Handel's situation was much involved, but he took his revenge with the melodious opera _Ottone_ (January 12, 1723), which was the most popular of all his operas. Victorious then,[198] he went straight ahead without troubling himself about Bononcini, and he composed, one after another, three masterpieces in which he inaugurated a new musical theatre, as musically rich, and more dramatic than that of Rameau, some ten years later: _Guilio Cesare_ (February 20, 1724); _Tamerlano_ (October 21, 1724), and _Rodelinda_ (February 13, 1725). The last of _Tamerlano_ is a magnificent example of the great music drama, an example nearly unique before Gluck, in its poignancy and passion. Bononcini's party was definitely ruined,[199] but the greatest difficulties now began for Handel. The London Opera was delivered over into the hands of _Castrati_ and _Prime Donne_, and the extravagances of their supporters. In 1726 there arrived the most celebrated Italian singer of the time, the famous Faustina.[200] From this moment the London representations became mere jousts of song between Faustina and Cuzzoni--jousts as strenuous as the shouting of their various partisans. Handel wrote his _Alessandro_ (May 5, 1721) for an artistic duel between the two stars of his troupe, who acted as the two mistresses of _Alessandro_.[201] In spite of all, his dramatic genius won the day by several sublime scenes from _Almeto_ (January 31, 1727), the grandeur of which veritably seized hold of the public. But the rivalry of the singers, far from being appeased, redoubled in fury. Each party had its hired pamphleteers, who let loose on the adversary the most degrading libels. Cuzzoni and Faustina reached such a state of rage that on June 6, 1727, during the play, they fought and tore each other's hair unmercifully, amidst the yells of the audience, the Princess of Wales being present.[202]