Caterina Galli (c. 1723 – 1804) was an Italian operatic mezzo-soprano. She first rose to fame in England in the 1740s and early 1750s where she was particularly admired for her performances in the works of George Frideric Handel. She then enjoyed success in her native country in the 1750s and 1760s, before returning to England, where she remained active as a performer up through 1797. Early life and career Nothing is known of Galli's early training and career other than it took place in her native country. The first definitive account of the singer was in 1742 when she arrived in London with fellow opera singer Giulia Frasi. She made her first appearance on the London stage on 12 December 1742 as Artaserse in the world premiere of Giuseppe Ferdinando Brivio's Mandane. Music historian Charles Burney wrote that, "Galli, after transplantation from Italy, took root in this country, and remained here in great public favor for many years." Her operatic repertoire consisted mainly of breeches roles. In 1753 she sang the role of the Spirit in the premiere of the final revision of Thomas Arne's Alfred. Galli's lasting legacy was her work as an oratorio singer. A pupil of George Frideric Handel, she notably sang in the world premieres of Judas Maccabaeus (1747, Israelite man), Joshua (1747, Othniel), Alexander Balus (1748, title role), Solomon (1749, title role), Susanna (1749, Joachim), Theodora (1749, Irene), and Jephtha (1752, Storgé). She also appeared at the King's Theatre in the premieres of two of Handel's pastiches, Rossane o Alessandro nell'Indie (1743) and Lucio Vero (1747), and performed in revivals of several of his other oratorios and operas. Return to Italy In 1754, Galli returned to Italy, where she spent most of a period of 10 years performing in major opera houses in Genoa, Naples, and Venice. On 10 July 1758, she created the role of Valentiniano III in the world premiere of Gaetano Latilla's Ezio at the Teatro di San Carlo in Naples. She also performed in several other premieres at that house, including the roles of Medarse in Pasquale Errichelli's Siroe on 26 December 1759; Teagene in Johann Adolph Hasse's Achille in Sciro on 4 November 1759; and Arpalice in Niccolò Piccinni's Ciro riconosciuto. At the Teatro San Benedetto in Venice, she portrayed the role of Giulia Mammea in the world premiere of Antonio Sacchini's Alessandro Severo in 1762. In the summer