Giulia Frasi


Giulia Frasi, was born in c. 1730 and died in 1772 or after May 1774. She was an Italian soprano who was primarily active in London. She sang in every one of Handel's English oratorios '', including various world premières for which the composer wrote roles specifically for her.

Early life and career

Italy

There is very little biographical information about Giulia Frasi. She was born in or around Milan before 1730. She had a younger brother named Giovanni who, like her, settled in England and died there in 1795 at 65, after having worked extensively as a tailor-embroiderer for the Prince of Wales.
In her native Italy Frasi studied singing with Milanese composer Giuseppe Ferdinando Brivio. She also performed there for a few years during the early 1740s making her operatic debut at Lodi and then singing in Alessandria, Bergamo, and Modena.

London

She moved to London in autumn 1742 - perhaps following Giuseppe Ferdinando Brivio - with her friend and fellow singer the contralto Caterina Galli. In England she joined Lord Middlesex's Italian opera company. Lord Middlesex was director of Italian opera at the Haymarket Theatre whose purpose was to challenge Handel's solid hold on London opera goers. She studied under the English educator, musician and historian Charles Burney.
Her English career began shortly after her arrival, first performing in comprimario roles at the King's Theatre. Her profile rising gradually within the company, she soon appears in secondary roles, including breeches roles and Cleon.
Her actual London début took place on 2 November 1742 at the King's Theater as Mahobeth in the pasticcio Gianguir with music by Giovanni Battista Lampugnani, Johann Adolph Hasse and Giuseppe Ferdinando Brivio. The latter's music will also be used in two other pasticcios produced at the King's Theatre during the 1740s: Mandane, premièred on 12 December 1742.
This was followed straight away by a period of intense artistic activity on the London stage, still at the King's Theater, singing works by Giovanni Battista Lampugnani, Johann Adolph Hasse, Nicola Porpora, Baldassare Galuppi.
However, just a couple of years after her arrival in the British capital, shortly after the première of the pasticcio L'incostanza delusa, all theatres in London were closed because of the political turmoil caused by the Stuart rising. When the political situation improved theatrical activities recommenced with a première of Christoph Willibald Gluck's opera La caduta de' giganti on 17 January 1746. La caduta de' giganti, a command from Lord Middlesex, with a libretto by Vanneschi, glorified the hero of the battle of Culloden, the Duke of Cumberland. Frasi, who had created the role of the giant Briareo for Gluck, was back on stage and continued her intense musical activity: first with a role in Gluck's second London opera and then with works by Matteo Capranica, Antonio Caldara, Francesco Maria Veracini, Domènec Terradellas, Pietro Domenico Paradisi and others.
In addition, her association with the annual charity concerts in aid of the Fund for Decay'd - known today as the Royal Society of Musicians - started as early as 1743.The earliest documented occasion on which she performed English-language airs, including some by Handel, in public was as early as March 1746. Her charity fundraising also included benefactors such as the Foundling Hospital, where Handel held regular benefit concerts and annual performances of Messiah that continued until Handel's death and beyond, the Jermyn Lying-in Hospital, in aid of which she sang in a performance of Arne's revised version of Alfred organised at the King's Theatre on 12 May 1753, and many others.

Noticed by Handel

A few years after her London début she is noticed by Handel, who, appreciating her singing, her determination to sing articulately in English and, above all, her musical expressiveness, hires her for his 1749 season.
That same year she becomes his principal soprano and sings the title role in Susanna. Handel takes her under his wing and she quickly becomes one of his favourites. "The subtle artistry and emotional depth of Handel's writing for Frasi" is a testament to how expressive her singing must have been and to how much Handel must have estimated this particular talent of hers.
For example, in Theodora, Act II, Scene 2 opens with "a plaintive symphony for flutes and strings establish the lonely despair of the character, and her dread for the violation of her chastity is sublimely expressed in 'With Darkness deep as is my Woe' – in the extraordinary key of F sharp minor; pathos-generating rolling strings and almost unbearable uses of silence between phrases. After an interlude of 'soft Musick' the desperate woman prays effusively for divine deliverance in 'O that I on Wings cou'd rise'."

1749, a busy year

Some of Giulia Frasi's engagements during the year 1749:

Addresses in London

From 1745 to 1752 Giulia lived in Great Pulteney street, not far from Golden Square. Great Pulteney Street had just been laid out during the area's redevelopment in the early eighteenth century. The street was never fashionable though, nor was it identified with any trade or craft. Yet there was a large brewery and there were famous musical instrument makers as well: notably Kirkman's, which had been established there in 1739 and remained until 1750, and, from 1742 to 1774, the harpsichord-maker Burkat Shudi, founder of the firm now known as Broadwood & Sons. Composer Michael Festing also lived there between 1747 and 1752.
Then she moved to Gerrard street, which is now part of London's Chinatown. She lived there at Charles Churchill's for many years with her daughter. At the time, the City of Westminster had its Penny Post offices at number 39. In 1740, No. 44 had become an apothecary's shop and was occupied until 1765 by the apothecary to George III's household. Many artists lived in Gerrard Street, for instance: the painter Chevalier Andrea Casali, or the architect John Crunden. The tavern at number 9 was the first home of The Club, founded in 1764 by Joshua Reynolds and Dr. Samuel Johnson.

Wages

She was paid 6 guineas, very high wages at the time, for the charity revivals of Handel's Solomon at the Foundling Hospital in 1754, 1758 and 1759. She was the highest paid singer at Handel's Foundling Hospital performances of Messiah.

Voice

Giulia Frasi was endowed with a beautiful and robust soprano voice whose expressive qualities were greatly valued by Handel, much more than her technical ones. Indeed, allegedly, Giulia had a very limited interest in studying and practicing; Burney tells us an anecdote showing the composer's sarcasm about Giulia's motivation regarding training: "When Frasi told him, that she should study hard; and was going to learn Thorough-Base, in order to accompany herself: Handel, who well knew how little this pleasing singer was addicted to application and diligence, says, 'Oh – vaat may we not expect!' " Nonetheless she did study under Handel - along with Caterina Galli - and benefited greatly from his tuition.
In his General History of Music, Charles Burney remembers her at the beginning of her career as " young, and interesting in person, with a sweet and clear voice, and a smooth and chaste style of singing, which, though, cold and unimpassioned, pleased natural ears, and escaped the censure of critics."
She had excellent reviews, especially in Salisbury, and was highly appreciated by the British public, whose preference yet was the nightingale singing of castrati rather than a voice whose abilities had nothing exceptional however delicate it was.Although it is to be noted that she did reprise some castrati roles in revivals and that arias written specifically for her do occasionally include fiery - if short - coloraturas. "Gracious Heav'n, O hear me!" composed by Arne for Frasi and added to The Masque of Alfred is a "lively da capo aria di bravura." "Là per l'ombrosa sponda!", found in Vincenzo Ciampi's Trionfo di Camilla is another example of virtuoso aria written for Frasi. Both arias are strongly influenced by the Neapolitan school, whose composers Frasi had sung earlier in her career. Burney also recorded that a virtuoso aria by Pergolesi "was sung at concerts by Frasi for ten years, at least."
However, inspired by her rare and particular talent in musical expressiveness, Handel composed for her music of overwhelming sensitivity and beauty. "Time and time again feel drawn to the empathetic temperament and lyrical ease of the vocal writing, embodied in the music Handel wrote for her." Her roles contain vivid scenes of emotional and spiritual drama; they depict suffering and distress along with courage, dignity, and selflessness, a whole palette of subtle and complex human emotions. The wonderful series of oratorio parts Handel composed for her, including the two Queens in Solomon, the title roles in Susanna and Theodora, and Iphis in Jephtha, are an indication of his regard for her expressive powers, though they are not technically arduous; their extreme compass is B3 to A5.
Following in Handel's steps, Smith's Paradise Lost required Frasi to express innocence, culpability, pious sorrow and penitence when Eve faces the consequences of her new and inevitable mortality. The aria "It comes" is a showcase of Smith's and Frasi's abilities in conveying such emotions. Rebecca is another example of Smith showcasing Frasi's talent at expessing human feelings in music.
On a different note, Burney highlights that "having come to this country at an early period of her life, she pronounced our language in singing in a more articulate and intelligible manner than the natives"

Repertoire

Note that the table below is not exhaustive. Note also that the works/events listed in bold are documented, the ones not in bold are plausible suppositions.
YearWorkRoleComposerPremière or RevivalAdditional Notes
1740La Constanza in trionfo?Giuseppe Ferdinando BrivioLodi, Italy
1740Il Bajazet?Giovanni ColombriAlessandria, Italy
1742Tito vespasiano o La clemenza di Tito?Johann Adolph HasserevivalModena, Italy
1742GianguirMahobethGiovanni Battista Lampugnani, Giuseppe Ferdinando Brivio and Johann Adolph Hassepremièrepasticcio
1742MandaneEmiraGiuseppe Ferdinando Briviopremièrepasticcio
1743Enrico?Baldassare Galuppipremièreat the King's Theater.
1743TemistocleRoxanaNicola Porporarevival or new version première at the Haymarket Theatre
1743Rossane o Alessandro Nelle IndieTassileGeorge Frideric Handel and Giovanni Battista Lampugnanipremièrepasticcio: In 1743 Lampugnani took the place of Baldassarre Galuppi as musical director of the King's Theater. On 15 November of the same year he produced Rossane, a rearrangement of Handel's Alessandro.
1744Alfonso e AlcesteGarziaGiovanni Battista Lampugnanipremièreat the King's Theater.
1745L'incostanza delusa?Giuseppe Ferdinando Briviopremièrepasticcio, at the King's Theater.
1746Alessandro nell'IndieTimageneGiovanni Battista Lampugnanirevival of the pasticcio of 1743 at the King's Theater.
1746La caduta de' gigantiBriareoChristoph Willibald GluckpremièreIn 1745 Lampugnani had to return to Italy, and he was replaced by Christoph Willibald Gluck who accepted the post at the musical director of the King's Theatre upon an invitation from Lord Middlesex.The opera consists largely of music from Gluck's earlier works, lack of time having forced him to this device. The opera did not meet with success.
1746Artemene?Christoph Willibald GluckpremièreThe opera also consists largely of music from Gluck's earlier works, lack of time having forced him to this device. The opera did not meet with success either.
1747Rossane o Alessandro Nelle IndieCleonGeorge Frideric Handel and Giovanni Battista Lampugnanirevivalpasticcio: In 1743 Lampugnani took the place of Baldassarre Galuppi as musical director of the King's Theater. On 15 November of the same year he produced Rossane, a rearrangement of Handel's Alessandro.
1747La maestra ?Gioacchino Cocchirevival
1747Lucio Vero?George Frideric Handelrevival pasticcio opera containing music by Handel and performed by the "Middlesex" opera company
1748Judas MaccabaeusIsraelite womanGeorge Frideric HandelrevivalDavid Vickers explains that "when Handel needed to recruit a new principal soprano soloist for his revival of Judas Maccabaeus, Frasi managed to squeeze in her fully fledged English oratorio debut for him between performances of a revival of Galuppi's Enrico."
1748Enrico?Baldassare Galuppirevivalat the King's Theater.
1749SusannaSusannaGeorge Frideric Handelpremièreat Covent Garden
1749HerculesIoleGeorge Frideric Handelrevival
1749Solomontriple part of the two queens and the first prostituteGeorge Frideric Handelpremièreat Covent Garden with the contralto Caterina Galli, the bass Henry Theodor Reinhold and the tenor Thomas Lowe
1749La maestra Gioacchino Cocchirevival
1749MessiahsopranoGeorge Frideric Handelrevivalat Covent Garden with Caterina Galli
1750MessiahsopranoGeorge Frideric Handelrevivalwith Caterina Galli and Gaetano Guadagni..
1750Alceste Calliope George Frideric Handeln/aThis was rehearsed but eventually abandoned. Handel re-used the music in oratorios. It is plausible that Frasi was part of the cast as, by then, she was already Handel's favourite principal soprano. Moreover, Calliope's ode to sleep shows typical hallmarks of other "Handel/Frasi collaborations".
1750SaulMichalGeorge Frideric Handelrevivalat Covent Garden
1750TheodoraTheodoraGeorge Frideric Handelpremièreat Covent Garden premiere, with Gaetano Guadagni.
1750Adriano in SiriaEmirenaVincenzo Legrenzo Ciampirevival but première of the aria "Oh Dio! Mancar mi sento"at the King's Theatre, with the famous castrato Gaetano Guadagni and the tenor Filippo Laschi. For Frasi Ciampi wrote the emotional aria "Oh Dio! Mancar mi sento" and added it to Act III, Scene 7 of the London version. The opera ran for eight performances, concurrently with Handel's Theodora
1750La Serva PadronaSerpinaGiovanni Battista Pergolesirevival
1750Il Trionfo di CamillaCamillaVincenzo Legrenzo Ciampipremièreat the King's Theatre. The opera was a failure and had only two performances.
1751BelshazzarNitocrisGeorge Frideric Handelrevival
1751Alexander's Feast?George Frideric HandelrevivalThe choice of Hercules and Alexander's feast were interpreted the same evening with great success. The cast included her friend the soprano Caterina Galli, the tenor Thomas Lowe and perhaps Gaetano Guadagni in the part of Pleasure.
1751MessiahsopranoGeorge Frideric Handelrevivalat the Foundling Hospital
1751The Choice of HerculesPleasureGeorge Frideric HandelpremièreThe choice of Hercules and Alexander's feast were interpreted the same evening with great success. The cast included her friend the soprano Caterina Galli, the tenor Thomas Lowe and perhaps Gaetano Guadagni in the part of Pleasure.
1751EstherEstherGeorge Frideric Handelrevival
1752JoshuaAchsahGeorge Frideric Handelrevival
1752JephthaIphisGeorge Frideric Handelpremièrewith the tenor John Beard. This is Handel's last oratorio
1752MessiahsopranoGeorge Frideric Handelrevivalat the Foundling Hospital
1753The Masque of AlfredEltrudaThomas Arnerevival but première of the aria "Gracious Heav'n, O hear me!"at the New Haymarket Theatre. Alfred was originally a concise masque the score of which Arne expanded for the 1753 charitable concert. Notably, he added the aria "Gracious Heav'n, O hear me!" to Act II, Scene 2, a piece composed specifically for Giulia Frasi.
1753MessiahsopranoGeorge Frideric Handelrevivalat the Foundling Hospital
1754MessiahsopranoGeorge Frideric Handelrevivalat the Foundling Hospital. For this performance the transposed Guadagni arias were restored to the soprano voice.
1754Alexander BalusCleopatraGeorge Frideric Handelrevival
1754Solomontriple part of the two queens and the first prostituteGeorge Frideric Handelrevivalat the Foundling Hospital
1754DeborahDeborahGeorge Frideric Handelrevival
1754AdmetoAntigonaGeorge Frideric Handelrevivalwith La Viscontina and the tenor Ottavio Albuzzi.
1754L'allegro, il penseroso e il moderatoGeorge Frideric Handelrevivalon the same day as Ode for St. Cecilia's day
1754Ode for St. Cecilia's dayGeorge Frideric Handelrevivalon the same day as L'allegro, il penseroso e il moderato
1754IpermestraIpermestraGiovanni Battista Lampugnanirevivalat the king's theatre, covering for Regina Mingotti and eventually taking over the role.
1755L'allegro, il penseroso e il moderatoGeorge Frideric Handelrevivalrevival on the same day as Ode for St. Cecilia's day
1755Ode for St. Cecilia's dayGeorge Frideric Handelrevivalrevival on the same day as L'allegro, il penseroso e il moderato
1755L'OlimpiadeArgeneBaldassare Galuppirevival
1755The Fairies?John Christopher Smithpremièreat the Drury Lane Theatre. Giulia is cast along with the famous castrato Gaetano Guadagni, next to whom she had one of her greatest successes.
1755Ricimero, Re di GotiErnelindaBaldassare Galuppirevivalat the king's theatre, covering for Regina Mingotti and eventually taking over the role.
1755Samsontriple part of Dalila, the Philistine and Israelite womanGeorge Frideric Handelrevival
1755MessiahsopranoGeorge Frideric Handelrevivalat the Foundling Hospital. Handel was severely afflicted by the onset of blindness and he turned over the direction of the Messiah hospital performance to his pupil, John Christopher Smith
1755Joseph and his BrethrenAsenathGeorge Frideric Handelrevival
1755AndromacaErmioneJommellirevivalCommercial failure, only two performances
1755AndromacaAndromacaJommellirevivalat the king's theatre, covering for Regina Mingotti and eventually taking over the role.
1755DemofoonteCreusaJommellirevivalat the king's theatre on 9, 13, 16, 20, 27, 30 December and on 3, 10, 13, 17, 20, 24, 27, 31 January and 3 and 7 February.
1756AthaliaJosabethGeorge Frideric Handelrevival
1756 AndromacaAndromacaJommellirevivalat the King's Theatre in lieu of Ezio by Davide Perez, taking over Regina Mingotti's role due to the latter's indisposition.
1756L'OlimpiadeArgeneBaldassare Galuppirevivalwith additional arias by Felice Giardini, at the King's Theatre on 17 and 21 February, 6, 9, 13, 20, 23, 27 March and 6 April. Reprised again for benefits on 27, 29 April and 1 May
1754Ipermestra IpermestraGiovanni Battista Lampugnanirevivalat the king's theatre on 25, 29 May and 3, 12, 19 June, covering for Regina Mingotti
1756Eliza?Thomas Arnepremièreat the Drury Lane Theatre.
1756Tito ManlioSabineGirolamo Abosrevival
1756Israel in Egypt?George Frideric Handelrevival
1756MessiahsopranoGeorge Frideric Handelrevivalat the Foundling Hospital, direction by John Christopher Smith
1756??William Boyce?at Hereford Cathedral for Three Choirs Festival.
1757MessiahsopranoGeorge Frideric Handelrevivalat the Foundling Hospital. Handel comes back at the direction.
1757The Triumph of Time and TruthBeautyGeorge Frideric Handelpremière
1757:es:Demetrio_|Demetrio, re di SiriaBarseneGioacchino Cocchirevivalat the King's Theatre on 8, 12, 15, 19, 22, 26 and 29 November; 3, 6, 10, 13, 17, and 23 December. Recitatives in English and arias in Italian.
1758Solomontriple part of the two queens and the first prostituteGeorge Frideric Handelrevivalat the Foundling Hospital
1758IssipileIssipileGioacchino Cocchipremièreat the King's Theatre. In 1757 Gioacchino Cocchi came to England, and had several works represented there, but he failed to gain public's recognition as an opera composer. He then devoted himself to teaching singing for fifteen years, which allowed him to accumulate considerable wealth. He also published music in London.. He left London in 1773.
1758Jephtha IphisGeorge Frideric Handelrevival
1758Belshazzar NitocrisGeorge Frideric Handelrevival
1758MessiahsopranoGeorge Frideric Handelrevivalat the Foundling Hospital
1758:es:Zenobia_|ZenobiaEgle Gioacchino Cocchipremièreat the King's Theatre on 10, 14, 17, 21 and 28 January; 4, 11 and 18 February. Recitatives in English and arias in Italian
1759MessiahsopranoGeorge Frideric Handelrevivalat the Foundling Hospital and at Covent Garden.
1759Judas MaccabaeusIsraelite womanGeorge Frideric Handelrevival
1759The Masque of AlfredEltrudaThomas Arnerevivalat Covent Garden
1759Solomontriple part of the two queens and the first prostituteGeorge Frideric Handelrevivalat the Foundling Hospital
1760Paradise lostEveJohn Christopher Smithpremièrerole creation shared with Charlotte Brent
1761RebeccaRebeccaJohn Christopher Smithpremière
1763TelemachusParthenopePhilip Hayespremièrein Oxford. A projected London performance of Telemachus was advertised in 1764 but seems to have been cancelled.
1767EstherEstherGeorge Frideric Handelrevival
1767MessiahsopranoGeorge Frideric Handelrevival
1769Judas MaccabaeusIsraelite womanGeorge Frideric Handelrevival
1769ArtaxerxesArbacesThomas Arnerevivalorganised by herself at the King's Theatre.
in aid of the Jermyn Lying-in Hospital. A charity evening dedicated to the composer.
The role interpreted by Frasi was originally created in 1762 by the castrato Tenducci, also known as "the second" Senesino.
Frasi had seldom performed trouser roles since her formative early years in London.
1770Judas MaccabaeusIsraelite womanGeorge Frideric Handelrevivalat the Little Theatre, at noon.
charity concert to her own benefit whose organisation is plagued with difficulties.
April 1774????at the Little Theatre.with the very young Nancy Storacce.
May 1774????at Hickford's Room.

Second part and end of career

Handel's last prima donna

As of 1749 Giulia sings in all of the Covent Garden concerts that Handel gave for the rest of his life and she remained Handel's Prima Donna in all his later seasons, creating and interpreting parts he often wrote specifically for her. Her greatest successes were Handel's oratorios.
From 1750 Messiah had annual performances at the Foundling Hospital until Handel's death and beyond. Based on Frasi's professional relationship with Handel and her involvement in charity, she is likely to have taken part in most of them. Indeed, states that "Frasi participated in all of Handel's annual performances of Messiah, in the chapel of the Foundling Hospital."
Many of Handel's oratorios had numerous revivals with her, including in provencial cities: Oxford in 1754, 1756, 1759, Salisbury in 1758, 1761, 1765, Ranelagh in 1751, 1752, and for nine consecutive years at the Three Choir festival.
For instance:
On Saturday 22 June 1754 the Oxford Journal published the following advertising:
On Wednesday the 3rd, Thursday the 4th and Friday the 5th of July, being the three Days following the Commemoration of Founders and Benefactors to the University, L'Allegro, il Penseroso, &c. Judas Macchabæus, and Messiah will be performed in the Theatre. The principal Vocal Parts by SIGNORA FRASI, Mr. BEARD, Mr. WASS, and others; and the Instrumental Parts by many of the most excellent Performers of every Kind from LONDON. Further particulars will be specified in the Bills of each Days Performance.
On Saturday 30 June 1759 the Oxford Journal published the following advertising:
On Tuesday the 3rd of July will be performed, in the Theatre, the Oratorio of SAMSON; on Wednesday the 4th, the Oratorio of ESTHER; and on the 5th MESSIAH, or the SACRED ORATORIO; together with select pieces between the Acts by a numerous and excellent Band from London, Bath and other Places. The principal Vocal Parts by Signora Frasi, Miss Brent, Mess. BEARD, CHAMPNES, WASS and HUDSON from London and Master NORRIS from Salisbury. TICKETS are to be had at Mr. Cross's Music Shop and at the Coffee Houses; Price FIVE SHILLINGS.
Throughout the 1750s, "Frasi's concert repertoire stretched from Purcell to Terradellas." She was considered a paramount principal soprano in English oratorios or other works of the sort by Handel and by other composers. Frasi was at nine consecutive meetings of the Three Choirs Festival: she sang for William Boyce at Hereford in 1756, then she performed for Arne, and so on. She gave regular concerts in Oxford too. She also continued to be part of the Covent Garden oratorio concerts given by Handel and, later, by John Christopher Smith and John Stanley. In fact, after Handel's death in 1759, Frasi continued as Prima Donna under his successors until about 1768.
In total Frasi also participated in at least fourteen opera seasons at the King's Theatre between 1742 and 1761. In addition to which, during the 1754-1756 seasons, Giulia regularly covered for Regina Mingotti. benefits, and sang at the Castle and Swan concerts, at Ranelagh and elsewhere.

Progressive retirement

From 1764 onwards her public appearances became less frequent. In 1767 she appeared at London's Covent Garden in Esther and at Haberdashers' Hall in Messiah.
She made her last appearances in 1769 in Handel's Judas Maccabaeus at the King's Theatre, and as Arbaces in Artaxerxes by Thomas Arne. The latter is her last known appearance on the stage in an opera.
Finally, in 1770 - after having been "confined for some Time by a bad State of Health" - she appeared again at the Little Theatre for a charity concert to her own benefit singing Judas Maccabaeus. But the organisation of the concert was plagued with difficulties which eventually lead her to give a "full-scale oratorio at the unsociable hour of noon." Three years later she appeared in a few concerts, making a new "come-back" about which The Morning Post and Daily Advertiser wrote sarcastically: "Signora Frazi, who may be said, with respect to the musical world, to have been long since dead and buried, is expected to rise again in Lent" Vickers adds that "the soprano's comeback comprised a few scattered concerts at inauspicious venues".

A significant musical figure

Giulia Frasi was not only able to quickly win over the London Opera Stage, but she had Handel's assent as well. She also gained the affection and became a favourite of the English public.
The thirty-one-year career that Frasi enjoyed in London was much broader and varied than being Handel's last prima donna. She also sang composers as varied as Gluck, the Venetian heritage style of Galuppi, the Neapolitans like Porpora, Pergolesi, Lampugnani, Hasse, Cocchi, and English composers, among which Boyce, Smith, Hayes and Arne. Operas and oratorios on the London stage were a rather important part of her career but so was her music making in other occasions. She did have a non-negligeable place in London's community of musicians and participated in the cultural richness and musical diversity of London and Britain during the mid-Georgian Era.
says of the roles written by Handel for Giulia Frasi that they "seem to engender a depth of female characterisation which may well have subverted the norm at a time". She adds that "Encountering Frasi through the music that was written for her, and contemplating her career as a musician, has been a tremendous source of inspiration" "struck by the significance of considerable achievements."
Undoubtedly, Giulia Frasi was one of the significant musical figures of London from the 1740s to the 1760s.

Death

Frasi's infamous profligacy inevitably caused problems when her vocal powers ran out. Her accumulated debts due to her expensive and extravagant lifestyle reduced her to poverty, so much so that, in her latest years, after her last documented concert at Hickford's Room on 16 May 1774, she found herself forced to flee to Calais where she died destitute.

Discography