and, if she made any more words, swore that he would fling her out of the window." According to Burney, her singing of this aria "fixed her reputation as an expressive and pathetic singer", and her success was such that the price of half-guinea opera tickets reportedly shot up to four guineas. By the time of her benefit concert only two months later, some noblemen were believed to be giving her fifty guineas a ticket. Her salary was also large: £2000 a season. Her appearance was no recommendation: Burney described her as "short and squat, with a doughy cross face, but fine complexion; ... not a good actress; dressed ill; and was silly and fantastical." Cuzzoni was a member of Handel's Royal Academy of Music (1719) for its remaining five years. He created nine roles for her, the most famous today being Cleopatra in Giulio Cesare and the title-role in Rodelinda. In the latter, she wore a brown silk dress trimmed with silver, "with the vulgarity and indecorum of which all the old ladies were much scandalized, the young adopted it as a fashion, so universally, that it seemed a national uniform for youth and beauty" (Burney). For this company she also sang in seven operas by Attilio Ariosti, four by Giovanni Bononcini and two pasticcios. The enthusiasm of her supporters led to quarrels with the fans of Senesino, and later with those of Faustina Bordoni, whose London debut was in Handel's Alessandro (1726). In this opera the importance of the two ladies' roles had to be very carefully balanced, which at one point in the opera's plot made Senesino, playing the name part, look a complete fool. Her rivalry with Faustina, fanned by the press, eventually became scandalous when, in a performance of Bononcini's Astianatte (6 June 1727), attended by princess Caroline, "Hissing on one Side, and Clapping on the other" gave rise to "Catcalls, and other great indecencies". Such was the rumpus that the performance, and the rest of that opera season, were abandoned. The satirical pamphleteers had a field day, depicting the two exchanging insults and pulling at one another's head-dresses, though recent research has revealed that it was the ladies' rival supporters, rather than the singers themselves, who were the cause of the disturbance. They were further lampooned in John Gay's The Beggar's Opera, which was premiered on 29 January 1728. In spite of such fracas