New Trinity Baroque, Predrag Gosta, Evelyn Tubb, Thomas Meglioranza & Julia Matthews | Purcell: Dido and Aeneas (Anniversary Edition)

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Purcell: Dido and Aeneas (Anniversary Edition)

by New Trinity Baroque, Predrag Gosta, Evelyn Tubb, Thomas Meglioranza & Julia Matthews

Henry Purcell's most dramatic opera, presented by some of the leading early music specialists Evelyn Tubb, Thomas Meglioranza and Julia Matthews, with the period-instrument orchestra New Trinity Baroque, directed by Predrag Gosta.
Genre: Classical: Opera
Release Date: 

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  Song Share Time Download
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1. Dido and Aeneas, Z. 626: Overture
New Trinity Baroque & Predrag Gosta
2:03 $0.99
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2. Dido and Aeneas, Z. 626, Act I, Scene the Palace: Shake the Cloud from off Your Brow [Belinda, Chorus]
New Trinity Baroque, Predrag Gosta & Julia Matthews
1:08 $0.99
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3. Dido and Aeneas, Z. 626, Act I, Scene the Palace: Ah! Belinda [Dido]
New Trinity Baroque, Predrag Gosta & Evelyn Tubb
3:08 $0.99
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4. Dido and Aeneas, Z. 626, Act I, Scene the Palace: Grief Increases by Concealing [Belinda, Dido, Second Woman]
New Trinity Baroque, Predrag Gosta, Evelyn Tubb, Julia Matthews & Elizabeth Packard Arnold
0:36 $0.99
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5. Dido and Aeneas, Z. 626, Act I, Scene the Palace: When Monarchs Unite [Chorus]
New Trinity Baroque & Predrag Gosta
0:15 $0.99
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6. Dido and Aeneas, Z. 626, Act I, Scene the Palace: Whence Could so Much Virtue Spring? [Dido, Belinda, Second Woman]
New Trinity Baroque, Predrag Gosta, Evelyn Tubb, Julia Matthews & Elizabeth Packard Arnold
1:47 $0.99
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7. Dido and Aeneas, Z. 626, Act I, Scene the Palace: Fear No Danger to Ensue [Belinda, Second Woman, Chorus]
New Trinity Baroque, Predrag Gosta, Julia Matthews & Elizabeth Packard Arnold
1:41 $0.99
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8. Dido and Aeneas, Z. 626, Act I, Scene the Palace: See, Your Royal Guest Appears [Belinda, Aeneas, Dido]
New Trinity Baroque, Predrag Gosta, Evelyn Tubb, Thomas Meglioranza & Julia Matthews
0:49 $0.99
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9. Dido and Aeneas, Z. 626, Act I, Scene the Palace: Cupid Only Throws the Dart [Chorus]
New Trinity Baroque & Predrag Gosta
0:42 $0.99
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10. Dido and Aeneas, Z. 626, Act I, Scene the Palace: If Not for Mine, For Empire's Sake [Aeneas]
New Trinity Baroque, Predrag Gosta & Thomas Meglioranza
0:24 $0.99
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11. Dido and Aeneas, Z. 626, Act I, Scene the Palace: Pursue Thy Conquest, Love [Belinda]
New Trinity Baroque, Predrag Gosta & Julia Matthews
0:48 $0.99
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12. Dido and Aeneas, Z. 626, Act I, Scene the Palace: Guitar's Chacony / To the Hills and the Vales [Chorus]
New Trinity Baroque, Predrag Gosta & Michael Fields
1:33 $0.99
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13. Dido and Aeneas, Z. 626, Act I, Scene the Palace: The Triumphing Dance
New Trinity Baroque & Predrag Gosta
1:06 $0.99
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14. Dido and Aeneas, Z. 626, Act II, Scene the Cave: Prelude / Wayward Sisters [Sorceress, First Witch]
New Trinity Baroque, Predrag Gosta, Evelyn Tubb & Allison A. Brown
2:27 $0.99
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15. Dido and Aeneas, Z. 626, Act II, Scene the Cave: Harm's Our Delight [Chorus]
New Trinity Baroque & Predrag Gosta
0:16 $0.99
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16. Dido and Aeneas, Z. 626, Act II, Scene the Cave: The Queen of Carthage, Whom We Hate [Sorceress]
New Trinity Baroque, Predrag Gosta & Evelyn Tubb
0:38 $0.99
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17. Dido and Aeneas, Z. 626, Act II, Scene the Cave: Ho Ho Ho, Ho Ho Ho! [Chorus]
New Trinity Baroque & Predrag Gosta
0:12 $0.99
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18. Dido and Aeneas, Z. 626, Act II, Scene the Cave: Ruin'd Ere the Set of Sun? [Witches, Sorceress]
New Trinity Baroque, Predrag Gosta, Evelyn Tubb, Allison A. Brown & Terry Barber
1:12 $0.99
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19. Dido and Aeneas, Z. 626, Act II, Scene the Cave: Ho Ho Ho, Ho Ho Ho ! [Chorus]
New Trinity Baroque & Predrag Gosta
0:12 $0.99
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20. Dido and Aeneas, Z. 626, Act II, Scene the Cave: But Ere We This Perform [Witches]
New Trinity Baroque, Predrag Gosta, Allison A. Brown & Terry Barber
1:12 $0.99
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21. Dido and Aeneas, Z. 626, Act II, Scene the Cave: In Our Deep Vaulted Cell [Chorus]
New Trinity Baroque & Predrag Gosta
1:28 $0.99
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22. Dido and Aeneas, Z. 626, Act II, Scene the Cave: Echo Dance of Furies
New Trinity Baroque & Predrag Gosta
1:05 $0.99
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23. Dido and Aeneas, Z. 626, Act II, Scene the Grove: Ritornelle
New Trinity Baroque & Predrag Gosta
0:46 $0.99
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24. Dido and Aeneas, Z. 626, Act II, Scene the Grove: Thanks to These Lovesome Vales [Belinda, Chorus]
New Trinity Baroque, Predrag Gosta & Julia Matthews
2:38 $0.99
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25. Dido and Aeneas, Z. 626, Act II, Scene the Grove: Oft She Visits This Lone Mountain [Second Woman]
New Trinity Baroque, Predrag Gosta & Elizabeth Packard Arnold
2:21 $0.99
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26. Dido and Aeneas, Z. 626, Act II, Scene the Grove: Behold, Upon My Bending Spear [Aeneas, Dido]
New Trinity Baroque, Predrag Gosta, Evelyn Tubb & Thomas Meglioranza
0:31 $0.99
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27. Dido and Aeneas, Z. 626, Act II, Scene the Grove: Haste, Haste to Town [Belinda, Chorus]
New Trinity Baroque, Predrag Gosta & Julia Matthews
0:47 $0.99
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28. Dido and Aeneas, Z. 626, Act II, Scene the Grove: Stay, Prince [Spirit, Aeneas]
New Trinity Baroque, Predrag Gosta, Thomas Meglioranza & Brad Fugate
2:27 $0.99
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29. Dido and Aeneas, Z. 626, Act III, Scene the Ships: Prelude / Come Away, Fellow Sailors [First Sailor, Chorus]
New Trinity Baroque, Predrag Gosta & Kevin Sutton
1:37 $0.99
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30. Dido and Aeneas, Z. 626, Act III, Scene the Ships: The Sailors' Dance
New Trinity Baroque & Predrag Gosta
0:48 $0.99
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31. Dido and Aeneas, Z. 626, Act III, Scene the Ships: See the Flags and Streamers Curling [Sorceress, Witches]
New Trinity Baroque, Predrag Gosta, Evelyn Tubb, Allison A. Brown & Terry Barber
1:00 $0.99
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32. Dido and Aeneas, Z. 626, Act III, Scene the Ships: Our Next Motion [Sorceress, Witches]
New Trinity Baroque, Predrag Gosta, Evelyn Tubb, Allison A. Brown & Terry Barber
0:36 $0.99
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33. Dido and Aeneas, Z. 626, Act III, Scene the Ships: Destruction's Our Delight [Chorus]
New Trinity Baroque & Predrag Gosta
0:38 $0.99
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34. Dido and Aeneas, Z. 626, Act III, Scene the Ships: The Witches' Dance
New Trinity Baroque & Predrag Gosta
1:10 $0.99
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35. Dido and Aeneas, Z. 626, Act III, Scene the Palace: Your Counsel All Is Urged in Vain [Dido, Belinda, Aeneas]
New Trinity Baroque, Predrag Gosta, Evelyn Tubb, Thomas Meglioranza & Julia Matthews
3:43 $0.99
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36. Dido and Aeneas, Z. 626, Act III, Scene the Palace: Great Minds Agains Themselves Conspire [Chorus]
New Trinity Baroque & Predrag Gosta
0:52 $0.99
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37. Dido and Aeneas, Z. 626, Act III, Scene the Palace: Thy Hand, Belinda [Dido]
New Trinity Baroque, Predrag Gosta & Evelyn Tubb
0:41 $0.99
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38. Dido and Aeneas, Z. 626, Act III, Scene the Palace: When I Am Laid in Earth [Dido]
New Trinity Baroque, Predrag Gosta & Evelyn Tubb
3:21 $0.99
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39. Dido and Aeneas, Z. 626, Act III, Scene the Palace: With Drooping Wings [Chorus]
New Trinity Baroque & Predrag Gosta
4:46 $0.99
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40. Chacony in G Minor, Z. 730 (Live)
New Trinity Baroque & Predrag Gosta
4:26 $0.99
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41. The Plaint: O Let Me Weep, Z. 629 (Live)
New Trinity Baroque, Predrag Gosta, Evelyn Tubb, Carrie Krause, Andre Laurent O'Neil & Michael Fields
6:45 $0.99
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42. Ritornello: Here the Deities Approve, Z. 339 (Live)
New Trinity Baroque & Predrag Gosta
2:19 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
REVIEWS:

"[Tubb's] runs are fluent... and her decorations apt and neatly done. Julia Matthews’s flute-like Belinda has an apt sense of style and provides a busy, bright-eyed characterization. ...Impeccable work from the 13-piece band (including five continuo players). Predrag Gosta shows good musical instincts, and, unlike some period performers, you feel he’s willing to depart from the strict letter of the score if they lead him that way." -- Opera (London)

"Thomas Meglioranza gives a thoughtful and sympathetic performance that sends a breath of fresh air blowing gently through the opera. His soft-grained voice and confiding manner suggest from the start a soft-hearted hero who really could win the heart of a young widowed queen." -- Early Music (OUP)

"Backed by a fine cast, ... Tubb sings splendid Dido, but it is as the Sorceress that she truly makes this recording stand out from other versions. This strategy adds new verve and richness to a work that often seems only a vehicle for sopranos to record 'Dido's Lament'." -- Early Music America

VOCAL SOLOISTS:

Evelyn Tubb, soprano (Dido, Sorceress)
Thomas Meglioranza, baritone (Aeneas)
Julia Matthews, soprano (Belinda)
Allison A. Brown, soprano (First Witch)
Terry Barber, countertenor (Second Witch)
Kevin Sutton, tenor (First Sailor)

ABOUT THE OPERA:

Dido & Aeneas, an opera in three acts
by Henry Purcell (1659-1695)

Story telling, singing, myth and ritual are some of the many children born from the union of a deep human desire for self-expression and the need to “make sense” of the world and our place in it. The explorations of modern psychology and the study of mythology have given many people a deeper appreciation of the place that art and imagination have in the subtle inner workings of their psyches. As mythologist Joseph Campbell said: “Myth is a story which is fantasy on the outside, but true on the inside.”

Some of the “truths” these studies reveal may be eternal and universal, while others are colored by the prevailing world-view of their times. In post-Renaissance Europe, classical stories were used by artists in ways that became more conscious expressions of the dynamics of our inner world. A gentlemen about town in Restoration London would not have literally believed that gods and goddesses on Mount Olympus schemed and fought over the destinies of mortal men and women, but he would have found the stories of their antics useful metaphors for human character and its foibles: sometimes comic, sometimes tragic.

Composers and playwrights of the time explored the subtleties, contradictions and layers of meaning inherent in character and the emotions through tales of the dramatic machinations of the gods and of fate. This was an age where conspiracy and deception were rife in both the political sphere and in many private lives. Theatre-goers would have seen themselves and their intrigues reflected in stories of the relations between gods and mortals, and the seemingly arbitrary or whimsical actions of fate and fortune.

A singing actress in Purcell's day had to be adept at wringing all the emotional depth out of a tragic piece - especially in the lament, a genre which had ruled the vocal repertoire as the supreme test of a singer's art since the work of Monteverdi. A popular development of the lament in Restoration England was the mad song, which allowed the singer (usually a woman) to throw of all the trappings of repressive social conditioning and give public display of such extreme emotions as “griefs, woes and groanings”1 through heartfelt wailings which tested her musical, emotional and dramatic virtuosity. Dido’s Lament brings together aspects of both traditions in a climactic point for baroque music, which has come to be loved as one of the great moments in opera - one that usually leaves an audience moved to tears, as many can identify with her sense of hopelessness and fatal betrayal.

Today, we see situations such as Dido’s not as factual tales of the plotting of gods and sorcerers, but as mirrors of the dynamics of our spiritual struggles with our own internal demons and demigods. We are not single, simple personalities, but an aggregate of complexes, neuroses, habits and conditionings that leave even the retribution. This is provided through the stratagems of the Sorceress, who brings about Dido's undoing by placing her in a position where her shame and guilt - as much as her broken heart - dictate that she must perish. Thus, we see in the counterbalancing of Dido and the Sorceress what Freud or Jung might explain as a dramatization of two warring parts of a divided personality - one wanting to enjoy life, the other trying to prevent it through fear, guilt and sabotage.

Though Purcell and Tate did not see their characters through the lens of modern depth psychology, they - and their audiences - were certainly aware of this timeless inner drama and the emotional tensions in it. Historians are still debating whether Dido & Aeneas was composed for a Chelsea girls’ finishing school in 1689 or for the court of King Charles II in 1685, but either audience would have been able to appreciate its layers of meaning and message. Both were certainly a clientele thoroughly trained in the classics, and the arts of rhetoric, music and gesture - refinements denied to most modern audiences.

Dido is an example of the extreme social conditioning of her rank. She cannot act freely with spontaneity, but is confined by her position, tormented by doubts and hesitant to accept love. When she does give in to her natural desires, she becomes fearfully expectant of divine wrath and sanest of us feeling we are host to a gaggle of warring characters. The Sorceress in Dido & Aeneas is a classic example of the actions of one facet of these inner sub-personalities we play host to: the Saboteur.

It was the yearning to explore these multiple layers of meaning in performance that led us (Evelyn Tubb, Michael Fields and Predrag Gosta) to produce this present recording. The seed for this collaboration was sown in a 1996 production at the Belgrade International Early Music Festival. The three of us had been involved in productions of Dido & Aeneas for many years - individually, as well as together - and had been refining our interpretations along the way. In this recording we felt it was time to go further and experiment with both Dido and the Sorceress being portrayed by the same singer - each role characterized to its emotional extreme.

While there are many fine recordings of Dido in the catalogue, none has incorporated both the view of the Sorceress as Dido's “Shadow” and offered a historically informed interpretation of a Restoration Witch. By 1685, witches were regarded as caricatures of malevolence - quite different to Macbeth's witches. After years of performing laments and mad songs, we are convinced of the need for the singer to characterize through the voice all the emotions this repertoire depicts, even when some of these are not very “nice” and call for a complimentary distortion of tone - something that most classical singers would reject as unbecoming. Evelyn has no such inhibitions; she is an artist always ready to go to the edge in the search for dramatic and emotional truth, and puts this into practice for both Dido and her shadowy partner in fate.

In early music, none of us can claim to have all the answers or reach a definitive interpretation, and that is not what we are trying to achieve through this recording. Instead, we hope to get the listener thinking, encourage further exploration and - above all - entertain, edify, and give spiritual uplift: perhaps the most authentic aspect of anyone’s art.

Michael Fields & Predrag Gosta

(Note: 1 - from “Woods, Rocks and Mountains”, by Robert Johnson (c.1620) - an early example of an English mad song)

ABOUT THE ENSEMBLE:

New Trinity Baroque is recognized as one of the world's leading baroque orchestras and early music ensembles. Founded in London in 1998, the group was initially established as an ensemble of international musicians, and since then it continues to maintain this presence through working closely with various international artists. The group is led by Predrag Gosta - its founder, artistic director, and harpsichordist. The members of the ensemble perform on period instruments, specializing in music of the 17th and 18th centuries. The group's performances range from chamber to orchestral, from cantatas to operas, and its styles from Renaissance to Classical. Its concerts were presented in many cities throughout the USA and Europe, including New York, Boston, London, and Belgrade.

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