company of the King's Theatre and ailings often made her "indisposed". Frasi covered for her many a time, more often than not ending up taking over Mingotti's role for the rest of the performances as Regina Mingotti "[would] not yet [have] recovered of her indisposition". Michael Burden quotes the following newspaper clip: Signora Mingotti having acquainted Sig Vanneschi Yesterday Afternoon that she continues very much indisposed, and is not able to sing To morrow night, by which Reason the Opera called Ezio cannot be performed; instead thereof Sig. Vanneschi begs Leave to perform the Opera of Andromaca, in which Signora Frasi will do the part of Signora Mingotti; and Signora Peralta is to do the part of Signora Frasi. During the 1760s, Frasi continued to play a prominent part in the musical life of London. She seems to have transitioned smoothly to the new music style of the generation of composers younger than her; composers like Philip Hayes, who announce the advent of the Classical Era. She was part of the London Stage for about 31 years in total. Aside from interpreting Handel's and other composers' music on stage, Giulia also continued to sing regularly in charity concerts; she also took part regularly in the annual Musicians Fund (and other) benefits, and sang at the Castle and Swan concerts, at Ranelagh and elsewhere. Progressive retirement From 1764 onwards her public appearances became less frequent. In 1767 she appeared at London's Covent Garden in Esther and at Haberdashers' Hall in Messiah. She made her last appearances in 1769 in Handel's Judas Maccabaeus at the King's Theatre, and as Arbaces in Artaxerxes by Thomas Arne. The latter is her last known appearance on the stage in an opera. Finally, in 1770 - after having been "confined for some Time by a bad State of Health" - she appeared again at the Little Theatre for a charity concert to her own benefit singing Judas Maccabaeus. But the organisation of the concert was plagued with difficulties which eventually lead her to give a "full-scale oratorio [...] at the unsociable hour of noon." Three years later she appeared in a few concerts, making a new "come-back" about which The Morning Post and Daily Advertiser wrote sarcastically: "Signora Frazi, who may be said, with respect to the musical world, to have been long since dead and buried, is expected to rise again in Lent[.]" Vickers adds