Henry Purcell – Dido and Aeneas

★★★✰

   Henry Purcell was undoubtedly one of best composers in 17th century. As leading English born composer of his time, he was also the one of most popular British composers ever. Position he achieved he owned to his perfectly balanced techniques, stylistic connections with Italian and French Baroque music as well as his individual melodic talent. He left numerous works although he lived only 36 years (1659-1695). He was writing music as a boy, but his earliest known compositions he wrote as eleven years old. He wrote odes, anthems and incidental music. Great collection of religious music, some songs, stage music and instrumental pieces. His operas and masques were famous and gave him privileged position and good reputation. He wrote King Arthur (1691) with great success and  The Fairy-Queen (1692) which was an adaptation of Shakespearian A Midsummer Night's Dream. After composer death the score of this composition was lost for two centuries. In year of his death, he composed The Indian Queen. All these works were semi-operas. The one who made him famous was Dido and Aeneas.

   Chamber opera Dido and Aeneas was Purcell’s only all-sung opera. It was composed in 1680’s to libretto by Nahum Tate. The first known performance was in 1688 in Josias Priest’s girls’ school in London, which is the source of usual to this opera woman cast, so different from typical baroque casting rules. Also the plot of the libretto was not telling the strict story from Book IV of Virgil’s Aeneid. The love between Dido, the Queen of Carthage and Aeneas, the Trojan hero has here an allegoric shape alluded to current political situation in England. In Nahum Tate’s libretto significant role was given to Sorceress and witches, who were not present in Virgil’s story. Here they are allegory of Roman Catholicism and its machinations in England. Dido, who represents people of Britain, became the main character of the opera. Simple means and powerful emotional impact makes this tragic story universal story of love, treason and renunciation.

Henry Purcell – Dido and Aeneas (1968)

   In recording history of Dido and Aeneas there were lots of realizations, and frequently they were the subject of artistic variability. Esthetic ideas, changing over the decades, make collection of different renditions especially interesting. And what is characteristic, this opera in different perspectives is still convincing as a complete and universal work. It’s because Purcell’s style is clear and supports musical universality. Of course most appreciated performances are in accordance with actual trends. But sometimes it can be enriching to remind oneself older recordings and observe how time has changed our point of view. One of the best between historical performances of Purcell’s opera is Charles Mackerras 1967 recording for Archiv Produktion. Monteverdi-Chor Hamburg and NDR Chamber Orchestra are steady base for whole performance with Tatyana Troyanos, Barry McDaniel, Sheila Armstrong, Patricia Johnson, Margaret Baker, Margaret Lensky, Paul Esswood and Nigel Rogers.
   Charles Mackerras (1925-2010) was conductor widely recognized for his Purcell and Haendel interpretations. He conducted Dido and Aeneas with Janet Baker during 1966 Glyndebourne Festival and next year between September 30 and October 4, he recorded this great rendition in Hamburg Eberthalle. Starring in this cast Tatyana Troyanos gave one of most powerful, deeply dramatic performance of Dido. Interesting fact is Paul Esswood performance as Spirit. Famous countertenor was present here four years before his formal debut in Messiah for the BBC in 1971. Also Sheila Armstrong and Barry McDaniel have been recorded in great shape. On the cover of Archiv re-edition Dido and Aeneas painted by Guido Reni ca. 1630. This is nice album and very good rendition, traditional and well balanced, with sustainable choirs and great solo vocal performances. One of these you at least once ought to hear. Three and a half star with no hesitation. 

Vivaldi & Purcell – Kramer vs. Kramer Soundtrack

   Since very beginning of the cinema, music has very special place in the movies – first as life performances in silent film era, than as fixed track leading emotions and helping to understand narration. There were many different strategies and plenty of methods to build sound layer of cinematic work. And exactly as on other fields, fashion is changing but best ideas return periodically. One of oldest and most common ideas is to use a selection of most popular music. It is not difficult to make it with a success. Existed and known music has its common context and is easier to understand. This is main aim of giving such illustration in movies. Sometimes music builds more complicated relations with movie narration. In this case soundtrack works as a contrapunctus in obvious opposition to the main story.

   The story of Kramer family is the story about dissolution of marriage. This would be story like many others, but whole case is complicated by Billy, son of the couple. They fight on custody giving clear evidence love can be fast way to disaster. Director of the movie, Robert Benton recalled during shooting in New York the crew was listening baroque music played this moment at the park. This atmosphere was something that perfect fitted to the mood of the movie. Baroque music by Purcell and Vivaldi lent this drama lot of “cool air”, making it more clear and obvious.

Kramer vs. Kramer Soundtrack (1980)

   Baroque Suite from Kramer vs. Kramer is opening by Allegro from Antonio Vivaldi’s Concerto in C Major for Mandolin, Strings and Harpsichord abridged and transcribed for Mandolin and Guitar and played by Scot Kunney and Frederic Hand, who was also the author of arrangement. Featured artist of this selection is Raymond Leppard leading The English Chamber Orchestra. This is main interpreter of this performances and basic band sounded in this selection. Many fragments were taken from works by Henry Purcell, sonatas and Suite The Gordian Knot United. Featured soloist is John Wilbraham in Purcel’s Sonata D Major for Trumpet, Strings and Continuo. Smooth and warm sound of his trumpet is perfect for baroque music.

   Second orchestra is The New York Sinfonietta conducted by Max Goberman. This band is presented in two complete works by Antonio Vivaldi: Concerto in C Major for Mandolin and Harpsichord and Concerto in G Major for Two Mandolins, Strings and Organ. It is worth to remember the performances of three soloists – Sol Goichberg and Mary Zelnicki on mandolins with Eugenia Earle on harpsichord and organ. Orchestra plays with discipline and great sense of Vivaldi, with transparent but still massive sound. All music comprised by the movie soundtrack and album released by CBS Masterworks label can be seen as an illustration of human yearning for happiness, balance and sense of security – all this made by expressive, touching music in best performances. Isn't this what we really need?