Camilla Tilling - Purcell: Dido and Aeneas
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Free Music Notes for Purcell: Dido and Aeneas
Free Music Review: Fine Replacement for Parrott
Hit: 5 Stars
For many years I was perfectly happy with the 1981 Chandos recording of “Dido and Aeneas” by Andrew Parrott and his Taverner Consort and Players. Dido is sung there by the incomparable Emma Kirkby at her most girlish-naïve, Aeneas by bass David Thomas, and the Sorceress by Jantine Noorman. But some time ago, I decided to buy a newer version, and having been enchanted by Emanuelle Haim’s recording of Handel’s “Aci, Galatea e Polifemo” on Virgin Veritas, I opted for her version of “Dido and Aeneas” – a decision which I have not had occasion to regret, for although this may not be a “spectacular” disc (whatever that may mean in this context), it is a splendid recording worth every cent of its price. Immediately, several differences from the Parrott were obvious:
1. The documentation is better. I was always a little disappointed that the accompanying notes of the Parrott disc were so compact and that there was no printed libretto. The Haim on Virgin is much more liberal, with an informative introductory essay, black-and-white photographs of the soloists and a complete libretto in English, French and German.
2. The recorded sound is better. The Parrott disc is not at all bad, but in comparison does show its age somewhat. The Haim disc, recorded at the excellent Arsenal de Metz venue, is ideally present, transparent and spacious. The singers stand out clearly, the accompanying music can be heard in all its fine detail.
3. Susan Graham is a more “adult” Dido than Emma Kirkby, vulnerable in her way, but also with a strong will and determination. In the end, I think I believed her a little more than the childlike-sounding Emma Kirkby. Ms. Graham uses more vibrato, which is probably not historical, but gives her voice a dynamic which the old-school early music experts did not always achieve.
4. For Aeneas, Emanuelle Haim has chosen the world-famous tenor Ian Bostridge instead of a bass. His performance is impeccable, and I enjoyed his singing very much: his inflections are rather more subtle than David Thomas’s, whose somewhat gruff voice is not always pleasing.
5. The sorceress and the witches on the Haim use their normal voices and do not, as on the Parrott disc, resort to distortion to create a “funny” effect. In the end, I found both version equally convincing in their way. Haim has her witches depart in a clap of thunder with lots of weird laughing and “oo-ooh-ing”.
The instruments on both recordings are well done, with Mme. Haim having perhaps the more energetic approach. This is a fine recording which will no doubt do as many years’ good service as the Parrott has done before.
Footnote: Countertenor David Daniels makes a brief appearance as the "Spirit" - and blots his copybook by pronouncing Purcell's English with an American accent ("com-maand" instead of "com-mahnd"). That should have been corrected.
Free Music Review: A real contender for first place
Hit: 5 Stars
"Dido & Aeneas" is probably Purcell's best-known work (with the possible exception of the rondeau from "Abdelazer") and certainly his most often recorded: off--hand I could probably count at least a dozen different recordings of this miniature masterpiece, and that would probably be only the tip of the iceberg. From the classic, though heavy-handed EMI recording with Flagstad and Schwarzkopf, to Baker's magnificent account on Decca, to the full-chested sound of Troyanos' Queen of Carthage (she recorded it twice), to the vulneralbility of de los Angeles for Barbirolli (EMI), to Norman's luxurious reading for Leppard, to Von Otter's spotless interpretation for Pinnock, and Bott's volatile recording for Hogwood, almost every great dramatic mezzo (or soprano) has tried their hand at this role, usually with grand results. And don't forget Della Jones, Lorraine Hunt, Christie's two recordings, Parrott's two attempts, etc. etc. the list just goes on and on. So with such tough competition, does Haim's new recording for Virgin come up to snuff?In one word: YES!!!! and then some!
Just when you thought the last word on Purcell's score had been said, comes a new reading that turns everything around and makes us appreciate this great work in a new way, making it as fresh as if it were written yesterday. Emannuelle Haim, whose third disc for Virgin this is, has a firm command of her excellent ensemble "L'Astree" and her love for the music shows. The tempi are brisk and breezy, but never rushed, she supports the singers in all the dramatic moments with heart-breaking accuracy, and she knows just when to throw in a touch or nuance that sheds new light on the music. And the musicians revel under her direction: some of the dance pieces sound almost as if they are being improvised, an astonishing achievment.
All this would be enough to recommend this recording, even if Haim had settled for second-string soloists. But there are no second-string soloists here. Whoever suggested Susan Graham for the leading role was a genius; she is surely one of the great artists of our time, and her feeling for Dido's psyche coupled with her excellent musicianship and fabulous voice combine to bring about one of the greatest interpretations of this role ever recorded. Aeneas is a thankless role, considering that his part is made up almost entirely of recititive, but Ian Bostridge tackles it nobly and brings about a thoughtful and beautiful performance. The supporting cast is superlative as well, including Felicity Palmer's Sorceress and David Daniels as her conjured spirit. David Daniels in a cameo role? Now that's luxury casting!
Up until now, my favorite recording of this work has been Hogwood's, but as that recording is currently unavailable in the US, this is the clear first choice for those wanting a period approach to this score. Buy this now!
Free Music Review: Emmanuelle Haïm's Dream Team Performs Near-Perfect Purcell
Hit: 5 Stars
This is a lovely album, an almost flawless jewel with a 24-karat cast. Henry Purcell's only opera, "Dido and Aeneas" has been given the full-blown star treatment here. Musical director and harpsichordist Emmanuelle Haïm expertly directs the period instrument group, Le Concert d'Astrée, which plays a vital role in the vibrancy of a performance that lasts only 53 minutes. Six instruments are used to simulate the large string ensembles used in the numerous previous recordings of this opera - cello, viola da gamba, harpsichord, and most prominently, theorbo, archlute and baroque guitar. Their use in different combinations changes the colors of the piece dramatically in sometimes lightning-fast movements, and they seem to respond perfectly to the singers. Not a second is wasted as the tempos impart a tremendous energy that ideally fits the passion of the story. The plot is drawn from a famous episode in Virgil's epic poem and centers on Dido, Queen of Carthage, who falls in love with Prince Aeneas, lately of the vanquished Troy, who is resting at Carthage on his way to establishing Rome. When three witches (with the help of a spirit disguised as Mercury) decide to undo the lovers purely out of spite, their fate is inevitable. Aeneas abandons Dido and sails for Rome, while a heartbroken Dido kills herself.
Haïm has assembled a dream team of world-class singers to bring this story to vivid life. As Dido, mezzo-soprano Susan Graham brings her full-bodied voice to romantic life gorgeously. She seems less royal and more womanly, and from her pained "Ah! Belinda" onward, the net effect is that she becomes a more empathetic figure to the listener. Soprano Camilla Tilling superbly complements Graham as her handmaiden Belinda. The contrast in their voices is particularly breathtaking. Contralto Felicity Palmer does a nice twitchy turn as the Sorceress. Tenor Ian Bostridge cuts a romantic figure as Aeneas though he does not sound as heroic as one would hope given his change of heart at the end of the story. And in an all-too-brief cameo appearance, countertenor David Daniels makes the most of his 45 seconds as the Spirit, who orders Aeneas to leave Carthage post haste. His voice is as striking as ever. A chorus of fourteen named European Voices provides able support throughout. For those unfamiliar with Purcell's work, this is the ideal introduction as Haïm and company have done a superb job of bringing his opera to life.
Free Music Review: Haim Goes for Baroque--and WINS!
Hit: 5 Stars
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.
Free Music Review: One of the greats
Hit: 5 Stars
From Allmusic.com where it got 4.5/5 for both performance and sound
Wild, passionate, and over in less than an hour, Purcell's Dido and Aeneas is one of the greatest operas ever composed and it has received some of the greatest performances of any opera ever recorded. And while some of them have been sung with more refinement or more fervor, few can match this performance with Susan Graham as Dido and Ian Bostridge as Aeneas for wild passion. Bostridge, always a passionate interpreter, tears into Aeneas with more excitement than he's brought to any other role, filling his Aeneas with strength, dedication, dignity, and overwhelming passion. And Graham, always an ardent and brilliant performer, is more affecting than any Dido since de Los Angeles, filling her Dido with warmth, love, sensuality, and overwhelming passion. The rest of the singers are all excellent, but Felicity Lott is superlative as an uncanny Sorceress and David Daniels is superb as a strange spirit. Emmanuelle Haim directs a dramatic performance from the harpsichord and Le Concert d'Astrée provides a vivid and evocative accompaniment. Virgin's sound is intimate in the intimate sections, huge in the big sections, and incredibly effective. Anyone who loves Dido and Aeneas, or even just great opera, will love this disc.