Semele: An Opera (review)

Abstract

At the beginning of the eighteenth century, two theater companies in London competed with repertories of plays and what were then termed "operas" but are now generally called "semi-operas." These stage works, following in the footsteps of Henry Purcell's The Fairy Queen, consisted of spoken dialogue and incidental music, which could range from isolated songs to extensive masques. The principal dramatic [End Page 541] characters did not sing; instead, the vocal music was performed by a combination of actors and actresses who also sang, and men, women, and boys who were primarily singers but could also act a little. Pressure for completely sung opera was growing in certain social circles, however, primarily among the young noblemen who had traveled in increasing numbers to Italy as part of their grand tours and had experienced the Italian opera at its source.