The singers of Lulli’s operas had all the faults of their later brethren. Dumenil, the tenor, used to steal the jewelry of the _prime donne_, and get intoxicated with the baritone. He is said to have drank six bottles of champagne every night, and only the sixth deteriorated his performance. Marthe Le Rochois, another of the troupe, on being accused of too much intimacy with the bassoon of the orchestra, exhibited a promise of marriage from the fond performer, written on the back of an _ace of spades_. Mlle. de Maupin was the wildest scapegrace the stage ever saw: her adventures read like the most improbable sensational novel, and would take as much space to reproduce. England’s first opera was performed in 1656. It was entitled the “Siege of Rhodes,” and was composed by five persons in collaboration. Musicians and players were at this time held in low esteem, and were liable to arrest as vagabonds at almost any moment. England possessed in Henry Purcell (1658-1695) a musician of whom any country might be proud. This composer soon turned his pen to the writing of operas; the music to “The Tempest” was excellent, while his “King Arthur” contains music which is still loved by Englishmen everywhere. Now that opera was established firmly, the rivalries of the singers at once began. In 1726 a bitter rivalry sprang up in London between Cuzzoni and Faustina Bordoni, in which the whole town took part. It lasted over two years, and was throughout causeless, as the styles of the two were entirely dissimilar, Bordoni being unapproachable in the lightness and rapidity of her runs and embellishments, and Cuzzoni excelling in the pathetic quality, and breadth of her tones.[288] But to follow the absurdities which constantly arose in the rivalries of the various composers, singers and performers, would require, not one, but very many volumes by itself; we need only allude to the disputes and rivalries between Gluck and Piccini (in the composition of operas,) the singers Mara and Todi, in France, and Billington and Mara in London. The names of those who have established a reputation as wonderful operatic singers, also make a formidable list. Among the very greatest may however be mentioned Farinelli (male soprano) Catalani, and Lablache, and among the most successful of operatic writers, Gluck, Mozart, Meyerbeer, Rossini, Verdi, Gounod. Of course many names could be added, but these may stand as representatives. It is not singular that the great masters, Händel, Beethoven and Mendelssohn failed in this branch of composition. None of them had the ability to stoop to the musical _finesses_, and _coups de theatre_, which were necessary to make a successful opera. They might have succeeded, if the pure style of Gluck, with _libretti_ taken from the Greek tragedies, had continued, for these were in their vein. But the public demanded a more spicy operatic diet which they were not able or desirous to finish.