Note 301 — HIS TECHNIQUE AND WORKS

In 1729 he went to Italy to find an heroic tenor, Pio Fabri; unfortunately he could not secure him for two years.—Acis and Galatea (1720) is written for 2 Tenors, 1 Soprano, and 1 Bass.—The most tragic rôle in Tamerlano (1724) (that of Bajazet) was written for the Tenor, Borosini.—Rodelinda, Scipione, Alessandro, all contain Tenor rôles.—On the other hand, Handel was not satisfied with having in his theatre the most celebrated basses of the century, the famous Boschi and Montagnana, for whom he wrote such fine rôles, such as that of Zoroaster in Orlando, and Polyphemus in Acis and Galatea; but he aimed at having several important rôles all taken by Basses in the same Opera. In his first version of Athaliah (1733) he had written a duet for Basses for Joad and Mathan. But the defection of Montagnana obliged him to give up this idea, which he could only realise in Israel in Egypt.