Opera in English

The history of opera in the English language commences in the 17th century.

In England, one of opera's antecedents in the 16th century was an afterpiece which came at the end of a play; often scandalous and consisting in the main of dialogue set to music arranged from popular tunes. In this respect such afterpieces anticipate the ballad operas of the 18th century. At the same time, the French masque was gaining a firm hold at the English Court, with lavish splendour and highly realistic scenery. Inigo Jones became the leading designer of these productions, and this style was to dominate the English stage for three centuries. These masques contained songs and dances. In Ben Jonson's Lovers Made Men (1617), "the whole masque was sung after the Italian manner, stilo recitativo".

The approach of the English Commonwealth closed theatres and halted any developments that may have led to the establishment of English opera. However, in 1656, the dramatist Sir William Davenant produced The Siege of Rhodes. Since his theatre was not licensed to produce drama, he asked several of the leading composers (Henry Lawes, Cooke, Locke, Coleman and Hudson) to set sections of it to music. This success was followed by The Cruelty of the Spaniards in Peru (1658) and The History of Sir Francis Drake (1659). These pieces were encouraged by Oliver Cromwell because they were critical of Spain. With the English Restoration, foreign (especially French) musicians were welcomed back. In 1673, Thomas Shadwell's Psyche, patterned on the 1671 'comédie-ballet' of the same name produced by Molière and Jean-Baptiste Lully. William Davenant produced The Tempest in the same year, which was the first Shakespeare play to be set to music (composed by Locke and Johnson).

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