But Porpora’s fame attracted many talented pupils, including the brilliant young German, Hasse (1699-1783), mentioned above, who, however, quickly forsook him in favor of Alessandro Scarlatti, a slight which Porpora never forgave and which served as motive for a lifelong rivalry between the two men. Hasse, originally trained in the tradition of the Hamburg opera and its Brunswick offshoot (where he was engaged as tenor and where he made his debut with his only German opera, ‘Antiochus’), quickly succumbed to the powerful Italian influence. The Italians took kindly to him, and, after his debut in Naples with ‘Tigrane’ (1773), surnamed him _il caro sassone_. His marriage with the celebrated Faustina Bordoni linked him still closer to the history of Italian opera; for in the course of his long life, which extends into the careers of Haydn and Mozart, he wrote no less than seventy operas, many of them to texts by the famed Metastasio, and most of them vehicles for the marvellous gifts of his wife. While she aroused the enthusiasm of audiences throughout Europe, he enjoyed the highest popularity of any operatic composer through half a century. Together they made the opera at Dresden (whither Hasse was called in 1731 as royal kapellmeister) the most brilliant in Germany--one that even Bach, as we have seen, was occasionally beguiled into visiting. Once Hasse was persuaded to enter into competition with Handel in London (1733), the operatic capital of Europe, where Faustina, seven years before, had vanquished her great rival Cuzzoni and provided the chief operatic diversion of the Handel régime to the tune of £2,000 a year! Only the death of August the Strong in 1763 ended the Hasses’ reign in Dresden, where during the bombardment of 1760 Hasse’s library and most of the manuscripts of his works were destroyed by fire. What remains of them reveals a rare talent and a consummate musicianship which, had it not been employed so completely in satisfying the prevailing taste and propitiating absurd conventions, might still appeal with the vitality of its harmonic texture and the beauty of its melodic line. Much of the polyphonic skill and the spontaneous charm of a Handel is evident in these works, but they lack the breadth, the grandeur and the seriousness that distinguish the work of his greater compatriot. Over-abundance of success militates against self-criticism, which is the essential quality of genius, and Hasse’s success was not, like Handel’s, dimmed by the changing taste of a surfeited public. Hasse’s operas signalize at once the high water mark of brilliant achievement in an art form now obsolete and the ultimate degree of its fatuousness.