It is likely that this 'ballo eroico favoloso' drew on Euripides and/or Seneca. It was used as interval entertainment during opera performances at Teatro Delle Dame; another ballet titled Il tutor Trompè is listed as 'secondo ballo'. The use of both ballets is recorded in the libretto for the production of Luigi Caruso's opera Giunio Bruto (Sartori ID 12259). The separate booklet with the description of the ballets (Sartori ID 11832) advertises the music for production as 'musica tutta nuova del celebre Giuseppe Horbman'. Horbman's music for this production might have been identical to that which he later supplied for the ballet production titled Giasone e Medea at Teatro Zagnoni in Bologna in 1790 and which was choreographed by Giuseppe Banti (Sartori ID 11834).

The choreography for this ballet was probably related to Ricciardi's previous and subsequent similarly-titled productions: Giasone and Medea by Le Picq and Ricciardi, Venice 1771 (Sartori ID 431), and Giasone e Medea by Ricciardi, Reggio di Emilia 1787 (Sartori ID 7581). All of these ballets were strongly influenced by Noverre's choreography for the similarly titled ballet Giasone e Medea, performed at Stuttgart in 1763 (Sartori ID 7825). The formulation on the title page of the scenario for the production of Noverre's choreography in Milan in 1788 (Sartori ID 11833) reads: 'Stato altre volte dato dal sig. Carlo Le Picq ed ora rimesso dal sig. Domenico Le Fevre'. This could imply that at least some of the similarly titled productions by Le Picq and his collaborator Ricciardi were based on Noverre's original choreography.