Dido and Aeneas

Dido and ÆneasDidoDido & AeneasDido and EneasDido und AeneasPurcell's ''Dido and Aeneas
Dido and Aeneas (Z. 626) is an opera in a prologue and three acts, written by the English Baroque composer Henry Purcell with a libretto by Nahum Tate.wikipedia
417 Related Articles

Henry Purcell

PurcellPurcellianPurcell, Henry
626) is an opera in a prologue and three acts, written by the English Baroque composer Henry Purcell with a libretto by Nahum Tate.
The composition of his chamber opera Dido and Aeneas, which forms a very important landmark in the history of English dramatic music, has been attributed to this period, and its earliest production may well have predated the documented one of 1689.

Nahum Tate

Tate
626) is an opera in a prologue and three acts, written by the English Baroque composer Henry Purcell with a libretto by Nahum Tate.
Brutus of Alba, or The Enchanted Lovers (1678), a tragedy dealing with Dido and Aeneas, was dedicated to Charles Sackville, 6th Earl of Dorset; it was later adapted as the libretto for Henry Purcell's opera Dido and Aeneas (1688 or earlier).

John Blow

BlowBLOW, JOHNDr. Blow
One of the earliest known English operas, it owes much to John Blow's Venus and Adonis, both in structure and in overall effect.
1680–1687), is thought to have influenced Henry Purcell's later opera Dido and Aeneas.

Dido's Lament

When I am laid in earthDido's grief-laden LamentDido's lament, "When I am laid
The most famous aria of the work is "When I am laid in earth", popularly known as "Dido's Lament".
Dido's Lament is the aria "When I am laid in earth" from the opera Dido and Aeneas by Henry Purcell (libretto by Nahum Tate).

Ostinato

riffguitar riffriffs
Both arias are formed on a lamento ground bass.
His most famous ostinato is the descending chromatic ground bass that underpins the aria "When I am laid in earth" ("Dido's Lament") at the end of his opera Dido and Aeneas: While the use of a descending chromatic scale to express pathos was fairly common at the end of the seventeenth century, Richard Taruskin points out that Purcell shows a fresh approach to this musical trope: "Altogether unconventional and characteristic, however, is the interpolation of an additional cadential measure into the stereotyped ground, increasing its length from a routine four to a haunting five bars, against which the vocal line, with its despondent refrain ("Remember me!"), is deployed with marked asymmetry. That, plus Purcell’s distinctively dissonant, suspension-saturated harmony, enhanced by additional chromatic descents during the final ritornello and by many deceptive cadences, makes this little aria an unforgettably poignant embodiment of heartache."

Opera

opera singeroperasoperatic
626) is an opera in a prologue and three acts, written by the English Baroque composer Henry Purcell with a libretto by Nahum Tate.
Despite the success of his masterwork Dido and Aeneas (1689), in which the action is furthered by the use of Italian-style recitative, much of Purcell's best work was not involved in the composing of typical opera, but instead, he usually worked within the constraints of the semi-opera format, where isolated scenes and masques are contained within the structure of a spoken play, such as Shakespeare in Purcell's The Fairy-Queen (1692) and Beaumont and Fletcher in The Prophetess (1690) and Bonduca (1696).

Josias Priest

Jo Priest
It was composed no later than July 1688, and had been performed at Josias Priest's girls' school in London by the end of 1689.
Here Priest hosted operas, including John Blow's Venus and Adonis (1684) and Henry Purcell's Dido and Aeneas (1689).

Orpheus Britannicus

The first of the arias to be published separately was "Ah, Belinda" in Orpheus Britannicus.
The first publication of a section of Purcell's opera Dido and Aeneas was the air "Ah! Belinda" in Orpheus Britannicus, transposed up one step, from C to D.

Measure for Measure

Hakbang sa HakbangIsabellaLucio
Its next performance was in 1700 as a masque incorporated into an adapted version of Shakespeare's Measure for Measure at Thomas Betterton's theatre in London.
In addition, he integrates into the play scenes from Henry Purcell's opera Dido and Aeneas, which Angelo watches sporadically throughout the play.

Lament

lamentationlamentsmirolóyia
Both arias are formed on a lamento ground bass.
Other examples include Dido's lament, "When I am laid" (Henry Purcell, Dido and Aeneas), "Lascia ch'io pianga" (Georg Friedrich Handel, Rinaldo), "Caro mio ben" (Tomasso or Giuseppe Giordani).

Aeneid

The AeneidÆneidAEneis
The story is based on Book IV of Virgil's Aeneid.
One of the first operas based on the story of the Aeneid was the English composer Henry Purcell's Dido and Aeneas (1688).

Aeneas

aeneusÆneasEnea
It recounts the love of Dido, Queen of Carthage, for the Trojan hero Aeneas, and her despair when he abandons her.
Aeneas is a title character in Henry Purcell's opera Dido and Aeneas (c.

Dido

Dido’sDido of CarthageDido (Queen of Carthage)
It recounts the love of Dido, Queen of Carthage, for the Trojan hero Aeneas, and her despair when he abandons her.

Decca Records

DeccaDecca ClassicsDecca Record Company
The first complete recording of the opera was made by Decca Records in 1935 with Nancy Evans as Dido and Roy Henderson as Aeneas, followed in 1945 by HMV's release with Joan Hammond and Dennis Noble.
However, it won Decca the loyalty of the baritone Roy Henderson, who went on to record for them the first complete Dido and Aeneas of Purcell with Nancy Evans and the Boyd Neel ensemble (Purcell Club, 14 sides, issued February 1936 ); and Henderson's famous pupil Kathleen Ferrier was recorded and issued by Decca through the period of transition from 78 to LP (1946–1952).

Imogen Holst

ImogenHolst, ImogenHolst
Several editions of the opera have been made and have been provided with a continuo realisation; a notable, if rather idiosyncratic edition being that made by Imogen Holst and Benjamin Britten.
At home, although not formally employed by Britten, she worked with him on several projects, including a new performing version of Purcell's Dido and Aeneas, and the preparation of the vocal and full scores for Britten's opera Billy Budd.

Ane Brun

Live in ScandinaviaLeave Me BreathlessLive at Stockholm Concert Hall
"Dido's Lament" has been performed or recorded by artists far from the typical operatic school, such as Klaus Nomi (as "Death"), Ane Brun and Jeff Buckley.
On 11 March 2013, Brun performed her own adaptation of Dido's Lament, from Dido and Aeneas by Henry Purcell, at The Roundhouse in London.

Venus and Adonis (opera)

Venus and AdonisVenere e AdoneVenus & Adonis
One of the earliest known English operas, it owes much to John Blow's Venus and Adonis, both in structure and in overall effect.
The piece is a clear model for Henry Purcell's opera Dido and Aeneas, both in structure and the use of the chorus.

Benjamin Britten

BrittenBritten, BenjaminEdward Benjamin Britten
Several editions of the opera have been made and have been provided with a continuo realisation; a notable, if rather idiosyncratic edition being that made by Imogen Holst and Benjamin Britten.
In addition to his own original operas, Britten, together with Imogen Holst, extensively revised Purcell's Dido and Aeneas (1951) and The Fairy-Queen (1967).

Jessye Norman

In addition to Joan Hammond and Kirsten Flagstad, sopranos who have recorded the role include Victoria de los Ángeles (1965), Emma Kirkby (1981), Jessye Norman (1986), Catherine Bott (1992), Lynne Dawson (1998), and Evelyn Tubb (2004).
She famously stated that "pigeonholes are for pigeons” and that she was "attracted to the unusual". A towering figure on operatic, concert, and recital stages, she was associated with roles including Bartók's Judith, Beethoven's Leonore, Berlioz's Cassandre and Didon, Bizet's Carmen, Gluck's Alceste, Janáček's Emilia Marty, Mozart's Countess Almaviva, Poulenc's Madame Lidoine, Purcell's Dido, Strauss's Ariadne, Stravinsky's Jocasta, Verdi's Aida, and Wagner's Sieglinde, Kundry, and Elisabeth. The New York Times music critic Edward Rothstein described her voice as a "grand mansion of sound”, and wrote that “it has enormous dimensions, reaching backward and upward.

Mermaid Theatre

MermaidMermaid Conference and Events CentreMermaid Theatres
Kirsten Flagstad, who had sung the role at the Mermaid Theatre in London, recorded it in 1951 for EMI with Thomas Hemsley as Aeneas.
This seated 200 people, and during 1951 and 1952 was used for concerts, plays and a celebrated opera production of Dido and Aeneas with Kirsten Flagstad, Maggie Teyte and Thomas Hemsley, conducted by Geraint Jones, which was recorded by HMV.

Didone (opera)

DidoneLa Didone Didone
The influence of Cavalli's opera Didone is also apparent.
*Dido and Aeneas

Nancy Evans (mezzo-soprano)

Nancy EvansNancy Evans (opera singer)Evans
The first complete recording of the opera was made by Decca Records in 1935 with Nancy Evans as Dido and Roy Henderson as Aeneas, followed in 1945 by HMV's release with Joan Hammond and Dennis Noble.
In or before 1936 she took the part of Dido in the premiere recording of Purcell's Dido and Aeneas with Roy Henderson as Aeneas, under Boyd Neel.

Thomas Hemsley

Thomas Jeffrey Hemsley
Kirsten Flagstad, who had sung the role at the Mermaid Theatre in London, recorded it in 1951 for EMI with Thomas Hemsley as Aeneas.
He made his debut in 1951 as Aeneas in Purcell's Dido and Aeneas at the Mermaid Theatre, London, alongside Kirsten Flagstad as Dido.

Janet Baker

Dame Janet BakerDame Janet Abbott BakerJanet Abbott Baker
Dido and Aeneas has been recorded many times since the 1960s with Dido sung by mezzo-sopranos such as Janet Baker (1961), Tatiana Troyanos (1968), Teresa Berganza (1986), Anne Sofie von Otter (1989) and Susan Graham (2003).
With the English Opera Group at Aldeburgh, Baker sang Purcell's Dido and Aeneas in 1962, Polly (in Benjamin Britten's version of The Beggar's Opera) and Lucretia (in Britten's The Rape of Lucretia).

Catherine Bott

In addition to Joan Hammond and Kirsten Flagstad, sopranos who have recorded the role include Victoria de los Ángeles (1965), Emma Kirkby (1981), Jessye Norman (1986), Catherine Bott (1992), Lynne Dawson (1998), and Evelyn Tubb (2004).
She has recorded extensively, for example as Dido in Purcell's Dido and Aeneas (with Christopher Hogwood and the Academy of Ancient Music in 1994), with the choir of King's College, Cambridge conducted by Stephen Cleobury in Bach's St. John Passion, as Venus in John Blow’s Venus and Adonis with Philip Pickett, and in Monteverdi's L'Incoronazione di Poppea with Sir John Eliot Gardiner.