Two modern operas based on Sheridan's libretto have been performed: Sergei Prokofiev's Betrothal in a Monastery (composed 1940–1), and Roberto Gerhard's version of 1945–7.

After the triumph of The Rivals, and having effectively chosen the life of a playwright over that of a lawyer, Sheridan needed a commercial success to cement his position economically and culturally.

He judged correctly the popular trend in the last quarter of the 18th century theatre towards operas, pantomime and music.

In 1772–73, Sheridan and Elizabeth Linley had a courtship, eventually eloping due to the opposition of their parents towards the relationship.

[4] Illustrating his disdain for Sheridan's decision to incorporate parts of other operas in The Duenna, Thomas Linley the elder wrote to David Garrick: My son has likewise written some tunes for him .

[4]The basics of the plot of The Duenna originate in the tradition of Spanish honour dramas and the play includes many features of the genre.

Its nearest predecessors are John Fletcher's The Chances and Sir Samuel Tuke's The Adventures of Five Hours.

Louisa is a sketch of Elizabeth Linley/Sheridan; both have beautiful voices, both are forced by their fathers into marrying wealthy men whom they detest, and both flee to convents to avoid those marriages.

Glee and Chorus (Father Paul, Francis, Augustine, and Friars): This bottle's the sun of our table 28.

Final ensemble (Jerome, Louisa, Ferdinand, Antonio, Clara): Come now for jest and smiling Sheridan wrote many of the roles in The Duenna to match a specific performer's ability, tailoring the text to the capacities of the singer.

For example, Michael Leoni was cast for the role of Don Carlos, but his heavy German-Jewish accent meant that he could not deliver long lines of dialogue.

[7] John Quick, who had proved himself as a great actor of Sheridan's comic characters as Bob Acres in The Rivals and Doctor Rosy in St Patrick's Day, was given the part of the equally ridiculous Isaac Mendoza; Mrs. Green, the original Mrs Malaprop, was given the role of the duenna.

In his Reminiscences, Michael Kelly tells the story that in 1807 he was appearing in The Duenna at Drury Lane, as Ferdinand.

One morning he went out for a ride, and returned home to find Sheridan with pen and ink correcting his printed copy of the dialogue.

Kelly adds, 'What could prove his negligence more than correcting an opera which he had written in 1775 in the year 1807; and then, for the first time, examining it and abusing the manner in which it was printed?

His son, Don Ferdinand, is in love with Donna Clara, whose cruel father is set upon forcing her into a nunnery – the nearby convent of St Catherine.

[6] Interest in The Duenna was renewed in the early 20th century with performances at the Maddermarket Theatre, Norwich in 1923, and by Sir Barry Jackson at Birmingham soon after: and a further revival was advocated by Lovat Fraser, designer of the scenery and dresses for Frederic Austin's restoration of The Beggar's Opera at Hammersmith with Nigel Playfair in 1920–23.

Playfair took up the challenge with George Sheringham as his designer of costumes and scenery, in a production with the music reharmonised, and in some cases rewritten, at the Lyric Theatre, Hammersmith in December 1924.

The full text (without music) and designs (in colour plates) were published as a book with a foreword by Playfair in 1925.

[10] In 1964 a live performance adapted for radio by Peter Bryant was given at the Camden Theatre in London and broadcast on the BBC Home Service.

Don Antonio was played by Denis Quilley and Donna Louisa by Jane Wenham, and original music was composed by Julian Slade.