page_title: Il pomo d'oro
hierarchical_section_title: Il pomo d'oro
caption_attribution_description: English: Stage set for the underworld scene in Antonio Cesti's opera Il pomo d'oro, performed in Vienna in 1668. The opera was originally planned to mark the wedding of the Habsburg Holy Roman Emperor Leopold I and Margaret Theresa of Spain in 1666 but was postponed to 1668 to mark Margaret Theresa's 17th birthday
context_page_description: Il pomo d'oro is an opera in a prologue and five acts by the Italian composer Antonio Cesti with a libretto by Francesco Sbarra. It was first performed before the imperial court in a specially constructed open-air theatre Vienna in 1668. The work was so long it had to be staged over the course of two days: the Prologue, Acts One and Two were given on July 12; Acts Three, Four and Five on July 14. Originally planned to mark the wedding of the Habsburg Holy Roman Emperor Leopold I and Margaret Theresa of Spain in 1666, the production was rescheduled to mark the Empress's 17th birthday in 1668. The staging was unprecedented for its magnificence. The designer Ludovico Ottavio Burnacini provided no fewer than 24 sets and there were plenty of opportunities for spectacular stage machinery, including shipwrecks and collapsing towers.
context_section_description: Il pomo d'oro (The Golden Apple) is an opera in a prologue and five acts by the Italian composer Antonio Cesti with a libretto by Francesco Sbarra (1611-1668). It was first performed before the imperial court in a specially constructed open-air theatre Vienna in 1668. The work was so long it had to be staged over the course of two days: the Prologue, Acts One and Two were given on July 12; Acts Three, Four and Five on July 14. Originally planned to mark the wedding of the Habsburg Holy Roman Emperor Leopold I and Margaret Theresa of Spain in 1666, the production was rescheduled to mark the Empress's 17th birthday in 1668. The staging was unprecedented for its magnificence (and expense). The designer Ludovico Ottavio Burnacini provided no fewer than 24 sets and there were plenty of opportunities for spectacular stage machinery, including shipwrecks and collapsing towers.
caption: Burnacini's stage set for the underworld scene
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