The theatre, opened in 1639, had earlier staged the première of Monteverdi's opera "Le Nozze d'Enea in Lavinia", and a revival of the composer's "Il ritorno d'Ulisse in patria". The theatre was later described by an observer: "... marvellous scene changes, majestic and grand appearances [of the performers] ... and a magnificent flying machine; you see, as if commonplace, glorious heavens, deities, seas, royal palaces, woods, forests ...". The theatre held about 900 people, and the stage was much bigger than the auditorium. The date of the first performance of "L'incoronazione" and the number of times the work was performed are unknown; the only date recorded is that of the beginning of the carnival, 26 December 1642. A surviving scenario, or synopsis, prepared for the first performances, gives neither the date nor the composer's name. The identity of only one of the première cast is known for certain: Anna Renzi, who played Ottavia. Renzi, in her early twenties, is described by Ringer as "opera's first prima donna" and was, according to a contemporary source, "as skillful in acting as she [was] excellent in music". On the basis of the casting of the opera which shared the theatre with "L'incoronazione" during the 1642–43 season, it is possible that Poppea was played by Anna di Valerio, and Nerone by the castrato Stefano Costa. There are no surviving accounts of the opera's public reception, unless the encomium to the singer playing Poppea, part of the libretto documentation discovered at Udine in 1997, relates to the first performance. There is only one documented early revival of "L'incoronazione", in Naples in 1651. The fact that it was revived at all is noted by Carter as "remarkable, in an age where memories were short and large-scale musical works often had limited currency beyond their immediate circumstance." Thereafter there are no records of the work's performance for more than 250 years. After two centuries in which Monteverdi had been largely forgotten as a composer of opera, interest in his theatrical works revived in the late 19th century. A shortened version of "Orfeo" was performed in Berlin in 1881; a few years later the Venice score of "L'incoronazione" was rediscovered, leading to a surge of scholarly attention.