Handel was now in business for himself, unlike the arrangements he had with the Royal Academy of Music, which had financial support from wealthy backers. He had traveled to Italy to hire singers and the ones he brought to London to replace the stars of the Royal Academy did not meet with the near universal acclaim of his previous singers. One of Handel's most loyal supporters, Mary Delany, wrote in a letter of the new ensemble of singers that performed "Lotario"Bernachi has a vast compass, his voice mellow and clear, but not so sweet as Senesino, his manner better; his person not so good, for he is as big as a Spanish friar. Fabri has a tenor voice, sweet, clear and firm, but not strong enough, I doubt, for the stage; he sings like a gentleman, without making faces, and his manner is particularly agreeable; he is the greatest master of musick that ever sang on the stage. The third is the bass, a very good distinct voice, without any harshness. La Strada is the first woman; her voice is without exception fine, her manner perfection, but her person very bad, and she makes frightful mouths. La Merighi is next to her; her voice is not extraordinarily good or bad, she is tall and has a very graceful person, with a tolerable face; she seems to be a woman about forty, she sings easily and agreeably. The last is Bertoli, she has neither voice, ear, nor manner to recommend her; but she is a perfect beauty, quite a Cleopatra, that sort of complexion with regular features, fine teeth, and when she sings has a smile about her mouth which is extreme pretty, and I believe has practised to sing before a glass, for she has never any distortion in her face.