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Success in the court opera house was all-important.
From 1656 to 1673 Kerll was the court opera conductor in Munich, where several of his operas were produced.
In 1757 he became ballet master of the Vienna court opera house, where his first ballet dramas frequently relied upon gesture to convey plot.
In contrast, at the courts of Cambodia and Java, the Sanskrit drama, Hindu dances, and native dance traditions combined and produced the court opera ballets.
Berlin's state opera, the Staatsoper, is the descendant of the 18th century Prussian court opera and has long been one of the premiere houses of the world.
She sang in Johann Hiller's concerts in Leipzig in 1766, performed with the Dresden Opera, then moved to Berlin, where, overcoming Frederick II's dislike for German singers, she was engaged in 1771 by the court opera.
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The last English troupes left Germany in 1659, by which time the Italian style of staging, with its perspective scenery, had become the fashion in spectacular court operas and the elaborate productions of Jesuit school plays (see above).
Carter cites as a significant aspect of their loss the degree to which they might have provided musical links between the composer's early Mantuan court operas and the public operas he wrote in Venice towards the end of his life: "Without these links... it is hard to a produce a coherent account of his development as a composer for the stage".
Instead of starting as Shakespeare does, at Theseus's court, the opera begins in the magic wood.
During City Opera's recent crisis, when the leaderless company courted the opera impresario and provocateur Gerard Mortier as its manager, Mr. Rudel was guarded in his public comments.
It's quite possible that courts built opera houses in the 18th century for reasons of prestige, and those opera houses attracted skilled musicians and music lovers in the decades thereafter.
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