383:. 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.
42:
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322:, 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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391:. 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
584:, 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
305:
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,
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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.
874:, 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
1098:(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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285:(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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302:. 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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124:. 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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128:'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
318:, and the only seventeenth-century source is a libretto, possibly from the original performance. The earliest extant score, held in the
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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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426:. Following the Chelsea performances, the opera was not staged again in Purcell's lifetime. Its next performance was in 1700 as a
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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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346:. "Dido's Lament" has been performed or recorded by artists far from the typical operatic school, such as
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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.
560:. In 2011 the opera was revived by City Wall Productions and set during World War II. A new
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1839:"Every inch a diva. Opposites attract dancer Mark Morris. They define his life and his art"
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White, Bryan (August 2009). "Letter from Aleppo: dating the Chelsea School performance of
1827:(vocal score), Edward Dent and Ellen Harris (eds.), Oxford University Press, Oxford, 1991.
8:
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358:. It has also been transcribed or used in many scores, including the soundtrack to the
290:
259:
1961:
Holst, Imogen (1959a). "Purcell's librettist, Nahum Tate". In Holst (1959), pp. 35â41.
1150:"Z" refers to the Zimmerman catalogue of Purcell's works by the American musicologist
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1011:. 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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1988:
1801:, 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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1983:
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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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2994:
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White, Eric Walter. "New Light on Dido and Aeneas". In Holst (1959), pp. 14â34.
1834:(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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1976:
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1676:(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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2010:
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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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368:(renamed "Nixon's Walk"). It is played annually by a military band at
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550:. 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
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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 "
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A letter from the Levant merchant Rowland Sherman associates
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and the solo "Come away fellow sailors" in Purcell's work.
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956:(2003). In addition to Joan Hammond and Kirsten Flagstad,
375:, which takes place on the Sunday nearest to 11 November (
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Funeral Sentences and Music for the Funeral of Queen Mary
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1086:(FRA Musica FRA001) and the 2009 performance at London's
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359:
1007:, there was an increasing preference for a more genuine
1646:, 9 December 2009 (accessed 19 January 2010, in French)
1624:. Oxford Studies of Compsers. Oxford University Press.
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in Paris conducted by William Christie and directed by
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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
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Free Online opera guide on Purcell's Dido and Aeneas
1312:
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1183:
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1594:The Gramophone Shop Encyclopedia of Recorded Music
1071:. Another notable recording dates from 1994, with
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742:: all members at one point or another represent
249:(1688). He also composed songs for two plays by
1577:"Music; Raising the Stakes In a Purcell Opera"
542:, the Divertimento Baroque Opera Company, and
404:
2800:
2534:
2255:Thou knowest, Lord, the secrets of our hearts
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1499:Synopsis based on KobbĂ© (1987) pp. 1010â1014.
1203:
1201:
1423:"What's On: Details on Opera North's website
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1171:
799:Scene 2: A grove during the middle of a hunt
457:to mark the bicentenary of Purcell's death.
2033:BBC Radio 4 programme about "Dido's Lament"
1954:Henry Purcell 1659â1695 Essays on His Music
1917:
1712:
1478:
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293:. In a poem of about 1686, Tate alluded to
253:(later the librettist of Dido and Aeneas),
173:, both in structure and in overall effect.
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2044:International Music Score Library Project
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1764:10.1093/gmo/9781561592630.article.O006883
1378:The Royal Opera & The Royal Ballet â
1168:
197:
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744:courtiers, witches, cupids, and sailors.
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201:
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1655:, Northeastern University Press, 1996.
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1223:
1221:
1219:
1217:
1215:
1192:
282:Brutus of Alba, or The Enchanted Lovers
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515:, who also conducted the performance.
500:premiered in the United States at the
436:, an adapted version of Shakespeare's
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279:Originally based on Nahum Tate's play
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1352:Rosenthal and Warrack (1979) p. 134;
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1306:
1261:
1249:
1229:
1177:
1162:
1128:List of compositions by Henry Purcell
1041:Orchestra of the Age of Enlightenment
3731:Ascanius Shooting the Stag of Sylvia
1670:The Definitive Kobbé's Book of Opera
1493:
1291:
1212:
1047:and Le Concert d'Astrée (2003); and
3928:Operas based on classical mythology
2056:, (mp3 files) on www.liberliber.it.
960:who have recorded the role include
920:in London, recorded it in 1951 for
469:20th- and 21st-century performances
13:
1957:. London: Oxford University Press.
1941:
1695:Henry Purcell and the London Stage
1530:Associated Press (7 December 2004)
790:Scene 1: The cave of the Sorceress
580:was choreographed by the American
576:A version of the opera adapted to
564:production of the opera opened at
14:
3964:
2095:
1970:
1860:"Political Allegory in Purcell's
1858:Walking, Andrew (November 1995).
1640:"Flamboyante tragédie au Comique"
1606:, Oxford University Press, 1990.
1597:, The Gramophone Shop, Inc., 1936
493:with Les Arts Florissants in 2020
3885:
2505:
2504:
2200:Remember not, Lord, our offences
1063:as Aeneas was nominated for the
1055:(2004). The HaĂŻm recording with
837:Problems playing this file? See
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805:
236:Theodosius, or The Force of Love
2011:Internet Movie Database listing
1989:Libretto at Stanford University
1603:Henry Purcell's Dido and Aeneas
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916:, who had sung the role at the
900:as Aeneas, followed in 1945 by
3715:Aeneas, Anchises, and Ascanius
1698:. Cambridge University Press.
1405:City Wall Productions' website
1234:
1144:
761:The Meeting of Dido and Aeneas
571:
339:". Both arias are formed on a
314:No score in Purcell's hand is
1:
3689:Timeo Danaos et dona ferentes
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2054:Public domain recording, 1951
1469:. See Harris (1990) pp. 60â62
1133:
1073:The Scholars Baroque Ensemble
877:
622:Dido (also known as Elissa),
590:Opéra national de Montpellier
530:was performed in 2007 at the
3852:Political commentary of the
2027:Choral Public Domain Library
1567:3rd ed. Rough Guides, 2002.
1005:Taverner Consort and Players
7:
3948:Cultural depictions of Dido
3836:Parallels between Virgil's
1121:
991:'s 1979 recording with the
884:Dido and Aeneas discography
751:
552:Wayne McGregor Random Dance
405:Premiere and early revivals
274:
239:(1680) and eight songs for
10:
3969:
3933:Operas based on the Aeneid
3766:And Then There Was Silence
3529:(1724 libretto Metastasio)
1443:Walker (9 July 1995) p. C1
881:
138:. It recounts the love of
46:The composer, portrait by
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2228:Rejoice in the Lord alway
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1854:, 9 July 1995, p. C1
1679:Mark Morris Dance Group,
1330:Keates (1996) p. 179 and
995:, on Harmonia Mundi, and
872:"When I am laid in Earth"
737:
708:Second Witch/Enchantress
659:soprano or mezzo-soprano
422:as early as 1684) or for
80:
67:
57:
39:
28:
23:
3657:Fortune favours the bold
2003:from a recording by the
1564:The Rough Guide to Opera
1358:(11 February 1923) p. 19
1017:Academy of Ancient Music
850:
784:
770:
725:soprano or countertenor
700:First Witch/Enchantress
604:
434:Beauty the Best Advocate
309:
91:'s girls' school, London
3913:English-language operas
3908:Operas by Henry Purcell
3675:Obscuris vera involvens
3574:Dido, Queen of Carthage
3436:Dido, Queen of Carthage
2698:Dido, Queen of Carthage
2671:Dido, Queen of Carthage
2549:"Dido and Aeneas" from
1844:24 October 2012 at the
1779:(subscription required)
1756:Oxford University Press
1744:Price, Curtis (2002). "
1539:Jordy (9 December 2009)
1479:Price & Cholij 1986
1434:Mark Morris Dance Group
1208:Wood & Pinnock 1992
962:Victoria de los Ăngeles
856:The harbour at Carthage
765:Nathaniel Dance-Holland
213:, from a Roman fresco,
3739:Dido building Carthage
3605:Papyrus Oxyrhynchus 31
2750:Dido building Carthage
2214:Hear my prayer, O Lord
1410:8 January 2014 at the
1395:on classicalsource.com
1075:and Kym Amps as Dido.
999:'s 1981 recording for
767:
594:Sadler's Wells Theatre
494:
451:Royal College of Music
446:'s theatre in London.
222:
198:Background and context
3860:Sulpicius Apollinaris
3505:(1687 Lully/Collasse)
2401:The Canterbury Guests
2345:The Massacre of Paris
2314:Britons, Strike Home!
2025:: Free scores at the
1999:14 April 2010 at the
1793:, 40 (2012): 265â278.
1508:Darrell (1936) p. 371
1343:Crozier (1987) p. 114
1152:Franklin B. Zimmerman
815:Stay, Prince and hear
759:
548:Cooperstown, New York
485:
205:
3953:Phoenicia in fiction
3943:Music based on poems
3938:Operas set in Africa
3707:Laocoön and His Sons
2469:Edward Henry Purcell
2393:The Female Virtuosos
2377:The Richmond Heiress
2361:Distressed Innocence
2307:Nymphs and Shepherds
2106:List of compositions
1982:23 July 2008 at the
1674:The Earl of Harewood
1652:Purcell: A Biography
1391:9 March 2012 at the
1297:Purcell (1991) p. iv
1065:Best Opera Recording
1025:Les Arts Florissants
950:Anne Sofie von Otter
536:De Nederlandse Opera
417:'s girls' school in
373:remembrance ceremony
255:The Sicilian Usurper
215:Pompeian Third Style
71:Book IV of Virgil's
3723:The Dream of Aeneas
3620:Vergilius Vaticanus
3610:Vergilius Augusteus
3502:Achille et PolyxĂšne
3423:history of Britain)
2767:Low Ham Roman Villa
2337:A Fool's Preferment
2277:Come Ye Sons of Art
2049:The Purcell Society
2016:10 May 2004 at the
2005:New Trinity Baroque
1883:10.1093/ml/76.4.540
1869:Music & Letters
1276:, pp. 200â201.
1264:, pp. 239â245.
1240:Harris (1990) p. 17
1092:Christopher Hogwood
1053:New Trinity Baroque
1033:The English Concert
1013:Christopher Hogwood
681:Sorceress/Sorcerer
566:Leeds Grand Theatre
540:Royal Opera, London
439:Measure for Measure
400:Performance history
328:Orpheus Britannicus
246:A Fool's Preferment
3805:Sortes Vergilianae
3795:Dactylic hexameter
3558:Didone abbandonata
3550:Didone abbandonata
3542:Didone abbandonata
3534:Didone abbandonata
3526:Didone abbandonata
3413:Historia Brittonum
3257:Evander of Pallene
2655:Didone abbandonata
2647:Didone abbandonata
2639:Didone abbandonata
2634:(1724, Metastasio)
2631:Didone abbandonata
2409:The Fatal Marriage
2242:Ode to St. Cecilia
1977:Analysis in French
1751:Grove Music Online
1649:Keates, Jonathan,
1638:Jordy, Catherine,
1600:Harris, Ellen T.,
1586:The New York Times
1376:Melanie Eskenazi,
1355:The New York Times
1195:, pp. 199â212
1069:2005 Grammy Awards
768:
655:Another Handmaiden
544:Glimmerglass Opera
507:The New York Times
495:
432:incorporated into
331:. The most famous
223:
3873:
3872:
3800:Hysteron proteron
3615:Vergilius Romanus
3600:Book of Ballymote
3365:
3364:
3161:Pygmalion of Tyre
2782:
2781:
2626:(1693, Desmarets)
2516:
2515:
2486:The Moor's Pavane
2441:The Rival Sisters
2329:Sir Barnaby Whigg
2300:Music for a While
2287:
2286:
2264:
2263:
1911:10.1093/em/cap041
1817:10.1093/em/cav005
1773:978-1-56159-263-0
1723:(1726): 615â618.
1716:The Musical Times
1100:Leopold Stokowski
1088:Royal Opera House
824:
749:
748:
624:Queen of Carthage
483:
217:(10 BC â 45 AD),
176:The influence of
97:
96:
3960:
3890:
3889:
3881:
3831:The Golden Bough
3747:The Golden Bough
3669:Mind over matter
3521:(1693 Desmarets)
3470:(1798 mock epic)
3445:
3442:
3422:
3419:
2834:
2833:
2809:
2802:
2795:
2786:
2785:
2666:(1783, Piccinni)
2650:(1724, Albinoni)
2604:(1688, Purcell)
2543:
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2520:
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2508:
2507:
2369:Sir Anthony Love
2266:
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2208:
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2189:
2188:
2174:The Indian Queen
2090:
2083:
2076:
2067:
2066:
2042:: Scores at the
1958:
1933:
1914:
1887:
1885:
1830:Purcell, Henry,
1823:Purcell, Henry,
1820:
1780:
1777:
1754:(8th ed.).
1740:
1709:
1635:
1591:Darrell, R. D.,
1552:Boyden, Matthew
1540:
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1425:operanorth.co.uk
1420:
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1384:Acis and Galatea
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1175:
1166:
1160:
1154:
1148:
1094:and directed by
1021:William Christie
942:Tatiana Troyanos
914:Kirsten Flagstad
904:'s release with
826:
825:
809:
609:
608:
557:Acis and Galatea
484:
444:Thomas Betterton
389:Benjamin Britten
365:Band of Brothers
320:Bodleian Library
227:Dido and Aeneas,
170:Venus and Adonis
51:
44:
21:
20:
16:Opera by Purcell
3968:
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3961:
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3896:
3884:
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3809:
3778:
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3624:
3588:
3569:(1783 Piccinni)
3545:(1724 Albinoni)
3510:Dido and Aeneas
3481:
3443:
3420:
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3192:Ajax the Lesser
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2685:
2682:(1863, Berlioz)
2674:(1792, Storace)
2601:Dido and Aeneas
2596:(1641, Cavalli)
2580:
2559:
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2498:
2473:
2447:
2417:Love Triumphant
2283:
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2180:
2166:The Fairy-Queen
2121:Dido and Aeneas
2108:
2099:
2094:
2039:Dido and Aeneas
2023:Dido and Aeneas
2018:Wayback Machine
2001:Wayback Machine
1984:Wayback Machine
1973:
1947:
1944:
1942:Further reading
1939:
1920:Dido and Aeneas
1893:Dido and Aeneas
1862:Dido and Aeneas
1846:Wayback Machine
1837:Walker, Susan,
1832:Dido and Aeneas
1825:Dido and Aeneas
1799:Dido and Aeneas
1785:Dido and Aeneas
1778:
1774:
1746:Dido and Aeneas
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1683:Dido and Aeneas
1632:
1583:, 30 May 1999,
1560:Dido and Aeneas
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1104:Matthias Bamert
1045:Emmanuelle HaĂŻm
993:Boston Camerata
946:Teresa Berganza
930:Dido and Aeneas
918:Mermaid Theatre
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684:mezzo-soprano,
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520:Jonathan Miller
498:Dido and Aeneas
491:Dido and Aeneas
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459:Dido and Aeneas
419:Chelsea, London
411:Dido and Aeneas
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265:Dido and Aeneas
260:Cuckold's Haven
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160:Dido and Aeneas
104:(Z. 626) is an
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1971:External links
1969:
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1951:, ed. (1959).
1943:
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1905:(3): 417â428.
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1876:(4): 540â571.
1855:
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1811:(2): 199â212.
1794:
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1729:10.2307/964271
1710:
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1108:José Serebrier
1096:Wayne McGregor
1084:Deborah Warner
1029:Trevor Pinnock
997:Andrew Parrott
974:Catherine Bott
934:mezzo-sopranos
926:Thomas Hemsley
882:Main article:
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2658:(1762, Sarti)
2657:
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2642:(1724, Sarro)
2641:
2640:
2636:
2633:
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2628:
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2624:
2620:
2615:
2614:Dido's Lament
2611:
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2171:
2168:
2167:
2163:
2158:
2154:
2153:
2151:
2150:
2146:
2143:
2142:
2138:
2134:
2131:
2129:
2128:Dido's Lament
2126:
2125:
2123:
2122:
2118:
2117:
2115:
2111:
2107:
2102:
2098:
2097:Henry Purcell
2091:
2086:
2084:
2079:
2077:
2072:
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2068:
2061:
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2055:
2052:
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2036:
2034:
2031:
2028:
2024:
2021:
2019:
2015:
2012:
2009:
2006:
2002:
1998:
1995:
1994:Free excerpts
1992:
1990:
1987:
1985:
1981:
1978:
1975:
1974:
1963:
1960:
1959:
1956:
1955:
1950:
1949:Holst, Imogen
1946:
1945:
1938:
1931:
1927:
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1722:
1718:
1717:
1711:
1707:
1705:0-521-23831-5
1701:
1697:
1696:
1691:
1690:Price, Curtis
1687:
1685:
1684:
1678:
1675:
1671:
1667:
1666:Kobbé, Gustav
1664:
1662:
1661:1-55553-287-X
1658:
1654:
1653:
1648:
1645:
1641:
1637:
1633:
1631:0-19-816340-1
1627:
1623:
1622:Henry Purcell
1619:
1618:Holman, Peter
1615:
1613:
1612:0-19-315252-5
1609:
1605:
1604:
1599:
1596:
1595:
1590:
1588:
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1573:1-85828-749-9
1570:
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1401:
1394:
1390:
1387:
1385:
1381:
1373:
1364:
1357:
1356:
1349:
1340:
1334:, p. 469
1333:
1327:
1320:
1315:
1308:
1303:
1294:
1287:
1282:
1275:
1270:
1263:
1258:
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1231:
1226:
1224:
1222:
1220:
1218:
1216:
1209:
1204:
1202:
1194:
1189:
1187:
1180:, p. 417
1179:
1174:
1172:
1164:
1159:
1153:
1147:
1143:
1141:
1140:
1129:
1126:
1125:
1119:
1117:
1113:
1112:Richard Egarr
1109:
1105:
1101:
1097:
1093:
1090:conducted by
1089:
1085:
1081:
1080:Opéra-Comique
1076:
1074:
1070:
1066:
1062:
1061:Ian Bostridge
1058:
1054:
1050:
1049:Predrag Gosta
1046:
1042:
1038:
1034:
1030:
1026:
1022:
1018:
1014:
1010:
1006:
1002:
998:
994:
990:
985:
983:
979:
975:
971:
970:Jessye Norman
967:
963:
959:
955:
951:
947:
943:
939:
935:
931:
927:
923:
919:
915:
911:
907:
903:
899:
898:Roy Henderson
895:
892:in 1935 with
891:
890:Decca Records
885:
875:
873:
867:
866:
862:
858:
857:
848:
842:
840:
816:
808:
801:
800:
796:
792:
791:
782:
778:
777:
766:
762:
758:
745:
741:
736:
732:
730:First Sailor
729:
728:
724:
722:
721:
715:
714:
710:
707:
706:
702:
699:
698:
695:
691:
687:
683:
680:
679:
676:
672:
669:
667:
666:Trojan Prince
663:
662:
658:
656:
652:
651:
647:
645:
644:
638:
637:
634:
633:mezzo-soprano
630:
627:
625:
621:
620:
617:
614:
611:
610:
602:
600:
599:orchestra pit
595:
591:
587:
583:
579:
569:
567:
563:
559:
558:
553:
549:
545:
541:
537:
533:
529:
525:
521:
516:
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508:
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492:
488:
466:
464:
460:
456:
452:
447:
445:
441:
440:
435:
431:
430:
425:
420:
416:
415:Josias Priest
412:
397:
394:
390:
386:
382:
378:
377:Armistice Day
374:
371:
367:
366:
361:
357:
353:
349:
345:
342:
338:
337:Dido's Lament
334:
330:
329:
323:
321:
317:
307:
303:
301:
296:
292:
288:
284:
283:
272:
270:
266:
262:
261:
256:
252:
248:
247:
242:
238:
237:
232:
231:Nathaniel Lee
228:
220:
216:
212:
208:
204:
195:
193:
189:
185:
184:
179:
174:
172:
171:
166:
161:
157:
156:Baroque opera
153:
149:
145:
141:
137:
136:
131:
127:
126:Josias Priest
123:
119:
115:
114:Henry Purcell
111:
107:
103:
102:
90:
89:Josias Priest
83:
79:
76:
75:
70:
66:
63:
60:
56:
50:
43:
38:
35:
34:Henry Purcell
31:
27:
22:
19:
3865:Trojan Horse
3853:
3845:
3841:
3840:and Homer's
3837:
3771:
3745:
3737:
3729:
3721:
3713:
3705:
3687:
3680:
3673:
3661:
3649:
3642:
3635:
3580:
3572:
3564:
3561:(1762 Sarti)
3556:
3553:(1726 Vinci)
3548:
3540:
3537:(1724 Sarro)
3532:
3524:
3516:
3509:
3508:
3500:
3492:
3478:(2008 novel)
3473:
3465:
3457:
3454:(1751 novel)
3449:
3434:
3426:
3411:
3392:
3384:
3376:
3182:Achaemenides
3141:Anna Perenna
2819:
2771:
2748:
2730:
2713:
2696:
2677:
2669:
2661:
2653:
2645:
2637:
2629:
2621:
2600:
2599:
2591:
2554:
2493:Lillibullero
2484:
2439:
2431:
2423:
2415:
2407:
2399:
2391:
2383:
2375:
2367:
2359:
2351:
2343:
2335:
2327:
2319:
2275:
2248:
2240:
2172:
2164:
2157:Fairest Isle
2147:
2139:
2120:
2119:
2038:
2029:(ChoralWiki)
1953:
1936:
1929:
1923:
1919:
1902:
1896:
1892:
1873:
1867:
1861:
1851:Toronto Star
1849:
1831:
1824:
1808:
1802:
1798:
1788:
1784:
1749:
1745:
1720:
1714:
1694:
1682:
1669:
1651:
1643:
1621:
1602:
1593:
1584:
1581:Allan Kozinn
1563:
1559:
1553:
1545:
1544:
1535:
1526:
1521:(2002) p. 30
1518:
1513:
1504:
1495:
1486:
1474:
1461:
1448:
1439:
1430:
1418:
1400:
1383:
1379:
1372:
1363:
1353:
1348:
1339:
1332:Walking 1995
1326:
1314:
1302:
1293:
1281:
1269:
1257:
1245:
1236:
1193:Pinnock 2015
1158:
1146:
1138:
1137:
1077:
1059:as Dido and
1057:Susan Graham
1009:period sound
986:
980:(1998), and
978:Lynne Dawson
954:Susan Graham
929:
910:Dennis Noble
906:Joan Hammond
896:as Dido and
887:
868:
864:
863:
859:
855:
854:
845:
836:
798:
797:
793:
789:
788:
779:
776:Dido's court
775:
774:
760:
743:
717:
690:countertenor
665:
654:
640:
623:
578:modern dance
575:
555:
527:
522:'s visit to
517:
505:
497:
496:
490:
487:Lea Desandre
458:
453:at London's
448:
437:
433:
427:
410:
408:
392:
385:Imogen Holst
370:the Cenotaph
363:
356:Jeff Buckley
326:
324:
313:
304:
299:
280:
278:
264:
258:
254:
244:
234:
226:
224:
191:
181:
175:
168:
159:
133:
100:
99:
98:
72:
18:
3923:1688 operas
3790:Aposiopesis
3593:Manuscripts
3582:Les Troyens
3462:(1729 poem)
3459:The Dunciad
3444: 1593
3431:(1160 poem)
3378:The Avenger
3370:Film and TV
3312:Neoptolemus
3129:Phoenicians
2679:Les Troyens
2608:discography
2385:Epsom Wells
2221: 1682
2149:King Arthur
2133:discography
1925:Early Music
1898:Early Music
1804:Early Music
1790:Early Music
1644:Forum Opéra
1286:Holman 1994
1274:Holman 1994
1037:René Jacobs
982:Evelyn Tubb
966:Emma Kirkby
952:(1989) and
938:Janet Baker
928:as Aeneas.
894:Nancy Evans
718:in form of
582:Mark Morris
572:Adaptations
562:Opera North
526:, Denmark,
502:Plaza Hotel
362:miniseries
344:ground bass
271:tradition.
257:(1680) and
190:'s solo in
142:, Queen of
3902:Categories
3421: 828
3405:Literature
2950:Antiphates
2945:Andromache
2830:Characters
2732:Simple Man
2564:Characters
2353:Amphitryon
2321:Theodosius
2292:Incidental
2141:Dioclesian
1932:: 372â390.
1454:Price 1984
1319:White 2009
1307:White 2009
1262:Price 1984
1250:Price 1984
1230:Price 2002
1178:White 2009
1163:White 2009
1134:References
1116:Iona Brown
989:Joel Cohen
878:Recordings
865:The palace
839:media help
616:Voice type
586:Luxembourg
393:ritornello
348:Klaus Nomi
251:Nahum Tate
146:, for the
122:Nahum Tate
62:Nahum Tate
58:Librettist
3726:(1660â65)
3307:Mezentius
3242:Cydonians
3212:Aventinus
3207:Automedon
3202:Androgeus
3115:Thymoetes
3105:Sergestus
3070:Palinurus
3055:Mnestheus
3030:Hippocoon
3000:Deiphobus
2980:Corynaeus
2970:Cassandra
2894:Tiberinus
2701:(c. 1593)
2425:Abdelazer
2007:orchestra
1467:baritones
1003:with the
686:contralto
639:Belinda,
489:performs
381:Whitehall
180:'s opera
165:John Blow
112:composer
52:, c. 1695
3682:Quos ego
3637:Ad astra
3389:(1971â2)
3297:Messapus
3262:Halaesus
3247:Diomedes
3227:Catillus
3156:Mattan I
3120:Ucalegon
3080:Panthous
3075:Pandarus
3035:Ilioneus
3015:Euryalus
3010:Entellus
2990:Dardanus
2955:Ascanius
2940:Anchises
2849:Crinisus
2510:Category
2316:" (1695)
2309:" (1692)
2302:" (1692)
2253:(1695, "
2014:Archived
1997:Archived
1980:Archived
1842:Archived
1692:(1984).
1620:(1994).
1408:Archived
1389:Archived
1122:See also
1043:(1998);
1039:and the
1035:(1989);
1027:(1986);
1015:and the
984:(2004).
976:(1992),
972:(1986),
968:(1981),
964:(1965),
958:sopranos
948:(1986),
944:(1968),
940:(1961),
936:such as
752:Synopsis
738:Chorus,
716:Spirit,
675:baritone
673:or high
664:Aeneas,
643:handmaid
524:Bornholm
424:James II
352:Ane Brun
295:James II
275:Libretto
263:(1685).
144:Carthage
118:libretto
81:Premiere
68:Based on
3846:Odyssey
3826:Eneados
3814:Related
3710:(25 BC)
3629:Phrases
3475:Lavinia
3394:Eneyida
3357:Venulus
3302:Metabus
3287:Lavinia
3277:Latinus
3272:Juturna
3232:Clytius
3222:Camilla
3177:Acestes
3136:Acerbas
3100:Ripheus
3090:Polites
3065:Ornytus
3050:Misenus
3040:Laocoön
3025:Helenus
2975:Clonius
2920:Aeneads
2915:Achates
2908:Trojans
2884:Mercury
2874:Jupiter
2837:Deities
2824:(19 BC)
2760:Related
2478:Related
2433:Bonduca
2269:Secular
2152:(1691)
2124:(1689)
1937:-->
1546:Sources
1517:Boyden
1067:in the
1001:Chandos
720:Mercury
641:Dido's
629:soprano
341:lamento
287:William
225:Before
221:, Italy
219:Pompeii
188:Mercury
178:Cavalli
116:with a
110:Baroque
3918:Operas
3878:Portal
3854:Aeneid
3838:Aeneid
3750:(1834)
3742:(1815)
3734:(1689)
3718:(1619)
3494:Didone
3467:Eneida
3451:Amelia
3397:(1991)
3386:Eneide
3381:(1962)
3342:Turnus
3332:Salius
3327:Rutuli
3317:Pallas
3282:Lausus
3267:Iarbas
3252:Erulus
3170:Others
3110:Theano
3005:Elymus
2985:Creusa
2960:Caieta
2935:Aletes
2930:Aeolus
2925:Aeneas
2889:Saturn
2859:Hecate
2844:Alecto
2821:Aeneid
2816:Virgil
2773:Amelia
2718:(1160)
2709:Poetry
2593:Didone
2585:Operas
2576:Aeneas
2556:Aeneid
2551:Virgil
2452:Family
2444:(1695)
2436:(1695)
2428:(1695)
2420:(1694)
2412:(1694)
2404:(1694)
2396:(1693)
2388:(1693)
2380:(1691)
2372:(1690)
2364:(1690)
2356:(1690)
2348:(1689)
2340:(1688)
2332:(1681)
2324:(1680)
2280:(1694)
2245:(1692)
2192:Sacred
2185:Choral
2177:(1695)
2169:(1692)
2144:(1690)
1770:
1737:964271
1735:
1702:
1659:
1628:
1610:
1571:
1554:et al.
1519:et al.
733:tenor
592:, and
538:, the
463:Dublin
429:masque
316:extant
300:Aeneid
269:masque
211:Aeneas
192:Didone
183:Didone
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