The priest Giuseppe Cavallo was Maestro di Canto of the Conservatorio de Santa Maria de Loreto from 1672 until his death in 1684. Otherwise, virtually nothing is known about the composer, and it is only due to the musical archive of the Oratorio di Napoli, a treasure trove of rare scores, that a handful of Cavallo's works survive, including Il Giudizio Universale. This sacred oratorio presents Christ and Saint Michael, a pair of angels, two mortals, and four souls–two damned, two blessed–and begins with Christ commanding the angels to bring on the Last Judgment. What follows is a finely crafted musical drama, except for the confusion caused when the otherwise immaculately presented album fails to reveal which of the seven singers (two sopranos, three tenors, and one bass) is singing which parts. All you can be sure of is that Christ is the excellent bass, Giuseppe Naviglio.
Later in life Hasse’s operas would be spoken of in the same breath as the poet Metastasio, whose librettos he frequently set, as though the two were one: a high-minded, classicizing Marc Antonio e Cleopatra . It brought Hasse a degree of renown in wealthy Neapolitan circles, and a commission from the San Bartolomeo opera house for Il Sesostrate . That in turn blossomed into a lucrative match-up, with seven opera seria composed and produced in six years, as well as a number of comic intermezzo operas and a full-length opera buffa for other venues. Hasse was suddenly on the fast track to fame and contracts.