John Blow described Venus and Adonis as a masque, but for all intents and purposes, it's an opera, as fully as Dido and Aeneas is, and it should make anyone who considers the Purcell the first English opera think again. The two works have much in common in their dramatic structure, subject matter, length, and level of musical expressiveness. Based on the quality of Blow's work, it's surprising that the piece isn't frequently programmed on a double bill with Dido and Aeneas. Venus' response to the death of Adonis isn't as ...
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John Blow described Venus and Adonis as a masque, but for all intents and purposes, it's an opera, as fully as Dido and Aeneas is, and it should make anyone who considers the Purcell the first English opera think again. The two works have much in common in their dramatic structure, subject matter, length, and level of musical expressiveness. Based on the quality of Blow's work, it's surprising that the piece isn't frequently programmed on a double bill with Dido and Aeneas. Venus' response to the death of Adonis isn't as melodically memorable as Dido's famous lament, but it's as deeply felt and as poignant. Blow's libretto, by an anonymous writer, is superior to Nahum Tate's text for the Purcell on almost every count; the characters have more individuality and their interactions are less mannered. It even has moments of genuine humor. In one scene, Cupid comically instructs a band of adorable little cupids-in-training in the skills required to ensnare lovers. When Venus asks Cupid how to guarantee...
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