Early Career
Braham’s first stage appearance was in fact at Leoni's Covent Garden 1787 benefit, when he sang Thomas Arne's The soldier tir’d of war’s alarms. He next appeared in June at the Royalty Theatre, again with Leoni.
After 1788 however we do not hear of a public performance until Braham appeared at Bath under the aegis of his teacher, the male soprano Venanzio Rauzzini in 1794. This empty period will have coincided with the departure of Leoni and also with Braham's voice breaking. It also therefore suggests a birthdate of around 1774 or 1775, rather than the 1777 date given by nearly all modern sources. During this period he was supported by the Goldsmid family. The Goldsmids were influential financiers who maintained their friendship with Braham later in his career and also used him as entertainment at their soirées. Their neighbour and occasional guest there was Horatio Nelson, whose heroic fate was later to prompt Braham's greatest song-writing success, The Death of Nelson. (It first appeared in the opera The Americans, (Lyceum Theatre, 1811). Lady Hamilton, who was in a private box for the performance, was reported to have been so overcome that she suffered a fit of hysterics and had to leave the theatre).
Braham was trained by Rauzzini from 1794 to 1796. It is very likely in fact that the Goldsmids paid for Braham to be articled to Rauzzini, who was a leader in Bath’s musical society. After his first performance at Bath in 1794, the Bath Chronicle eulogised him as ‘a sweet singer of Israel’ and explained that he
derived from the synagogue, though by the simple expedient of dropping the A at the beginning of his name, he got rid of the patriarchal appellation and Christianized himself.
At this point, despite the implications of the article, in fact Braham had made no moves to conversion, although he may well have attended church as social custom of the time required.
Rauzzini's pupils included the celebrated Irish tenor Michael Kelly, creator of Don Basilio in Mozart's Marriage of Figaro. Braham certainly benefited from Rauzzini's influence and promotion, and acquired from him the basic precepts of the old Italian school and a virtuoso technique which was thought by some to be surpassed only by the soprano Angelica Catalani.
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