<P> In a departure from traditional literary morality, it is the adulterous liaison of Poppea and Nerone which wins the day, although this triumph is demonstrated by history to have been transitory and hollow . In Busenello's version of the story all the major characters are morally compromised . Written when the genre of opera was only a few decades old, the music for L'incoronazione di Poppea has been praised for its originality, its melody, and for its reflection of the human attributes of its characters . The work helped to redefine the boundaries of theatrical music and established Monteverdi as the leading musical dramatist of his time . </P> <P> Opera as a dramatic genre originated around the turn of the 17th century, although the word itself was not in use before 1650 . Precursors of musical drama included pastoral plays with songs and choruses, and the madrigal comedies of the late 16th century . Monteverdi had already established himself as a leading composer of madrigals before writing his first full - length operas in the years 1606--08, while he was in the service of Vincenzo Gonzaga, Duke of Mantua . These works, L'Orfeo and L'Arianna, deal respectively with the Greek myths of Orpheus and Ariadne . After a disagreement in 1612 with Vincenzo's successor, Duke Francesco Gonzaga, Monteverdi moved to Venice to take up the position of director of music at St Mark's Basilica, where he remained until his death in 1643 . </P> <P> Amid his official duties at Venice, Monteverdi maintained an interest in theatrical music and produced several stage works, including the substantial Il combattimento di Tancredi e Clorinda (The battle of Tancred and Clorinda) for the 1624--25 carnival . When the first public opera house in the world opened in Venice in 1637, Monteverdi, by then in his 70th year, returned to writing full - scale opera . He may have been influenced by the solicitations of Giacomo Badoaro, an aristocratic poet and intellectual who sent the elderly composer the libretto for Il ritorno d'Ulisse in patria (The return of Ulysses). For the 1639--40 carnival season, Monteverdi revived L'Arianna at the Teatro San Moisè and later produced his setting of Il ritorno at the Teatro San Cassiano . For the following season he wrote Le nozze d'Enea in Lavinia (The marriage of Aeneas to Lavinia), now lost, which was performed at the third of Venice's new opera theatres, Teatro Santi Giovanni e Paulo . </P> <P> Another wealthy poet - librettist in the Venice milieu was Giovanni Francesco Busenello (1598--1659), like Badoaro a member of the intellectual society Accademia degli Incogniti . This group of free - thinking intellectuals had significant influence on the cultural and political life of Venice in the mid-17th century, and was particularly active in the promotion of musical theatre . Busenello had worked with Monteverdi's younger contemporary Francesco Cavalli, providing the libretto for Didone (1641), and according to theatre historian Mark Ringer was "among the greatest librettists in the history of opera". It is unclear how and when Busenello met Monteverdi, though both had served in the Gonzaga court . Ringer speculates that they drew joint inspiration from their experiences of the Gonzaga style of rule, "a mixture of artistic cultivation and brutality", and thus developed a shared artistic vision . </P>

Who composed the operas orfeo and the coronation of poppea