Ballads and Britons: Imagined Community and the Continuity of ‘English’ Opera

Abstract

Joseph Addison's Spectator is perhaps the best-known early eighteenth-century periodical, its title a byword for the period's acute critical sensibility, its pages of enthusiastic enquiry a fitting monument to what we like to call the ‘Age of Reason’. Of the many commentaries on opera included in its pages, Spectator no. 5 (6 March 1711), critiquing the inadequacy of attempts at scenic verisimilitude on London's operatic stage, is justly renowned. Addison's tale of the undesirable (and wholly unmusical) results of releasing quantities of sparrows inside a theatre derives much of its pungency from the consequences of what Addison feels to be an improper juxtaposition of 'shadows and realities': sparrows and castrati alike escape pastoral fantasy to invade more sordid reality, penetrating ‘a lady's bed-chamber’ or perching ‘upon a king's throne’.

‘Britons, strike home’: politics, patriotism and popular song in British culture,c.1695-1900

“…Perhaps one of the finest works on the subject is by Suzanne Aspden, who provides a well‐argued account of early English ballads, opera and theatre in the eighteenth century. Aspden is also sensitive to continuity between eighteenth‐century operatic work and earlier iterations of popular music, and engages eruditely with the overlap between popular history, popular music and theatre in the eighteenth century. However, she does not demonstrate that any one specific work had extensive geographical or cultural reach.…”