Abstract
By investigating research from a number of sources, this paper seeks to provide evidence that opera can be used to communicate political opinions and that it, in fact, has been used to do so in the past. Operas from the late seventeenth and early eighteenth centuries in England are the main focus. After a brief explanation of the origins of opera and its arrival in England, the methods and motivations of composers who included political propaganda in their works are discussed. A summary of the political state of England is included to provide background for the dissection of Handel’s Arianna in Creta and Porpora’s Arianna in Nasso which are used to supply specific examples of politics’ role in opera. In light of the history of opera, the methods and intentions of composers, and the political status of Great Britain during the late seventeenth and early eighteenth centuries, the analysis of these two operas suggests their integration of political propaganda. The author concludes that not every opera is a vehicle for propaganda but that every opera should be carefully evaluated to determine if there is political intent.