 |  | An Immortal English Opera |  |
Henry Purcell's (1659-1695) opera "Dido and Aeneas" tells, in approximately one hour, of the frustrated passion of Dido, queen of Carthage, for the Trojan hero Aeneas, whose destiny it is to found Rome. The opera is based upon Virgil's Aeneid with a highly compressed libretto by Nahum Tate. Purcell's opera includes three parts for women and only one, Aeneas, for a male. The brief opera is in three Acts. According to "The New Grove Book of Operas", Purcell based his work on an earlier English opera, "Venus and Adonis" by John Blow. With its heavy emphasis on dance and chorus, "Dido and Aeneas" also draws heavily on French baroque opera.
This reissue of a 1961 recording of a young Janet Baker in the role of Dido is an outstanding way to get to know Purcell's only opera. Baker performed "Dido and Aeneas" many times during her career. Her voice is glowing and rich. She sings with force of Dido's initially repressed love and her soon-to-be dashed love. Interestingly, Dame Baker's most famous role was another Dido -- in Berlioz' lengthy opera, "The Trojans". Anthony Lewis conducts the English Chamber Orchestra with a supporting cast of Patricia Clark as Dido's confidante Belinda, Raimund Herincx as Aeneas and Monica Sinclair as a snarling Sorceress. I greatly enjoyed the cello obligato which permeates this opera.
For all its brevity, the opera encompasses a wide variety of emotion and scenes. The opera makes great use of the chorus. In general, after an aria by one of the principals, the chorus comments extensively, much in the manner of a Greek tragedy. Sometimes the chorus repeats the music of the soloist, but at other times it takes themes of its own. In "Dido and Aeneas" the chorus appears in scenes involving the court at Carthage, as huntsmen, witches, and sailors. It also appears at the close of the opera, following the death of Dido, in elegaic music of comfort.
In addition to his use of the chorus, Purcell uses the dance as a key element of his story. In "Dido and Aeneas", there are dance scenes displaying the love of Dido, a dance of the furies, who plot to destroy her happiness, an erotic dance for Aeneas, performed by Dido's entourage, a sailors' hornpipe, and a witches' dance in which the sorceress and her compatriots celebrate their destruction of the couple.
In the concluding scene of the opera, Janet Baker powerfully sings Dido's
sad and stark lament for the loss of Aeneas and for her impending death accompanied to a dirge-like theme in the orchestra. This is music of great tragedy.
This CD includes a complete libretto and good program notes. It is an wonderful way to experience an early operatic masterpiece.
Robin Friedman
August 23, 2008| | | Gorgeous performance, richly reproduced | |
The piece is a treasure; the singers, legends; and the recording is exquisite in recreating this hallmark performance. Alive with a depth of feelings...love's vulnerability and worries, evil's powerful delusions, the pain of parting and death..,
Simple and profound, this remarkable recording plucks the strings of our sweetest humaness.
May 12, 2007| | | After the Puritans England rediscovers music, singing and drama | |
England is finally getting out of her puritan revolution, her puritan sixty or eighty years and the Stuarts are back for a short while and finally the Glorious Revolution brings freedom in 1688, a freedom the English haven't had for a long time, especially after the plague had desertified London in 1665 and then the Great Fire had cleaned up the dirty plate that looked more like a trashcan or a giant hearse in 1666. Life can finally come back and be enjoyed. So they reopen the theatres and they start looking for new shows. They sure are pushed towards the French style of the Great Century of the Sun King by the Stuarts coming back from their golden exile in Paris. But that is not enough to give these new generations of artists an inspiration, or even a style. They go back to Marlowe and Shakespeare and they rediscover Dido and Aeneas, Venus and Adonis, and so many other Midsummer Night Dream that they may call the Fairy Queen. They also need a new form, a new genre to celebrate this newly reacquired liberty and they invent the semi-opera. Dido and Aeneas is one of the best in this line. The story comes from Ancient times and Vergil. Dido was also a heroin in Ovid's poetry and in a tragedy by Marlowe. Perfect indeed, and Purcell reinvents the Queen of Carthage. We can only have the music on this CD and these songs, arias and choruses are nothing but intermezzos in a big play intersperced with ballet pieces, operatic songs and other interludes. That is a semi-opera. Today we have more or less forgotten that there was a tragedy behind and that this genre was the invention of the opera in England, since England had never had operas. Purcell was the pioneer and Handel will be the great master after him who will finally reach the full form of the opera and give it a completely new dimension. Purcell is of course at his best in this music. Very clear voices constrasting and complementing one another marvellously though he has not yet understood what he could do with contraltos and countertenors. The female contralto is the sorceress and the male countertenor is some spirit and false messenger, in other words both are secondary characters. We will have to wait for Handel who will make the countertenor, or male alto the main hero in some of his operas like Saul for instance. Moreover the instruments are light, very light and splendidly full of genius and great art, the best mention having to be addressed to the archlute that is fingerpicked as if it were prefiguring the yet to come guitars, thus contrasting with the traditional use of the other strings with a bow. Purcell is a great composer that can bring together many instruments who remain, each one of them, perfectly free and particular, never getting merged into some kind of mash. This art is supposed to serve the drama, the tragedy. The escaping Aeneas arrives shipwrecked in Carthage. He accepts and uses Dido's love for him to reconstruct his fleet and try to fly away. Dido is naive and does not count on the sorceress's hatred for her and these infamous witches are going to plan Aeneas departure. And yet Dido will grant Aeneas his leave just before flinging herself into a pyre and dying in the flames. We can imagine the feelings at the time. The Puritans were finally forgotten and rejected and we could celebrate love affairs, ancient pagan fables, suicides, witches and sorceresses, spirits and other supernatural beings. And what's more we could enjoy it, dance and get thrilled with this story. Dances are even punctuating the tragedy, furies, sailors and witches don't hesitate to spin a couple of measures for our pleasure. And Dido as a mezzosoprano reminds us of the dramatic and tragic plot that lurks behind the beautiful front with a deep and grave lamenting coloration of her words and her voice contrasts so well with the egoistic and vain tenor that Aeneas is. Purcell managed to stage the revival of English music and drama with the saddest of all love drama. Irony of the artist in times of woe and joy at the same time. We must not forget how Queen Mary only reigned six years, ravaged and killed by some disease, uncurable in those days. Dido first produced at the very time of the Glorious Revolution will be reproduced some six years or so after Queen Mary's death, conveying thus some mourning, some dirge in remembrance of this deeply loved Queen.
Dr Jacques COULARDEAU, University of Paris Dauphine & University of Paris 1 Pantheon Sorbonne
December 20, 2006Look at the prices on the Used section. It is ridiculous. This is a great recording. Get it quick.
May 25, 2006| | | A Performance Resonating With Emotional Intensity | |
Janet Baker's performance of Dido's Lament is absolutely stunning in its emotional intensity and would be enough to make this performance unforgettable. But there is more to commend this recording. Baker's vocal clarity, and of all of the other characters, is another outstanding feature of this CD. The chorus is first-rate throughout this recording, especially at the end, as they sing, "With drooping wings ye Cupids come, and scatter roses on her tomb . . . " Although another reviewer has commented that he finds Raimund Herincx's voice as Aeneas too gruff, I find powerful, moving, and thoroughly convincing, as when he lowers his voice and sings in a voice that is anything but gruff, "but with more ease could die."
It's true, as one of the other reviewers comments, that there is something about Monica Sinclair's voice and enunciation as the Sorceress that reminds one a bit of the Wicked Witch of the West and gives her performance an air of contrived theatricality, making her supposed malevolence less than convincing. But the other aspects of this performance are so outstanding that this one reservation is not enough to lower my rating below a 5.
The performance of the English Chamber Orchestra and of Thurston Dart on harpsichord are also of the highest quality.
The quality of the sound from this analog recording made in 1961 is outstanding; the sound engineers who have made this 24-bit digital remastering are truly to be commended.
The CD booklet contains photos of Janet Baker and Raimund Herincx, the entire libretto, and two well-written and informative essays, the first by Alan Blyth on Janet Baker, with an analysis of her singing, and the second by one of the original performers on this recording, Thurston Dart (harpsichord), on the story and music of this beautiful opera.
Very highly recommended.
November 25, 2005More reviews at Amazon.com ...
