Editing Antonio Vivaldi (section)

===Late period===
Vivaldi collaborated with choreographer [[Giovanni Gallo (choreographer)|Giovanni Gallo]] on several of his later operas stage in Venice with Gallo choreographing the ballets found within those works.<ref>{{Cite encyclopedia |author=Irene Alm|date=2002|entry=Gallo [Galli, Galletto], Giovanni |encyclopedia=Grove Music Online|publisher=[[Oxford University Press]] |doi=10.1093/gmo/9781561592630.article.O006334}}</ref> At the height of his career, he received commissions from European nobility and royalty, some of which were:

* The ''serenata'' (cantata) ''Gloria e Imeneo'' (RV 687), which was commissioned in 1725 by the French [[ambassador]] to Venice in celebration of the marriage of [[Louis XV of France|Louis XV]], when Vivaldi was 48 years old.
* The ''serenata'', ''La Sena festeggiante'' (RV 694), written in 1726 and also premiered at the French embassy, to celebrate the birth of the French royal princesses, [[Princess Henriette of France|Henriette]] and [[Louise Élisabeth of France|Louise Élisabeth]].
* Vivaldi's Opus 9, ''[[La cetra (Vivaldi)|La cetra]]'', which was dedicated to [[Holy Roman Emperor|Emperor]] [[Charles VI, Holy Roman Emperor|Charles VI]]. In 1728, Vivaldi met the emperor while the emperor was visiting [[Trieste]] to oversee the construction of a new port. Charles VI admired the music of the Red Priest so much that he is said to have spoken more with the composer during their one meeting than he spoke to his ministers in more than two years. He gave Vivaldi the title of [[knight]], a gold medal and an invitation to Vienna. Vivaldi gave Charles a manuscript copy of ''La cetra'', a set of concerti almost completely different from the set of the same title published as Opus 9. The printing was probably delayed, forcing Vivaldi to gather an improvised collection for the emperor.
* His opera ''[[Farnace]]'' (RV 711) was presented in 1730;{{refn|Vivaldi's connections with musical life in Prague and his association with [[Antonio Denzio]], the impresario of the [[Franz Anton von Sporck|Sporck theater in Prague]] are detailed in Daniel E. Freeman, ''The Opera Theater of Count Franz Anton von Sporck in Prague'' (Stuyvesant, N.Y.: Pendragon Press, 1992).|group=n}} it garnered six revivals.{{sfn|Heller|1997|p=114}} Some of his later operas were created in collaboration with two of Italy's major writers of the time. Accompanied by his father, Vivaldi traveled to Vienna and Prague in 1730.
* ''[[L'Olimpiade]]'' and ''[[Catone in Utica]]'' were written by [[Pietro Metastasio]], the major representative of the [[Academy of Arcadia|Arcadian]] movement and court poet in Vienna. ''[[Griselda (Vivaldi)|La Griselda]]'' was rewritten by the young [[Carlo Goldoni]] from an earlier libretto by [[Apostolo Zeno]].

Like many composers of the time, Vivaldi faced financial difficulties in his later years. His compositions were no longer held in such high esteem as they had once been in Venice; changing musical tastes quickly made them outmoded. In response, Vivaldi chose to sell off sizeable numbers of his manuscripts at paltry prices to finance his migration to [[Vienna]].{{sfn|Kolneder|1982|p=179}} The reasons for Vivaldi's departure from Venice are unclear, but it seems likely that, after the success of his meeting with Emperor [[Charles VI, Holy Roman Emperor|Charles VI]], he wished to take up the position of a composer in the imperial court. On his way to Vienna, Vivaldi might have stopped in Graz to see Anna Girò.{{sfn|Kolneder|1982|p=180}}