"Music has learned the discords of the State,
    And concerts jar with Whig and Tory hate."

Retiring in 1722 with a fortune of ten thousand pounds, Margarita married the learned Dr. Pepusch, who was enabled by her means to pursue with ease his scientific studies.  In his library she found Queen Elizabeth’s Virginal Book, and being a skilled harpsichordist, she so well mastered its intricacies that people thronged to her home to hear her play.

London was divided by another pair of rival queens of song in 1725-6.  One of these, Francesca Cuzzoni, a native of Parma, had created such a furore on her first appearance, three years earlier, that the opera directors who had engaged her for the season at two thousand guineas were encouraged to charge four guineas for admission, and her costumes were adopted by fashionable youth and beauty.  Although ugly and ill-made, she had a sweet, clear dramatic contralto with unrivalled high notes, intonations so fixed it seemed impossible for her to sing out of tune, and a native flexibility that left unimpeded her creative fancy.  Handel, in whose operas she sang, composed airs calculated to display her charms, but she, confident of her supremacy, rewarded him with conduct so capricious that, finding her at last intolerable, he sent to Italy for the noble Venetian lady, Faustina Bordoni.  She was elegant in figure, handsome of face, had an amiable disposition, a ringing mezzo-soprano, with a compass from B-flat to G in altissimo, and was renowned for her brilliant execution, distinct enunciation, beautiful shake, happy memory for embellishments and fine expression.

However pleased the directors may have been at first to have two popular songstresses, they were soon dismayed at the fierce rivalry that sprang up between them and was fanned to flames by Master Handel himself, who now composed exclusively for Faustina.  By increasing the salary of her more tractable rival they finally disposed of Cuzzoni, who thenceforth through her exaggerated demands, managed to disgust her patrons wherever she appeared.  Her reckless extravagance left her wholly destitute after losing her voice and her husband, Signor Sandoni, a harpsichord-maker.  She passed her last years in Bologna, subsisting on a miserable pittance earned by covering buttons.

Faustina married Adolphe Hasse, the German dramatic composer, and at forty-seven sang before Frederick the Great, who was charmed with the freshness of her voice.  The couple lived until 1783, the one eighty-three, the other eighty-four years of age.  Dr. Burney visited them when they were advanced in the seventies and found Faustina a sprightly, sensible old lady, with a delightful store of reminiscences, and her husband a communicative, rational old gentleman, quite free from “pedantry, pride and prejudice.”