Purcell - Dido & Aeneas Z.626 2017

Purcell: Dido & Aeneas, Z.626 / Пёрселл - Дидона и Эней

Жанр: Classical opera
Страна-производитель диска: Made in Austria
Год издания диска: первопресс ALPHA 140 - 2008 ; переиздание - 2017
Номер по каталогу: ALPHA 376
Дата записи: 2007
Аудиокодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 01:03:22
Источник: релизер
-источник/ник/другое: JePi-R, подарок; Caterina Sforza - тяжелейшая работа с cue (более трёх часов), доп. сканы
: авторские сканы jpeg + web pdf буклет + полный авторский буклет pdf (первопресс), 39 страниц
Треклист:

1. Ouverture 2:08
Act I

2. Shake the Cloud 1:08

3. Ah ! Belinda 4:48

4. Grief Increases 0:38

5. Act I (Chorus): When Monarch Unites 0:13

6. Whence Could so Much Virtue 2:08

7. Act I (Chorus): Fear No Danger 2:20

8. See, See 0:54

9. Act I (Chorus): Cupid Only Throws 0:35

10. If Not for Mine 0:24

11. Pursue Thy Conquest 0:45

12. Act I (Chorus): To the Hills 2:32
Act II

13. Prelude for the Witches 2:31

14. Act II (Chorus): Harm's Our Delight 0:15

15. The Queen of Carthage 0:30

16. Ho, ho, ho 0:10

17. Ruin'd Ere the Set of Sun 0:56

18. Ho, ho, ho 0:10

19. But Ere We This Perform 1:06

20. Act II (Chorus): In Our Deep Vaulted Cell 2:03

21. Echo Dance of Furies 0:57

22. Ritornelle 0:38

23. Thanks to These Lonsesome Vales 2:55

24. Guitar Chacone 2:32

25. Oft She Visits 1:54

26. Behold, Upon My Bending Spear 0:37

27. Haste, Haste to Town 0:45

28. Stay Prince 2:44
Act III

29. Prelude 1:15

30. The Sailor's Dance 0:51

31. See, See the Flags 0:59

32. Our Next Motion 0:39

33. Act III (Chorus): Detruction's Our Delight 0:29

34. The Witches' Dance 2:09

35. Your Counsel 6:07

36. Act III (Chorus): Great Minds 1:02

37. Thy hand, Belinda 1:03

38. Dido's Lament 4:02

39. Act III (Chorus): With Drooping Wings 5:32

Исполнители

Henry Purcell (1659-1695'
DIDO & AENEAS
Opera in three actes, Z.626. Text by Nahum Tate. First performance: July 1688, London
Simone Kermes (Dido, Queen of Carthage -soprano-)
Deborah York (Belinda, a lady in Waiting, sister of Dido -soprano-)
Dimitris Tiliakos (Aeneas, a Trojan prince -baritone-)
Margarita Mezentseva (First Woman -soprano-)
Sofia Fomina (Second Woman -soprano-)
Oleg Ryabets (Sorceress -counter-tenor-)
Yana Mamonova (First Witch -soprano-)
Elena Kondratova (Second Witch -soprano-)
Valiera Safonova (Spirit -soprano-)
Alexandre Zverev (Sailor -tenor-)
[u]“New Siberian Singers”, The Chamber Choir of the Novosibirsk State Academic Opera and Ballet Theatre[/u]
Vyacheslav Podyelsky (conductor)
[u]“MusicAeterna” Chamber Orchestra of the Novosibirsk Opera[/u]
Teodor Currentzis (conductor)
Release Date: 18th Aug 2017

Review

AllMusic Review by Stephen Eddins [-]
It's difficult to know where to begin enumerating the qualities that make this astonishing performance of Dido and Aeneas unique. The most obvious is geographical: the recording was made at the Opera Theatre of Novosibirsk, Siberia. The chorus is the New Siberian Singers and the early music ensemble Musica Aeterna, is based in Novosibirsk, and most of the secondary parts are taken by Russian singers. Otherwise, the cast is international; Simone Kermes (Dido) is German, Deborah York (Belinda) is British, and Dimitris Tiliakos (Aeneas) and conductor Teodor Currentzis are Greek, although Currentzis has been based in Russia since 1994 and has been at the Novosibirsk Opera since 2004. The performance itself challenges much of the conventional wisdom about the opera; it is so daringly idiosyncratic that if it didn't work brilliantly, it might be dismissed as an eccentric exercise in interpretive hubris. To begin with, the performance practice sounds more Continental than English in its execution of dotted rhythms, instrumentation, style of ornamentation, and extreme tempo choices. Currentzis treats the score with a latitude not usually brought to Purcell, as a framework open to, and even requiring, extensive elaboration from the performers. For instance, he supplements Purcell's string and continuo orchestra with theorbo, guitar, lute, viola da gamba, and percussion; he repeats some movements and even adds instrumental interludes based on the existing vocal material. Currentzis' tempos tend to be extreme -- the fast are very fast and the slow are very slow -- but his choices never seem capricious or arbitrary; they make musical and dramatic sense, and heighten the emotional impact of the opera in a way that sounds natural and spontaneous. His use of dynamics is likewise out of the ordinary. Dido's monologue at the opening of the opera and her lament at the end are sung in a grief-stricken pianissimo. It's a marvel that Kermes can sing with such purity, control, intensity, and expressiveness at a level that rarely rises above a whisper. Even her final 'Remember me,' which most sopranos take as an opportunity to cut loose, is rendered as the hushed last request of a woman who is close to death. Kermes brings a striking power to the moments that call for it, however, as in her contemptuous dismissal of Aeneas. As Belinda, York sings with a clear, bright tone and infectious energy. Aeneas is not a role that offers much of an opportunity to shine, but Tiliakos makes the most of it. The New Siberian Singers and Musica Aeterna, both of which Currentzis founded, respond to his demands with performances of stunning virtuosity and intensity. This outside-the-box performance should be of interest to any fan of Dido and Aeneas, and might make converts of listeners who think of Baroque opera as quaint and stuffy.

Review

SEE, HEAR & LEARN MORE! Notes & Editorial Reviews Works on This Recording Customer Reviews
Notes and Editorial Reviews
PURCELL Dido and Aeneas * Teodor Currentzis, cond; Simone Kermes ( Dido ); Dimitris Tiliakos ( Aeneas ); Deborah York ( Belinda ); Oleg Ryabets ( Sorceress ); Valiera Safonova ( Spirit ); Margarita Mezentseva ( First Woman ); Sofia Fomina ( Read more ); Alexandre Zverev ( Sailor ); New Siberian C Ch; Musica Aeterna (period instruments) * ALPHA 140 (63:43 Text and Translation)
Turning to the post-Soviets for Baroque music is apt to produce interesting results, both because there’s a lack of an extensive internal performance tradition, and because the evolution of debate over early-music practice has found more participants elsewhere. This isn’t an a priori criticism of anything the Russians produce. After all, there’s still quite a lot of argument among early-music advocates about what constitutes authenticity over a range of content: linguistic pronunciation, instrumental tone, figurative improvisation, musica ficta , etc. Baroque enthusiasts in the former Soviet Union are simply apt to be a little farther out there than their foreign colleagues are.
So it proves, here. The act II “Prelude of the Witches,” for instance, begins with 20 seconds of thunder provided by a kettledrum, briefly supplemented by a distant bell, before the actual music proper commences. The laughing choruses that conclude both “The Queen of Carthage” and “Ruin’d ere the set of sun?” are subjected to extreme accelerandos. The kettledrum returns as a crushingly heavy beat to punctuate “But ere we this perform,” while “Destruction’s our delight” is taken at an unusually fast clip. Changes to traditional tempos, orchestration, and dynamics, in other words, are common if not routine, and often appear to reflect a sensibility aimed at visualizing the music, rather than simply playing it. Teodor Currentzis and Music Aeterna manage all this with technical aplomb, incisive rhythms, and an appropriately lean sound.
The greatest difference, however, lies in the presentation of Dido. She is given notably slower tempos in “Ah! Belinda, I am prest with torment” than I’ve heard elsewhere: around 64 beats per minute, while in another recent recording that hews closer to a current standard-Devine/Kenny/Connolly/Age of Enlightenment, on Chandos 757-a flexible 80 beats per minute are applied. Kermes uses the extra temporal space to shape the musical line in a way that will strike some as a case of extreme indulgence and others as an instance of self-absorption wholly suitable to Dido. The aria