A Dictionary of Music and Musicians/Valentini, Valentino
VALENTINI, Valentino URBANI, usually called; a celebrated evirato, who came to London, Dec. 6, 1707, very early in the history of Italian opera in England. Nothing is known of his birth or early career; but he seems to have arrived here, possessed of a contralto voice of small power, which fell afterwards to a high tenor, and with an opera, 'Il Trionfo d'Amore,' in his pocket. The translation of this piece he entrusted to Motteux; and he subsequently sold to Vanbrugh,[1] for a considerable sum, the right of representation. The Baroness, Margherita de l'Epine, Mrs. Tofts, and Leveridge, sang with him in this opera ('Love's Triumph'), and, if the printed score may be trusted, they all, including Valentini, sang English words. The piece was produced at the end of February, 1708, and he took a benefit in it on March 17. Meanwhile, he had already sung (Dec. 1707) as Orontes, a 'contra-tenor,' in 'Thomyris,' Hughes understudying the part. Valentini's dress[2] in this piece cost £25 17s. 3d., a very large sum in those days; his turban and feathers cost £3 10s., and his 'buskins' 12 shillings. We find him[3] (Dec. 31, 1707) joining with the 'Seigniora Margaritta [de l'Epine], Mrs. Tofts, Heidegger, and the chief members of the orchestra, in a complaint against the dishonesty and tyranny of Rich. They claimed various amounts, due for salaries, 'cloaths,' etc. Valentini's pay was fixed at £7 10s. a night, as large a sum as any singer then received; but he seems to have had difficulty in extracting payment of it from Vanbrugh.
There, is extant a curious letter, in which M. de l'Epine appeals to the Vice-Chamberlain (Coke) for 'juste reuange' for the 'impertinance* of which 'cette creature' [Valentini] had been guilty, in preventing her from singing one of her songs, a few days before; and declares that she would never suffer 'ce monster, ennemi des hom̃es des fam̃es et de Dieu,' to sing one of her songs without her singing one of his! The letter is simply endorsed by the Vice- Chamberlain, 'Mrs. Margarita about Mr. Valentin.'
Valentini sang, with Nicolini, in 'Pyrrhus and Demetrius,' a part which he resumed in 1709. Nicolini and he sang their music to the Italian words, while the rest of the company sang in English, as was not unusual in the gallimaufries[4] of the time. Valentini reappeared (1710) in 'Almahide,' and (1711) in the original cast of 'Rinaldo,' as Eustazio, a tenor. In 1712 he sang another tenor part, that of Silvio in 'Pastor Fido'; and in the following year another, Egeo in 'Teseo,' as well as that of Ricimer in 'Ernelinda.' In that season (1713) he again joined in a petition, with Pepusch and his wife, la Galeratti, and other artists, for the better regulation of their benefits. Then, as in modern times, operatic affairs were too frequently enlivened with petitions, squabbles, and litigation: impresarios were tyrants, and singers were hard to manage. Valentini sang again in 'Creso,' 1714, after which his name appears no more 'in the bills.'
Galliard says of him that, 'though less powerful in voice and action than Nicolini, he was more chaste in his singing.'