"Eurydice" of Rinuccini and Peri was given in honor
of the wedding of Marie de' Medici and Henry IV. of France. The growth
and ever-increasing popularity of the opera, the development of
civilization, the increase of wealth and the population of new
countries, have led not only to the highest cultivation of the human
voice, wherein music exerts its greatest power of fascination, but have
brought forward hundreds of competitors for the artistic laurels which
are the reward of those who reach the highest state of musical
perfection.

For nearly a century opera was confined to the continent of Europe, but
in 1691 Margarita de L'Epine, a native of Tuscany, appeared in London.
She was remarkable for her plainness of speech and of features, her
rough manners and swarthy appearance, and she must indeed have been
possessed of a fine voice to have been able to retain her hold on public
favor. In 1692 she announced her last appearance, but it was so
successful that she kept on giving last appearances and did not leave
England for several years, thus inaugurating a custom which is observed
to the present day. Margarita married the celebrated Doctor Pepusch.

Contemporary with her was Katharine Tofts, an English woman, for an
account of whom we are indebted to Colley Cibber, the great critic and
playwright. She was a very beautiful woman with an exquisitely clear,
sweet voice. Her career was short, for, after having achieved a
tremendous success in one of her parts, she became demented, and, though
eventually cured, she never returned to the stage. There was a lively
rivalry between the two singers, which furnished gossip for the town.

Anastasia Robinson, mild and pleasing in manners, with great sweetness
of expression and large blue eyes, was engaged to sing by George
Frederick Haendel, who at that time was the impresario of the London
opera. Other singers he engaged in Dresden, of whom Margherita
Durastanti was the soprano. Large, coarse, and masculine, she is said to
have been distinguished as much for the high respectability of her
character as for her musical talent. Senesino was considered the
leading tenor singer of his day. He was a man of imposing figure and
majestic carriage, with a clear, powerful, equal, and fluent voice. The
basso was Boschi, who was chiefly remarkable for a voice of immense
volume and a very vigorous style of acting.

Anastasia Robinson was eclipsed, after a career of twelve years, by
Francesca