Thus, in the margin of a set of Favourite Songs compiled from Veracini's Adriano in Siria (London, 1736), Feldman notes that "for the price of Walsh's print, you could be an Adriano, an Emirena, a Farnaspe, or even an Osroa, which effectively meant you could play Senesino, Cuzzoni, Bartolli or Montagnana playing one of their parts, or even pretend to be Farinelli.