A caricature of a performance of Handel's Flavio, featuring three of the best-known opera seria singers of their day: Senesino on the left, diva Francesca Cuzzoni in the centre, and art-loving castrato Gaetano Berenstadt on the right.

A caricature of a performance of Handel's Flavio, featuring Gaetano Berenstadt on the far right, the Cuzzoni in the centre and Senesino on the left.

After the break-up of Handel's Royal Academy in 1728, Senesino sang in Paris ( 1728 ) and Venice ( 1729 ), but was re-engaged by Handel in 1730, singing in four more new operas and in the oratorios Esther, Deborah, and, in its 1732 bilingual version, Acis and Galatea.

This soon grew to include more contemporary composers, including William Croft, Michael Christian Festing, Maurice Greene, Bernard Gates, Giovanni Bononcini, Senesino, Nicola Haym, Francesco Geminiani, Pier Francesco Tosi, John Ernest Galliard, Charles Dieupart, Jean-Baptiste Loeillet and Giuseppe Riva.

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 ).

In London the previous year, Senesino, a singer who had been a part of Handel's " Second Academy " which performed at the King's Theatre, Haymarket, quarrelled with Handel and established a rival company, the Opera of the Nobility, operating from a theatre in Lincoln's Inn Fields.

In this opera the importance of the two ladies ' roles had to be very carefully balanced, which at one point in the opera's plot made Senesino, playing the name part, look a complete fool.

Senesino was the son of a barber from Siena ( hence his stage-name ).

* In a staged quarrel, Francesco Maria Veracini comes into conflict with Johann David Heinichen and the singer Senesino, ending with his leaping from a third storey window.

Italian castrato singer Francesco Bernardi, known as Senesino from

The impresario Count Francesco Zambeccari wrote of his performance in Naples in 1715: " Senesino continues to comport himself badly enough ; he stands like a statue, and when occasionally he does make a gesture, he makes one directly the opposite of what is wanted ".

Because of the popularity of Italian opera throughout 18th-century Europe ( except France ), singers such as Ferri, Farinelli, Senesino and Pacchierotti became the first operatic superstars, earning enormous fees and hysterical public adulation.

The role of the hero was usually written for the castrato voice ; castrati such as Farinelli and Senesino, as well as female sopranos such as Faustina Bordoni, became in great demand throughout Europe as opera seria ruled the stage in every country except France.

The castrato Senesino, c. 1720

The role of the male hero was usually entrusted to a castrato, and by the 18th century, when Italian opera was performed throughout Europe, leading castrati who possessed extraordinary vocal virtuosity, such as Senesino and Farinelli, became international stars.

* 1686 – Senesino, Italian contralto castrato ( d. 1758 )

* Senesino ( 1686 – 1758 ): Italian contralto castrato singer.

Famous castrati include Farinelli, Senesino, Carestini, and Caffarelli.

This company had Porpora as composer and Senesino as principal singer, but had not been a success during its first season of 1733-34.

Of " Per questo dolce amplesso ", Charles Burney reports: " 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.

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.

Senesino ( Francesco Bernardi ) ( 31 October 1686 – 27 November 1758 ) was a celebrated Italian contralto castrato, particularly remembered today for his long collaboration with the composer George Frideric Handel.

Following a dispute with the court composer Heinichen in 1720, which led to his dismissal, Senesino was engaged by Handel as primo uomo ( lead male singer ) in his company, the Royal Academy of Music.

Senesino remained in London for much of the succeeding sixteen years.

His antipathy to Handel eventually became so great that, in 1733, Senesino joined the rival Opera of the Nobility.

The roles of Cesare and Cleopatra, sung by the castrato Senesino and famous soprano Francesca Cuzzoni respectively, and which encompass eight arias and two recitatives accompagnati each, make full use of the vocal capabilities of the singers.

Though Farinelli did not sing for Handel, his main rival, Senesino, did.

C. Wier, " A Nest of Nightingales: Cuzzoni and Senesino

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