394:. The music is sometimes thought to be too simple for Purcell in 1689, but this may simply reflect that the intended performers were schoolchildren. The work is scored for four-part strings and continuo. The fact that the libretto from the Chelsea School performance indicates two dances for guitar, the "Dance Gittars Chacony" in act 1, and the "Gittar Ground a Dance" in the 'Grove' scene of act 2, has led one scholar to suggest that Purcell envisaged a guitar as a primary member of the continuo group for the opera. Music for neither of these dances is extant, and it seems likely that Purcell did not compose them, but rather left them to be improvised by the guitarist. Several editions of the opera have been made and have been provided with a continuo realisation; a notable, if rather idiosyncratic edition being that made by
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thunder, prompting
Belinda to tell the servants to prepare for a return to shelter as soon as possible. As every other character leaves the stage, Aeneas is stopped by the Sorceress's elf, who is disguised as Mercury. This pretend Mercury brings the "command of Jove" that Aeneas is to wait no longer in beginning his task of creating a new Troy on Latin soil. Aeneas consents to the wishes of what he believes are the gods, but is heart-broken that he will have to leave Dido. He then goes off-stage to prepare for his departure from Carthage.
53:
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333:, was copied no earlier than 1750, well over sixty years after the opera was composed. No later sources follow the act divisions of the libretto, and the music to the prologue is lost. The prologue, the end of the act 2 'Grove' scene, and several dances, were almost certainly lost when the opera was divided into parts to be performed as interludes between the acts of spoken plays in the first decade of the eighteenth century.
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402:. There are a number of editions with realisations, and the opera's accessibility to amateur performers is a feature that has greatly abetted the growth of its popularity in the latter half of the twentieth century. While the Prologue's music has been lost and has not been reconstructed, several realisations of the opera include a solution to the missing
595:, who originally danced both the roles of Dido and the Sorceress. It premiered on 11 March 1989 at the Théùtre Varia in Brussels. It has since been performed many times and was filmed in 1995 by Canadian director Barbara Willis Sweete, with Morris in the roles of Dido and the Sorceress. The production was subsequently seen at the Grand Théùtre in
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marriage between the two. Dido and
Belinda talk for a time: Dido fears that her love will make her a weak monarch, but Belinda and the Second Woman reassure her that "The hero loves as well." Aeneas enters the court, and is at first received coldly by Dido, but she eventually accepts his proposal of marriage.
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no later than the summer of 1688. The first performance may have taken place as early as 1 December 1687, and evidence suggests that the opera was performed at the school again in 1689. Several scholars have argued that the work was composed for the
English court, either for Charles II (and perhaps
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Although the opera is a tragedy, there are numerous seemingly lighter scenes, such as the First Sailor's song, "Take a boozy short leave of your nymphs on the shore, and silence their mourning with vows of returning, though never intending to visit them more." Musicologist Ellen T. Harris considers
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as Aeneas, who is misled by the evil machinations of the
Sorceress and her witches (representing Roman Catholicism, a common metaphor at the time) into abandoning Dido, who symbolises the British people. The same symbolism may apply to the opera. This explains the addition of the characters of the
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Dido and
Belinda enter, shocked at Aeneasâ disappearance. Dido is distraught and Belinda comforts her. Suddenly Aeneas returns, but Dido is full of fear before Aeneas speaks, and his words only serve to confirm her suspicions. She derides his reasons for leaving, and even when Aeneas says he will
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Preparations are being made for the departure of the Trojan fleet. The sailors sing a song, which is followed shortly by the
Sorceress and her companions' sudden appearance. The group is pleased at how well their plan has worked, and the Sorceress sings a solo describing her further plans for the
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Dido and Aeneas are accompanied by their train. They stop at the grove to take in its beauty. A lot of action is taking place, with attendants carrying goods from the hunt and possibly a picnic in progress, Dido and Aeneas forming the focus of all the activity. This ceases when Dido hears distant
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The
Sorceress/Sorcerer is plotting the destruction of Carthage and its queen, and summons companions to help with evil plans. The plan is to send her "trusted elf" disguised as Mercury, someone to whom Aeneas will surely listen, to tempt him to leave Dido and sail to Italy. This would leave Dido
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The opera opens with Dido in her court with her attendants. Belinda is trying to cheer Dido up, but Dido is full of sorrow, saying 'Peace and I are strangers grown'. Belinda believes the source of this grief to be the Trojan Aeneas, and suggests that
Carthage's troubles could be resolved by a
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defy the gods and not leave
Carthage, Dido rejects him for having once thought of leaving her. After Dido forces Aeneas to leave, she states that "Death must come when he is gone." The opera and Dido's life both slowly come to a conclusion, as the Queen of Carthage sings her last aria,
806:
heartbroken, and she would surely die. The chorus join in with terrible laughter, and the
Enchantresses decide to conjure up a storm to make Dido and her train leave the grove and return to the palace. When the spell is prepared, the witches vanish in a thunderclap.
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noted that "considerable liberties" had been taken with the score. A concert version with professional musicians organised by the Society of Friends of Music took place on 13 January 1924 at the New York City Town Hall, using a score edited by
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at the end of the second act. Known to have been part of the score, it is now performed as a dance taken from other, similar works by Purcell, or invented outright in the same vein, to keep the integrity and continuity of the performance.
885:, also known as "Dido's Lament." The chorus and orchestra then conclude the opera once Dido is dead by ordering the "cupids to scatter roses on her tomb, soft and gentle as her heart. Keep here your watch, and never, never part."
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in London. In both the Morris and the Waltz adaptations, the characters are each portrayed by both a singer and a dancer, with the dancers on stage and the singers performing from the side of the stage or the
1109:(OpusArte OA1018D). The Mark Morris dance version of the opera is also preserved on DVD (recorded 1995, Image Entertainment 8741) as is the dance version by Sasha Waltz (recorded 2005, Arthaus Musik 101311).
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is remembered as one of Purcell's foremost theatrical works. It was also Purcell's only true opera, as well as his only all-sung dramatic work. One of the earliest known English operas, it owes much to
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296:(1678), the opera is likely, at least to some extent, to be allegorical. The prologue refers to the joy of a marriage between two monarchs, which could refer to the marriage between
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Theatre, which had been built in 1823. Kevin Duggan conducted. Amongst the new productions of the opera in 2009, the 350th anniversary of Purcell's birth, were those staged by the
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After 1705 it disappeared as a staged work, with only sporadic concert performances, until 1895 when the first staged version in modern times was performed by students of the
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the callousness and cynicism of the song to underline the "moral" of the story, that young women should not succumb to the advances and promises of ardent young men.
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313:. It would be noble, or at least acceptable, for Aeneas to follow the decree of the gods, but not so acceptable for him to be tricked by ill-meaning spirits.
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As new critical editions of the score appeared, and with the revival of interest in Baroque music, the number of productions steadily increased. After
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135:. The dates of the composition and first performance of the opera are uncertain. It was composed no later than July 1688, and had been performed at
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139:'s girls' school in London by the end of 1689. Some scholars argue for a date of composition as early as 1683. The story is based on Book IV of
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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
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destruction of Aeneas "on the ocean". All the characters begin to clear the stage after a dance in three sections, and then disperse.
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in February 2013. Opera Up Close performed a truncated version in 2011, setting it in an American high school in the 1950s.
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Several performances of the opera have been filmed and are available on DVD, most recently the 2008 performance at the
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received its first performance outside England on 14 December 1895 in a concert version at the University Society in
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is also apparent. Both works use the prologue/three acts format and there are similarities between, for instance,
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in New York City on 10 February 1923 performed by the girls of the Rosemary School, although
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Wood, Bruce; Pinnock, Andrew (1992). "'Unscarr'd by turning times'? The dating of Purcell's
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made a string orchestra arrangement of "Dido's Lament". Others who have recorded it include
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The Sorceress' messenger, in form of Mercury, attempts to convince Aeneas to leave Carthage.
571:. In 2011 the opera was revived by City Wall Productions and set during World War II. A new
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1850:"Every inch a diva. Opposites attract dancer Mark Morris. They define his life and his art"
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2011:
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White, Bryan (August 2009). "Letter from Aleppo: dating the Chelsea School performance of
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1838:(vocal score), Edward Dent and Ellen Harris (eds.), Oxford University Press, Oxford, 1991.
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369:. It has also been transcribed or used in many scores, including the soundtrack to the
193:
1972:
Holst, Imogen (1959a). "Purcell's librettist, Nahum Tate". In Holst (1959), pp. 35â41.
1161:"Z" refers to the Zimmerman catalogue of Purcell's works by the American musicologist
1022:. Further recordings by conductors and ensembles using this approach include those by
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Pinnock, Andrew, "Deus ex machina: A royal witness to the court origin of Purcellâs
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The original score was written for soprano, but can be performed by mezzo-sopranos (
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1999:
1812:, with a shortlist of dates for its possible performance before King Charles II".
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and animated effects by Mark Hatchard, formed part of a double bill with Handel's
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Pinnock, Andrew (2015). "Which Genial Day? More on the court origin of Purcell's
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Beginning with two pioneering recordings of the work with original instruments:
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White, Eric Walter. "New Light on Dido and Aeneas". In Holst (1959), pp. 14â34.
1845:(vocal and full score), Margaret Laurie and Thurston Dart (eds.), Novello, 1971
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Purcell had composed music for several stage works, including nine pieces for
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For a more detailed discussion of "early instrument Dido recordings, consult
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1987:
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1687:(ed.), 1st American ed., G. P. Putnam's and Sons, 1987, pp. 1010â1014.
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was Purcell's first (and only) all-sung opera and derives from the English
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The original score was written for tenor, but is often performed by high
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Price, Curtis; Cholij, Irena (November 1986). "Dido's Bass Sorceress".
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The first of the arias to be published separately was "Ah, Belinda" in
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An opera portrait with synopsis, commentary, music analysis, anecdotes
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379:(renamed "Nixon's Walk"). It is played annually by a military band at
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561:. The Royal Opera production, which featured contemporary dance by
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has been recorded many times since the 1960s with Dido sung by
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Sorceress and the witches, which do not appear in the original
1378:
Harris (1990) p. 157 lists this performance as the US premiere
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of the work is "When I am laid in earth", popularly known as "
420:
A letter from the Levant merchant Rowland Sherman associates
165:, and her despair when he abandons her. A monumental work in
205:
and the solo "Come away fellow sailors" in Purcell's work.
967:(2003). In addition to Joan Hammond and Kirsten Flagstad,
386:, which takes place on the Sunday nearest to 11 November (
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Funeral Sentences and Music for the Funeral of Queen Mary
1097:(FRA Musica FRA001) and the 2009 performance at London's
1018:, there was an increasing preference for a more genuine
1657:, 9 December 2009 (accessed 19 January 2010, in French)
1635:. Oxford Studies of Compsers. Oxford University Press.
1093:
in Paris conducted by William Christie and directed by
1199:
1197:
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The first complete recording of the opera was made by
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in a prologue and three acts, written by the English
2071:
Free Online opera guide on Purcell's Dido and Aeneas
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1605:The Gramophone Shop Encyclopedia of Recorded Music
1082:. Another notable recording dates from 1994, with
753:: all members at one point or another represent
260:(1688). He also composed songs for two plays by
1588:"Music; Raising the Stakes In a Purcell Opera"
553:, the Divertimento Baroque Opera Company, and
2811:
2545:
2266:Thou knowest, Lord, the secrets of our hearts
2092:
1510:Synopsis based on KobbĂ© (1987) pp. 1010â1014.
1214:
1212:
8:
1434:"What's On: Details on Opera North's website
1184:
1182:
810:Scene 2: A grove during the middle of a hunt
468:to mark the bicentenary of Purcell's death.
2044:BBC Radio 4 programme about "Dido's Lament"
1965:Henry Purcell 1659â1695 Essays on His Music
1489:
1218:
304:. In a poem of about 1686, Tate alluded to
264:(later the librettist of Dido and Aeneas),
184:, both in structure and in overall effect.
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2055:International Music Score Library Project
1892:
1775:10.1093/gmo/9781561592630.article.O006883
1389:The Royal Opera & The Royal Ballet â
766:
755:courtiers, witches, cupids, and sailors.
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3893:
1666:, Northeastern University Press, 1996.
1342:
1236:
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1232:
1230:
1228:
1226:
1203:
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293:Brutus of Alba, or The Enchanted Lovers
1296:
1284:
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526:, who also conducted the performance.
511:premiered in the United States at the
447:, an adapted version of Shakespeare's
290:Originally based on Nahum Tate's play
1464:
1363:Rosenthal and Warrack (1979) p. 134;
1329:
1317:
1272:
1260:
1240:
1188:
1173:
1139:List of compositions by Henry Purcell
1052:Orchestra of the Age of Enlightenment
7:
3742:Ascanius Shooting the Stag of Sylvia
1681:The Definitive Kobbé's Book of Opera
1058:and Le Concert d'Astrée (2003); and
3939:Operas based on classical mythology
2067:, (mp3 files) on www.liberliber.it.
971:who have recorded the role include
931:in London, recorded it in 1951 for
480:20th- and 21st-century performances
1968:. London: Oxford University Press.
1706:Henry Purcell and the London Stage
1541:Associated Press (7 December 2004)
801:Scene 1: The cave of the Sorceress
591:was choreographed by the American
587:A version of the opera adapted to
575:production of the opera opened at
25:
1871:"Political Allegory in Purcell's
1869:Walking, Andrew (November 1995).
1651:"Flamboyante tragédie au Comique"
1617:, Oxford University Press, 1990.
1608:, The Gramophone Shop, Inc., 1936
504:with Les Arts Florissants in 2020
3896:
2516:
2515:
2211:Remember not, Lord, our offences
1074:as Aeneas was nominated for the
1066:(2004). The HaĂŻm recording with
848:Problems playing this file? See
830:
816:
247:Theodosius, or The Force of Love
2022:Internet Movie Database listing
2000:Libretto at Stanford University
1614:Henry Purcell's Dido and Aeneas
927:, who had sung the role at the
911:as Aeneas, followed in 1945 by
3726:Aeneas, Anchises, and Ascanius
1709:. Cambridge University Press.
1416:City Wall Productions' website
772:The Meeting of Dido and Aeneas
350:". Both arias are formed on a
325:No score in Purcell's hand is
1:
3700:Timeo Danaos et dona ferentes
3451:
3428:
2242:
2228:
2214:
2065:Public domain recording, 1951
1480:. See Harris (1990) pp. 60â62
1084:The Scholars Baroque Ensemble
633:Dido (also known as Elissa),
601:Opéra national de Montpellier
541:was performed in 2007 at the
3863:Political commentary of the
2038:Choral Public Domain Library
1578:3rd ed. Rough Guides, 2002.
1016:Taverner Consort and Players
3959:Cultural depictions of Dido
3847:Parallels between Virgil's
1002:'s 1979 recording with the
895:Dido and Aeneas discography
563:Wayne McGregor Random Dance
416:Premiere and early revivals
250:(1680) and eight songs for
3980:
3944:Operas based on the Aeneid
3777:And Then There Was Silence
3540:(1724 libretto Metastasio)
1454:Walker (9 July 1995) p. C1
892:
149:. It recounts the love of
57:The composer, portrait by
2513:
2239:Rejoice in the Lord alway
2114:
1865:, 9 July 1995, p. C1
1690:Mark Morris Dance Group,
1341:Keates (1996) p. 179 and
1006:, on Harmonia Mundi, and
883:"When I am laid in Earth"
748:
719:Second Witch/Enchantress
670:soprano or mezzo-soprano
433:as early as 1684) or for
50:
39:
3668:Fortune favours the bold
2014:from a recording by the
1575:The Rough Guide to Opera
1369:(11 February 1923) p. 19
1028:Academy of Ancient Music
736:soprano or countertenor
711:First Witch/Enchantress
445:Beauty the Best Advocate
102:'s girls' school, London
3924:English-language operas
3919:Operas by Henry Purcell
3686:Obscuris vera involvens
3585:Dido, Queen of Carthage
3447:Dido, Queen of Carthage
2709:Dido, Queen of Carthage
2682:Dido, Queen of Carthage
2560:"Dido and Aeneas" from
1855:24 October 2012 at the
1790:(subscription required)
1767:Oxford University Press
1755:Price, Curtis (2002). "
1550:Jordy (9 December 2009)
1490:Price & Cholij 1986
1445:Mark Morris Dance Group
1219:Wood & Pinnock 1992
973:Victoria de los Ăngeles
867:The harbour at Carthage
776:Nathaniel Dance-Holland
224:, from a Roman fresco,
3750:Dido building Carthage
3616:Papyrus Oxyrhynchus 31
2761:Dido building Carthage
2225:Hear my prayer, O Lord
1421:8 January 2014 at the
1406:on classicalsource.com
1086:and Kym Amps as Dido.
1010:'s 1981 recording for
778:
605:Sadler's Wells Theatre
505:
462:Royal College of Music
457:'s theatre in London.
233:
209:Background and context
3871:Sulpicius Apollinaris
3516:(1687 Lully/Collasse)
2412:The Canterbury Guests
2356:The Massacre of Paris
2325:Britons, Strike Home!
2036:: Free scores at the
2010:14 April 2010 at the
1804:, 40 (2012): 265â278.
1519:Darrell (1936) p. 371
1354:Crozier (1987) p. 114
1163:Franklin B. Zimmerman
826:Stay, Prince and hear
770:
559:Cooperstown, New York
496:
216:
3964:Phoenicia in fiction
3954:Music based on poems
3949:Operas set in Africa
3718:Laocoön and His Sons
2480:Edward Henry Purcell
2404:The Female Virtuosos
2388:The Richmond Heiress
2372:Distressed Innocence
2318:Nymphs and Shepherds
2117:List of compositions
1993:23 July 2008 at the
1685:The Earl of Harewood
1663:Purcell: A Biography
1402:9 March 2012 at the
1308:Purcell (1991) p. iv
1076:Best Opera Recording
1036:Les Arts Florissants
961:Anne Sofie von Otter
547:De Nederlandse Opera
428:'s girls' school in
384:remembrance ceremony
266:The Sicilian Usurper
226:Pompeian Third Style
82:Book IV of Virgil's
3734:The Dream of Aeneas
3631:Vergilius Vaticanus
3621:Vergilius Augusteus
3513:Achille et PolyxĂšne
3434:history of Britain)
2778:Low Ham Roman Villa
2348:A Fool's Preferment
2288:Come Ye Sons of Art
2060:The Purcell Society
2027:10 May 2004 at the
2016:New Trinity Baroque
1894:10.1093/ml/76.4.540
1880:Music & Letters
1287:, pp. 200â201.
1275:, pp. 239â245.
1251:Harris (1990) p. 17
1103:Christopher Hogwood
1064:New Trinity Baroque
1044:The English Concert
1024:Christopher Hogwood
692:Sorceress/Sorcerer
577:Leeds Grand Theatre
551:Royal Opera, London
450:Measure for Measure
411:Performance history
339:Orpheus Britannicus
257:A Fool's Preferment
3816:Sortes Vergilianae
3806:Dactylic hexameter
3569:Didone abbandonata
3561:Didone abbandonata
3553:Didone abbandonata
3545:Didone abbandonata
3537:Didone abbandonata
3424:Historia Brittonum
3268:Evander of Pallene
2666:Didone abbandonata
2658:Didone abbandonata
2650:Didone abbandonata
2645:(1724, Metastasio)
2642:Didone abbandonata
2420:The Fatal Marriage
2253:Ode to St. Cecilia
1988:Analysis in French
1762:Grove Music Online
1660:Keates, Jonathan,
1649:Jordy, Catherine,
1611:Harris, Ellen T.,
1597:The New York Times
1387:Melanie Eskenazi,
1366:The New York Times
1206:, pp. 199â212
1080:2005 Grammy Awards
779:
666:Another Handmaiden
555:Glimmerglass Opera
518:The New York Times
506:
443:incorporated into
342:. The most famous
234:
3884:
3883:
3811:Hysteron proteron
3626:Vergilius Romanus
3611:Book of Ballymote
3376:
3375:
3172:Pygmalion of Tyre
2793:
2792:
2637:(1693, Desmarets)
2527:
2526:
2497:The Moor's Pavane
2452:The Rival Sisters
2340:Sir Barnaby Whigg
2311:Music for a While
2298:
2297:
2275:
2274:
1922:10.1093/em/cap041
1828:10.1093/em/cav005
1784:978-1-56159-263-0
1734:(1726): 615â618.
1727:The Musical Times
1111:Leopold Stokowski
1099:Royal Opera House
835:
760:
759:
635:Queen of Carthage
494:
228:(10 BC â 45 AD),
187:The influence of
108:
107:
16:(Redirected from
3971:
3901:
3900:
3892:
3842:The Golden Bough
3758:The Golden Bough
3680:Mind over matter
3532:(1693 Desmarets)
3481:(1798 mock epic)
3456:
3453:
3433:
3430:
2845:
2820:
2813:
2806:
2797:
2677:(1783, Piccinni)
2661:(1724, Albinoni)
2615:(1688, Purcell)
2554:
2547:
2540:
2531:
2519:
2518:
2380:Sir Anthony Love
2277:
2247:
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2233:
2230:
2219:
2216:
2200:
2185:The Indian Queen
2101:
2094:
2087:
2078:
2053:: Scores at the
1969:
1944:
1925:
1898:
1896:
1841:Purcell, Henry,
1834:Purcell, Henry,
1831:
1791:
1788:
1765:(8th ed.).
1751:
1720:
1646:
1602:Darrell, R. D.,
1563:Boyden, Matthew
1551:
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1436:operanorth.co.uk
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1105:and directed by
1032:William Christie
953:Tatiana Troyanos
925:Kirsten Flagstad
915:'s release with
837:
836:
820:
620:
568:Acis and Galatea
495:
455:Thomas Betterton
400:Benjamin Britten
376:Band of Brothers
331:Bodleian Library
238:Dido and Aeneas,
181:Venus and Adonis
62:
55:
32:
27:Opera by Purcell
21:
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3599:
3580:(1783 Piccinni)
3556:(1724 Albinoni)
3521:Dido and Aeneas
3492:
3454:
3431:
3411:
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3203:Ajax the Lesser
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2693:(1863, Berlioz)
2685:(1792, Storace)
2612:Dido and Aeneas
2607:(1641, Cavalli)
2591:
2570:
2558:
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2523:
2509:
2484:
2458:
2428:Love Triumphant
2294:
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2245:
2231:
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2191:
2177:The Fairy-Queen
2132:Dido and Aeneas
2119:
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2050:Dido and Aeneas
2034:Dido and Aeneas
2029:Wayback Machine
2012:Wayback Machine
1995:Wayback Machine
1984:
1958:
1955:
1953:Further reading
1950:
1931:Dido and Aeneas
1928:
1904:Dido and Aeneas
1901:
1873:Dido and Aeneas
1868:
1857:Wayback Machine
1848:Walker, Susan,
1843:Dido and Aeneas
1836:Dido and Aeneas
1810:Dido and Aeneas
1807:
1796:Dido and Aeneas
1789:
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1757:Dido and Aeneas
1754:
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1694:Dido and Aeneas
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1594:, 30 May 1999,
1571:Dido and Aeneas
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1467:, p. 247).
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1115:Matthias Bamert
1056:Emmanuelle HaĂŻm
1004:Boston Camerata
957:Teresa Berganza
941:Dido and Aeneas
929:Mermaid Theatre
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531:Jonathan Miller
509:Dido and Aeneas
502:Dido and Aeneas
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470:Dido and Aeneas
430:Chelsea, London
422:Dido and Aeneas
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271:Cuckold's Haven
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171:Dido and Aeneas
115:(Z. 626) is an
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1982:External links
1980:
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1962:, ed. (1959).
1954:
1951:
1946:
1945:
1926:
1916:(3): 417â428.
1899:
1887:(4): 540â571.
1866:
1846:
1839:
1832:
1822:(2): 199â212.
1805:
1792:
1783:
1752:
1740:10.2307/964271
1721:
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1692:Work details:
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1119:José Serebrier
1107:Wayne McGregor
1095:Deborah Warner
1040:Trevor Pinnock
1008:Andrew Parrott
985:Catherine Bott
945:mezzo-sopranos
937:Thomas Hemsley
893:Main article:
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2653:(1724, Sarro)
2652:
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2625:Dido's Lament
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2157:
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2142:
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2139:Dido's Lament
2137:
2136:
2134:
2133:
2129:
2128:
2126:
2122:
2118:
2113:
2109:
2108:Henry Purcell
2102:
2097:
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2035:
2032:
2030:
2026:
2023:
2020:
2017:
2013:
2009:
2006:
2005:Free excerpts
2003:
2001:
1998:
1996:
1992:
1989:
1986:
1985:
1981:
1974:
1971:
1970:
1967:
1966:
1961:
1960:Holst, Imogen
1957:
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1728:
1722:
1718:
1716:0-521-23831-5
1712:
1708:
1707:
1702:
1701:Price, Curtis
1698:
1696:
1695:
1689:
1686:
1682:
1678:
1677:Kobbé, Gustav
1675:
1673:
1672:1-55553-287-X
1669:
1665:
1664:
1659:
1656:
1652:
1648:
1644:
1642:0-19-816340-1
1638:
1634:
1633:Henry Purcell
1630:
1629:Holman, Peter
1626:
1624:
1623:0-19-315252-5
1620:
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1584:1-85828-749-9
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1375:
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1357:
1351:
1348:
1345:, p. 469
1344:
1338:
1335:
1331:
1326:
1323:
1319:
1314:
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1305:
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1229:
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1223:
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1200:
1198:
1194:
1191:, p. 417
1190:
1185:
1183:
1179:
1175:
1170:
1167:
1164:
1158:
1155:
1152:
1151:
1144:
1140:
1137:
1136:
1132:
1130:
1128:
1124:
1123:Richard Egarr
1120:
1116:
1112:
1108:
1104:
1101:conducted by
1100:
1096:
1092:
1091:Opéra-Comique
1087:
1085:
1081:
1077:
1073:
1072:Ian Bostridge
1069:
1065:
1061:
1060:Predrag Gosta
1057:
1053:
1049:
1045:
1041:
1037:
1033:
1029:
1025:
1021:
1017:
1013:
1009:
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996:
994:
990:
986:
982:
981:Jessye Norman
978:
974:
970:
966:
962:
958:
954:
950:
946:
942:
938:
934:
930:
926:
922:
918:
914:
910:
909:Roy Henderson
906:
903:in 1935 with
902:
901:Decca Records
896:
888:
886:
884:
878:
877:
873:
869:
868:
861:
859:
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747:
743:
741:First Sailor
740:
739:
735:
733:
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717:
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683:
680:
678:
677:Trojan Prince
674:
673:
669:
667:
663:
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658:
656:
655:
649:
648:
645:
644:mezzo-soprano
641:
638:
636:
632:
631:
628:
625:
622:
621:
615:
613:
611:
610:orchestra pit
606:
602:
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458:
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436:
431:
427:
426:Josias Priest
423:
415:
410:
408:
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401:
397:
393:
389:
388:Armistice Day
385:
382:
378:
377:
372:
368:
364:
360:
356:
353:
349:
348:Dido's Lament
345:
341:
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334:
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328:
320:
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314:
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307:
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299:
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285:
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277:
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259:
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249:
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243:
242:Nathaniel Lee
239:
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215:
208:
206:
204:
200:
196:
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185:
183:
182:
177:
172:
168:
167:Baroque opera
164:
160:
156:
152:
148:
147:
142:
138:
137:Josias Priest
134:
130:
126:
125:Henry Purcell
122:
118:
114:
113:
101:
100:Josias Priest
94:
90:
87:
86:
81:
77:
74:
71:
67:
61:
54:
49:
46:
45:Henry Purcell
42:
38:
33:
30:
19:
3876:Trojan Horse
3864:
3856:
3852:
3851:and Homer's
3848:
3782:
3756:
3748:
3740:
3732:
3724:
3716:
3698:
3691:
3684:
3672:
3660:
3653:
3646:
3591:
3583:
3575:
3572:(1762 Sarti)
3567:
3564:(1726 Vinci)
3559:
3551:
3548:(1724 Sarro)
3543:
3535:
3527:
3520:
3519:
3511:
3503:
3489:(2008 novel)
3484:
3476:
3468:
3465:(1751 novel)
3460:
3445:
3437:
3422:
3403:
3395:
3387:
3193:Achaemenides
3152:Anna Perenna
2830:
2782:
2759:
2741:
2724:
2707:
2688:
2680:
2672:
2664:
2656:
2648:
2640:
2632:
2611:
2610:
2602:
2565:
2504:Lillibullero
2495:
2450:
2442:
2434:
2426:
2418:
2410:
2402:
2394:
2386:
2378:
2370:
2362:
2354:
2346:
2338:
2330:
2286:
2259:
2251:
2183:
2175:
2168:Fairest Isle
2158:
2150:
2131:
2130:
2049:
2040:(ChoralWiki)
1964:
1947:
1940:
1934:
1930:
1913:
1907:
1903:
1884:
1878:
1872:
1862:Toronto Star
1860:
1842:
1835:
1819:
1813:
1809:
1799:
1795:
1760:
1756:
1731:
1725:
1705:
1693:
1680:
1662:
1654:
1632:
1613:
1604:
1595:
1592:Allan Kozinn
1574:
1570:
1564:
1556:
1555:
1546:
1537:
1532:(2002) p. 30
1529:
1524:
1515:
1506:
1497:
1485:
1472:
1459:
1450:
1441:
1429:
1411:
1394:
1390:
1383:
1374:
1364:
1359:
1350:
1343:Walking 1995
1337:
1325:
1313:
1304:
1292:
1280:
1268:
1256:
1247:
1204:Pinnock 2015
1169:
1157:
1149:
1148:
1088:
1070:as Dido and
1068:Susan Graham
1020:period sound
997:
991:(1998), and
989:Lynne Dawson
965:Susan Graham
940:
921:Dennis Noble
917:Joan Hammond
907:as Dido and
898:
879:
875:
874:
870:
866:
865:
856:
809:
808:
804:
800:
799:
790:
787:Dido's court
786:
785:
771:
754:
728:
701:countertenor
676:
665:
651:
634:
589:modern dance
586:
566:
538:
533:'s visit to
528:
516:
508:
507:
501:
498:Lea Desandre
469:
464:at London's
459:
448:
444:
438:
421:
419:
403:
396:Imogen Holst
381:the Cenotaph
374:
367:Jeff Buckley
337:
335:
324:
315:
310:
291:
289:
275:
269:
265:
255:
245:
237:
235:
202:
192:
186:
179:
170:
144:
111:
110:
109:
83:
29:
3934:1688 operas
3801:Aposiopesis
3604:Manuscripts
3593:Les Troyens
3473:(1729 poem)
3470:The Dunciad
3455: 1593
3442:(1160 poem)
3389:The Avenger
3381:Film and TV
3323:Neoptolemus
3140:Phoenicians
2690:Les Troyens
2619:discography
2396:Epsom Wells
2232: 1682
2160:King Arthur
2144:discography
1936:Early Music
1909:Early Music
1815:Early Music
1801:Early Music
1655:Forum Opéra
1297:Holman 1994
1285:Holman 1994
1048:René Jacobs
993:Evelyn Tubb
977:Emma Kirkby
963:(1989) and
949:Janet Baker
939:as Aeneas.
905:Nancy Evans
729:in form of
593:Mark Morris
583:Adaptations
573:Opera North
537:, Denmark,
513:Plaza Hotel
373:miniseries
355:ground bass
282:tradition.
268:(1680) and
201:'s solo in
153:, Queen of
3913:Categories
3432: 828
3416:Literature
2961:Antiphates
2956:Andromache
2841:Characters
2743:Simple Man
2575:Characters
2364:Amphitryon
2332:Theodosius
2303:Incidental
2152:Dioclesian
1943:: 372â390.
1465:Price 1984
1330:White 2009
1318:White 2009
1273:Price 1984
1261:Price 1984
1241:Price 2002
1189:White 2009
1174:White 2009
1145:References
1127:Iona Brown
1000:Joel Cohen
889:Recordings
876:The palace
850:media help
627:Voice type
597:Luxembourg
404:ritornello
359:Klaus Nomi
262:Nahum Tate
157:, for the
133:Nahum Tate
73:Nahum Tate
69:Librettist
3737:(1660â65)
3318:Mezentius
3253:Cydonians
3223:Aventinus
3218:Automedon
3213:Androgeus
3126:Thymoetes
3116:Sergestus
3081:Palinurus
3066:Mnestheus
3041:Hippocoon
3011:Deiphobus
2991:Corynaeus
2981:Cassandra
2905:Tiberinus
2712:(c. 1593)
2436:Abdelazer
2018:orchestra
1478:baritones
1014:with the
697:contralto
650:Belinda,
500:performs
392:Whitehall
191:'s opera
176:John Blow
123:composer
63:, c. 1695
3693:Quos ego
3648:Ad astra
3400:(1971â2)
3308:Messapus
3273:Halaesus
3258:Diomedes
3238:Catillus
3167:Mattan I
3131:Ucalegon
3091:Panthous
3086:Pandarus
3046:Ilioneus
3026:Euryalus
3021:Entellus
3001:Dardanus
2966:Ascanius
2951:Anchises
2860:Crinisus
2521:Category
2327:" (1695)
2320:" (1692)
2313:" (1692)
2264:(1695, "
2025:Archived
2008:Archived
1991:Archived
1853:Archived
1703:(1984).
1631:(1994).
1419:Archived
1400:Archived
1133:See also
1054:(1998);
1050:and the
1046:(1989);
1038:(1986);
1026:and the
995:(2004).
987:(1992),
983:(1986),
979:(1981),
975:(1965),
969:sopranos
959:(1986),
955:(1968),
951:(1961),
947:such as
763:Synopsis
749:Chorus,
727:Spirit,
686:baritone
684:or high
675:Aeneas,
654:handmaid
535:Bornholm
435:James II
363:Ane Brun
306:James II
286:Libretto
274:(1685).
155:Carthage
129:libretto
92:Premiere
79:Based on
3857:Odyssey
3837:Eneados
3825:Related
3721:(25 BC)
3640:Phrases
3486:Lavinia
3405:Eneyida
3368:Venulus
3313:Metabus
3298:Lavinia
3288:Latinus
3283:Juturna
3243:Clytius
3233:Camilla
3188:Acestes
3147:Acerbas
3111:Ripheus
3101:Polites
3076:Ornytus
3061:Misenus
3051:Laocoön
3036:Helenus
2986:Clonius
2931:Aeneads
2926:Achates
2919:Trojans
2895:Mercury
2885:Jupiter
2848:Deities
2835:(19 BC)
2771:Related
2489:Related
2444:Bonduca
2280:Secular
2163:(1691)
2135:(1689)
1948:-->
1557:Sources
1528:Boyden
1078:in the
1012:Chandos
731:Mercury
652:Dido's
640:soprano
352:lamento
298:William
236:Before
232:, Italy
230:Pompeii
199:Mercury
189:Cavalli
127:with a
121:Baroque
3929:Operas
3889:Portal
3865:Aeneid
3849:Aeneid
3761:(1834)
3753:(1815)
3745:(1689)
3729:(1619)
3505:Didone
3478:Eneida
3462:Amelia
3408:(1991)
3397:Eneide
3392:(1962)
3353:Turnus
3343:Salius
3338:Rutuli
3328:Pallas
3293:Lausus
3278:Iarbas
3263:Erulus
3181:Others
3121:Theano
3016:Elymus
2996:Creusa
2971:Caieta
2946:Aletes
2941:Aeolus
2936:Aeneas
2900:Saturn
2870:Hecate
2855:Alecto
2832:Aeneid
2827:Virgil
2784:Amelia
2729:(1160)
2720:Poetry
2604:Didone
2596:Operas
2587:Aeneas
2567:Aeneid
2562:Virgil
2463:Family
2455:(1695)
2447:(1695)
2439:(1695)
2431:(1694)
2423:(1694)
2415:(1694)
2407:(1693)
2399:(1693)
2391:(1691)
2383:(1690)
2375:(1690)
2367:(1690)
2359:(1689)
2351:(1688)
2343:(1681)
2335:(1680)
2291:(1694)
2256:(1692)
2203:Sacred
2196:Choral
2188:(1695)
2180:(1692)
2155:(1690)
1781:
1748:964271
1746:
1713:
1670:
1639:
1621:
1582:
1565:et al.
1530:et al.
744:tenor
603:, and
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