Before Aeneas’s arrival, Dido is the confidentand competent ruler of Carthage, a city she founded on the coastof North Africa. She is resolute, we learn, in her determinationnot to marry again and to preserve the memory of her dead husband, Sychaeus,whose murder at the hands of Pygmalion, her brother, caused herto flee her native Tyre. Despite this turmoil, she maintains herfocus on her political responsibilities.
In the article “Dido, Aeneas, and the Concept of Pietas,” the author Kenneth McLeish argues that Dido is in the Aeneid, because Virgil, a careful writer, saw her as a necessary piece of the epic-“Everything she says or does is part of the design, and her presence in the Aeneid must. 'Dido and Aeneas' by Henry Purcell documents the story of Dido, Queen of Carthage, and the Prince of Troy, Aeneas. Based on book IV of Virgil’s epic poem, ‘The Aeneid’, Purcell’s opera is. Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): for licensing: http.
Virgil depicts the suddenness of the change that loveprovokes in the queen with the image of Dido as the victim of Cupid’sarrow, which strikes her almost like madness or a disease. Didotells her sister that a flame has been reignited within her. Whileflames and fire are traditional, almost clichéd images associatedwith love, fire is also a natural force of destruction and uncontrollablechaos. Dido risks everything by falling for Aeneas, and when thislove fails, she finds herself unable to reassume her dignified position.By taking Aeneas as a lover, she compromises her previously untaintedloyalty to her dead husband’s memory. She loses the support of Carthage’s citizens,who have seen their queen indulge an amorous obsession at the expenseof her civic responsibilities. Further, by dallying with anotherforeigner, Dido alienates the local African chieftains who had approachedher as suitors and now pose a military threat. Her irrational obsessiondrives her to a frenzied suicide, out of the tragedy of her situationand the pain of lost love, but also out of a sense of diminishedpossibilities for the future.
Dido plays a role in the first four books of the epicsimilar to that which Turnus plays at the end. She is a figure ofpassion and volatility, qualities that contrast with Aeneas’s orderand control, and traits that Virgil associated with Rome itselfin his own day. Dido also represents the sacrifice Aeneas makesto pursue his duty. If fate were to allow him to remain in Carthage,he would rule a city beside a queen he loves without enduring thefurther hardships of war. Aeneas encounters Dido’s shade in theunderworld just before the future legacy of Rome is revealed tohim, and again he admits that his abandonment of the queen was notan act of his own will. This encounter with lost love, though poignant,is dwarfed by Anchises’s subsequent revelation of the glory of Rome.Through Dido, Virgil affirms order, duty, and history at the expenseof romantic love.
Dido And Aeneas Rot
|Dido and Aeneas|
|by Henry Purcell|
Dido and Aeneas (/ˈdaɪdoʊ/ 'Dy-doh and eh-Nee-us') is a three-act English opera. The story and words were written by Nahum Tate. The music was written by Henry Purcell. The opera was probably written about 1684-1685. Dido is Purcell's only true opera. It was possibly modeled on John Blow's Venus and Adonis. Blow's piece was written and staged about the same time. Marc-Antoine Charpentier's little French operas may also have served as models. French music was appreciated at the English court.
The opera was intended for performance at the court. The death of Charles II may have caused it to be postponed however. The first performance occurred in a Chelsea girls' school run by Josias Priest (the dancing master at court) in 1689. Tragedy and comedy are deftly combined in Dido. The lovers' scenes are tense with emotion. The witches' scenes are filled with comical cackling and mischief-making.
The story of the opera is taken from Virgil's Aeneid. It tells of the Trojan Aeneas' tragic love for Dido, the Queen of Carthage. The opera manuscript has been lost or destroyed. Research and performance rely on earliest printed copies. Some music is believed missing from these early copies. That music is composed afresh by modern composers in Purcell's style. Sometimes music Purcell composed about 1685 is inserted into the score to make up for the lack of the original music. Dido and Aeneas is Purcell's best known work.
The words and story (the libretto) of Dido and Aeneas were written by Nahum Tate. The music was written by Henry Purcell. The date for the opera's composition is usually given as 1689. This has been called into question. The work is closer to the music Purcell composed in 1684-1685. The true date of composition probably falls in the middle-1680s rather than 1689. In the middle of the decade, Josias Priest's Chelsea boarding school for young ladies performed John Blow's Venus and Adonis. This little opera was possibly the model for Purcell's work.
The opera was probably intended for a performance at court. The death of Charles II in February 1685 may have been a reason to postpone the performance. There is no evidence that the opera was performed at court at this time. The opera was first performed in 1689 at Priest's Chelsea girls' school, rather than at court. The themes, the mythological subject, the plentiful dances, the pastoral setting, the formal concision are all indicative that it was intended for a noble audience rather than the common man. It is more likely these short forms of opera appealed to the English. They preferred song and spoken dialogue.
Dido may have been modeled on the little French operas of Marc-Antoine Charpentier. It may have been modeled on John Blow's Venus and Adonis, too. Venus was composed and staged about the same time as Dido. The action is carried forward in Dido by arioso passages. Choruses and dances are used to frame the various scenes. The intensity of emotion in the scenes for the lovers is contrasted with the grotesqueness of the witches' scenes. Comedy and tragedy are carefully balanced in Dido. This balance reveals Purcell's sense of drama.
After 1705, the opera disappeared from the stage. Occasionally, there were concert performances. In 1895, the first staged version in modern times was performed by students of the Royal College of Music to mark the bicentenary of Purcell's death.
|Dido (also known as Elissa), Queen of Carthage||soprano or high mezzo-soprano|
|Belinda, Dido's sister and handmaid||light soprano|
|Second Woman, Another Handmaiden||soprano or mezzo-soprano|
|Aeneas, Trojan Prince||tenor or high baritone|
|Sorceress/Sorcerer||mezzo-soprano, contralto, countertenor or bass|
|Spirit, in form of Mercury||soprano or countertenor|
|Chorus, SATB: all members at one point or another represent courtiers, witches, cupids, and sailors.|
The story of the opera is taken from the Aeneid by the Roman poet Virgil. Virgil was trying to create a national epic for the Romans in the way Homer did with The Iliad and The Odyssey for the Greeks. Aeneas is the son of Venus and Anchises of Troy. He flees his home after it is sacked by the Greeks. Ahead of him lies a seven year journey to Italy. Fate has decreed he will found a new nation. Aeneas arrives in Carthage. Queen Dido is mourning her dead husband, a man to whom she swore eternal fidelity. She has fallen in love with Aeneas, and he with her.
- Act 1. Belinda tries to cheer Dido. Belinda assumes Dido is concerned about Aeneas, 'the Trojan guest'. It is so. Dido is obviously in love with him. Aeneas is in love with her. The chorus urges them to enjoy their love. 'The Triumphing Dance' closes the act.
- Act 2.Scene 1: In the cave of a sorceress, the witches decide to ruin Dido's happiness by having Aeneas set sail for Italy. They conjure a storm. To thunder and lightning the Witches perform an 'Echo Dance of Furies'. Scene 2: Aeneas, Dido, and the courtiers seek shelter in a grove. The storm grows. The ladies hurry away. A Spirit conjured by the Witches advises Aeneas to leave Carthage. Aeneas believes the advice is Jove's command. He decides to sail. He wonders how he will pacify Dido.
- Act 3. Sailors dance. One sailor sings a lusty tune. The Sorceress and the Witches are glad to see Aeneas preparing to depart. They vow to do him more harm when once he is at sea. The witches dance. Dido and her train enter. Aeneas enters a moment later. Dido bids Aeneas be off. Aeneas refuses. Dido again urges him to leave. He finally goes. Dido kills herself.
Musical numbers[changechange source]
The original manuscript does not exist. Research depends upon the earliest printed copies. Some pieces are believed missing. Sometimes music Purcell composed in the middle 1680s is put into the score to balance the loss. Sometimes the missing music is composed completely afresh in Purcell's style.
The opera's tragic outcome is hinted at almost at once in the accompaniment to the Queen's Act 1 aria. The modulation in the ground bass from C minor to G minor on the words 'I languish till my grief is known' anticipates the key of Dido's lament in Act 3. Purcell uses a ground bass at other moments: Dido's two arias (Acts 1 and 2) and in the aria 'Oft she visits' in Act 2. This aria references Actaeon's tragic death by his own hounds. The word 'ground' suggests that which will cover Dido after her death.
- Shake the cloud - Belinda
- Ah! Belinda, I am prest - Dido
- Grief increases by concealing - Belinda
- When monarchs unite - Chorus
- Whence could so much virtue spring - Dido
- Fear no danger - Belinda, Second Woman
- See, Your Royal Guest appears - Belinda
- Cupid only throws the dart - Chorus
- If not for mine - Aeneas
- Pursue thy Conquest - Belinda
- To the hills and the vales - Chorus
- The Triumphing Dance
Dido And Aeneas
- Prelude for the Witches
- Harm's our delight - Chorus
- The Queen of Carthage - Sorceress
- Ho, ho, ho! Ho, ho, ho! - Chorus
- But ere we this perform - Two Witches
- In our deep vaulted cell - Chorus
- Echo Dance of Furies
- Thanks to these lonesome vales - Belinda
- Oft she visits - Second Woman
- Behold, upon my bending spear - Aeneas
- Haste, haste to town - Belinda
- Stay, Prince and hear great Jove's command - Spirit
- Then since our charmes have sped - Chorus
- The Grove's Dance
- Come away - Chorus
- See the flags - Sorceress
- Our next motion - Sorceress
- Destruction's our delight - Chorus
- The Witches' Dance
- Your counsel all is urged in vain - Dido
- Great minds against themselves conspire - Chorus
- They hand, Belinda - Dido
- When I am laid in earth - Dido
- With dropping wings ye Cupids, come - Chorus
- Bass flûtes à bec
- Clavier and Organ
- ↑The original score was written for soprano, but can be performed by mezzo-sopranos. See Price (1984) p. 247
- ↑The original score was written for tenor, but is often performed by high baritones. See Harris (1990) pp. 60–62
- ↑Price and Cholij, ‘Dido's Bass Sorceress’
- ↑The part was originally played by a woman, although as early as 1700 the part was customarily played by a tenor. See Purcell (1971) p. v
Dido And Aeneas Jessye Norman
- Khoury, Marielle D (2001), Purcell Dido and Aeneas, Harmonia Mundi (HMC 901683, liner notes)Missing or empty
- Price, Curtis (1984), Henry Purcell and the London stage, Cambridge University Press, ISBN0-521-23831-5
- Price, Curtis with Irena Cholij (November 1986), Dido's Bass Sorceress, 127, The Musical Times, pp. 615–618
- Purcell, Henry (1971), Dido and Aeneas (vocal and full score), Novello