[211] Born in 1690 at Strongoli in Calabria, he died in 1730. He was the master of the Chapel Royal at Naples, where he preceded Pergolesi and Hasse. I have spoken of Vinci in another volume. [212] _Acis and Galatea_ was reproduced in 1731, then given again in 1732, at the Haymarket Theatre, with the scenery and costumes, under the title of _An English Pastoral Opera_. The representation had taken place without the consent of Handel, who in response to the event, gave the work himself a little later. As for _Esther_, a member of the Academy of Ancient Music, Bernard Gates who had formerly sung in the piece at the Duke of Chandos' and who possessed a copy of it, produced it at the Hostelry of the Crown and Anchor, on February 23, 1732. In his turn Handel directed the work on May 2, 1732, at the Haymarket Theatre, under the title of English _Oratorio_. These presentations did not appease the interest of the public. [213] In the "first place there were in all," said a pamphlet, "260 persons, of whom many had free tickets, and others were even paid to come." Handel tried to give the work again at reduced prices. This brought him no advantage. The English patrons repeated already their exultation over the Saxon, and caused him to return to Germany. [214] _Athaliah_ was written for the University feasts at Oxford, to which Handel had been invited. They wished to confer on him there the title of Doctor of Music. One does not know exactly what happened to Handel, having always refused the honour. It is certain, however, that Handel did not receive the title. [215] Bononcini had been received into the Academy of Ancient Music at London. To secure his footing he offered the Academy in 1728 a Madrigal in five voices. Unfortunately for him, three years after, a member of the Academy found this Madrigal in a book of duets, trios, madrigals of Antonio Lotti, published in 1705 at Venice. Bononcini persisted in claiming the authorship of the work. A long enquiry was instituted, in which Lotti himself and a great number of witnesses were examined. The result was disastrous for Bononcini, who threw up all and disappeared from London towards the end of 1732--the whole of the correspondence relating to this affair was published by the Academy in Latin, Italian, French and English, under the title "Letters from the Academy of Ancient Music at London to Signor Antonio Lotti of Venice, with answers and testimonies, London, 1732." [216] Porpora was the most famous Italian teacher of singing of the eighteenth century. Hasse was himself a great singer, and married one of the most celebrated Prima Donnas who ever lived, Faustina. [217] Contrast with the short and restricted phrases of Benedetto Marcello in his _Arianna_, the amplitude of Porpora's treatment of the same subject. [218] Chrysander, who did not know him well, speaks with a disdain absolutely unjustifiable. [219] Handel's _Arianna_, January 26, 1734. Porpora's _Arianna à Naxos_, a little later.