Purcell: Dido and Aeneas

Camilla Tilling - Purcell: Dido and Aeneas

Purcell: Dido and Aeneas
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Artist: Camilla Tilling
Composer: Henry Purcell
Conductor: Emmanuelle Haïm
Performer: Susan Graham
Performer: Ian Bostridge
Performer: David Daniels
Performer: Paul Agnew
Edition: Music CD
CD Release Date: 2004-02-10
Music Label: Virgin Veritas
Soundtracks:
  1. Dido and Aeneas, opera, Z. 626: Overture
  2. Dido and Aeneas, opera, Z. 626: Act 1. Shake the cloud from off your brow
  3. Dido and Aeneas, opera, Z. 626: Act 1. Banish sorrow, banish care
  4. Dido and Aeneas, opera, Z. 626: Act 1. Ah! Belinda, I am pressed with torment
  5. Dido and Aeneas, opera, Z. 626: Act 1. Grief increases by concealing
  6. Dido and Aeneas, opera, Z. 626: Act 1. When monarchs unite, how happy their state
  7. Dido and Aeneas, opera, Z. 626: Act 1. Whence could so much virtue spring?
  8. Dido and Aeneas, opera, Z. 626: Act 1. Fear no danger to ensue
  9. Dido and Aeneas, opera, Z. 626: Act 1. See, you Royal Guest appears
  10. Dido and Aeneas, opera, Z. 626: Act 1. Cupid only throws the dart
  11. Dido and Aeneas, opera, Z. 626: Act 1. If not for mine, for empire's sake
  12. Dido and Aeneas, opera, Z. 626: Act 1. To the hills and the vales
  13. Dido and Aeneas, opera, Z. 626: Act 1. The triumphing dance
  14. Dido and Aeneas, opera, Z. 626: Act 2. Scene 1. Wayward sisters, you that fright / Harm's our delight
  15. Dido and Aeneas, opera, Z. 626: Act 2. Scene 1. The Queen of Carthage, whom we hate / Ho Ho Ho!
  16. Dido and Aeneas, opera, Z. 626: Act 2. Scene 1. Ruined ere the set of sun? / Ho Ho Ho!
  17. Dido and Aeneas, opera, Z. 626: Act 2. Scene 1. But ere we this perform
  18. Dido and Aeneas, opera, Z. 626: Act 2. Scene 1. In our deep vaulted cell
  19. Dido and Aeneas, opera, Z. 626: Act 2. Scene 1. Echo Dance of Furies
  20. Dido and Aeneas, opera, Z. 626: Act 2. Scene 2. Ritornelle
  21. Dido and Aeneas, opera, Z. 626: Act 2. Scene 2. Thanks to these lonesome vales
  22. Dido and Aeneas, opera, Z. 626: Act 2. Scene 2. Oft she visits this lone mountain
  23. Dido and Aeneas, opera, Z. 626: Act 2. Scene 2. Behold, upon my bending spear
  24. Dido and Aeneas, opera, Z. 626: Act 2. Scene 2. Haste, haste to town
  25. Dido and Aeneas, opera, Z. 626: Act 3. Scene 1. Come away, fellow sailors
  26. Dido and Aeneas, opera, Z. 626: Act 3. Scene 1. Come away, fellow sailors
  27. Dido and Aeneas, opera, Z. 626: Act 3. Scene 1. The Sailors' Dance
  28. Dido and Aeneas, opera, Z. 626: Act 3. Scene 1. See the flags and streamers curling
  29. Dido and Aeneas, opera, Z. 626: Act 3. Scene 1. Our next motion
  30. Dido and Aeneas, opera, Z. 626: Act 3. Scene 1. Destruction's our delight
  31. Dido and Aeneas, opera, Z. 626: Act 3. Scene 1. The Witches' Dance
  32. Dido and Aeneas, opera, Z. 626: Act 3. Scene 2. Your counsel all is urged in vain
  33. Dido and Aeneas, opera, Z. 626: Act 3. Scene 2. Great minds against themselves conspire
  34. Dido and Aeneas, opera, Z. 626: Act 3. Scene 2. Thy hand, Belinda; darkness shades me
  35. Dido and Aeneas, opera, Z. 626: Act 3. Scene 2. When I am laid in earth
  36. Dido and Aeneas, opera, Z. 626: Act 3. Scene 2. With drooping wings

Free Music Notes for Purcell: Dido and Aeneas

Free Music Review: DIDO AND AENEAS IS BROUGHT TO LIFE IN THIS GREAT RECORDING!
Hit: 5 Stars

Dido and Aeneas is really a rare gem among the Baroque operas. Even if it doesn't offer a great chance to the singers to show off their virtuoso singing in the same way Alcina, Giulio Cesare and many other operas do, it has been sung by many great artists and is still one of the most successful operas from the Baroque era. So, why would so many great singers be interested in singing this brief masterpiece? The answer for that lays in the pure and sincere drama of his music and in the deep and meaningful way Purcell used the English text to its most dramatic effect.

With an amazing cast headed by Susan Graham and Ian Bostridge and the fantastic Baroque expert conductor, Emanuelle Haïm, this recording has really surprised me. With such recordings sung by legends like Flagstad, Baker and Norman, I thought there were just good versions enough. I was wrong! This one impressed me mostly, particularly because of the lively and intelligent conducting and the inspiring atmosphere.

The role of Dido has been a challenge for some of the most legendary voices of the 20th century: Kirsten Flagstad, Janet Baker, Victoria de los Angeles, Jessye Norman and many others. Here Susan Graham joins the intensity of Flagstad, the feminineness of De los Angeles and the technical aplomb of Baker in one of the best interpretations of Dido ever. Her ''Ah! Belinda, I am prest" is an example of velvety singing and perfect breath control. Her final monologue ''When I am laid'' is sung with a tearful and lush tone. I thought her Dido was perfectly accurate, both in her singing and in her dramaticism. Her creamy voice evokes feminineness, sadness and tragedy very properly. This is certainly one of the most amazing Dido you'll ever hear!
Camilla Tilling, unlike many of her predecessors in the role of Belinda, is not a thin-voiced or unexpressive Belinda, but a vivid interpreter with a beautiful and steady tone. The great tenor Ian Bostridge may be an unusual Aeneas. However, his is a flesh-and-blood but nevertheless heroic characterization, and it's sung with a beautiful and darker tone. There's also the luxurious casting of David Daniels as the spirit, and it's no surprise his brief appearence is sung with aplomb and his usual rounded voice. In overall, it seemed everybody in the cast knew this opera isn't about a majestic Queen and an unsensitive Hero. In fact, the extremely human, sentimental melodies of Purcell must be sung with intimacy and feeling.
However, the achievement of this recording wouldn't be complete without the outstanding conducting of Emmanuelle Haïm. Its faster tempo helps us to listen the rich and exotic sounds that Purcell could create with a simple orchestra. Listen to the aria ''Oft she visits'' and compare it with the other versions: here it's lively, dramatic and rich, while in other recordings it may sound too placid. The same happens in all the opera, and you'll be amazed by so many lively rhythms that simply disappear in other recordings

Well, as a great fan of Dido and Aeneas, I wouldn't tell you to own just one version of it, since each recording has its own amazing qualities. However, if you want to know this opera, I'd recommend it as the most enchanting recording ever made! And if you just want to listen to some great singing, then you really need to buy it!
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Purcell: Dido and Aeneas Poster

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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