made rare work with the English Tongue you would have sworn it had been Welch."

"Senesino and Bertolli did a rare job with the English language; you could have sworn it was Welsh ."

In 1733 the title role followed in Handel's Orlando , in which Senesino had to perform an unusual mad scene, which consisted exclusively of a sequence of recitatives and ariosi (sometimes in 5/4 time), with constantly changing emotional expressions, but little opportunities for vocal bravura .

Senesino, around 1734. Engraving by Alexander Van Haecken after Hudson

Whether because of personal and artistic differences with Handel or for financial reasons or even out of national pride - Senesino and almost the entire Italian singing troupe (except Anna Maria Strada) defected to the competing aristocratic opera ( Opera of the Nobility ) in 1733 , sometimes also called "Senesinos Opera ”. Under the direction of Nicola Porpora he sang first at the Lincoln's Inn Fields Theater and later at the King's Theater.
From 1734 the famous Farinelli belonged to this ensemble . However, the two Divos seem to have got along well, and Senesino is said to have been so moved by Farinelli's singing even when they first appeared together that he forgot his own role and embraced his younger colleague on stage.

In 1736, before the actual collapse of the two opera companies, Senesino returned to Italy. Before his departure from a published cartoon accompanied satirical song called The Ladies Lamentation for the loss of Senesino ( " Lamento the Ladies at the loss of Senesino"), in which his success in the English ladies and his accumulated wealth - supposedly a fortune £ 15,000 - was alluded to.
Horace Walpole mentioned an encounter with Senesino a few years later (1740) in a letter full of sarcastic malice:

“We thought it was a fat old woman; but it spoke in a shrill little pipe, and proved itself to be Senesini. "

“We thought she was a fat old woman; but it spoke with a shrill thin beep and turned out to be Senesini. "

Last appearances in Italy

In Italy Senesino sang in various opera houses until 1740, sometimes alongside his former partners from the London era. at the Turin Carnival in 1737 he appeared in Geminiano Giacomelli's Demetrio and in Eumene by Giovanni Antonio Giaì . 1738–1739 he can be found in Florence, where he appeared in operas by Orlandini at the Teatro della Pergola, partly together with the Cuzzoni, partly with Lucia Facchinelli (including in Arsace ). In 1739 he is said to have sung in a duet with Archduchess Maria Theresa of Austria in the Palazzo Pitti .

Senesino had his last appearances in 1739–1740 at the newly opened Teatro San Carlo in Naples, where he sang doubloons (doppioni) alongside Anna Maria Strada for a fee of 800 , in Domenico Sarro's La partenope (November 1739) and in Porpora's new opera Il trionfo di Camilla (premiere: January 20, 1740). Senesino was admired there by the French travel writer Charles de Brosses , but in Italy itself tastes had changed so much that his singing style was now found to be old-fashioned.

As a result, he retired to his hometown of Siena, where he had a fine house built. Nothing is known about the last decades of his life.

Francesco Bernardi il Senesino , portrait bust by Louis-François Roubiliac , ca.1735

Appreciation

Francesco Bernardi il Senesino was one of the most important opera singers of his time and is today, alongside Farinelli, the most famous castrato of the bel canto era . According to contemporary descriptions and the music available, his voice and singing were extraordinarily perfect and impressive in every way - in terms of vocal beauty and volume, technique, musicality, expression, taste and ornamentation. He was a virtuoso, but belonged to a generation that did not yet have the extreme and quasi-instrumental brilliance of his younger colleagues Farinelli or Carestini .

His voice ranged from low g to g '' and was described by Quantz as a "penetrating, bright, level and pleasant deep soprano voice" (see quote above). This seems a bit strange when one observes, as did Charles Burney and Winton Dean , that Handel's roles for the singer from the years between 1720 and 1733 are without exception in the alto range, and not just in terms of length (g to e '' or d ''), but also on the focus of the voice. It is possible that the singer occasionally raised his voice a little higher in random embellishments , as is often done by interpreters today. According to Scotting, in the less or not at all known part of his Italian repertoire there are also fully composed examples that occasionally use a range up to f '' or g ''.

In contrast to Farinelli, whose musical repertoire is only known in fragments because he sang almost exclusively music by composers who are almost forgotten today, and also poses performance problems that should not be underestimated because of his extreme virtuosity and unusually wide vocal range, is a relatively large part of Senesino's repertoire - all the roles that Handel composed for him - is known and in some cases has been recorded several times. That does not mean, however, that today we can hear his arias even remotely as they came from his mouth. Simply because there are no longer any castrati and the substitute female and counter tenor voices simply sound different, but also because of Senesino's vocal and interpretational perfection.

Roles and operas in London

Senesino in action. Caricature by Anton Maria Zanetti

Listed below are all roles in world premieres or London premieres of operas and pasticci that Senesino sang during his stays in London. Revivals of earlier operas by Handel will not be taken into account. The dates in brackets only indicate the day of the premiere.

First Royal Academy 1720–1728

  • Season 1720–1721
    • Clearco in Astarto by Giovanni Bononcini (November 19, 1720)
    • Title role in Radamisto (2nd version) by Handel (December 28, 1720)
    • Title role in Arsace by Giuseppe Maria Orlandini (February 1, 1721)
    • Title role in Muzio Scevola by Filippo Amadei, Giovanni Bononcini and Handel (April 15, 1721)
    • Ciro in L'odio e l'amore by Giovanni Bononcini (May 20, 1721)
  • Season 1721–1722
    • Title role in Floridante by Handel (December 9, 1721)
    • Title role in Crispo by Giovanni Bononcini (January 10, 1722)
  • Season 1722–1723
  • Season 1723–1724
  • Season 1724–1725
  • Season 1725–1726
    • Luceio in Scipione by Handel (March 12, 1726)
    • Title role in Alessandro von Handel (May 5, 1726)
  • Season 1726–1727
    • Title role in Lucio Vero by Attilio Ariosti (January 7, 1727)
    • Title role in Admeto von Handel (January 31, 1727)
  • Season 1727–1728
    • Title role in Teuzzone by Attilio Ariosti (October 21, 1727)
    • Title role in Riccardo primo by Handel (November 11, 1727)
    • Title role in Siroe by Handel (February 17, 1728)
    • Title role in Tolomeo by Handel (April 30, 1728)

Second Royal Academy 1730–1733

    • Casimiro in Venceslao , pasticcio by Handel with music by Leonardo Vinci, JA Hasse and Nicola Porpora (January 12, 1731)
    • Title role in Poro by Handel (February 2, 1731)
    • Title role in Ezio von Handel (January 15, 1732)
    • Title role in Handel's Sosarme (February 15, 1732)
    • Quinto Fabio in Lucio Papirio dittatore , pasticcio by Handel with music by Geminiano Giacomelli (23 May 1732)
    • Title role in Catone , Pasticcio by Handel with music by Leonardo Vinci, JA Hasse, Leonardo Leo, Nicola Porpora and Antonio Vivaldi (November 4, 1732)
    • Title role in Orlando by Handel (January 27, 1733)

Opera of the Nobility 1733-1736

(In the operas from Porpora Polifemo looked Farinelli with.)

    • Teseo in Arianna in Naxo by Nicola Porpora (December 29, 1733)
    • (November 25, 1735)
    • Title role in Fernando by Carlo Arrigoni (February 5, 1734)
    • Enea in Enea nel Lazio by Nicola Porpora (May 11, 1734)
    • Ulisse in Polifemo by Nicola Porpora (February 1, 1735)
    • Agamennone in Ifigenia in Aulide by Nicola Porpora (May 3, 1735)
    • Learco in Issipile by Pietro Giuseppe Sandoni (April 8, 1735)
    • Adriano in Adriano in Siria by Francesco Maria Veracini (November 25, 1735)
    • Title role in Mitridate (2nd version) by Nicola Porpora (January 24, 1736)

literature

  • Stefan Brandt: Senesino, eigtl. Francesco Bernardi , in: MGG online , 2006/2016 (complete access only with subscription; viewed on July 4, 2020)
  • Charles Burney: Diary of a Musical Journey (translated from CD Ebeling), Hamburg 1772–73. Bärenreiter, Kassel 2003. Vol. I: through France and Italy .
  • Gerhard Croll: Tesi (Tramontini), Vittoria , January 2001, on Oxford Index (English; accessed October 21, 2019)
  • Winton Dean: Senesino (Bernardi, Francesco) , on Grove music online (English; full access only with subscription; viewed July 4, 2020)
  • Dan H. Marek: Alto: The Voice of Bel Canto , Rowman & Littlefield, 2016, pp. 32–34, excerpts online as a Google Book (English; accessed on July 6, 2020)
  • Alberto Pironti: Bernardi, Francesco, detto il Senesino , in: Dizionario Biografico degli Italiani , Volume 9, 1967, online in Treccani (Italian; accessed July 6, 2020)
  • Quantz, Johann Joachim : Mr. Johann Joachim Quantzens curriculum vitae, designed by himself . In: Marpurg, Friedrich Wilhelm : Historical-Critical Contributions to the Recording of Music , Vol. 1, St. 3, Verlag Schützens, Berlin 1754, p. 213.
  • Randall Scotting: Unknown Senesino: Francesco Bernardi's vocal profile and dramatic portrayal, 1700-1740 , Royal College of Music Research Online, 2018. Abstract on Core.ac.uk (English; accessed July 7, 2020)
  • David Vickers and Carlo Vitali: Senesino in: Annette Landgraf and David Vickers: The Cambridge Handel Encyclopedia , Cambridge University Press 2009, ISBN 978-0521881920

Web links

Commons : Senesino  - collection of images, videos and audio files
Wikisource: A Dictionary of Music and Musicians / Senesino, Francesco  - Sources and full texts (English)

Individual evidence

  1. ↑ Vickers, David and Vitali, Carlo: Senesino in: Landgraf, Annette and Vickers, David: The Cambridge Handel Encyclopedia , Cambridge University Press 2009, ISBN 978-0521881920 , p. 581
  2. ↑ Francesco Bernardi, dit Senesino , short biography on the Quell'Usignolo website (French; accessed July 6, 2020)
  3. ↑ a b c Stefan Brandt: Senesino, eigtl. Francesco Bernardi , in: MGG online , 2006/2016 (complete access only with subscription; viewed on July 4, 2020)
  4. ↑ a b c d e f g h i j k l m n o p Alberto Pironti: Bernardi, Francesco, detto il Senesino , in: Dizionario Biografico degli Italiani , Volume 9, 1967, online on Treccani (Italian; accessed on 6. July 2020)
  5. ↑ a b c d e Winton Dean: Senesino (Bernardi, Francesco) , on Grove music online (English; complete access only with subscription; viewed on July 4, 2020)
  6. ↑ WP = world premiere
  7. ^ Astarto (Tomaso Albinoni) in the Corago information system of the University of Bologna .
  8. ^ Engelberta (Tomaso Albinoni) in the Corago information system of the University of Bologna .
  9. ^ Il falso Tiberino (Carlo Francesco Pollarolo) in the Corago information system of the University of Bologna .
  10. ^ Irene Augusta (Antonio Lotti) in the Corago information system of the University of Bologna .
  11. ^ Semiramide (Carlo Francesco Pollarolo) in the Corago information system of the University of Bologna .
  12. ^ Polidoro (Antonio Lotti) in the Corago information system of the University of Bologna .
  13. ↑ a b Dan H. Marek: Alto: The Voice of Bel Canto , Rowman & Littlefield, 2016, pp. 32–34; here 33, online in excerpts as a Google Book , (English; accessed on July 6, 2020)
  14. ↑ Gerhard Croll: "Tesi (Tramontini), Vittoria", January 2001, on Oxford Index (English; accessed on October 21, 2019)
  15. ↑ The term "mezzo Soprano", which appears at this point in brackets and in a different script, is a later addition by Friedrich Wilhelm Marpurg .
  16. ↑ In the jargon of the time, “arbitrary embellishments” are decorations that were not fully composed, such as circumlocutions, runs, passages, etc., possibly also trills in unusual places or (not written out) chains of trills (i.e. not trills on cadences, which is one of the essential manners!). Arbitrary manners were mostly used in repetitions, especially in vocal music in repetition of the A section of da capo arias . They require imagination from the interpreter and also certain skills in composition and improvisation.
  17. ↑ "Essential manners" are embellishments that must be sung in any case, even if they are not entered in the musical text (which is very seldom the case in Italian music). The include trill at all cadences (not just at the end of the aria), including suspensions (eg in recitatives ) mordents and similar small ornaments. Unfortunately, nowadays one often hears interpreters who save themselves the essential cadence trills. This is a stylistic falsification and smoothing that has nothing to do with Handel or baroque music.
  18. ↑ di the acting performance
  19. ↑ Quantz, Johann Joachim : Mr. Johann Joachim Quantzens curriculum vitae, designed by himself. In: Marpurg, Friedrich Wilhelm : Historical-Critical Contributions to the Recording of Music , Vol. 1, St. 3, Verlag Schützens, Berlin 1754, p. 213.
  20. ↑ Wolfgang Horn: Venetian Opera at the Dresdener Hof - Notes on Antonio Lotti's guest performance in Dresden (1717–1719) together with a hypothesis on the cause of Heinichen's failure , p. 138 and p. 143–145 (and sheet music sample p. 147) (as PDF at Qucosa.Journals )
  21. ↑ a b Probably per season. Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans: A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660-1800 , Vol. 13, SIU Press, 1971, p. 250, online as a Google Book (English; accessed July 7, 2020)
  22. ^ L'Astarto (Giovanni Bononcini) in the Corago information system of the University of Bologna
  23. ↑ Booklet text by Anthony Hicks on the CD: Radamisto , with Joyce DiDonato, Patrizia Ciofi, Il Complesso Barocco, Alan Curtis and others. a., EMI, 2005, p. 35
  24. ^ Gianguir (Geminiano Giacomelli) in the Corago information system of the University of Bologna .
  25. ↑ On Corago he is listed as Francesco Bernardi. Adelaide (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna .
  26. ^ Siroe, re di Persia (Andrea Stefano Fiorè) in the Corago information system of the University of Bologna .
  27. ^ Tamerlano (Nicola Porpora) in the Corago information system of the University of Bologna .
  28. ↑ It should be noted that the English word "Welch" means Welsh, but sounds the same as the German word "Welsch" for Italian. But it is not clear if the author was aware of this.
  29. ↑ a b c d Philip H. Highfill, Kalman A. Burnim, Edward A. Langhans: A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660-1800 , Vol. 13, SIU Press , 1971, p. 254, online as Google Book (English; accessed on July 7, 2020)
  30. ↑ Ivan A. Alexandre: Orlando healed through madness , booklet text for CD: Orlando , with Patricia Bardon, Rosemary Joshua, Hillary Summers, Les Arts Florissants, William Christie and others. a., Erato, 1996, pp. 28-29.
  31. ↑ Burney specifically writes that Farinelli himself confirmed this story to be true. Charles Burney: Diary of a Musical Journey (translated from CD Ebeling), Hamburg 1772-73. Bärenreiter, Kassel 2003. Vol. I: by France and Italy , column 162.
  32. ^ Demetrio (Geminiano Giacomelli) in the Corago information system of the University of Bologna .
  33. ^ Eumene (Giovanni Antonio Giaì) in the Corago information system of the University of Bologna .
  34. ↑ On Corago he is listed as Francesco Bernardi. Le nozze di Perseo e d'Andromeda (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna .
  35. ↑ listed as Francesco Bernardi. Arsace (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna .
  36. ↑ listed as Francesco Bernardi. La partenope (Domenico Natale Sarro) in the Corago information system of the University of Bologna .
  37. ↑ listed as Francesco Bernardi. Il trionfo di Camilla (Nicola Porpora) in the Corago information system of the University of Bologna .
  38. ↑ a b c Randall Scotting: Unknown Senesino: Francesco Bernardi's vocal profile and dramatic portrayal, 1700-1740 , Royal College of Music Research Online, 2018. Abstract on Core.ac.uk (English; accessed July 7, 2020)
  39. ^ L'Astarto (Giovanni Bononcini) in the Corago information system of the University of Bologna
  40. ^ Radamisto (Georg Friedrich Handel) in the Corago information system of the University of Bologna
  41. ^ Arsace (Giuseppe Maria Orlandini) in the Corago information system of the University of Bologna
  42. ^ Muzio Scevola (Filippo Amadei) in the Corago information system of the University of Bologna
  43. ^ L'odio e l'amore (Giovanni Bononcini) in the Corago information system of the University of Bologna
  44. ^ Il Floridante (Georg Friedrich Handel) in the Corago information system of the University of Bologna
  45. ^ Crispo (Giovanni Bononcini) in the Corago information system of the University of Bologna
  46. ^ Performance dates of Handel's Ottone on January 12, 1723 in the Corago information system of the University of Bologna
  47. ↑ Excerpt from the score by Ariostis Cajo Marzio Coriolano , London 1723
  48. ^ Performance dates of Bononcini's Erminia on March 30, 1723 in the Corago information system of the University of Bologna
  49. ^ Performance dates of Handel's Flavio on May 14, 1723 in the Corago information system of the University of Bologna
  50. ↑ Performance dates of Bononcini's Farnace on November 27, 1723 in the Corago information system of the University of Bologna , participation and role in Highfill
  51. ↑ Performance dates for Ariostis Vespasiano on January 17, 1724 in the Corago information system of the University of Bologna
  52. ^ Libretto from Handel's Giulio Cesare in Egitto
  53. ↑ Performance data from Bononcini Calfurnia on April 18, 1724 in Corago information system of the University of Bologna
  54. ^ Performance dates of Handel's Tamerlano on October 31, 1725 in the Corago information system of the University of Bologna
  55. ^ Artaserse (Attilio Ariosti) in the Corago information system of the University of Bologna
  56. ^ Performance dates of Handel's Rodelinda on February 13, 1725 in the Corago information system of the University of Bologna
  57. ↑ Performance dates of Ariostis Dario on April 10, 1725 in the Corago information system of the University of Bologna , involvement unclear
  58. ↑ Performance dates of L'Elpidia, ovvero Li rivali generosi on May 11, 1725 in the Corago information system of the University of Bologna , participation and role in Highfill
  59. ^ Scipione (Georg Friedrich Handel) in the Corago information system of the University of Bologna
  60. ↑ Alessandro (Georg Friedrich Händel) in the Corago information system of the University of Bologna
  61. ↑ Lucio Vero, imperator di Roma (Attilio Ariosti) in the Corago information system of the University of Bologna
  62. ^ Admeto (Georg Friedrich Händel) in the Corago information system of the University of Bologna
  63. ↑ Teuzzone (Attilio Ariosti) in Corago information system of the University of Bologna
  64. ↑ Riccardo primo, re d'Inghilterra (Georg Friedrich Händel) in the Corago information system of the University of Bologna
  65. ↑ Siroe, re di Persia (Georg Friedrich Handel) in the Corago information system of the University of Bologna
  66. ↑ Tolomeo, re di Egitto (Georg Friedrich Händel) in the Corago information system of the University of Bologna
  67. ^ Venceslao (Georg Friedrich Handel) in the Corago information system of the University of Bologna
  68. ^ Poro, re dell'Indie (Georg Friedrich Händel) in the Corago information system of the University of Bologna
  69. ^ Ezio (Georg Friedrich Händel) in the Corago information system of the University of Bologna
  70. ^ Sosarme, re di Media (Georg Friedrich Händel) in the Corago information system of the University of Bologna
  71. ↑ Lucio Papirio dittatore (Georg Friedrich Händel) in the Corago information system of the University of Bologna
  72. ^ Catone (Georg Friedrich Handel) in the Corago information system of the University of Bologna
  73. ^ Orlando (Georg Friedrich Handel) in the Corago information system of the University of Bologna
  74. ↑ Arianna in Naxo (Nicola Porpora) in Corago information system of the University of Bologna
  75. ^ Fernando (Carlo Arrigoni) in the Corago information system of the University of Bologna .
  76. ^ Enea nel Lazio (Nicola Porpora) in the Corago information system of the University of Bologna .
  77. ^ Polifemo (Nicola Porpora) in the Corago information system of the University of Bologna .
  78. ↑ Ifigenia in Aulide (Nicola Porpora) in the Corago information system of the University of Bologna .
  79. ^ Issipile (Pietro Giuseppe Sandoni) in the Corago information system of the University of Bologna .
  80. ^ Adriano in Siria (Francesco Maria Veracini) in the Corago information system of the University of Bologna .
  81. ^ Mitridate (Nicola Porpora) in the Corago information system of the University of Bologna .
personal data
SURNAME Senesino
ALTERNATIVE NAMES Bernardi, Francesco (real name)
BRIEF DESCRIPTION Italian opera singer (castrato / mezzo-soprano) in London
DATE OF BIRTH October 31, 1686
PLACE OF BIRTH Siena
DATE OF DEATH November 27, 1758
Place of death Siena