The Origins of Opera The First Opera in the UK Purcell and English Semi-Opera

Henry Purcell

Henry Purcell developed a peculiarly English form of opera, the hsalf-sung and half-spoken semi-opera. This strange English hybrid flourished in the 1670's and lasted into the 18th century. It combined spoken dialogue with elaborate costumes, scenery and effects, dancing and music. Singing was rarely required from the professional actors who took the lead roles.

Purcell's most famous opera, Dido and Aeneas, based on Greek mythology, was written in 1689 for the Young Gentlewomen of Mr. Josias Priest's Boarding School at Chelsey. Unusually for the time this was an all-sung opera and designed for private performance.

Listen to ‘Dido’s Lament’ from Purcell’s Dido and Aeneas [Download]

ENO's The Fairy Queen

ROH's The Fairy Queen

Many semi-operas were plays that had been adapted, some with spectacular stage effects. In the 1672 production of Shakespeare's Macbeth, at Dorset Gardens there were flying witches and the 1674 production of The Tempest had a spectacular storm scene. Purcell's The Fairy Queen in 1692 also had a strong design element. It had a total cast of over 40, a transformation sequence that turned swans into dancers, and the character of Juno rode on a peacock chariot.

Design for Arsinoe

Design for Arsinoe

Design for Arsinoe

Clayton's Arsinoe

John Rich staged Clayton's Opera Arsinoe at Drury Lane in 1705. It was the first full length English Opera in the Italian Style. There was considerable prejudice against English opera composers and English singers - the fashionable audiences preferred ‘exotic' foreign singers. Indeed it was thought that the English singers' voices were too light for serious opera. James Thornhill's designs for Arsinoe are amongst the very earliest designs to survive in British Theatre.