Semi-opera
The terms "semi-opera", "dramatic[k] opera" and "English opera" were all applied to Restoration entertainments that combined spoken plays with masque-like episodes employing singing and dancing characters. They usually included machines in the manner of the restoration spectacular. The first examples were the Shakespeare adaptations produced by Thomas Betterton with music by Matthew Locke. After Locke's death a second flowering produced the semi-operas of Henry Purcell, notably King Arthur and The Fairy-Queen. Semi-opera received a deathblow when the Lord Chamberlain separately licensed plays without music and the new Italian opera.
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.
It has been observed that several of Calderón's comedias with music by Juan Hidalgo de Polanco are closer to semi-opera than to the pastoral Zarzuela.
Places
..you say enough what would it be
Hard to make it out in front of me
Tonight
Yes I'm on my way out to be dream
Don't think you should stay from my ..
Pick up of the places that we say we wouldn't
No one can shake us ..for good
Look out all of the places we say we would
No one can ,
..it's like you say you can't believe
I won't stand in your way so you will see..
Time rushes on us what can you do
I got me enough to get to you tonight
Look out of the places we say we would
No one can shake us ..for good
Look out all of the places we say we would
No one can ,
This is enough you have enough
We have enough
You have enough, enough is enough
Look out of the places we say we would
No one can shake us ..for good
Look out all of the places we say we would