Although attached to the chapel of the Duke of Chandos, Handel threw himself, about the beginning of 1720, into an enterprise which suited the activity of his mind. A company of French comedians occupied the King's Theatre in the Haymarket, and no one seemed to be tempted to revive the Italian opera; when a few noblemen conceived the idea of doing so, and opened a private subscription, which amounted to £50,000. A committee of twenty directors was formed, which comprised many names of historical repute: the Dukes of Newcastle, Portland, and Queensbury; the Earls of Burlington, Stair, and Waldegrave ; Lords Bingley, Stanhope, &c. In 1726, the committee of direction selected for the year included the Dukes of Richmond and of Manchester; the Marquis of Carnarvon ; the Earls of Albemarle, Burlington, and Chesterfield; and the Lord Mayor of London, &c. George the First (himself a subscriber to the amount of £1000) permitted the society to assume the name of the Royal Academy of Music. The assistance of Handel was then sought for, and the consent of the Msecenas of Cannons was easily obtained. Handel undertook the task of collecting Italian singers from abroad, and he brought together a company, among whom may be distinguished Signora Durastanti. This songstress, who, as well as Senesino, was taken from the Dresden theatre, acquired great favour at Court. The Evening Post, on the 7th of March, 1721, reports:—” Last Thursday, his Majesty was pleased to stand godfather, and the Princess and Lady Bruce godmothers to a daughter of Mrs. Durastanti, chief singer in the Opera-house.