Opera seria underwent more change in the latter part of the eighteenth century than is commonly recognized, but the nature of the change often had as much to do with practical considerations as with aesthetic ideology. This essay focuses on Turinʼs Teatro Regio, which in the 1760s imported two particularly innovative operas, Sofonisba and Oreste, and retained some ‘‘progressive” features while discarding others. This essay demonstrates the importance of extra-musical factors in decisions regarding production.