musical expressiveness, Handel composed for her music of overwhelming sensitivity and beauty. "Time and time again [you] feel [yourself] drawn to the empathetic temperament and lyrical ease of the vocal writing, embodied in the music Handel wrote for her." Her roles contain vivid scenes of emotional and spiritual drama; they depict suffering and distress along with courage, dignity, and selflessness, a whole palette of subtle and complex human emotions. The wonderful series of oratorio parts Handel composed for her, including the two Queens in Solomon, the title roles in Susanna and Theodora, and Iphis in Jephtha, are an indication of his regard for her expressive powers, though they are not technically arduous; their extreme compass is B3 to A5. Following in Handel's steps, Smith's Paradise Lost required Frasi to express innocence, culpability, pious sorrow and penitence when Eve faces the consequences of her new and inevitable mortality. The aria "It comes" is a showcase of Smith's and Frasi's abilities in conveying such emotions. Rebecca is another example of Smith showcasing Frasi's talent at expressing human feelings in music. On a different note, Burney highlights that "having come to this country at an early period of her life, she pronounced our language in singing in a more articulate and intelligible manner than the natives". Repertoire Note that the table below is not exhaustive. Note also that the works/events listed in bold are documented; the ones not in bold are plausible suppositions. Second part and end of career Handel's last prima donna As of 1749 Giulia sings in all of the Covent Garden concerts that Handel gave for the rest of his life and she remained Handel's Prima Donna in all his later seasons, creating and interpreting parts he often wrote specifically for her. Her greatest successes were Handel's oratorios. From 1750 Messiah had annual performances at the Foundling Hospital until Handel's death and beyond. Based on Frasi's professional relationship with Handel and her involvement in charity, she is likely to have taken part in most of them. Indeed, David Vickers states that "Frasi participated in all of Handel's annual performances of Messiah, in the chapel of the Foundling Hospital (from 1750)." Many of Handel's oratorios had numerous revivals with her, including in provincial cities: Oxford in 1754, 1756, 1759, Salisbury in 1758, 1761, 1765, Ranelagh in 1751, 1752, and for nine consecutive years at the Three Choir festival (1756- 64). For