He continued his reform with "Alceste" and "Paride ed Elena". Gluck paid great attention to orchestration and considerably increased the role of the chorus: he also cut back heavily on exit arias. The labyrinthine subplots that had riddled earlier baroque opera were eliminated. In 1768, the year after Gluck's "Alceste", Jommelli and his librettist Verazi produced "Fetonte". Ensemble and chorus are predominant: the usual number of exit arias slashed in half. For the most part, however, these trends did not become mainstream until the 1790s, and the Metastasian model continued to dominate. Gluck's reforms made most of the composers of "opera seria" of the previous decades obsolete. The careers of Hasse, Jommelli, Galuppi, and Traetta were effectively finished. Replacing them came a new wave of composers such as Wolfgang Amadeus Mozart, Joseph Haydn, Antonio Salieri (a disciple of Gluck), Antonio Sacchini, Giuseppe Sarti, Niccolò Piccinni, Giovanni Paisiello and Domenico Cimarosa. The popularity of the "aria da capo" began to fade, replaced by the rondò. Orchestras grew in size, arias lengthened, ensembles became more prominent, and obbligato recitative became both common and more elaborate. While throughout the 1780s Metastasio's libretti still dominated the repertory, a new group of Venetian librettists pushed "opera seria" in a new direction. The work of Gaetano Sertor and the group surrounding him finally broke the absolute dominance of the singers and gave "opera seria" a new impetus towards the spectacular and the dramatic elements of 19th-century Romantic opera. Tragic endings, on-stage death and regicide became the norm rather than the exception. By the final decade of the century "opera seria" as it had been traditionally defined was essentially dead, and the political upheavals that the French Revolution inspired swept it away once and for all. With a few exceptions, "opera seria" was the opera of the court, of the monarchy and the nobility. This is not a universal picture: Handel in London composed not for the court but for a much more socially diverse audience, and in the Venetian republic composers modified their operas to suit the public taste and not that of the court.