Semi-operas were performed with singing, speaking and dancing roles. When music was written, it was usually for moments in the play immediately following either love scenes or those concerning the supernatural.
Brutus of Alba (1696) anonymous libretto; music by Daniel Purcell
Cinthia and Endimion, or The Loves of the Deities (1696) libretto by
Thomas Durfey; music by Daniel Purcell,
Richard Leveridge, Jeremiah Clarke, Henry Purcell and David Underwood
The World in the Moon (1697) libretto by
Elkanah Settle; music by Daniel Purcell, Jeremiah Clarke and Henry Purcell
The Island Princess (1699) libretto by
Peter Motteux, adapted from plays by John Fletcher and Nahum Tate; music by Daniel Purcell, Richard Leveridge and Jeremiah Clarke
The Grove, or Love's Paradise (1700) libretto by
John Oldmixon; music by Daniel Purcell
The Mad Lover (1700) libretto by Peter Motteux after the play by John Fletcher; music by John Eccles and Daniel Purcell
Alexander the Great (1701) anonymous libretto after The Rival Queens by
Nathaniel Lee; music by Godfrey Finger and Daniel Purcell
The British Enchanters, or No Magic Like Love (1706) libretto by George Granville, Lord Lansdowne; music by John Eccles, Bartholomew Issack and William Corbett
Wonders in the Sun, or The Kingdom of the Birds (1706) libretto by Thomas Durfey; music by John Smith,
Samuel Akeroyde, John Eccles, Giovanni Battista Draghi,
Lully and Durfey
The Tempest (1712) libretto adapted by Thomas Shadwell from the Dryden-Davenant version of Shakespeare's play; music possibly by
John Weldon (long attributed to Henry Purcell)
Notes
^Curtis Price and Louise K. Stein: "Semi-opera" in New Grove Dictionary of Opera
References
Warrack, John and West, Ewan (1992), The Oxford Dictionary of Opera, 782 pages,
ISBN0-19-869164-5
A Companion to Restoration Drama ed. Susan J. Owen (Blackwell, 2008): chapter by Todd S. Gilman