One of the most often-quoted descriptions of opera is that of Dr Samuel Johnson, who famously defined opera in the mid-eighteenth century as ‘an exotic and irrational entertainment’.

Johnson’s response to opera was at one with a prevailing English attitude of curmudgeonly roast-beef-and-ale xenophobia presented as bluff common sense, and was aimed primarily at Italian opera. His suspicion of Italian opera was shared by writers such as Joseph Addison and Richard Steele in The Spectator, the poet Alexander Pope (who represents opera as a foreign ‘harlot form’ in The Dunciad), and the painter William Hogarth, who satirized the Whig aristocracy’s cultivation of Italian opera (and other such foreign affectations) in prints and paintings.

The literal meaning of exotic is, indeed, ‘foreign’ (as Johnson’s own dictionary explains), and this may be all that Johnson implied when he used the term, in this instance quite accurately; for, despite indigenous attempts at the form in the seventeenth century, by the eighteenth century opera was perceived as an essentially foreign import to Britain, being largely performed there in a foreign language with foreign performers. And for most countries in the world for the first two centuries of its existence opera would be exotic beyond Italy since, France aside, it was generally assumed that opera was Italian per se. The majority of opera composers were Italians, many working in countries outside of Italy; but many non-Italian composers such as Handel, Gluck, Haydn or Mozart predominantly set operas in Italian, usually outside of Italy too.