Handel's first opera at the Royal Academy of Music was _Radamisto_, which was hailed on its production as its composer's masterpiece. "It seems," says Dr. Burney, "as if he was not insensible of its worth, as he dedicated a book of the words to the king, George I., subscribing himself his Majesty's 'most faithful subject,' which, as he was neither a Hanoverian by birth, nor a native of England, seems to imply his having been naturalised here by a bill in Parliament." [Sidenote: ACADEMIES OF MUSIC.] Buononcini, (who, compared with Handel, was a ninny, though others said that to him Handel was scarcely fit to hold a candle, &c.) produced his first opera also in 1720. It was received with much favour, and by the Buononcinists with enthusiasm. The next opera was _Muzio Scevola_, composed by Handel, Buononcini, and Ariosti together. It is said that the task of joint production was imposed upon the three musicians by the masters of the Academy, by way of competitive examination, and with a view to test the abilities of each in a decisive manner. If there were any grounds for believing the story, it might be asked, who among the directors were thought, or thought themselves qualified to act as judges in so difficult and delicate a matter. In the meanwhile the opera of the three composers did but little good to the theatre, which, in spite of its admirable company, was found a losing speculation, after a little more than a year, to the extent of £15,000. Thirty-five thousand pounds remained to be paid up, but the rest of the subscription money was not forthcoming, and the directors were unable to obtain it until after they had advertised in the newspapers that defaulters would be proceeded against "with the utmost rigour of the law." A new mode of subscription was then devised, by which tickets were granted for the season of fifty performances on receipt of ten guineas down, and an engagement to pay five guineas more on the 1st of February, and a second five guineas on the 1st of May. Thus originated the operatic subscription list which has been continued with certain modifications, and with a few short intervals, up to the present day. Buononcini's _Griselda_, which passes for his best opera, was produced in 1722, with Anastasia Robinson in the part of the heroine. Handel's _Ottone_ and _Flavio_ were brought out in 1723; his _Giulio Cesare_ and _Tamerlano_ in 1724; his _Rodelinda_ in 1725; his _Scipione_ and _Alessandro_ in 1726; his _Admeto_ and _Ricardo_ in 1727; his _Siroe_ and _Tolomeo_ in 1728--when the Royal Academy of Music, which had been carried on with varying success, and on the whole with considerable ill success, finally closed. [Sidenote: FAILURE OF ITALIAN OPERA IN LONDON.]