By: Tom Hales

Early English OperaEarly English Opera

Early English OperaEarly English Opera

Henry PurcellJohn Blow

William D’Avenant

Composers

First OperaVenus and AdonisDido and Aeneas

The Siege of Rhodes

Pre-OperaEnglish MasquesMusic in Dramas

InformationAuthor

ResourcesConcept Map

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Henry Purcell (1659-95)

Henry Purcell is often considered the greatest English composer of all time. Throughout his life he helped to refine the art of opera in England. Purcell helped to establish a musical style that was distinctly English in nature.

English composers still emulate his style to this day.

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John Blow (1649-1708)

John Blow was the teacher of Henry Purcell. Blow was the organist at Westminster Abbey for11 years. He was also a privatemusician of James II. Blow is oftencredited for having composed thefirst English opera. Whether or notthis is true, he like Purcell undoubtedly played a major role in the establishment of the English Opera

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William D’Avenant

Unlike Blow and Purcell,D’Avenant was not a composer;he was a playwright. D’AvenantHad written several English plays and had collaborated withseveral different composers to produce a great number of Masques before they wereoutlawed by the Puritan ruled Parliament.Though he is not often credited, he decisivelywrote the first English Opera.

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Pre-Opera

Before opera had established itself in England, music could still be heard on the stage in collaboration with drama. Although this may sound very similar to opera, it has very distinct differences. The following items were the two settings that music and drama were combined.

English MasquesMusic in Dramas

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English MasquesMasques represented England’s first attempt at combining the visual, and fine arts. Masques differed from operas in the particular arts that were stressed. Though there was singing in masques, it was generally done in choruses between movements. Masques tended to focus more on the visual arts, dance, and poetry.

Cont. to Music in Drama

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Music in DramaLong before opera was even created in Italy, Elizabethan playwrights like William Shakespeare were already incorporating song into dramatic works. What separated these works from opera was the context behind the singing. Opera uses song to tell a story, it plays a central role in the progression of the storyline. Playwrights like Shakespeare only used song when one character onstage was entertaining another.

Back to English Masques

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First OperaThere is some debate that currently wages over who wrote the first English opera. The following are the three works that are often credited as the first English opera.

Venus and AdonisDido and Aeneas The Siege of Rhodes

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Venus and Adonis

Venus and Adonis was written in 1683 by John Blow. Both the libretto and the music survive today. However, many experts argue over the classification of this work.Some experts call Venus and Adonis a masque and

others call it a semi-opera. The New Grove names it as the earliest

surviving English opera. This work greatly influenced Purcell to attempt

his own opera.

Cont. to Dido and Aeneas

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Dido and Aeneas

Dido and Aeneas was an opera completed by Henry Purcell in 1689. Much of the structure is based on Blow’s Venus and Adonis but Purcell did succeed inmaking an opera that resembled the French/Italian style

in both length and technical virtuosity. Purcell continued to write semi-operas throughout the remainder ofhis career but he never published another opera.Cont. to The Siege of Rhodes

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PLAY VIDEO of Dido and Aeneas

The Siege of Rhodes

The Siege of Rhodes is undoubtedly the earliest attempt at creating an English opera in the French/Italian style. The opera was mostly written

by armature musicians whocollaborated with D’Avenantto produce the work in 1656.None of the music from theproduction has survived.

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AuthorMy name is Thomas Hales I am currently a student at Grand ValleyState University. I am majoring invocal music education. Some day Ihope to get a job as a high school choir director. If you wish to contact me, my email address is JimboM80@yahoo.com.

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ResourcesRobert Donington, The Rise of Opera. Faber

and Faber, London WC. 1981Edward J. Dent, Foundations of English

Opera. Da Capo Press, NY. 1965 William Patterson, The Dramatic Works of

Sir William D’Avenant, Vol 3. H. Sutheran & co., London. 1873

William D’Avenant, Love and Honour and the Siege of Rhodes. D.C Health and Co. Publishers, Boston, and London. 1909

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Concept MapExit