A Dictionary of Music and Musicians/Frasi, Giulia
FRASI, Giulia, appeared in London in 1743 with Galli, and remained in public favour for many years. 'She was young and interesting in person, with a sweet, clear voice and a smooth and chaste style of singing, which, though cold and unimpassioned, pleased natural ears and escaped the censure of critics' (Burney). She took part that year in the revival of Handel's 'Alessandro,' and in the first performance of Galuppi's 'Enrico.' Her instructor was a musician named Brivio; but she doubtless owed much more of the formation of her taste and style to Handel and his singers, than to her first master. In 1746 she was still in an inferior position, but in 48 played a more important part in the pasticcio 'Lucio Vero,' in operas by Hasse, and in the comic operas instituted by Croza. Frasi, however, now entered on a career which will do more to render her memory lasting than any small successes she ever achieved in opera. In 1749 she sang in Handel's Oratorios for the first time, taking part in 'Solomon' and 'Susanna'; she sang in 'Theodora' in 1750, in 'Jephtha' in 53, in 'Joshua' at Oxford in 56, and in the 'Triumph of Time and Truth' in 57. She did not, meanwhile, sever her connection with the stage, but appeared in 1750 in Ciampi's 'Adriano in Siria' and Pergolesi's 'Serva Padrona.' In 1755 Frasi was called upon, in consequence of the indisposition of Mingotti, to perform her part in Jomelli's 'Andromaca,' as she had been twice in 'Riccimero,' the preceding season. Smith's 'Fairies' in this year owed its success principally to Guadagni and Frasi. At her house Dr. Burney at that time 'attended her as her master.' In 1758 she appeared in 'Issipile' by G. Cocchi. She sang also in the City at both the Swan and Castle concerts.
Dr. Burney relates that 'when Frasi told him [Handel], 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, said, 'Oh—vaat may we not expect!' There is a portrait of Frasi, in mezzotint (folio), in which she is turned to the left, singing from a sheet of music held in both hands, on which is engraved a song beginning with the words 'Voi amante che vedete.' It has neither name nor date, and is very rare.