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There was a day when players and singers so ruled directors and composers that the latter hardly knew whether they could call their lives their own. But that day is past, and Händel was one who prominently assisted in bringing about the new order of things. Two instances will serve to show how he controlled his unruly singers.

When Carestini was given the beautiful aria "Verdi prati," in "Alcina," he sent it back to Händel saying it was too trivial for him to sing in public. Handel rushed off to the singer's rooms and, foaming with rage, yelled to the astonished Italian:

"You tog! Don't I know bedder ash yourself vat ish best for you do sing? If you do nod sing all de song vat I gifs you, I will not pay you ein stiver!"

Nor could this choleric composer be bullied by the weaker sex. At a rehearsal of one of his operas, the great soprano, Cuzzoni gave him great trouble by her impudence. Finally she refused to sing a certain aria. Händel concluded the time had come to see who was master; so he rushed onto the stage, and, catching the astonished prima donna around the waist, he dragged her to an open window, crying: "I always knew you was a very teufel, but I vill show you I am Beelzebub, de prince of de teufels!" Then he threatened to throw her out headlong unless she promised to sing the song. Cuzzoni was frightened half to death, and begged to be released, promising to do anything he might require.  

In the eyes of many singers and in the minds of much of the public, the words used when singing are of no particular value. This may be true of a goodly number of popular songs that live for a day. But in the strict