Antonio Vivaldi's work in Baroque Italian Opera was heavily influenced through the governmental structure of eighteenth century Italy. Throughout the course of his playwritng career his work from "Arsilda" (opera) to "Juditha Triumphans" (opera), Vivaldi evokes a strong essence of survival and an overcoming of power struggle within Italian government. For instance, Arsillda tells the story a young girl who poses as her brother, whom she believes is dead, in order to inherit the throne and sustain nobility within her royal family. Vivaldi's "Juditha Triumphans" serves as a historical mirror reflecting the happeing of a war between the Turkish and Venetian army, where the Venetian army ends victorious. It is clear that in these plays Vivaldi's plot ties back to a power strugge shared between the opera characters and government. In "Arsilda", Vivaldi plays with the idea of one "posing" as what one is not-- which was the essence of the Early Modern Period during this time. This was an era in Italy where foreign lands were "posing" as the rulers and leaders of countries of differing nationalities. All in all, the basis of our argument is that Vivaldi's work served as a mirror reflection of eighteenth century Italian rule and governmental structure. We will also argue how and why Vivaldi's work is considered Baroque Opera, and its most concrete definition, which would be that of a "well-crafted imperfection." In doing this we will explain how composers and artists like Vivaldi broke societal rules and restrictions and found other ways art could be found--"good" art. Our argument will also contain how Baroque Art became less about structure and more about the feelings it could provoke as shown in Vivaldi's work. (We will speak about some other Baroque Italian Opera artists as well).