Season Two

Charles Burney recorded that Rauzzini attempted to secure a second season for Caterina Schindlerin, but to no avail: Schindlerin appeared but twice on the stage at the King's Theatre during Rauzzini's own second season. In spite of this defeat, Rauzzini accepted the management's offer of a contract for a second season as primo uomo. His new partner was to be a rather more significant singer than Schindlerin: Caterina Gabrielli. The engagement of Gabrielli was a coup for the theater. Although her “star” temperament was to cause no end of upsets and her conduct on stage was often unpardonable, she was deemed a significant rival to Lucrezia Aguiari's concerts at the Pantheon. Gabrielli possessed a beautiful voice and a brilliant technique, although it soon became evident that her voice was not as large as that of Aguiari. This was a blessing on some levels, since she was vocally a good match for Rauzzini. That she was given highly deferential treatment by the managers must have irked Rauzzini, however. The London newspapers reported her salary at £1,500; in addition, she received a house in London and carriage. This base salary is confirmed by Ian Woodfield, who notes the spring and summer payments made to the singer of £500 each. It has not been recorded that Rauzzini received an equal salary or accommodation and a carriage. Given that Gabrielli's antics on stage did not make her the best colleague, it is not hard to imagine that Rauzzini anticipated the season with some trepidation, if not some actual resentment. Rauzzini felt the need to keep up a similar standard of living to that of Gabrielli: Frances Burney records that Gabrielli was living “en princesse” and that Rauzzini “will keep her in Countenance by living en prince. He has had his Drawing room painted after the manner of the Card Rooms at the Pantheon, with Pink ' Green, finely ornamented,” perhaps as a reminder to Gabrielli that she had a potent rival in Aguiari at the Pantheon.