What the paper tells us is that the Academy had not engaged Buononcini for the coming season.
The following season brought Handel better fortune, and a decline in the popularity of Buononcini.
It is hard to conceive the clat of a Buononcini or a Monteverde,—whose works were once preminent.
But when we come to think of it, might not Buononcini and Cuzzoni laugh to see how time has avenged them on their old enemy?
The most active of these was Buononcini, himself a composer of no mean ability, though eclipsed by the genius of Handel.
Buononcini's Griselda, which passes for his best opera, was produced in 1722, with Anastasia Robinson in the part of the heroine.
At all events, no importance was attached to it, and Buononcini was engaged to write an opera for the Carnival.
Against the simplicity and pathos of the old ballad Buononcini's stilted artificialities sounded tame and monotonous.
Two more operas by Buononcini were given, but his relations with the Academy were not very cordial.
A test opera was planned, of which Handel wrote the third act, Buononcini the second and a third musician the first.
