[1] After an unlucky stay in London in 1785, where he did not win much approbation, on his getting back to Italy, he took part in Naples, very successfully, to a revival of Guglielmi’s opera Enea e Lavinia, together with the already famous tenor Giacomo Davide, who shared Crescentini’s artistic inclinations.

Thenceforwards, his career made more and more headway, reaching the apex in the nineties, and specially in 1796, when he created two roles which would remain in repertoire for some decades and then famous until present times, in either case by his quasi-pupil Giuseppina Grassini’s side.

From 1814 he devoted himself to the teaching of singing at Bologna’s Liceo Musicale, whose direction he was entrusted in 1817, then also in Rome, and eventually at Naples’s Real Collegio di Musica, where he had, among his pupils, Isabella Colbran and Raffaele Mirate.

With Pacchiariotti, Marchesi and with the extreme offshoot of Velluti, Crescentini led castrati’s last charge: he was called, for his singing’s prodigies, the “Italian Orpheus”, and for his great, theoretical too, competence in this art, the “Nestor of the musici".

Crescentini, who was not an exceedingly wide-ranged sopranista, always shunned the rush towards the highest notes which the C7 whistled by his contemporary La Bastardella was the living representation of, and shunned as well eagerness for immoderate singing ornamentation in all the cases where it was not actually necessary to the expression of those "infinitely minute nuances which form the secret of Crescentini's unique perfection in his interpretation of [an] aria;[4] furthermore all this infinitely minute material is itself in a perpetual state of transformation, constantly responding to variations in the physical condition of the singer’s voice, or to changes in intensity of the exaltation and ecstasy by which he may happen to be inspired".