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Forgive me a sweeping generalisation, but its fair to say that great British operas, pre-Britten, can be counted on one hand. Half a hand, even. However, what we lack in quantity, we make up for in quality, as illustrated by Henry Purcell's Dido and Aeneas. This new recording for Chandos from the Choir and Orchestra of the Age of Enlightenment is surely set for widespread critical acclaim.
The performance takes into account new developments in scholarly thinking, aiming to emulate more closely the court entertainment of Purcell's day. Most noticeable is the incorporation of other dance works by Purcell: a tune from Bonduca, the Almand from his G minor keyboard suite and, my personal favourite, two improvised guitar dances played by the OAE's plucked-continuo players. These inclusions do give the opera a different, more courtly feel to previous recordings; they open it out, allowing more contemplation on the unfolding action. The orchestra, directed by Steven Devine and Elizabeth Kenny, plays with rather more reserve than in Christopher Hogwood's Academy of Ancient Music recording, but this turns out to be no bad thing. In fact, it strangely enhances the dramatic punch.
Sarah Connolly as Dido is magnificent; from her opening ''Ah, Belinda'', she presents a queen emotionally removed from her surroundings, a subdued loner, predicting disaster even amidst present happiness. Her lament, the crowning climax of a weighty performance, is as vocally beautiful as her acting has been insightful. Lucy Crowe as Belinda, bright and pure of tone, is the perfect foil to Connolly's Dido, whilst Patricia Bardon's Sorceress oozes stage presence. Carys Lane and Rebecca Outram as the witches are a more sophisticated 21st century pair than the traditional hags hopping around a fire: think Bewitched rather than Macbeth. I prefer the latter, but it's a matter of personal taste. Then, Gerald Finley as Aeneas is in fine voice, capturing to a T the hapless lover torn between war and his queen.
This truly feels like the 'Dido' for the 21st century. --Charlotte Gardner
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CD Description
Chandos' featured release is a new recording of the first English operatic masterpiece, Purcell's tragedy Dido and Aeneas. Starring Sarah Connolly, Gerald Finley, with the Orchestra and Choir of the Age of Enlightenment, it is released to commemorate the 350th anniversary of Purcell's birth. Directed from the keyboard by Steven Devine and Elizabeth Kenny as in recent concert performances, the ensemble presents the opera in a version that incorporates other dance works by Purcell, a version which Sarah Connolly performed at Teatro alla Scala in 2006. There have been two revolutions in scholarly thinking about Dido and Aeneas and both had serious implications for historically inclined performers, and demand a creative response today. The musicological backdrop to this recording results in a performance closer to the court entertainment of Purcell's day, in which musical dramas evolved from the English theatre tradition. Sarah Connolly, the quintessential Dido of the early twenty-first century, has been the driving force behind this recording. She writes of the project, 'It seems I have known Purcell's Dido all my life and feel able to express myself in this music like no other... As a character, Dido fascinates me to the point of obsession'. Connolly has performed with the Orchestra of the Age of Enlightenment on many occasions, including two productions at Glyndebourne - Giulio Cesare and St Matthew Passion - as well as Dido and Aeneas at the Proms, the South Bank Centre and Tetbury Festival. One recent review of Connolly's Dido had the following to say: 'It was the sheer depth of emotion Connolly infused in her portrayal of Dido that was truly remarkable. Emotion flowed off the stage from the intensity in her voice and through her actions. Her final aria, one of the most beautiful in English baroque music, brought a tear to the eye in a hall so quiet you could hear a pin drop... a moving portrayal of this tragic heroine' (MusicalCriticism.com). This impressive performance by an extraordinary group of musicians makes for a significant addition to the catalogue.
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Most Helpful Customer Reviews
32 of 32 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
This is a definitive recording for the early 21st century where we are putting an increasing emphasis on ensemble and authentic sound. I was brought up on Janet Baker. I never tire of listening to her voice but, in retrospect, I acknowledge that she dominated any recorded performance she made and (not unusually for the times) the whole came out sounding more bel canto than baroque.
Contrast that to what we have here. First, almost all the performers have established names in the baroque repertoire. There are no weak links and the singing is ravishing throughout. Of course, Sarah Connolly, as Dido, is the single most imoportant voice. I have heard her sing the role twice on the stage to acclaim and what we have here is no disappointment. But, equally, I nave never heard Lucy Crowe or Gerald Finley as Belinda and Aeneas respectively sound better, and John Mark Ainsley in the small role of the sailor is definitely luxury casting.
Second, the cast is beautifully balanced. The opera sounds as if performed with the understanding of an established company rather than by an ad hoc collection of stars. As a result it gains enormously as a drama.
Third, the period performance brings real clarity to the piece. I can honestly say I've never before understood the music so well. Furthermore, the addition of a handful of dance numbers from from elsewhere in the Purcell repertoire adds to drama and is well judged.
One note of caution. In accordance with baroque practice, Sarah Connolly occasionally embellishes the line in her famous 'lament'. That's fine by me but you should be warned in case it's not to your taste. Otherwise, I cannot think of any reason why you shouldn't find this recording a five star winner.
Contrast that to what we have here. First, almost all the performers have established names in the baroque repertoire. There are no weak links and the singing is ravishing throughout. Of course, Sarah Connolly, as Dido, is the single most imoportant voice. I have heard her sing the role twice on the stage to acclaim and what we have here is no disappointment. But, equally, I nave never heard Lucy Crowe or Gerald Finley as Belinda and Aeneas respectively sound better, and John Mark Ainsley in the small role of the sailor is definitely luxury casting.
Second, the cast is beautifully balanced. The opera sounds as if performed with the understanding of an established company rather than by an ad hoc collection of stars. As a result it gains enormously as a drama.
Third, the period performance brings real clarity to the piece. I can honestly say I've never before understood the music so well. Furthermore, the addition of a handful of dance numbers from from elsewhere in the Purcell repertoire adds to drama and is well judged.
One note of caution. In accordance with baroque practice, Sarah Connolly occasionally embellishes the line in her famous 'lament'. That's fine by me but you should be warned in case it's not to your taste. Otherwise, I cannot think of any reason why you shouldn't find this recording a five star winner.
13 of 13 people found the following review helpful
Format:Audio CD
I was hugely fortunate to see the ROH production in April, featuring most of this cast. The problem with period-performance Didos (Didi?) before this recording seems to be that they are mostly part of that thin-voiced treble-sound soprano character. Nothing wrong with that, but it belies the nature of the performer - Emma Kirkby, arguably the zenith of early music performers, is much more communicative in performance than when simply heard via CD. Thus a sort of mysticism of thin-voice slightly dull performances appeared.
Then we have Sarah Connolly. Well, in a word - blimey. She is a new sensation to me and I shall now have to go around and purchase all that she has made, and sign up for her concerts and performances. This is certainly the most dramatic (without giving way to pantomime or skipping musicality) rendition of Baroque opera I've heard, and immediately puts Dido on the same platform as other great operas.
Do not hesitate to purchase this recording - it is a complete revelation.
Then we have Sarah Connolly. Well, in a word - blimey. She is a new sensation to me and I shall now have to go around and purchase all that she has made, and sign up for her concerts and performances. This is certainly the most dramatic (without giving way to pantomime or skipping musicality) rendition of Baroque opera I've heard, and immediately puts Dido on the same platform as other great operas.
Do not hesitate to purchase this recording - it is a complete revelation.
6 of 6 people found the following review helpful
Format:Audio CD
Purcell, H.: Dido And Aeneas [Opera] (Connolly, Finley, Crowe, Orchestra Of The Age Of Enlightenment, Kenny, Devine)
I had seen a wonderful production of Dido & Aeneas by Purcell at the Royal Opera House & wanted to be reminded of that wonderful evening with Sarah Connolly & discovered this recording which I delight in. Amazingly the Covent Garden production was only the 3rd time that a production of Dido & Aeneas has been produced at The Royal Opera House!
I had seen a wonderful production of Dido & Aeneas by Purcell at the Royal Opera House & wanted to be reminded of that wonderful evening with Sarah Connolly & discovered this recording which I delight in. Amazingly the Covent Garden production was only the 3rd time that a production of Dido & Aeneas has been produced at The Royal Opera House!
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Most Recent Customer Reviews
A very special "Dido"
This recording holds a special place in my affections. Back in 1997, Denstone College, the school where I was working, mounted a tour to France of "Dido and Aeneas. Read more
Published 23 months ago by M. Joyce
Overcooked
Many seem to regard the Dame Janet Baker recording as a classic; I on the other hand regard it, as one reviewer of that disc noted and succinctly but beautifully put it, as being... Read more
Published on 23 Sep 2009 by E. L. Wisty
Stunning
A moving performance - Sarah Connolly's 'Remember me' is particularly memorable and to be repeated in the 2009 Last Night of the Proms.
Published on 9 Jun 2009 by Mrs. B. Mcdowell
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