On the one hand, I have called Bach's Coffee Cantata "a hidden opera" (and that is also how it is played by the Netherlands Bach Society) - and, on the other hand, I introduce Purcell's opera Dido and Aeneas here as oratorio, which seems perfectly reasonable as like other Baroque operas it doesn't have a lot of dramatic action - and again that is how it is played by L'Arpeggiata as linked below.
In fact, Dido and Aeneas is not even a normal Baroque opera. Today, "opera" is usually understood to mean a piece of music with singing, without spoken text. Hence, Dido and Aeneas is mistakenly called Purcell's only opera. However, the piece is a chamber or semi-opera which emerged in England In the second half of the 17th century, stemming in part from the masque genre. It was indeed close to what we call an oratorio.
Purcell probably wrote his Dido in collaboration with the ballet teacher Josias Priest, whose wife had founded a Boarding School for Young Gentlewomen in Chelsea; this would explain why the opera contains hardly any male roles and many dances - except for Aeneas, all roles were sung by the pupils. The libretto was written by Nahum Tate, who would later become Poet Laureate and with whom Purcell collaborated more often.
Dido and Aeneas is often considered Purcell's masterpiece, and Dido's death scene with the somber aria "When I am Laid in Earth", is a classic aria of the Baroque repertoire.
First act.
Aeneas, having fled Troy, arrives in Carthage, where Queen Dido receives him at her palace. She conceives amorous feelings for the hero, encouraged by her sister and servant Belinda.
Second act.
A sorceress with an entourage of witches who hate the queen because she is doing well, swears to disturb her happiness: they stir up a great storm, so that Aeneas, who, having spent the night with Dido, is now hunting in the fields, is separated from the group, while Dido and her entourage flee back to the city. A trusted elf of the chief sorceress, disguised as the god Mercury, urges Aeneas to leave for Italy: Jupiter would command him to do so. After all, Aeneas is on his way to found a new city: Rome! With immense reluctance and remorse, Aeneas accepts this command. The sorceresses sing a victory chorus, followed by a dance.
Act Three.
Aeneas' sailors prepare everything for departure, much to the delight of the evil sorceress and the witches. When Aeneas tearfully says goodbye to Dido, she accuses him of hypocrisy. In response, against the supposed divine command, Aeneas decides to stay in Carthage after all, but Dido resolutely sends him away. Dido then dies of grief, but whether or not she commits suicide remains unclear. Cupids descend and scatter roses on her grave.
Text (PDF).
Listen to: L'Arpeggiata conducted by Christina Pluhar at the Festival Oude Muziek Utrecht 2015. This is a very special performance with Jazzy baroque improvisations, boisterous
songs in over-the-top masques, and other surprising vaudeville
theatrics originating from Christine Pluhar’s inventive mind. A countertenor, for example, appears in drag to sing a modern song. This
over-the-top Dido isn’t for everyone, perhaps, and one may feel baffled at first, but then
stimulated, and by the end utterly charmed - as I was.
Choral Masterworks