Teseo riconosciuto, written at the very end of the 18th century, is heading towards the surprising developments which opera theatre was to undergo in the next century: a cautious refusal of traditional forms, substantial conciseness, intolerance for solo parts just for the sake of having them, a taste for choral intervention in a dramatic role and an inclination for huge complicated articulated ensemble scenes are there for all to see. The first great serious opera of 24 year-old Spontini reveals a thoroughbred opera composer who, even through the inevitable naively, already knows with certainty what awaits him for the next ten years: hard work in the Parisian musical world, an environment which is more demanding but more favourable than that of his home town and would enable him to achieve the level of an absolute, indisputable masterpiece. Which, as we all know, did in fact happen.