Italian Opera was beginning its brilliant career at that epoch, and Metastasio had, when in Rome, written a drama for music which had obtained much applause. A Neapolitan manager, on the look out for a libretto, heard that the young Roman poet was in the town, and commissioned him to write a work for his theatre. Metastasio produced _Gli Orti Esperidi._ It was brilliantly successful. The celebrated singer, Marianna Bulgarelli, surnamed "La Romanina," appeared as Venus, and a life-long friendship was begun between her and the poet. His next work, _Didom Abbandonata,_ was an even greater triumph, and, wonderful for chose days, the poet derived handsome pecuniary profit from his success. He was able in time to pay off his debts and to return to Rome. Here he took Holy Orders, and was henceforth known as the Abbé Metastasio.
The Emperor Charles VI was a passionate lover of music, and kept not only an Italian company in Vienna, but also an Italian poet to write the words of the operas which his favourite composers received orders to set to music. The poet was entitled "Poeta Cesareo," and enjoyed a liberal stipend. The post was occupied by Apostolo Zeno, a Venetian, who, on retiring by reason of advancing years, recommended the brilliant Metastasio as his successor. Accordingly, in 1730, Metastasio set out for Vienna, and although he lived for fifty-two years longer, he never returned to his native country.
His old friend, Marianna Bulgarelli, died some years after he had gone to Austria, and she left him a large part of her considerable fortune. But he refused to accept it, as he was of opinion that it ought to have gone to her husband, to whom, accordingly, it was handed over.
Metastasio is the only writer of librettos whose works have risen to the dignity of a classic. Indeed, they are still remembered when the composers who set them to music have sunk into oblivion. Some of his dramas seem to have been used by several composers in succession, and one, _La Clemenza di Tito,_ produced in Vienna for the first time with the music of Caldara on the fourth of November, 1734, was many years afterwards used by the illustrious Mozart.
The highest favour of the Imperial family was bestowed upon Metastasio during the reign of Charles VI, and was continued by the Empress Maria Theresa and her son, Joseph II. It was only natural that he should feel the most intense loyalty in return, and when the House of Hapsburg suffered cruel reverses in the War of the Austrian Succession, and later on, in the Seven Years' War, he sympathised acutely with his Imperial mistress.