Henry Purcell: Dido and Aeneas
Henry Purcell: Dido and Aeneas; La Nouvelle Ménestrandie, Cappella Mediterranea/ Leonardo García Alarcón
2 CD | AAC 320 kbps (VBR) | 110,27 Mb
September 2010 | 2 CD Box | Classical
2 CD | AAC 320 kbps (VBR) | 110,27 Mb
September 2010 | 2 CD Box | Classical
Solistes
Solenn’ Lavanant Linke / Dido
Alejandro Meerapfel / Æneas
Yeree Suh / Belinda
Fabián Schofrin / Sorceress
Mariana Flores / Second Witch, Second woman
Magali Arnault / First Witch
Christophe Carré / Spirit of the Sorceress
Valerio Contaldo / Sailor
Solenn’ Lavanant Linke / Dido
Alejandro Meerapfel / Æneas
Yeree Suh / Belinda
Fabián Schofrin / Sorceress
Mariana Flores / Second Witch, Second woman
Magali Arnault / First Witch
Christophe Carré / Spirit of the Sorceress
Valerio Contaldo / Sailor
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.
How you feel about this will depend on how you feel about the English language: from many points it is an ideal realisation of Purcell's tight-knit masterpiece, with young voices, a small instrumental ensemble, lively tempi and transparent textures. Leonardo García Alarcón sweeps the music along so that the acts flow seamlessly. But there's no denying that Solenn' Lavanant Linke's touching Dido and Yeree Suh's bright Belinda are not totally idiomatic in their command of the language, and there are some solecisms from all the cast. Still, it proves the continued vitality and international reach of Purcell's mini-opera.
Nicholas Kenyon The Observer, Sunday 3 October 2010
“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.
How you feel about this will depend on how you feel about the English language: from many points it is an ideal realisation of Purcell's tight-knit masterpiece, with young voices, a small instrumental ensemble, lively tempi and transparent textures. Leonardo García Alarcón sweeps the music along so that the acts flow seamlessly. But there's no denying that Solenn' Lavanant Linke's touching Dido and Yeree Suh's bright Belinda are not totally idiomatic in their command of the language, and there are some solecisms from all the cast. Still, it proves the continued vitality and international reach of Purcell's mini-opera.
Nicholas Kenyon The Observer, Sunday 3 October 2010
Track list
1. Overture: Overture
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
2:49
2. Shake the cloud from off your brow: Shake the cloud from off your brow
Yeree Suh; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:03
3. Ah! Belinda, I am prest with torment: Ah! Belinda, I am prest with torment
Solenn Lavanant-Linke; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
3:15
4. Grief increases by concealing: Grief increases by concealing
Yeree Suh; Solenn Lavanant-Linke; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:32
5. When monarchs unite: When monarchs unite
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:15
6. Whence could so much virtue spring: Whence could so much virtue spring
Solenn Lavanant-Linke; Yeree Suh; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:59
7. Fear no danger: Fear no danger
Yeree Suh; Mariana Flores; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:20
8. See, your royal guest appears: See, your royal guest appears
Yeree Suh; Alejandro Meerapfel; Solenn Lavanant-Linke; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:54
9. Cupid only throws the dart: Cupid only throws the dart
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:32
10. If not for mine: If not for mine
Alejandro Meerapfel; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:31
11. Pursue thy conquest, Love: Pursue thy conquest, Love
Yeree Suh; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:44
12. To the hills and the vales: To the hills and the vales
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:19
13. Triumphing dance: Triumphing dance
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:10
14. Prelude for the Witches: Prelude for the Witches
Fabian Schofrin; Magali Arnault; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:53
15. Harm's our delight: Harm's our delight
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:14
16. The Queen of Carthage: The Queen of Carthage
Fabian Schofrin; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:25
17. Ho ho ho! (1): Ho ho ho! (1)
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:10
18. Ruin'd ere the set of sun: Ruin'd ere the set of sun
Magali Arnault; Mariana Flores; Fabian Schofrin; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:58
19. Ho ho ho! (2): Ho ho ho! (2)
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:09
20. But ere we this perform: But ere we this perform
Magali Arnault; Mariana FloresLa Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:10
21. In our deep vaulted cell: In our deep vaulted cell
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:17
22. Echo Dance of the Fairies: Echo Dance of the Fairies
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:53
23. Ritornelle: Ritornelle
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:42
24. Thanks to these lonesome vales: Thanks to these lonesome vales
Yeree Suh; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
2:29
25. Oft she visits this lone mountain: Oft she visits this lone mountain
Mariana Flores; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:36
26. Behold, upon my bending spear: Behold, upon my bending spear
Alejandro Meerapfel; Solenn Lavanant-Linke; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:33
27. Haste, haste to town: Haste, haste to town
Yeree Suh; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:47
28. Stay, Prince: Stay, Prince
Christophe Carré; Alejandro Meerapfel; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
2:48
29. Prelude: Prelude
Valerio Contaldo; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:22
30. Sailor's dance: Sailor's dance
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:36
31. See the flags: See the flags
Fabian Schofrin; Magali Arnault; Mariana Flores; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:00
32. Our next motion: Our next motion
Magali Arnault; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:51
33. Destruction's our delight: Destruction's our delight
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:32
34. Witche's Dance: Witche's Dance
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:26
35. Your counsel all: Your counsel all
Solenn Lavanant-Linke; Yeree Suh; Alejandro Meerapfel; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
4:54
36. Great minds against themselves conspire: Great minds against themselves conspire
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:56
37. Thy hand, Belinda: Thy hand, Belinda
Solenn Lavanant-Linke; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:43
38. When I am laid in earth: When I am laid in earth
Solenn Lavanant-Linke; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
3:14
39. With drooping wings: With drooping wings
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
4:34
1. Overture: Overture
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
2:49
2. Shake the cloud from off your brow: Shake the cloud from off your brow
Yeree Suh; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:03
3. Ah! Belinda, I am prest with torment: Ah! Belinda, I am prest with torment
Solenn Lavanant-Linke; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
3:15
4. Grief increases by concealing: Grief increases by concealing
Yeree Suh; Solenn Lavanant-Linke; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:32
5. When monarchs unite: When monarchs unite
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:15
6. Whence could so much virtue spring: Whence could so much virtue spring
Solenn Lavanant-Linke; Yeree Suh; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:59
7. Fear no danger: Fear no danger
Yeree Suh; Mariana Flores; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:20
8. See, your royal guest appears: See, your royal guest appears
Yeree Suh; Alejandro Meerapfel; Solenn Lavanant-Linke; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:54
9. Cupid only throws the dart: Cupid only throws the dart
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:32
10. If not for mine: If not for mine
Alejandro Meerapfel; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:31
11. Pursue thy conquest, Love: Pursue thy conquest, Love
Yeree Suh; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:44
12. To the hills and the vales: To the hills and the vales
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:19
13. Triumphing dance: Triumphing dance
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:10
14. Prelude for the Witches: Prelude for the Witches
Fabian Schofrin; Magali Arnault; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:53
15. Harm's our delight: Harm's our delight
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:14
16. The Queen of Carthage: The Queen of Carthage
Fabian Schofrin; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:25
17. Ho ho ho! (1): Ho ho ho! (1)
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:10
18. Ruin'd ere the set of sun: Ruin'd ere the set of sun
Magali Arnault; Mariana Flores; Fabian Schofrin; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:58
19. Ho ho ho! (2): Ho ho ho! (2)
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:09
20. But ere we this perform: But ere we this perform
Magali Arnault; Mariana FloresLa Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:10
21. In our deep vaulted cell: In our deep vaulted cell
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:17
22. Echo Dance of the Fairies: Echo Dance of the Fairies
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:53
23. Ritornelle: Ritornelle
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:42
24. Thanks to these lonesome vales: Thanks to these lonesome vales
Yeree Suh; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
2:29
25. Oft she visits this lone mountain: Oft she visits this lone mountain
Mariana Flores; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:36
26. Behold, upon my bending spear: Behold, upon my bending spear
Alejandro Meerapfel; Solenn Lavanant-Linke; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:33
27. Haste, haste to town: Haste, haste to town
Yeree Suh; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:47
28. Stay, Prince: Stay, Prince
Christophe Carré; Alejandro Meerapfel; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
2:48
29. Prelude: Prelude
Valerio Contaldo; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:22
30. Sailor's dance: Sailor's dance
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:36
31. See the flags: See the flags
Fabian Schofrin; Magali Arnault; Mariana Flores; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:00
32. Our next motion: Our next motion
Magali Arnault; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:51
33. Destruction's our delight: Destruction's our delight
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:32
34. Witche's Dance: Witche's Dance
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
1:26
35. Your counsel all: Your counsel all
Solenn Lavanant-Linke; Yeree Suh; Alejandro Meerapfel; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
4:54
36. Great minds against themselves conspire: Great minds against themselves conspire
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:56
37. Thy hand, Belinda: Thy hand, Belinda
Solenn Lavanant-Linke; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
0:43
38. When I am laid in earth: When I am laid in earth
Solenn Lavanant-Linke; La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
3:14
39. With drooping wings: With drooping wings
La Nouvelle Menestrandie; Cappella Mediterranea; Leonardo Garcia Alarcon
4:34