Giulia Frasi

Giulia Frasi (also Frassi ) was born c. 1730 and died in 1772 She was an Italian soprano who was primarily active in London. She sang in every one of Handel's English oratorios (with the exception of Semele), including various world premières for which the composer wrote roles specifically for her.

Early life and career

Italy There is very little biographical information about Giulia Frasi. She was born in or around Milan before 1730. She had a younger brother named Giovanni who, like her, settled in England and died there in 1795 at 65, after having worked extensively as a tailor-embroiderer for the then Prince of Wales, George IV.

In her native Italy Frasi studied singing with Milanese composer Brivio. She also performed there for a few years during the early 1740s This was followed straight away by a period of intense artistic activity on the London stage, still at the King's Theatre, singing works by Lampugnani, Hasse, Porpora, Galuppi. Frasi, who had created the role of the giant Briareo for Gluck, was back on stage and continued her intense musical activity: first with a role in Gluck's second London opera (Artamene) that continued until Handel's death and beyond, the Jermyn Lying-in Hospital, in aid of which she sang in a performance of Arne's revised version of Alfred organised at the King's Theatre on 12 May 1753, 13 April: benefit concert for her friend and colleague Caterina Galli. 24 April: Mr Tozzi's concert at Hickford's Room.

Private life

Addresses in London

From 1745 to 1752 Frasi lived in Great Pulteney street, not far from Golden Square.

Then she moved to Gerrard Street,

Wages She was paid 6 guineas, very high wages at the time, for the charity revivals of Handel's Solomon at the Foundling Hospital in 1754, 1758 and 1759. She was the highest paid singer at Handel's Foundling Hospital performances of Messiah. This aria, written for the castrato Angelo Monticelli, is "ferociously difficult ... with virtuosic text-painting in the vocal line, rapid passagework and repeated notes that would have required honed technique and a soprano of light agility".

Twelve-bar coloratura from "Amid a thousand racking woes", written for Tenducci, in Arne's Artaxerxes (act 1, scene 2). The passaggi battuti, cantar di sbalzo, mordenti, arpeggi etc. are hallmarks of castrato arias. (In the 1769 revival of Arne's opera, Frasi would have sung this aria.)

However, inspired by her rare and particular talent in musical expressiveness, Handel composed for her music of overwhelming sensitivity and beauty. Her roles contain vivid scenes of emotional and spiritual drama; they depict suffering and distress along with courage, dignity, and selflessness, | Brivio Lodi, Italy 1740 Il Bajazet Mahobeth Lampugnani Brivio Capua Hasse première pasticcio at the King's Theatre. Gianguir: Amorevoli Cosrovius: Angelo Monticelli Semira: Caterina Visconti Zama: Sga Giovanna Contini Mahobeth: Sga Giulia Frasi 1742 Mandane Costanza Galuppi première at the King's Theatre. 1743 Temistocle Tassile Lampugnani première pasticcio at the King's Theatre. In 1743 Lampugnani took the place of Galuppi as musical director of the King's Theatre. On 15 November of the same year he produced, Rossane, his first composition, at the house for which he was the new resident composer, possibly a rearrangement of Handel's Alessandro. 1744 Alphonso Garzia Lampugnani première at the King's Theatre, January. Alfonso: Monticelli Elvira: Rosa Mancini Pelagio: Fratesanti Garzia: Siga Frasi Ermesenda: Siga Visconti Fernando: Sga Caselli 1744 Rosalinda Ernesto Veracini première at the King's Theatre. Adapted from As You Like It, by P. A. Rolli. Rosalinda: Siga Visconti Clelia: Siga Mancini Constante: Monticelli Ernesto: Siga Frasi Montano: Siga Caselli Selvaggio: Fratesanti 1744 Aristodemo, tiranno di Cuma Timotele Pescetti première pasticcio at the King's Theatre, April. Senocrita: Sga Visconti Cleonice: Rosa Mancini Timotele: Sga Frasi Eurito: Sga Caselli Ippomedonte: Fratesanti 1744 Music for the "Benefit and Increase of a Fund for the support of Decayed Musicians or their Families." at the King's Theatre. 10 April. Frasi sings two arias: "Per Pietà" (from Brevio's L'incostanza Delusa) "Scherza Quest' Alma Mia" (from Lampugnani's Bajazet) 1744 Alceste Olinto Lampugnani première at the King's Theatre. Based on Metastasio's Demetrio. Rosmira: Siga Visconti Alceste: Monticelli Barsene: Siga Mancini Olinto: Siga Frasi Mitrane: Siga Caselli Fenicio: Fratesanti 1745 L'incostanza delusa|Corina Brivio Saint-Germain première pasticcio. According to David Hunter, the count contributed some of the songs to L'incostanza delusa, an opera performed at the Haymarket Theatre on all but one of the Saturdays from 9 February to 20 April 1745. 1746 Alessandro nell'Indie Timagene Lampugnani revival at the King's Theatre. 1746 Il Trionfo Della Continenza / Il Trionfo Della Costazza Clearchus Galuppi première at the King's Theatre. a pasticcio with some new music by Galuppi Tamur Gluck première The opera also consists largely of music from Gluck's earlier works, lack of time having forced him to this device. The opera did not meet with success either. première 1746 Mitridate Arbate Terradellas première 1747 Fetonte Teone Paradies première 1747 Bellerofonte Assiane Terradellas première 1747 Rossane o Alessandro Nelle Indie|Cleon Handel Lampugnani revival pasticcio 1747 Lucius Verus (Lucio Vero) Selene Hasse revival at the King's Theatre.

Didone: sga Casarini Enea: sig Reginelli Selene: sga Frasi Emirena: sga Pirker Jarba: sig Ciacchi Araspe: sga Galli Osmida: sga Sibilla 1748 Semiramide riconsciuta Tamiri Hasse English première at the King's Theatre. Scitalce: sig Reginelli Tamiri: sga Frasi Berenice: sga Pirker Ircano: sig Ciacchi Mirteo: sga Galli Sibari: sga Sibilla 1748 Don Calascione (Gismondo) Costanza Galuppi revival at the King's Theatre, March. "New Songs- with alterations of Sga Cassarini, Sga Frasi." 1748 Entertainment of Music for the "Benefit and Increase of a Fund for the support of Decayed Musicians or their Families." at the King's Theatre, 5 April. Frasi sings two Handel arias: "Heart thou Seat of soft Delight" (from Acis and Galatea) "The Prince unable to Conceal his Pain" (from Alexander's Feast) 1749 Entertainment of Music for the "Benefit and Increase of a Fund for the support of Decayed Musicians or their Families." at the King's Theatre, 21 March. Frasi sings three arias: "Scherza il nocchier talora" by Brevi "Parto non ho costanza per rimirarti" by Galuppi "O Sleep, why dost thou leave me?" (from Handel's Semele) 1749 Susanna at the King's Theatre, 10 April. Frasi sings two arias by Ciampi: Infelice van milagno Oh dio mancar mi sento (from Adriano in Siria) and she closes the concert with a duet from Handel's Saul, with Guadagni: "O fairest of ten thousand fair" 1750 Alceste Calliope Handel n/a This was rehearsed but eventually abandoned. Handel re-used the music in oratorios. It is plausible that Frasi was part of the cast as, by then, she was already Handel's favourite principal soprano. Moreover, Calliope's ode to sleep ("Gentle Morpheus") shows typical hallmarks of other "Handel/Frasi collaborations". 1750 Saul Michal Handel revival at Covent Garden 1750 Adriano in Siria|Emirena Ciampi revival but première of the aria "Oh Dio! Mancar mi sento" at the King's Theatre, with the famous castrato Gaetano Guadagni and the tenor Filippo Laschi. For Frasi Ciampi wrote the emotional aria "Oh Dio! Mancar mi sento" and added it to act 3, scene 7 of the London version. Costanza Galuppi revival 1753 Messiah|soprano Handel revival at the Foundling Hospital 1754 "Entertainment of Vocal and Instrumental Music for the "Benefit and Increase of a Fund for the support of Decayed Musicians or their Families." "Non vi piacque ingiusti Dei" (from Mazzoni's Siroe, re di Persia) "Ti parli in seno amore" (from Perez's Farnace) 1754 Messiah|soprano Handel revival at the Foundling Hospital. For this performance the transposed Guadagni arias were restored to the soprano voice. Semira Hasse revival at the King's Theatre. Artaserse: sga Passerini Mandane: sga Visconti Artabano: sig Albuzzio Arbace: sig Serafini Semira: sga Frasi Megabise: sig Ranieri 1754 L'allegro, il penseroso ed il moderato Handel revival on the same day as Ode for St. Cecilia's day (23 May) 1754 Ode for St. Cecilia's day Handel revival on the same day as L'allegro, il penseroso ed il moderato (23 May) 1754 Ipermestra at the King's Theatre, 17 March. Frasi sings: "Tremende oscuri atroci" (from Pergolesi's L'Olimpiade) "Return O God of Hosts" (from Handel's Samson) 1755 Ricimero, Re di Goti |Ermione Jommelli revival Commercial failure, only two performances Barsene Cocchi revival at the King's Theatre on 8, 12, 15, 19, 22, 26 and 29 November; 3, 6, 10, 13, 17, and 23 December. Recitatives in English and arias in Italian. 1758 Zenobia Egle Cocchi première at the King's Theatre on 10, 14, 17, 21 and 28 January; 4, 11 and 18 February. Recitatives in English and arias in Italian. Zenobia: Signora Colomba Mattei Radamisto: Signora Angola Calari Tiridate: Pasquale Portenza Egle: Signora Giulia Frasi Zopira: Salvadore Pazzagli Mitrane: Signora Laura Rosa. 1758 Solimano at the King's Theatre, 6 April. Frasi sings three arias by Handel: "Wise Men's Flattery" (from Belshazzar) "He Shall Feed His Flock" (from Messiah) "Ye Sacred Priests... Farewell ye Limpid Springs" (from Jephtha). 1759 Messiah|soprano Handel revival at the Foundling Hospital and at Covent Garden (the final performance of the work at which Handel was present: 6 April 1759, eight days before his death). Eltruda Arne revival at Covent Garden, "With several new Songs composed by Mr Arne" 1759 Solomon| Pharoah's Daughter Nicaule First Harlot Handel revival at the Foundling Hospital 1760 Paradise lost|Eve Smith première role creation shared with Charlotte Brent 1761 Concert for the "Benefit and Increase of a Fund for the support of Decayed Musicians or their Families." at the King's Theatre, 12 March. Frasi sings two arias from Handel's Jephtha: "Freely I to Heaven Resign" "Ye Sacred Priests... Farewell ye Limpid Springs" 1761 Rebecca|Rebecca Smith première 1763 Telemachus'|Parthenope Hayes première in Oxford. A projected London performance of Telemachus was advertised in 1764 but seems to have been cancelled. Israelite woman Handel revival at the Little Theatre. "By Permission of the Lord Chamberlain. Benefit for Sga Frasi. Boxes 10s. 6d. Pit 5s. First Gallery 3s. 6d. Second Gallery 2s. To begin at Twelve. Doors open at 11:00 a.m"|- April 1774 at the Little Theatre.with the very young Nancy Storace. On Wednesday the 3rd, Thursday the 4th and Friday the 5th of July, being the three Days following the Commemoration of Founders and Benefactors to the University, L'Allegro, il Penseroso, &c. Judas Macchabæus, and Messiah will be performed in the Theatre. The principal Vocal Parts by Signora Frasi, Mr. Beard, Mr. Wass, and others; and the Instrumental Parts by many of the most excellent Performers of every Kind from London. Further particulars will be specified in the Bills of each Days Performance.

On 30 June 1759 the Oxford Journal published the following advertising: On Tuesday the 3rd of July (the Day of the Installation) will be performed, in the Theatre, the Oratorio of Samson; on Wednesday the 4th (the Day appointed for commemorating our Founders and Benefactors), the Oratorio of Esther; and on the 5th Messiah, or the Sacred Oratorio; together with select pieces between the Acts (as will be specified in the Bill of each Days Performance) by a numerous and excellent Band from London, Bath and other Places. The principal Vocal Parts by Signora Frasi, Miss Brent, Mess. Beard, Champnes, Wass and Hudson from London and Master Norris from Salisbury. Tickets are to be had at Mr. Cross's Music Shop and at the Coffee Houses; Price Five Shillings.

Throughout the 1750s, "Frasi's concert repertoire stretched from Purcell to Terradellas." She was considered a paramount principal soprano in English oratorios or other works of the sort by Handel and by other composers. Frasi was at nine consecutive meetings of the Three Choirs Festival: she sang for William Boyce at Hereford in 1756, then she performed for Arne, and so on. She gave regular concerts in Oxford too. She also continued to be part of the Covent Garden oratorio concerts given by Handel and, later, by John Christopher Smith and John Stanley. (The latter two would produce their own oratorios (or other works suitable for the occasion) whilst also putting together revivals of Handel's. ) In fact, after Handel's death in 1759, Frasi continued as Prima Donna under his successors until about 1768.

In total Frasi also participated in at least fourteen opera seasons at the King's Theatre between 1742 and 1761. In addition to which, during the 1754–1756 seasons, she regularly covered for Regina Mingotti. (Mingotti's fits of temper, antagonisms with the director of the opera company of the King's Theatre and ailings often made her "indisposed". Frasi covered for her many a time, more often than not ending up taking over Mingotti's role for the rest of the performances as Regina Mingotti "[would] not yet [have] recovered of her indisposition". Michael Burden quotes the following newspaper clip: Signora Mingotti having acquainted Sig Vanneschi Yesterday Afternoon that she continues very much indisposed, and is not able to sing To morrow night, by which Reason the Opera called Ezio cannot be performed; instead thereof Sig. Vanneschi begs Leave to perform the Opera of Andromaca, in which Signora Frasi will do the part of Signora Mingotti; and Signora Peralta is to do the part of Signora Frasi.

During the 1760s, Frasi continued to play a prominent part in the musical life of London. She seems to have transitioned smoothly to the new music style of the generation of composers younger than her; composers like Philip Hayes, who announce the advent of the Classical Era.

She was part of the London Stage for about 31 years in total. Aside from interpreting Handel's and other composers' music on stage, Frasi also continued to sing regularly in charity concerts; she also took part regularly in the annual Musicians Fund (and other) benefits, and sang at the Castle and Swan concerts, at Ranelagh and elsewhere.

Progressive retirement From 1764 onwards her public appearances became less frequent. In 1767 she appeared at London's Covent Garden in Esther and at Haberdashers' Hall in Messiah.

She made her last appearances in 1769 in Handel's Judas Maccabaeus at the King's Theatre, and as Arbaces in Artaxerxes by Thomas Arne. The latter is her last known appearance on the stage in an opera.

Finally, in 1770 – after having been "confined for some Time by a bad State of Health" – she appeared again at the Little Theatre on 4 May for a charity concert to her own benefit singing Judas Maccabaeus. For this concert she gathers musical London luminaries such as Giardini, playing first violin and solos, her singer colleague Gaetano Guadagni, and cellist Jean-Pierre Duport. However, the organisation of the concert was plagued with difficulties which eventually lead her to give a "full-scale oratorio ... at the unsociable hour of noon."

Three years later she appeared in a few concerts, making a new "come-back" about which The Morning Post and Daily Advertiser wrote sarcastically: "Signora Frazi, who may be said, with respect to the musical world, to have been long since dead and buried, is expected to rise again in Lent[.]" Vickers adds that "the soprano's comeback comprised a few scattered concerts at inauspicious venues".

A significant musical figure Frasi was not only able to quickly win over the London opera stage, but she had Handel's assent as well. She also gained the affection and became a favourite of the English public.

The thirty-one-year career that Frasi enjoyed in London was broad and varied. She was Handel's last prima donna, but she also sang Gluck, the Venetian heritage style of Galuppi, the Neapolitans like Porpora, Pergolesi, Lampugnani, Hasse, Cocchi, and English composers, among which Boyce, Smith, Hayes and Arne. Operas and oratorios on the London stage were a rather important part of her career but so was her music making in other occasions. She did have a non-negligeable place in London's community of musicians and participated in the cultural richness and musical diversity of London and Britain during the mid-Georgian era.

Ruby Hughes says of the roles written by Handel for Frasi that they "seem to engender a depth of female characterisation which may well have subverted the norm at a time". The soprano adds that she is "struck by the significance of [Frasi's] considerable achievements." Death Frasi's infamous profligacy inevitably caused problems when her vocal powers ran out. Her accumulated debts due to her expensive and extravagant lifestyle reduced her to poverty, so much so that, in her latest years, after her last documented concert at Hickford's Room on 16 May 1774, she allegedly found herself forced to flee to Calais where she died destitute.

Discography There are countless commercial recordings of Handel's works, including the ones sung by Frasi. Handel's Last Prima Donna: Giulia Frasi In London. Ruby Hughes (soprano); Orchestra of the Age of Enlightenment, Laurence Cummings. (Chaconne Hybrid SACD, Chandos CHSA0403, 2018). This CD is a tribute to Frasi and includes 4 world première recordings of works by Ciampi, Hayes and Smith. There is a historical and musicological essay by David Vickers in the CD booklet. Mozart in London. Helen Sherman (soprano); The Mozartists, Ian Page. (Signum Classics, B07BF2482X, 2018). This CD offers a musical landscape of the London of the 1760s. The tracklist encompasses works by J. C. Bach, Abel, Pescetti, Perez, Rush and Bates, many of which are world première recordings. It also includes two arias from Artaxerxes by Thomas Arne and both are arias Frasi would have sung in the 1763 revival: act 1, scene 2: "Amid a thousand racking Woes" and act 1, scene 13: "O too lovely, too unkind".