Catone in Utica premiered in Rome at the Teatro delle Dame on January 14, 1728. Pietro Metastasio wrote the text, and chose the subject specifically to please the Roman audiences. Cato was a hero of classical history, the last upholder of the values of the old Republic against encroaching imperialism. His story is based on an episode taken from the civil wars between Caesar and Pompey, after Pompey's murder and the final defeat of Cato's army. The sources for the drama were the historical accounts of Plutarch, a libretto by Mateo Noris, and a drama by Joseph Addison. Metastasio's approach to his subject was adventurous. He adapted much of Addison's dialogue and his strong, noble characterization of Cato. Catone dominates the opera, both musically and dramatically, with Caesar receding quickly into the background. Marzia is also strong willed, as she tries to reconcile the two generals, but failing, rejects the new ruler of Rome. Metastasio gave his story extremely dramatic settings. The third act opens in a cavernous, underground aqueduct. Marzia is trying to escape the city, and sings an extended accompanied recitative which reflects her fear and foreboding. As she finds her way, blocked diminished harmonies, staccato arpeggios, and anguished tremolos describe her emotional tension. Sounds of the battle raging outside can be heard overhead, and she hears footsteps and voices and hides. Emilia, widow of Pompey, and her followers appear, planning to ambush Caesar. Catone arrives, admits defeat, and then commits suicide. The drama unfolds over the last few scenes, as Catone dies. His music in the final act is dominated by the accompanied recitative, as is Marzia's. The last act is one of Vinci's finest creations, but the Romans hated it. One critic lamented, "Cruel Metastasio, you have reduced all the heroes of the Tiber into a drainpipe."

The music of Catone is strong, heroic, and vigorous, often containing energetic coloratura. Innovative compositional approaches are used in his arias as well. "Si sgomenti alle sue pene" is based on a theme from Handel's Ariodante, set over a walking bass. "Va, ritorna al tuo tiranno" is a complete Baroque fugue molded into a da capo aria form. "Dovea svenarti allora" is a monothematic minor mode aria whose fragmented character and hammered accompaniment figures expresses the monarch's outrage. Act III contains some of Catone's most powerful moments, as he admits defeat and prepares to die. Just as in the opera Didone, the hero is given only accompanied recitatives at the end, one of which is a duo recitative with his daughter Marzia. This last is particularly moving, as Vinci depicts the ghostly imagery in the text with descriptive vocal and instrumental writing. Marzia's music is also powerful. Her farewell to Caesar, "Confusa, smarrita spiegati vorrei," is filled with halting phrases, fragmented sections of music, and an unsettled accompaniment. This an aria parlante, one that approximates her agitated speech patterns, and her emotional distress.

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