The professional history, as well as the opinions of Dr. Burney, are so closely inserted in his History of Music, that they are all passed by in the memoirs of his life; but there arrived in England, at this period, a foreign singer of such extraordinary merit in character as well as talents, that not to inscribe his name in the list of the Doctor’s chosen friends, as well as in that which enrols him at the head of the most supremely eminent of vocal performers, would be ill proclaiming, or remembering, the equal height in both points to which he was raised in the Doctor’s estimation, by a union the most delighting of professional with social excellence.

Pacchierotti, who came out upon the opera stage in 1778, is first mentioned, incidentally, in the History of Music, as “a great and original performer;” and his public appearance afterwards is announced by this remarkable paragraph.

“To describe, with merited discrimination, the uncommon and varied powers of Pacchierotti, would require a distinct dissertation of considerable length, rather than a short article incorporated in a general History of Music.”

The Doctor afterwards relates, that eagerly attending the first rehearsal of Demofonte, with which opera Pacchierotti began his English career, and in which, under the pressure of a bad cold, he sang only a sotto voce, his performance afforded a more exquisite pleasure than the Doctor had ever before experienced, or even imagined. “The natural tone of his voice,” says the History of Music, “was so interesting, sweet, and pathetic, that when he had a long note, I never wished him to change it, or to do any thing but swell, diminish, or prolong it, in whatever way he pleased. A great compass of voice downwards, with an ascent up to C in alt.; an unbounded fancy, and a power not only of executing the most refined and difficult passages, but of inventing new embellishments which had never then been on paper, made him, during his long residence here, a new singer to me every time I heard him.”

A still more exact and scientific detail of his powers is then succeeded by these words: “That Pacchierotti’s feeling and sentiments were uncommon, was not only discoverable by his voice and performance, but by his countenance, in which through a general expression of benevolence, there was a constant play of features that varyingly manifested all the changing workings and agitations of his soul. **** When his voice was in order, and obedient to his will, there was a perfection in tone, taste, knowledge, and sensibility, that my conception in the art could not imagine possible to be surpassed.”

And scarcely could this incomparable performer stand higher in the eminence of his profession, than in that of his intellect, his temper, and his character.

If he had not been a singer, he would probably have been a poet; for his ideas, even in current conversation, ran involuntarily into poetical imagery; and the language which was their vehicle, was a sort of poetry in itself; so luxuriantly was it embellished with fanciful allusions, or sportive notions, that, when he was highly animated in conversation, the effusions of his imagination resembled his cadences in music, by their excursionary flights, and impassioned bursts of deep, yet tender sensibility.

He made himself nearly as many friends in this country to whom he was endeared by his society, as admirers by whom he was enthusiastically courted for his talents.

The first Mrs. Sheridan, Miss Linley, whose sweet voice and manner so often moved “the soul to transport, and the eyes to tears,” told Dr. Burney, that Pacchierotti was the only singer who taught her to weep from melting pleasure and admiration.

He loved England even fervently; its laws, customs, manners, and its liberty. Of this he gave the sincerest proofs throughout his long life.[19]

The English language, though so inharmonious compared with his own, he made his peculiar study, from his desire to mingle with the best society, and to enjoy its best authors; for both which he had a taste the most classical and lively.

He had the truly appropriate good fortune, for a turn of mind and endowments so literary, to fall in the way of Mr. Mason immediately upon coming over to this country: few persons could be more capable to appreciate a union of mental with professional merit, than that elegant poet; who with both in Pacchierotti was so much charmed, as to volunteer his services in teaching him the English language.

So Parnassian a preceptor was not likely to lead his studies from their native propensity to the Muses; and the epistles and billets which he wrote in English, all demonstrated that the Pegasus which he spurred, when composition was his pursuit, was of the true Olympic breed.[20]

Pacchierotti was attached to Dr. Burney with equal affection and reverence; while by the Doctor in return, the sight of Pacchierotti was always hailed with cordial pleasure; and not more from the pathos of his soul-touching powers of harmony, than from the sweetness, yet poignancy of his discourse; and the delightful vivacity into which he could be drawn by his favourites, from the pensive melancholy of his habitual silence. Timidity and animation seemed to balance his disposition with alternate sway; but his character was of a benevolence that had no balance, no mixture whatsoever.

The Doctor’s doggrel register of 1778, has these two couplets upon Pacchierotti.

“1778.