La Nouvelle Menestrandie, Cappella Mediterranea, Leonardo García Alarcón - Purcell: Dido and Aeneas (2010) [Hi-Res]

• Title: Purcell: Dido and Aeneas
  
• Year Of Release: 2010
  
• Label: Ambronay Éditions
  
• Genre: Classical
  
• Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
  
• Total Time: 00:52:53
  
• Total Size: 283 / 915 mb
  
• WebSite: Album Preview
  

Tracklist

01. Dido and Aeneas, Z. 626: Ouverture
02. Dido and Aeneas, Act I, Z. 626: I. Shake the Cloud from off Your Brow
03. Dido and Aeneas, Act I, Z. 626: II. Ah! Belinda, I Am Prest with Torment
04. Dido and Aeneas, Act I, Z. 626: II. Grief Increases by Concealing
05. Dido and Aeneas, Act I, Z. 626: IV. When Monarchs Unite
06. Dido and Aeneas, Act I, Z. 626: V. Whence Could so Much Virtue Spring
07. Dido and Aeneas, Act I, Z. 626: VI. Fear No Danger
08. Dido and Aeneas, Act I, Z. 626: VII. See, Your Royal Guest Appears... / When, Royal Fair... / Fate Forbids...
09. Dido and Aeneas, Act I, Z. 626: VIII. Cupid Only Throws the Dart
10. Dido and Aeneas, Act I, Z. 626: IX. If Not for Mine
11. Dido and Aeneas, Act I, Z. 626: X. Pursue Thy Conquest, Love
12. Dido and Aeneas, Act I, Z. 626: XI. To the Hills and the Vales
13. Dido and Aeneas, Act I, Z. 626: XII. Triumphing Dance
14. Dido and Aeneas, Act II, Z. 626: I. Prelude for the Witches / Wayward Sisters... / Say, Beldam...
15. Dido and Aeneas, Act II, Z. 626: II. Harm's Our Delight
16. Dido and Aeneas, Act II, Z. 626: III. The Queen of Carthage
17. Dido and Aeneas, Act II, Z. 626: IV. Ho Ho Ho! Part. 1
18. Dido and Aeneas, Act II, Z. 626: V. Ruin'd Ere the Set of Sun... / The Trojan Prince...
19. Dido and Aeneas, Act II, Z. 626: VI. Ho Ho Ho! (2)
20. Dido and Aeneas, Act II, Z. 626: VII. But Ere We This Perform
21. Dido and Aeneas, Act II, Z. 626: VIII. In Our Deep Vaulted Cell
22. Dido and Aeneas, Act II, Z. 626: IX. Echo Dance of the Fairies
23. Dido and Aeneas, Act II, Z. 626: X. Ritornelle
24. Dido and Aeneas, Act II, Z. 626: XI. Thanks to These Lonesome Vales
25. Dido and Aeneas, Act II, Z. 626: XII. Oft She Visits This Lov'd Mountain
26. Dido and Aeneas, Act II, Z. 626: XIII. Behold, Upon My Bending Spear... / The Skies Are Clouded...
27. Dido and Aeneas, Act II, Z. 626: XIV. Haste, Haste to Town
28. Dido and Aeneas, Act II, Z. 626: XV. Stay, Prince... / Jove's Command...
29. Dido and Aeneas, Act III, Z. 626: I. Prelude / Come Away, Fellow Sailors
30. Dido and Aeneas, Act III, Z. 626: II. Sailor's Dance
31. Dido and Aeneas, Act III, Z. 626: III. See the Flags... / Phoebe's Pale Deluding Beams...
32. Dido and Aeneas, Act III, Z. 626: IV. Our Next Motion
33. Dido and Aeneas, Act III, Z. 626: V. Destruction's Our Delight
34. Dido and Aeneas, Act III, Z. 626: VI. Witches' Dance
35. Dido and Aeneas, Act III, Z. 626: VII. Your Counsel All... / See, Madam... / What Shall Lost Aenas Do?
36. Dido and Aeneas, Act III, Z. 626: VIII. Great Minds Against Themselves Conspire
37. Dido and Aeneas, Act III, Z. 626: IX. Thy Hand, Belinda
38. Dido and Aeneas, Act III, Z. 626: X. When I Am Laid in Earth
39. Dido and Aeneas, Act III, Z. 626: XI. With Drooping Wings

Dido and Æneas was created in private surroundings at Josias Priest’s School for Young Gentlewomen in Chelsea. Intended as it was for an amateur setting, Dido is conspicuous for the simplicity of its resources: an all female cast, an absence of vocal virtuosity, instrumental forces restricted to strings, and the modest contrapuntal elaboration of the choruses. The date of its first and only performance (1689) before its revival in the 20th-century speaks volumes about the English distrust of the new genre! How times have changed: Dido’s lament ‘When I am laid in earth’ was recently voted the nation’s favourite aria.

“As far as our performance is concerned, I thought it appropriate to expand the instrumental forces to include wind, as was customary at the time, especially for French operas. I also wished to preserve the sometimes intimate character of the typical English consort of four or five instruments. The lyra viol is used to accompany some of the recitatives, notably the laments. Considerable research on the relationship between text and intervals in Purcell’s writing showed us the way towards discovering the sweetness of ninths, the rage of fourths, the muffled sonorities produced by sixths, the feeling of peace a third leaves behind it, the clear-sighted audacity of a second, the torment of a diminished seventh, the restfulness of a minor seventh and the strength of conviction of an octave, not to mention the false relations which one is more used to finding on the Iberian peninsula. Thus a whole world of colours blossoms in the texts of Nahum Tate, just as the words of Alessandro Striggio had introduced Monteverdi into a new universe when he was composing L’Orfeo. In conclusion, I felt our interpretation should emphasise the importance of reassessing Dido and Æneas as a piece conceived for performance by young singers. Our project reflects the shared desire of a conservatory in Geneva and an ensemble of musicians to join forces to perform a work which is difficult to get to grips with yet was above all written for simple people in an almost domestic context who were unfamiliar with the world of opera and unaware of the important role with which history was entrusting them.” Leonardo García Alarcón

Based by the dramatist Nahum Tate on the fourth book of Virgil’s Aeneid and his own Brutus of Alba, or The Enchanted Lovers (1678), the libretto relates the tragic love story of Dido, seduced and abandoned by Æneas when he leaves Carthage to found Rome. Tate departs from Virgil on two points: he substitutes witches for the divinities of Olympus, and reserves a kinder death for Dido, who instead of falling on her sword perishes of grief on her lover’s departure.

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