Much of Augustine's conversion is dramatized in the oratorio La conversione di Sant'Agostino (1750) composed by Johann Adolph Hasse.
The libretto for this oratorio, written by Duchess Maria Antonia of Bavaria, draws upon the influence of Metastasio (the finished libretto having been edited by him) and is based on an earlier five-act play Idea perfectae conversionis dive Augustinus written by the Jesuit priest Franz Neumayr.
In the libretto Augustine's mother Monica is presented as a prominent character that is worried that Augustine might not convert to Christianity.
As Dr. Andrea Palent says: 
Maria Antonia Walpurgis revised the five-part Jesuit drama into a two-part oratorio liberty in which she limits the subject to the conversion of Augustine and his submission to the will of God.
To this was added the figure of the mother, Monica, so as to let the transformation appear by experience rather than the dramatic artifice of deus ex machina.

Throughout the oratorio Augustine shows his willingness to turn to God, but the burden of the act of conversion weighs heavily on him.
This is displayed by Hasse through extended recitative passages.
Much of Augustine's conversion is dramatized in the oratorio La conversione di Sant'Agostino (1750) composed by Johann Adolph Hasse. The libretto for this oratorio, written by Duchess Maria Antonia of Bavaria, draws upon the influence of Metastasio (the finished libretto having been edited by him) and is based on an earlier five-act play Idea perfectae conversionis dive Augustinus written by the Jesuit priest Franz Neumayr. In the libretto Augustine's mother Monica is presented as a prominent character that is worried that Augustine might not convert to Christianity. As Dr. Andrea Palent says: 
Maria Antonia Walpurgis revised the five-part Jesuit drama into a two-part oratorio liberty in which she limits the subject to the conversion of Augustine and his submission to the will of God. To this was added the figure of the mother, Monica, so as to let the transformation appear by experience rather than the dramatic artifice of deus ex machina.
Throughout the oratorio Augustine shows his willingness to turn to God, but the burden of the act of conversion weighs heavily on him. This is displayed by Hasse through extended recitative passages.
Augustine of Hippo