Faustina Bordoni was an Italian mezzo-soprano. In Hamburg, the Johann Adolph Hasse Museum is dedicated to her husband and to Bordoni, she was born in Venice and brought up under the protection of the aristocratic brother composers Alessandro and Benedetto Marcello. Her singing teacher was Michelangelo Gasparini. For many years in the service of the Elector Palatine, she made her operatic debut at Venice in 1716 in Carlo Francesco Pollarolo's Ariodante, singing in her home city until 1725 in operas by Albinoni, the Gasparini brothers, Leonardo Leo, Giuseppe Maria Orlandini, the Pollarolos and son, Leonardo Vinci, amongst others. In 1718 and 1719 in Venice she sang alongside Francesca Cuzzoni to become her great rival. During this period she performed several times at Reggio nell'Emilia and Parma, at least once in Milan and Florence. After her German début in 1723, singing in Pietro Torri's Griselda at Munich, she was a great favourite north of the Alps during the 1720s enjoying great success in Vienna.
Her nickname was the "new siren", she was known as "Faustina". Her London début, as Rossane in Handel's Alessandro, took place on 5 May 1726, alongside Senesino and Cuzzoni. During the next two seasons she created four more Handel roles: Alceste in Admeto and Pulcheria in Riccardo Primo, Emira in Siroe and Elisa in Tolomeo, she sang in a revival of Radamisto, in operas by Ariosti and Giovanni Bononcini. In a performance of the latter's Astianatte on 6 June 1727, a riot broke out in the audience between her followers and those of her'rival' Cuzzoni in the King's Theatre, Haymarket, in front of Caroline, Princess of Wales; this furore seized the public imagination and a great deal of journalistic exaggeration – the pamphleteer John Arbuthnot published "The DEVIL to pay at St. JAMES's: Or A full and true ACCOUNT of a most horrid and bloody BATTLE between Madam FAUSTINA and Madam CUZZONI", in which he lambasted the two ladies: "TWO of a Trade or agree … But who would have thought the Infection should reach the Hay-market and inspire Two Singing Ladies to pull each other's Coiffs, to the no small Disquiet of the Directors, who have enough to do to keep Peace and Quietness between them.
… I shall not determine, the Aggressor, but take the surer Side, wisely pronounce them both in Fault. Recent research has shown, that it was the singers' supporters who were behaving badly, rather than the singers themselves, who had worked together before in Italy and continued to work together for the Royal Academy until the directors were forced to dissolve it in 1728 owing to mounting debts. Unlike Cuzzoni, Faustina never returned to England. During the years 1728–1732, she was again much in evidence on the stages of major Italian cities Venice. In 1730, she married the German composer, Johann Adolf Hasse, the following year the couple were summoned to the court of Augustus the Strong at Dresden, where Faustina enjoyed a great success in her husband's opera Cleofide, they were described by the famous librettist Metastasio as "truly an exquisite couple". Hasse remained at the Saxon court for more than thirty years, his wife sang in at least fifteen of the operas he composed between Caio Fabricio in 1734 and Ciro riconosciuto.
Faustina was, permitted to make many long trips to Italy, appearing again in Naples, Venice and elsewhere in operas by Pergolesi and Vinci, alongside those of her husband. Though she retired from the theatre in 1751, Faustina kept her salary and title of virtuosa da camera to the Elector until the death of Augustus' successor, Frederick Augustus II in 1763. At this point and her husband moved to Vienna, before removing to Venice in 1773, they had both trained singers. On a visit in 1772, Charles Burney described Faustina as "a short, brown and lively old woman... with good remains … of that beauty for which she was so much celebrated in her youth." Unlike her rival Cuzzoni, who died in poverty, Faustina had a prosperous old age. The composer Quantz gave a description of Bordoni's qualities, as given to Charles Burney: Faustina had a mezzo-soprano voice, less clear than penetrating, her compass now was only from B flat to G in alt. She possessed, she had a fluent tongue for pronouncing words and distinctly, a flexible throat for divisions, with so beautiful a shake that she put it in motion upon short notice, just when she would.
The passages might be smooth, or by leaps, or consisting of iterations of the same note. She was, the first who introduced with success a swift repetition of the same note, she sang adagios with great passion and expression, but was not successful if such deep sorrow were to be impressed on the hearer as might require dragging, sliding, or notes of syncopation and tempo rubato. She had a happy memory in arbitrary changes and embellishments, a clear and quick judgment in giving to words their full value and expression. In her action she was happy. In short, she was born for acting. Burney himself remarked on the strength of the note E in h
Live Phish Vol. 16 was recorded live at Thomas and Mack Center located on the campus of the University of Nevada, Las Vegas, in Paradise, Nevada on Halloween night, 1998. It marks the fourth of six Halloween shows in which Phish dressed up in a "musical costume" by performing an album from another artist in its entirety. On this night, the band unveiled a complete performance of the Velvet Underground's Loaded sandwiched in between two sets of Phish's own music; this performance is the only Halloween performance that sees Phish straying away from the album's original format, instead embarking on several extended improvisational jams throughout the set. Two of the album's songs - "Lonesome Cowboy Bill" and "Sweet Jane" - had been performed by Phish in concert; the group admitted that they could not decide on a choice for the 1998 Halloween album so they decided to go with an album that they knew for the most part. Fan reaction was mixed as many were not familiar with the album, although "Rock & Roll" would become a Phish concert staple.
Disc four is a bonus disc recorded the night before as part of the band's 15th Anniversary celebration. Though it is not the longest concert in the series, this is the longest volume in the Live Phish Series with the bonus disc bringing the total length to just under five hours. Set one:"Axilla I" - 3:58 "Punch You in the Eye" - 9:06 "Roggae" - 8:48 "Birds of a Feather" - 7:21 "Sneakin' Sally Thru the Alley" - 10:56 "Chalk Dust Torture" - 8:22 "Lawn Boy" - 3:07 "Mike's Song" - 9:27 "Frankie Says" - 5:12 "Weekapaug Groove" - 12:16 Set two:"Who Loves the Sun" - 3:33 "Sweet Jane" - 8:15 "Rock & Roll" - 13:46 "Cool It Down" - 7:14 "New Age" - 8:35 "Head Held High" - 4:21 "Lonesome Cowboy Bill" - 10:14 "I Found a Reason" - 4:34 "Train Round the Bend" - 6:50 "Oh! Sweet Nuthin'" - 9:17 Set three:"Wolfman's Brother" - 30:43 "Piper" - 13:03 "Ghost" - 9:07Encore:"Sleeping Monkey" - 5:52 "Tweezer Reprise" - 3:53 Filler:"Run Like an Antelope" - 17:07 "Stash" - 7:51 "Manteca" - 3:26 "Tweezer" - 16:33 "NICU" - 9:43 "Prince Caspian" - 8:35 "Golgi Apparatus" - 6:09 "Driver" - 4:42 "Free Bird" - 4:19 Trey Anastasio - guitars, lead vocals, co-lead vocals on "Roggae" and "I Found a Reason" Page McConnell - piano, backing vocals, co-lead vocals on "Roggae", lead vocals on "Lawn Boy", "Frankie Says", "Sweet Jane", "Rock and Roll" and "Oh!
Sweet Nuthin'" Mike Gordon - bass, backing vocals, co-lead vocals on "Roggae" and "I Found a Reason", lead vocals on "Mike's Song" and "Train Round the Bend" Jon Fishman - drums, backing vocals, co-lead vocals on "Roggae", lead vocals on "Lonesome Cowboy Bill" Phish and their musical costumes Phish Cover Velvet Underground Album At Halloween Gig