Thomas Clayton’s Arsinoe (1705) Reconsidered: An English Opera in the Italian Manner

Abstract Thomas Clayton’s opera Arsinoe, Queen of Cyprus (1705), while acknowledged as the first opera in the Italian manner produced in England, is also possibly the most reviled opera of the era, a reputation launched in 1709 by the anonymous author of ‘A Critical Discourse on Opera’s and Musick in England’. The opera’s success during its three-season run is at odds with its present reputation. This article offers a reconsideration of Arsinoe based on examining the historical sources and corrects misconceptions about Clayton’s authorship and attribution of the libretto to Peter Anthony Motteux. Examined are the opera’s recitative, aria forms, melodic style and dramaturgy. It argues that critics have been evaluating Arsinoe according to inappropriate criteria drawn from later eighteenth-century Italian-style operas of Scarlatti, Bononcini, and Handel. After tracing the genesis of the opera, the article examines the recitatives and the structure and melodic style of the arias. The arias do not follow the usual forms of later opera. The melodic style of the short sectional arias is not ‘Italianate’ and is closer to the native multi-sectional English theatre song. Understanding of the opera’s dramaturgy has been hindered by the graphic layout of the 1705 London wordbook. To aid comprehension of the opera and its relation to its Bologna source libretto and to readily assess the work of the librettist, three online supplements to this article present: (1) parallel texts of the London and Bologna librettos (given in translation); (2) a facsimile of the London wordbook indicating text set by Clayton as aria, duet, or chorus; and (3) a reformatted version of the London wordbook. The article argues that Arsinoe should not be seen as a failed Italian-style opera but as an innovative, sui generis realization of the ideal of an all-sung dramatic entertainment that would meet the expectations of a London audience that had not yet become familiar with the operatic style of Bononcini and Scarlatti. One feature added to the London libretto, the Epithalamium musical entertainment, shows the opera’s link to England’s dramatic operatic tradition.