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Purcell: Dido And Aeneas / Alarcon, Linke, Meerapfel, Suh, Schofrin

Purcell / Nouvelle Menestrandie / Alarcon
Release Date: 11/09/2010 
Label:  Ambronay   Catalog #: 22   Spars Code: DDD 
Composer:  Henry Purcell
Performer:  Solenn’ Lavanant LinkeYeree SuhAlejandro MeerapfelMariana Flores,   ... 
Conductor:  Leonardo Garcia Alarcòn
Orchestra/Ensemble:  Cappella MediterráneaLa Nouvelle Ménestrandie
Number of Discs: 1 
Recorded in: Stereo 
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Notes and Editorial Reviews

"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 proves the continued vitality and international reach of Purcell's mini-opera.” -- The Observer [10/2010]


In the program notes for this recording of Dido and Aeneas, conductor Leonardo García Alarcón makes a persuasive scholarly and analytical case for his many unconventional performance choices, but listeners should be forewarned that this is not a version of the opera for the faint of heart or for committed traditionalists. Most noticeably, this performance, which features the Geneva-based ensembles La
Read more Nouvelle Ménestrandie and Cappella Mediterranea, makes Dido and Aeneas seem like a very big opera, something on the order of Il Trovatore in its wrenching intensity, if not in its length. Alarcón's augmentation of the orchestra with oboes and bassoons doubling the strings in some places, as he argues Purcell would have done, is partly accountable for its enlarged sense of scale. Equally significant is the ferocity with which both the singers and players tear into their parts and the extremity of some of the characterizations. Dido and the Sorceress, for instance, express their anguish and hatred, respectively, by bending pitches to a degree rarely heard in "classical" music settings, and the Witches sing in creaky, crone-like character voices. It should be remembered that "baroque" was originally a term of derision meaning something misshapen or distorted, the equivalent of wagging the finger and saying, "you've gone too far this time!" That may be exactly the reaction of some listeners, but whether you're appalled or beguiled, this is a Dido and Aeneas that's likely to keep you on the edge of your seat with suspense.

Few performances of the opera have so clearly delineated its arch-shaped trajectory; it opens with Dido lamenting the possibility of Aeneas' inconstancy and ends with her lamenting its actuality, and in this recording just about everything that transpires between the laments happens at a fever pitch of musical and dramatic tension. The fact that Alarcón is able to create and sustain the performance's intensity is a testimony not only to his vision and skill but to the willingness of the musicians to throw themselves so wholeheartedly into the venture. Every role, even the smallest, demonstrates the singers' investment in their parts. They all sing beautifully and powerfully, and manage to convey a verismo-like theatricality while operating (more or less) within the bounds of accepted Baroque performance practice. Aeneas can easily come across as a cipher, but Alejandro Meerapfel gives him substance, someone about whom the Queen of Carthage could believably get worked up. Countertenor Fabián Schofrin is a weird, sinister Sorceress. As Belinda, Yeree Suh sings with exceptional warmth, clarity, and sweetness. Solenn' Lavanant Linke's soprano is sumptuous and creamy, and she makes a regal but womanly Dido. The orchestra plays with aching expressivity and the continuo realizations are marvelously inventive. The recording is vividly present and is miked at a high level for a classical album, which also contributes to its unusually large sense of scale. Highly recommended.

-- Stephen Eddins, All Music Guide
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Works on This Recording

Dido and Aeneas, Z 626 by Henry Purcell
Performer:  Solenn’ Lavanant Linke (Mezzo Soprano), Yeree Suh (Soprano), Alejandro Meerapfel (Baritone),
Mariana Flores (Soprano), Fabian Schofrin (Counter Tenor), Magali Arnault (Voice),
Valerio Contaldo (Voic)
Conductor:  Leonardo Garcia Alarcòn
Orchestra/Ensemble:  Cappella Mediterránea,  La Nouvelle Ménestrandie
Period: Baroque 
Written: 1689; England 

Sound Samples

Dido and Aeneas: Overture
Dido and Aeneas: Shake the cloud from off your brow
Dido and Aeneas: Ah! Belinda, I am prest with torment
Dido and Aeneas: Grief increases by concealing
Dido and Aeneas: When monarchs unite
Dido and Aeneas: Whence could so much virtue spring
Dido and Aeneas: Fear no danger
Dido and Aeneas: See, your royal guest appears
Dido and Aeneas: Cupid only throws the dart
Dido and Aeneas: If not for mine
Dido and Aeneas: Pursue thy conquest, Love
Dido and Aeneas: To the hills and the vales
Dido and Aeneas: Triumphing dance
Dido and Aeneas: Prelude for the Witches
Dido and Aeneas: Harm's our delight
Dido and Aeneas: The Queen of Carthage
Dido and Aeneas: Ho ho ho! (1)
Dido and Aeneas: Ruin'd ere the set of sun
Dido and Aeneas: Ho ho ho! (2)
Dido and Aeneas: But ere we this perform
Dido and Aeneas: In our deep vaulted cell
Dido and Aeneas: Echo Dance of the Fairies
Dido and Aeneas: Ritornelle
Dido and Aeneas: Thanks to these lonesome vales
Dido and Aeneas: Oft she visits this lone mountain
Dido and Aeneas: Behold, upon my bending spear
Dido and Aeneas: Haste, haste to town
Dido and Aeneas: Stay, Prince
Dido and Aeneas: Prelude
Dido and Aeneas: Sailor's dance
Dido and Aeneas: See the flags
Dido and Aeneas: Our next motion
Dido and Aeneas: Destruction's our delight
Dido and Aeneas: Witche's Dance
Dido and Aeneas: Your counsel all
Dido and Aeneas: Great minds against themselves conspire
Dido and Aeneas: Thy hand, Belinda
Dido and Aeneas: When I am laid in earth
Dido and Aeneas: With drooping wings

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