Cuzzoni Francesca, married Sandoni, baptised 2 April 1696 Parma, †19 June 1778 Bologna, Italian singer (coloratura soprano). She was F. Lanzi’s student. In 1714, she debuted in Parma and the following years, she performed on stages in Bologna, Florence, Siena, Mantua, Genua, Venice, Milan, Turin and Padwa in operas by G.M. Orlandini, C.F. Pollarolo, A. Vivaldi and others. In 1723–28, she sang on London stages in the Royal Academy Ensemble, performing mostly female parts in operas by Händel (Ottone, Flavio, Giulio Cesare, Tamerlano, Rodelinda, Scipione, Alessandro, Admeto, Riccardo Primo, Radamisto, Siroe, Tolomeo), A. Ariosi and G. Bononcini. In 1729–34, she sang in Italy, among others, in Ezio, Artaserse and Euristeo by J.A. Hasse. In 1734–36, she was part of a London ensemble Opera of the Nobility conducted by N. Porpora, she performed in his operas: Arianna in Nasso, Enea nel Lazio, Polifemo, Ifigenia in Aulide and Mitridate. In 1737–48, she consecutively performed in Florence, Turin, Vienna, Hamburg, Amsterdam and Stuttgart. Her extravagant lifestyle caused her to take on many debts. Benefit concerts were organised so that she could pay off her creditors, but this did not prevent her from being imprisoned several times. She spent the last years of her life in Bologna. She died in obscurity and poverty.
Cuzzoni’s artistic activity was not limited to opera performances. She sang at courts (Vienna, Stuttgart), in private residences, and also successfully used religious repertoire. According to contemporaries (Mancini, Quantz, Tosi), she was extremely musical; she had a moving voice, operated it with natural ease (scale c1-c3), and her high tones were characterised by clarity and fullness of expression; preferring cantabile singing, she used ornaments in moderation. She owed her popularity to her vocal qualities. She was characterised by a lively temperament, which was expressed, among others, by her famous rivalry with Faustina Bordoni in 1726–27 in the Royal Academy Ensemble led by Handel.
