The two contending parties, wishing to appear reasonable, proposed something like terms of accommodation: these were, that an opera in three acts should be composed by the three rivals, one act by each, and that he who best succeeded should for ever after take the precedence. The drama chosen was Muzio Scevola, of which Bononcini set the first act, Handel the second, and Attilio the third. Handel’s “won the cause,” and Bononcini’s was pronounced the next in merit. But, strange to say, though each no doubt strained his ability to the utmost in this struggle, not a single piece in the whole opera is known in the present day, or is, perhaps, to be found, except in the libraries of curious collectors.
This victory left Handel master of the field for some years, and the academy prospered. During this period he brought out about fifteen of his best operas. But the genius of discord must always have a seat in the temple of harmony, and a dispute between the German manager and the Italian soprano, Senesino, renewed former quarrels, broke up the academy, materially damaged the fortune of the great composer, and was the cause of infinite vexation to him during much of his future life.
Dr. Arbuthnot, always a staunch friend of Handel, now became his champion, and his ridicule had more weight with the sensible portion of the public than the futile arguments, if they deserve the name, advanced by the noble supporters of Senesino. But fashion and prejudice were, as usual, too strong for reason: a rival opera-house was opened in Lincoln’s Inn Fields, and after having composed several new operas, comprising some of his best, and having sacrificed nearly the whole of his property and injured his health, in a spirited attempt to support the cause of the lyric stage against the presumption of singers, and the folly of their abettors, Handel was at last compelled to terminate his ineffectual labours, and stop his ruinous expenses, by abandoning the contest and the Italian opera together.
The sacred musical drama, or oratorio, was ultimately destined to repair his all but ruined fortune, and to establish his fame beyond the reach of cavil, and for ever. Esther, the words of which it is said were the joint production of Pope and Arbuthnot, was composed for the Duke of Chandos in 1720. In 1732 it was performed ten nights at the Haymarket, or King’s Theatre. Deborah was produced in 1733, and in the same year Athalia was brought out at Oxford. These three oratorios were performed at Covent Garden, in the Lent of 1734. Acis and Galatea, and Alexander’s Feast, were brought out in 1735; Israel in Egypt, in 1738; L’Allegro ed il Penseroso, in 1739. Saul was produced at the theatre in Lincoln’s Inn Fields in 1740. But up to this period his oratorios failed to reimburse him for the expenses incurred; and even the Messiah, that sublime and matchless work, was, as Dr. Burney, Sir John Hawkins, and Handel’s first biographer, Mr. Mainwaring, all agree in stating, not only ill attended, but ill received, when first given to the public, in the capital of the empire, in 1741.
Such miscarriages, and a severe fit of illness, the supposed consequence of them, determined him to try his oratorios in the sister kingdom, where he hoped to be out of the reach of prejudice, envy, and hostility. Dublin was at that time noted for the gaiety and splendour of its court, and the opulence and spirit of its principal inhabitants. Handel, therefore, judged wisely in appealing to such a people. Pope in his Dunciad alludes to this part of his history, introducing a poor phantom as representative of the Italian opera, who thus instructs Dullness:—
But soon, ah soon, rebellion will commence,
If Music meanly borrows aid from sense:
Strong in new arms, lo! giant Handel stands,
Like bold Briareus, with a hundred hands:
To stir, to rouse, to shake the soul he comes,