In the late eighteenth century, Naples was one of the four largest cities in Europe, surpassed only by London, Paris, and Constantinople. It played a leading role not only in the musical life of Italy but of Europe as a whole. The principal genre of artistic cultivation in Naples remained opera, which was prominent in courtly entertainment, and contributed significantly to the court’s prestige. For skilled composers, singers, and musicians, opera paved the way to fame, financial success, and an attractive tenure in the employ of royalty. Naples had four opera houses and a small theater that was constructed within the royal palace in 1768. The performance venue for opera seria was the Teatro di San Carlo, which opened in 1737 to replace the older Teatro di San Bartolomeo. It enjoyed a unique status at the time due to its size in comparison to other buildings and its proximity to the royal palace. The four opera houses, in which mainly opera buffa was performed, also contributed to the richly varied musical life of Naples: the Teatro dei Fiorentini, the Teatro Nuovo, the Teatro del Fondo, and the Teatro San Ferdinando.

The musical primacy of Naples was further enhanced by four conservatories, public and private performance venues, and by the broad support of ecclesiastical and aristocratic institutions. Their interaction created an environment in which a significant musical culture could flourish.

Many famous opera composers, singers, and musicians completed their training at the conservatories of Naples. One such individual was Giovanni Paisiello (1740–1816), who was among the most important opera composers of the eighteenth century. His dramas were performed throughout Europe, and his style influenced many other composers. He attained distinction as a maestro di cappella (director of music) and composer at the most influential European courts, including those of Napoleon Bonaparte in Paris, Ferdinand IV in Naples, and Joseph II in Vienna.