The professional history, as well as the opinions of Dr. Burney, are
so closely inserted in his History of Music, that they are all passed
by in the memoirs of his life; but there arrived in England, at this
period, a foreign singer of such extraordinary merit in character as
well as talents, that not to inscribe his name in the list of the
Doctor’s chosen friends, as well as in that which enrols him at the
head of the most supremely eminent of vocal performers, would be
ill proclaiming, or remembering, the equal height in both points to
which he was raised in the Doctor’s estimation, by a union the most
delighting of professional with social excellence.
Pacchierotti, who came out upon the opera stage in 1778, is first
mentioned, incidentally, in the History of Music, as “a great and
original performer;” and his public appearance afterwards is announced
by this remarkable paragraph.
“To describe, with merited discrimination, the uncommon and
varied powers of Pacchierotti, would require a distinct
dissertation of considerable length, rather than a short
article incorporated in a general History of Music.”
The Doctor afterwards relates, that eagerly attending the first
rehearsal of Demofonte, with which opera Pacchierotti began his English
career, and in which, under the pressure of a bad cold, he sang only _a
sotto voce_, his performance afforded a more exquisite pleasure than
the Doctor had ever before experienced, or even imagined. “The natural
tone of his voice,” says the History of Music, “was so interesting,
sweet, and pathetic, that when he had a long note, I never wished him
to change it, or to do any thing but swell, diminish, or prolong it,
in whatever way he pleased. A great compass of voice downwards, with
an ascent up to C in alt.; an unbounded fancy, and a power not only of
executing the most refined and difficult passages, but of inventing new
embellishments which had never then been on paper, made him, during his
long residence here, a new singer to me every time I heard him.”
A still more exact and scientific detail of his powers is then
succeeded by these words: “That Pacchierotti’s feeling and sentiments
were uncommon, was not only discoverable by his voice and performance,
but by his countenance, in which through a general expression of
benevolence, there was a constant play of features that varyingly
manifested all the changing workings and agitations of his soul.
* * * * When his voice was in order, and obedient to his will, there
was a perfection in tone, taste, knowledge, and sensibility, that my
conception in the art could not imagine possible to be surpassed.”
And scarcely could this incomparable performer stand higher in the
eminence of his profession, than in that of his intellect, his temper,
and his character.
If he had not been a singer, he would probably have been a poet;
for his ideas, even in current conversation, ran involuntarily into
poetical imagery; and the language which was their vehicle, was a sort
of poetry in itself; so luxuriantly was it embellished with fanciful
allusions, or sportive notions, that, when he was highly animated in
conversation, the effusions of his imagination resembled his cadences
in music, by their excursionary flights, and impassioned bursts of
deep, yet tender sensibility.
He made himself nearly as many friends in this country to whom he was
endeared by his society, as admirers by whom he was enthusiastically
courted for his talents.
The first Mrs. Sheridan, Miss Linley, whose sweet voice and manner so
often moved “the soul to transport, and the eyes to tears,” told Dr.
Burney, that Pacchierotti was the only singer who taught her to weep
from melting pleasure and admiration.
He loved England even fervently; its laws, customs, manners, and its
liberty. Of this he gave the sincerest proofs throughout his long
life.[19]
The English language, though so inharmonious compared with his own,
he made his peculiar study, from his desire to mingle with the best
society, and to enjoy its best authors; for both which he had a taste
the most classical and lively.
He had the truly appropriate good fortune, for a turn of mind and
endowments so literary, to fall in the way of Mr. Mason immediately
upon coming over to this country: few persons could be more capable
to appreciate a union of mental with professional merit, than that
elegant poet; who with both in Pacchierotti was so much charmed, as to
volunteer his services in teaching him the English language.
So Parnassian a preceptor was not likely to lead his studies from their
native propensity to the Muses; and the epistles and billets which he
wrote in English, all demonstrated that the Pegasus which he spurred,
when composition was his pursuit, was of the true Olympic breed.[20]
Pacchierotti was attached to Dr. Burney with equal affection and
reverence; while by the Doctor in return, the sight of Pacchierotti
was always hailed with cordial pleasure; and not more from the pathos
of his soul-touching powers of harmony, than from the sweetness, yet
poignancy of his discourse; and the delightful vivacity into which
he could be drawn by his favourites, from the pensive melancholy of
his habitual silence. Timidity and animation seemed to balance his
disposition with alternate sway; but his character was of a benevolence
that had no balance, no mixture whatsoever.
The Doctor’s doggrel register of 1778, has these two couplets upon
Pacchierotti.
“1778.
“This year Pacchierotti was order’d by Fate
Every vocal expression to teach us to hate,
Save his exquisite tones; which delight and surprise,
And lift us at once from the earth to the skies.”