Though creating seventeen leading roles for Handel (including "Giulio Cesare", "Orlando", and Bertarido in "Rodelinda"), his relationship with the composer was frequently stormy: "The one was perfectly refractory; the other was equally outrageous," according to the contemporary historian Mainwaring. After the break-up of Handel's Royal Academy in 1728, Senesino sang in Paris (1728) and Venice (1729), but was re-engaged by Handel in 1730, singing in four more new operas and in the oratorios "Esther", "Deborah", and, in its 1732 bilingual version, "Acis and Galatea". His antipathy to Handel eventually became so great that, in 1733, Senesino joined the rival Opera of the Nobility. Thus he came to sing alongside the great soprano castrato Farinelli, and their meeting on stage (in the pasticcio "Artaserse") led to a famous anecdote of Senesino breaking character, as reported by the music historian Charles Burney.