La Nuova Musica’s director and harpsichordist David Bates aptly describes Henry Purcell’s Dido and Aeneas as having lasting appeal in its intrinsic theatrical character. Indeed, Purcell’s vibrant orchestral writing and colorful opera arias set expectations for an exciting performance.
The Overture (track 1) makes evident the fine acoustics of St. Jude’s Church (where the performance was recorded) and the instrumentalists’ beautifully enunciated notes and phrases. The sound engineering, too, balances nicely the basso continuo with the upper strings, something I have found to be finicky in many Baroque music recordings. I must say the performance from this ensemble is altogether a different animal from others I’ve heard, including Rene Jacobs’ with the Orchestra of the Age of Enlightenment. Jacobs seems to play with more restraint and beauty in nuance—listen for the delicate shades of dynamics and fine-tuned blending of the strings—with the urgent moments seeming more to scurry nervously. Nuova Musica, on the other hand, opts for a more extroverted approach; the fast passages have an infectious vivacity, if not a sense of furor.
Act I sees two very different vocal characters emerge from Giulia Semenzato’s Belinda (soprano) and Fleur Barron’s Dido (mezzo-soprano). Semenzato (whose solo album I reviewed in May of 2022) is a fine lyric coloratura; her effortless vocal agility manifests in tightly dotted rhythms and light, leaping short phrases. Then, there’s Dido: in her opening aria, “Ah Belinda!” (track 3) Barron’s voice carries a pleasing richness at all registers yet also has a litheness that fits well with Purcell’s melodic contours. As such, Barron is able to communicate a tangible pain in the queen’s torment. It’s quite a different characterization, though, from Dame Janet Baker’s equally effective portrayal of Dido: the 1961 recording quality is fuzzy but Baker’s lighter timbre clearly communicates a different emotional angle. Torment feels more like a contemplative sense of wistfulness and sad reminiscence of a bygone peace.
Nuova Musica’s theorbo and harp players deserve particular kudos for creating absolutely lovely accompaniments in arias like “Ah Belinda”; I was drawn to the clear yet subtle tones that reminded me of delicate raindrops. And as for our other main character, Aeneas, he appears relatively briefly in Act I but has a presence in “Pursue thy conquest” (track 6). Matthew Brook’s Trojan prince is rightly portrayed not just with an air of importance but with chutzpah, which I found quite fitting given the events that follow.
Related Posts
- Review: Handel – Enchantresses – Sandrine Piau
- Review: Sabine Devieilhe Sings Bach and Handel
- Review: Anima Aeterna – Jakub Józef Orlińsky, Countertenor
Act II sees the Sorceress and her cohort of witches derive the machinations that will cause the unraveling of Dido and Aeneas’ relationship. Alto Avery Amereau portrays the antagonist in what I sensed was an almost musical theater-like manner; while this may feel anachronistic to some, the interpretation is undeniably convincing. In “Wayward Sisters” (track 9) and the ensuing “Queen of Carthage”, she imbues plenty of acerbity and derangement into the Sorceress. There is expressive variety aplenty in her slides, pointed accents, and growls which speak to an unstable character who takes delight in plotting misery. Things come to a head in “Stay, Prince” (track 16) which sees fine performances from Brooks and the Spirit, sung by countertenor Tim Mead. The Spirit, as the mouthpiece of the Sorceress, has an obviously authoritative aura; however, Mead also cleverly delivers an undertone of coldness through precise vibrato and even lines. This makes Aeneas’ emotional reaction even more anguished at 1’11””: his sudden shift to soft dynamics hits the listener in a critical moment which reveals, perhaps poignant and unexpectedly, the prince’s emotional vulnerability for Dido.
Act III’s centerpiece is arguably Dido’s signature aria, “When I am laid in earth” (track 22) in which Purcell portrays “downfall” literally through descending chromatic. While I found the ensemble competing with the singer on a few occasions, both forces nonetheless deliver a performance filled with pathos. Barron’s interpretation takes on a sense of weariness and exhaustion — not in a way that she’s tired from singing, but instead to reflect the emotional toll that the story’s events have taken upon Dido. Just as in her opening aria, melancholy and torment prevail in her resignation to death, bringing her unfortunate story full-circle.
While this performance doesn’t put “period” playing practices front and centre like Andrew Parrott’s with the Taverner players, I still found the ensemble able to capture the ethos of the elegant and restrained Baroque sound especially in the most sensitive moments. Pentatone’s liner notes are excellent and comprehensive with a synopsis, generous musical and historical analyses, and a full libretto. Strong performances from the soloists, chorus, and instrumentalists make this a most enjoyable listen and a disc well worth keeping within reach for repeated listens.
Dido and Aeneas
Dido – Fleur Barron, Mezzo-soprano
Aeneas – Matthew Brook, Bass-baritone
Belinda – Giulia Semenzato, Soprano
Sorceress – Avery Amereauu, Alto
Second Lady – Hilary Cronin, Soprano
Sailor – Nicky Spence, Tenor
Spirit – Tim Mead, Countertenor
First Witch – Helen Charlston, Mezzo-soprano
Second Witch – Martha McLorinan, Mezzo-soprano
La Nuova Musica
David Bates – Organ, conductor
Pentatone, CD PTC5187032
Recommended Comparisons
Jacobs | Baker | Parrott | Hogwood
Read more classical music reviews or visit The Classic Review Amazon store
Follow Us and Comment:
Get our periodic classical music newsletter with our recent reviews, news and beginners guides.
We respect your privacy.
