Abstract
From the crowning of Leopold I (in 1658) to the death of Charles VI (in 1740), Vienna, whose role as the capital of the Holy Roman Empire was not to be contested until the ascendancy of Prussia, earned a reputation as one of the most important musical centres in Europe. Its position was particularly decisive in baroque Italian opera of Venetian origin. Performances were held at court. These brilliant performances, held in the Emperor’s presence, were the fruit of a system based upon three solid pillars : the poeta Cesareo, the composer and the stage designer. These shows, drawing from antique, Christianised mythologems, were of exceptional quality. The main motif, in constant use, was the self-glorification of the Habsburg dynasty, which was deliberately staged, identifying the dynasty with its historic mission.
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