Abstract (max. 60 woorden): In the light of the omnipresent ars memoriae and rhetorical tradition, it is examined how the 18th -century operatic audience was provided re-presentations of multimedial and modular nature. To what extent did these reminiscenses engender patterns for aesthetic expectation? In order to answer this question, we will focus on Jommelli's ten opere serie fot the Teatro Argentina in Rome (1740-57). The documentation produces by these productions will be deconstructed using new paradigms formulated by phenomenology, memetics and cultural historical memory studies with respect to the mechanism of memory.