The effect of his training in the reserved, scholastic and almost conventional Neapolitan methods and of the influence about him was naturally such as to render his style severe, classic and almost formal; but no such limitation could be set to the expansion of his spirit, and no sooner was he free from academic constraint and ready to choose his own way in the world, than he began to express himself more vividly and to turn toward the theatre as his true field. His first composition was, so to speak, a compromise between the lessoning of the past and his ambitions for the future, for it was a drama with a flavor of oratorio. It was called "San Guglielmo d' Aquitania," and was produced at the Fiorentini, which stood in the second rank of Neapolitan theatres, and was not then, as subsequently, confined to the representation of comedy. The opera had only a qualified success with the public, being judged to have too much science and too little melody; but it sufficed to make his talent evident to his noble patrons, who then exerted their influence to get him hearings at other theatres. Thus encouraged, he wrote "Sallustia," an opera-buffa; "Amor fa l'Uomo Cieco," an _intermezzo_, at the suggestion of the Prince of Stigliano; and "Ricimero," a grand opera. These were performed at San Bartolomeo and other secondary theatres, and were all failures. [Illustration: PERGOLESE. Reproduction of a rare print from the British Museum.] Disappointed and almost disheartened, Pergolese decided to give up the stage, and for two years he devoted himself to instrumental music, composing about thirty trios for strings, chiefly for the Prince of Stigliano and other friends. But his disposition was not to be longer controlled, and in 1731 he produced "La Serva Padrona," a light opera which made an instant success and has attained a justly high reputation all the world over. Being in the vein again, he followed this with "Il Maestro di Musica," "Il Geloso Schernito," "Lo Frate Innamorato," "Livietta e Tracolo," "Il Prigioniero Superbo" and "La Contadina Astuta." These were mostly composed upon Neapolitan texts, were full of gaiety and brightness, and had temporary success in the San Bartolomeo, the Nuovo and other theatres; but their local dialect and the fact that they belonged to the less important classes of opera, prevented their obtaining any wide currency.