Origins of opera
"Dafne" by Jacopo Peri was the earliest composition considered opera, as understood today, although with only five instrumental parts it was much more like a chamber opera than either the preceding intermedi or the operas of Claudio Monteverdi a few years later. It was written around 1597, largely under the inspiration of an elite circle of literate Florentine humanists who gathered as the "Camerata". Significantly, "Dafne" was an attempt to revive the classical Greek drama, part of the wider revival of antiquity characteristic of the Renaissance. The members of the Camerata considered that the "chorus" parts of Greek dramas were originally sung, and possibly even the entire text of all roles; opera was thus conceived as a way of "restoring" this situation. The libretto was by Ottavio Rinuccini, who had written some of the 1587 Medici intermedi, in which Peri had also been involved; Rinuccini appears to have recycled some of the material, at least from the scene illustrated at right. Most of the music for "Dafne" is lost (the libretto was printed and survives), but one of Peri's many later operas, "Euridice", dating from 1600, is the first opera score to have survived to the present day.
Albion and Albanius
When "Albion and Albanius" came to be printed, Dryden's "Preface" was the first explication of opera in the English language. "An opera is a poetical tale, or fiction, represented by vocal and instrumental music, adorned with scenes, machines and dancing," Dryden informed his readers. The "machines" were required to effect the dramatic changes of scenery the action required. Pointing out that the persons were supernatural or heroic, Dryden linked his work with the genre we would call Romance: "The subject, therefore, being extended beyond the limits of human nature, admits of that sort of marvelous and surprising conduct, which is rejected in other plays... it would follow of necessity, that the expressions should be lofty, figurative, and majestical." In this way, at the very birth of opera in London, Dryden gives the character that "opera seria" retained for a century, as long as the librettos of Metastasio were being set, into the age of Mozart.