Purcell: Dido and Aeneas | Henry Purcell, Emmanuelle Haïm, ...

Purcell: Dido and Aeneas | Henry Purcell, Emmanuelle Haïm, ... | Perfect

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Purcell: Dido and ...

	Purcell: Dido and Aeneas Henry Purcell, Emmanuelle Haïm, ... Virgin Veritas, 2004 average customer review:based on 12 reviews view larger image
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highly recommended

This new, period instrument version of Purcell's wonderful, brief Dido and Aeneas shows up in a very crowded field. There are close to two dozen other versions available, many of them also historically informed. Here we have a dignified, beautifully sung reading, with instrumentalists performing with a similar sense of loveliness and reserve; indeed, the only time true overt emotionalism shows up is when the witches appear: Felicity Palmer is a nasty handful as the Sorceress. Susan Graham's Dido is elegant and, note-for-note, probably gives us among the best Didos on disc. Ian Bostridge's Aeneas is good without being outstanding; David Daniels and Paul Agnew make remarkable cameos. I prefer the performance led by René Jacobs or starring Janet Baker to this one for sheer drama, but you can't go wrong with Graham, et al, under Emmanuelle Haim's intensely musical leadership either. --Robert Levine

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DIDO AND AENEAS

"Dido and Aeneas" is one of my favorite operas. I only wish that I could see it in, preferably, a venue intimate enough to capture its beauty and passion. I own 5 different cd versions and only the one with Von Otter and the one with Hunt Lieberson come close to this one. This is a truly magnificent accomplishment: Every singer is perfect for his or her role, the chorus is wonderful and the orchestra under Haim cannot be topped. Some, I've read here, find the tempos too fast or even rushed. I find them brisk and exciting. Graham and Bostridge cannot be beaten.

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Perfect

This CD is part of a Journey to the roots of beautiful music. The polyphony of the voices is almost hurting. When I Am Laid In Earth is so compelling. This is a must in the CD collection of Bach , Palestrina and Pärt lovers.

Haim Goes for Baroque--and WINS!

Baroque opera has not been one of my favorite forms of the genre, but this version of Henry Purcell's Dido and Aeneas is one that is changing my mind, and would be an excellent introduction to Baroque opera for a newcomer. The music is beautiful and interesting, and Emanuelle Haim's energetic conducting gives the production a pace and drive that is missing from much of the Baroque music I've heard in the past. The ensemble of period instruments (of which I've never been a fan) absolutely comes alive under her leadership. A particular highlight for me was the guitar dance. And the chorus sings with incredible skill and energy--in fact it almost seems as if you are listening to a live performance instead of a "studio" recording.
The cast is uniformly superb. Ian Bostridge makes for a forceful if not particularly likeable Aeneas, (who even in Virgil comes across as a bit of a pompous twit), and Susan Graham is simply compelling as Dido. Not only is her voice absolutely luscious in tone, there is a dramatic edge to it that holds your attention. Her rendition of Dido's Lament would melt the heart of a stone--she is no longer a powerful queen but an emotional train wreck of a woman who can no longer go on living.
There are really no weak links in the cast, which even boasts Dame Felicity Palmer in the small role of the sorceress and David Daniels in the even smaller role of the spirit who shows up to tell Aeneas that he's got other fish to fry and to stop dallying in Carthage with Dido.
The recording quality of this version (recorded in 2003) is excellent and it comes with a very nice libretto with pictures and a fine article on the opera and its composer.
For anyone who thinks that Baroque opera is all tinkly harpsichords and excruciatingly slow and boring music, this recording will come as a revelation.

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a voice teacher and early music fan

DOESN'T DIDO EVER GET TIRED OF DYING? BUT SHE DOES IT SO WELL!!

Henry Purcell's 'Dido and Aeneas' was first performed at a girl's school in 1689. The librettist, Nahum Tate, was a playwright and poet with connections at the universities and with writers of educational books and works of moral instruction.

From the moment the overture begins, the opera tells of tragedy and violence. The desertion of Dido by Aeneas and her subsequent death is related in Book IV of Virgil's 'Aenid'. Aeneas's dalliance with Dido distracts him from what ought to be his purpose: the foundation of Rome. He finally sails from Carthage to fulfill his destiny, and by her own hand, Dido dies. Tate represents Aeneas' Roman objective as an illusion, his instructions to embark for Italy as a device by the Sorceress to achieve her malign objective: the destruction of Queen Dido and her Kingdom. Therefore, this is the tragedy of Dido; her feelings, not Aeneas' mechanical obedience to orders (which are false; he is as much mislead as Othello), are what signify.

As to the performance on this disc, I must say that it's got some merit, that being the renditions of Ian Bostridge as Aeneas (actually a very brief part vocally speaking) and David Daniels as the Spirit (an even more brief part). They are both perfect in their performance and I would certainly have wished that they could have had more to sing. I am not endeared by the female voices in their respective roles. To say that they were poor is not true, for they are all skilled singers, but just did not convey to me,personally, what each was all about. Dido (Susan Graham) was not tragic, and Belinda (Camille Tilling) was not empathic. The minor roles were well-done; especially that of the Sorceress (Felicity Palmer) and I've already menioned Bostridge and Daniels (the real stars on this disc).

My Favorite Rendition: The 1992 recording with Bott-Kirkby-Ainsley under the direction of Christopher Hogwood. Just a great listen!!!!!!!

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Energetic

Full of vitality - robust rhythms abound. Not the most moving version - but a strong, athletic version that should win newcomers to this masterpiece. Perhaps the sheer pace of the performance alerted me to the fact that this is a kind of 'distilled' opera - with some arias lasting around 30 seconds! Certainly in less than an hour one finds as much emotion and musical 'food' as in other composers' hours...

I have no one recommendation - you just have to buy numerous versions to experience the totality. Finding them is part of the fun.

reviews: page 1, 2, 3

Tracks
Overture | Act 1. Shake the cloud from off your brow | Act 1. Banish sorrow, banish care | Act 1. Ah! Belinda, I am pressed with torment | Act 1. Grief increases by concealing | Act 1. When monarchs unite, how happy their state | Act 1. Whence could so much virtue spring? | Act 1. Fear no danger to ensue | Act 1. See, you Royal Guest appears | Act 1. Cupid only throws the dart | Act 1. If not for mine, for empire's sake | Act 1. To the hills and the vales | Act 1. The triumphing dance | Act 2. Scene 1. Wayward sisters, you that fright / Harm's our delight | Act 2. Scene 1. The Queen of Carthage, whom we hate / Ho Ho Ho! | Act 2. Scene 1. Ruined ere the set of sun? / Ho Ho Ho! | Act 2. Scene 1. But ere we this perform | Act 2. Scene 1. In our deep vaulted cell | Act 2. Scene 1. Echo Dance of Furies | Act 2. Scene 2. Ritornelle | Act 2. Scene 2. Thanks to these lonesome vales | Act 2. Scene 2. Oft she visits this lone mountain | Act 2. Scene 2. Behold, upon my bending spear | Act 2. Scene 2. Haste, haste to town | Act 3. Scene 1. Come away, fellow sailors | Act 3. Scene 1. Come away, fellow sailors | Act 3. Scene 1. The Sailors' Dance | Act 3. Scene 1. See the flags and streamers curling | Act 3. Scene 1. Our next motion | Act 3. Scene 1. Destruction's our delight | Act 3. Scene 1. The Witches' Dance | Act 3. Scene 2. Your counsel all is urged in vain | Act 3. Scene 2. Great minds against themselves conspire | Act 3. Scene 2. Thy hand, Belinda; darkness shades me | Act 3. Scene 2. When I am laid in earth | Act 3. Scene 2. With drooping wings

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