Faustina Bordoni made her operatic debut in 1716, performing in Carlo Francesco Pollarolo’s Ariodante within her native Venice. During a career that spanned the mid-eighteenth century, she emerged as a highly sought-after mezzo-soprano, garnering significant professional success across major European musical centers including Dresden, Vienna, and London while establishing herself as a staple of the Italian opera circuit.
Professional Development and Early Success
Raised in Venice under the tutelage of Alessandro and Benedetto Marcello, Bordoni received vocal training from Michelangelo Gasparini. Following her 1716 debut, she remained in Venice until 1725, appearing in works by composers such as Albinoni, Giacomelli, and Leonardo Leo. Her reach extended quickly to cities including Naples, Parma, Modena, and Florence, and she gained international recognition after a 1723 debut in Munich for Pietro Torri's Griselda.
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Bordoni debuted in London on 5 May 1726, performing as Rossane in Handel’s Alessandro alongside Senesino and Francesca Cuzzoni. Throughout 1727 and 1728, she created roles in Handel's Admeto, Riccardo Primo, Siroe, and Tolomeo. The public perception of a bitter conflict between Bordoni and Cuzzoni intensified in 1727, eventually fueled by political pamphlets and public rioting at the King’s Theatre, although historical evidence indicates the singers maintained a professional relationship.
Dresden Court and Mature Career
In 1730, she married composer Johann Adolph Hasse. The following year, the couple accepted positions at the court of Augustus the Strong in Dresden, where she starred in her husband's opera Cleofide. She continued to perform in at least fifteen of Hasse's operas through 1751, while concurrently accepting engagements in Italy. She maintained her position as virtuosa da camera until 1763, eventually retiring to Venice in 1773.
Vocal Technique and Artistic Legacy
Bordoni possessed a penetrating mezzo-soprano voice noted for its articulate execution and ability to perform rapid repetitions of notes. Her technique included a flexible throat and the capacity for expressive adagio passages. Observers such as Charles Burney noted her distinct stage presence and ability to convey varied emotional states, from tender to furious, through her vocal and facial control.
Fast facts
- Born: 1697, Venice
- Died: 1781, Venice
- Occupation: Mezzo-soprano and stage actor
- Spouse: Johann Adolph Hasse
- Nickname: The new siren
- Citizenship: Republic of Venice
- Retirement from theatre: 1751
Questions readers ask
Did Faustina Bordoni have a professional rivalry with Francesca Cuzzoni?
Public perception framed them as rivals, particularly in London, but historical evidence shows they worked together professionally in Italy and for the Royal Academy.
Where is Faustina Bordoni buried?
She is buried in the church of San Marcuola in Venice alongside her husband, Johann Adolph Hasse.
Achievements
- Instruments: voice
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