This book investigates the historical, cultural, and musical foundations of Henry Purcell's opera Dido and Aeneas to establish its significance within seventeenth-century English performance traditions. Ellen T. Harris, a noted musicologist, utilizes primary source analysis and historical context to argue that the opera is not an isolated masterpiece but a product of specific theatrical conventions. She examines the relationship between Nahum Tate's libretto and the musical structures of the era to provide a comprehensive academic framework for understanding the work's creation and enduring legacy.

Scholars and music historians frequently cite this text as a foundational resource for understanding the complexities of Purcell's operatic output. Readers often note the academic density of the prose, which serves as a rigorous reference for students and professionals in the field of musicology.