A Dictionary of Music and Musicians/Heidegger, John
HEIDEGGER, John James, by birth a Fleming, as it is supposed, arrived in England in necessitous circumstances in 1707. Swiny was still sole manager of the Opera-house, but Heidegger was probably the person ('tho' musick is only his diversion') to whom Motteux alluded in his Preface to 'Thomyris,' as the selector of the songs in that opera. In 1708 he undertook the management, and held it until the end of the season of 1734 with varying success; but ended by acquiring a large fortune. He had the address to procure a subscription which enabled him to put 'Thomyris' on the stage, and by this alone he gained 500 guineas. He introduced Ridotti and masquerades at the Opera; and, in allusion to this, Dr. Arbuthnot inscribed to him a poem, 'The Masquerade,' in which he is more severe on his ugliness than on his more voluntary vices. Pope describes him as—
'With less reading than makes felons 'scape,
Less human genius than God gives an ape;'
and commemorates his personal charms in the lines,—
'And lo! her bird (a monster of a fowl),
Something betwixt an Heideggre and owl.'
and a little print, below which are the words '—Risum teneatis amici?' translates his words into a caricature, representing a chimæra with the head of Heidegger. His face is preserved also in a rare etching by Worlidge, and in a capital mezzotint by Faber (1749) after Vanloo. Lord Chesterfield, on one occasion, wagered that Heidegger was the ugliest person in the town; but a hideous old woman was, after some trouble, discovered, who was admitted to be even uglier than Heidegger. As the latter was pluming himself on his victory, Lord Chesterfield insisted on his putting on the old woman's bonnet, when the tables were turned, and Lord Chesterfield was unanimously declared the winner amid thunders of applause.
Heidegger was commonly called the 'Swiss Count,' under which name he is alluded to in 'A Critical Discourse on Operas and Musick in England,' appended to the 'Comparison between the French and Italian Musick and Operas' of the Abbe" Raguenet, and in Hughes's 'Vision of Charon or the Ferry-boat.'
The libretto of Handel's 'Amadigi' (1716) is signed by Heidegger as author. In 1729 they entered into operatic partnership at the Haymarket Theatre for three years, but the agreement lasted till 1734. In 1737 Heidegger resumed the management, which the nobility had abandoned, in consequence of Farinelli's detention at Madrid; but the season was calamitous. Previous to closing the theatre, he advertised for a new subscription (May 24, 1738); but a second advertisement (July 25), announced that the project of another season was relinquished, and after that we hear no more of Heidegger.