The two young men enjoyed themselves for some while, playing first a suite by Cesti, and then two early sonatas by Buononcini.
The following season brought Handel better fortune, and a decline in the popularity of Buononcini.
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?
Against the simplicity and pathos of the old ballad Buononcini's stilted artificialities sounded tame and monotonous.
The most active of these was Buononcini, himself a composer of no mean ability, though eclipsed by the genius of Handel.
A test opera was planned, of which Handel wrote the third act, Buononcini the second and a third musician the first.
But Buononcini's friends would not accept defeat, and the battle between all parties was violent.
The piece bristled with complications, and Buononcini confidently anticipated that Handel would break down over its performance.
Buononcini's Griselda, which passes for his best opera, was produced in 1722, with Anastasia Robinson in the part of the heroine.
Two more operas by Buononcini were given, but his relations with the Academy were not very cordial.
