The pension given by the king to the Christian Union provided Bembo with a “room of her own” in the community. In the dearth of documentary evidence about the composer and her music, however, one wonders if her works were performed and, if so, in what way and under which circumstances. As a soprano, she surely sang most of the forty-one pieces of the Produzioni armoniche. But what of the three-, four-, and five-voice works, such as are found in the motets, the psalm settings, the divertimento, and the opera? Did sacred and secular works overlap to the same extent as in seicento Italy, so as to allow their performance in the women’s community? Many of the larger works call for men’s voices; how would these have been supplied? How well acquainted might Antonia have been with her contemporary the composer Elisabeth-Claude Jacquet de La Guerre? Taken together their works constitute the overwhelming majority of music composed by women during Louis XIV’s reign.