Dido & Aeneas / Dawson, Joshua, Finlay, Kiehr, Bickley, Visse, Blaze; Jacobs
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CD Details
Edition: Music CDFormat: Import
CD Release Date: 2001-02-13
Music Label: Harmonia Mundi Fr.
Soundtracks:
- Ov - OAE/Rene Jacobs
- Act I: Shake The Cloud - Rosemary Joshua
- Act I: Ah! Belinda, I Am Prest - Lynne Dawson
- Act I: Grief Increase By Concealing - Rosemary Joshua
- Act I: When Monarchs Unite - Clare College Chapel Chor/Timothy Brown
- Act I: Whence Could So Much Virtue Spring? - Lynne Dawson
- Act I: Fear No Danger To Ensue - Rosemary Joshua/Maria Cristina Kiehr
- Act I: See, Your Royal Guest Appears - Rosemary Joshua
- Act I: Cupid Only Throws The Dart - Clare College Chapel Chor/Timothy Brown
- Act I: If Not For Mine - Gerald Finley
- Act I: Pursue Thy Conquest - Rosemary Joshua
- Act I: To The Hills And The Vales - Clare College Chapel Chor/Timothy Brown
- Act I: The Triumphing Dance - OAE/Rene Jacobs
- Act II: Prld For The Witches - OAE/Rene Jacobs
- Act II: Harm's Our Delight - Clare College Chapel Chor/Timothy Brown
- Act II: The Queen Of Carthage - Susan Bickley
- Act II: Ho Ho Ho, Ho Ho Ho! - Clare College Chapel Chor/Timothy Brown
- Act II: But Ere We This Perform - Dominque Visse/Stephen Wallace
- Act II: In Our Deep Vaulted Cell - Clare College Chapel Chor/Timothy Brown
- Act II: Echo Dance Of Furies - OAE/Rene Jacobs
- Act II: Ritornelle - OAE/Rene Jacobs
- Act II: Thanks To These Lonesome Vales - Rosemary Joshua
- Act II: Oft She Visits This Lov'd Mountain - Maria Cristina Kiehr
- Act II: Behold, Upon My Bending Spear - Gerald Finley
- Act II: Haste, Haste To Town - Rosemary Joshua
- Act II: Stay, Prince And Hear Great Jove's Command - Robin Blaze
- Act II: Then Since Our Charmes Have Sped - Clare College Chapel Chor/Timothy Brown
- Act II: The Grove's Dance - OAE/Rene Jacobs
- Act III: Prld - OAE/Rene Jacobs
- Act III: Come Away Fellow Sailors - Clare College Chapel Chor/Timothy Brown
- Act III: See The Flags And Streamers Curling - Susan Bickley
- Act III: Our Next Motion - Susan Bickley
- Act III: Destruction's Our Delight - Clare College Chapel Chor/Timothy Brown
- Act III: The Witches' Dance - OAE/Rene Jacobs
- Act III: Your Counsel All Is Urged In Vain - Lynne Dawson
- Act III: Great Minds Against Themselves Conspire - Clare College Chapel Chor/Timothy Brown
- Act III: Thy Hand, Belinda - Lynne Dawson
- Act III: When I Am Laid In Earth - Lynne Dawson
- Act III: With Dropping Wings Ye Cupids Come - Clare College Chapel Chor/Timothy Brown
Music reviews of Dido & Aeneas / Dawson, Joshua, Finlay, Kiehr, Bickley, Visse, Blaze; Jacobs
Music Review: Not a phenomenom
Rating: 3 Stars
This should have been an intense recording, for Dido deserves that. I don`t know Haim recording, I do know Hogwood: very well done, but sometimes a bit "English" for instance in the overture he should have been more passionate and better articulate the fast passages. Not ideal but one of the best. A great production, Hogwood assembles the "who is who" in Early music in Britain, I think. And he got a strong band (very huge, comparing with parrott) with even "period" stage effects. And what a nice booklet !!!
What about Jacobs? Yes, colourfull with the fewer resources he has (half Hogwood's). He likes tempi extremes (not a bad thing). However, I find too strange the deliberate slow tempi of some witch choruses. On the contrary, I like "venom" Sorcerers (the soprano here is good, could have been better), not a match for David Thomas (Hogwood). The witches (2 countertenors) are the best in discography. Visse steals place. And so what? he adds poignancy to his role. I wish to see how the competence pales when listening to his part. Finlay is good, but not so "period". Belinda, as Dido, sounds very "operatic" and looks so similar to Dido ... Hogwood and Harnoncourt show more (necessary) contrast between these women. The rest are very good, in general. Chorus is very proffesional, also very good (but again, Hogwood's is better). Spirit is a match with Chance (Hogwood). And Jacobs: he discovers interesting options like repeating the slow section of the overture. He adds colour (dinamic contrasts) to some passages. But Hogwood, I think, in spite of the famous "phlematic English" mood, paces drama better. To sum up, Jacobs is not the best, he even would have been one of the second choices but he don`t even get that post for 3 reasons: 1- strange tempi in some sections. Add his choices about repeats, irregular. (The second act solution, interpolating some of Fairy queen, is not a problem. This does not make him succeed or fail his performance).
2- Nowadays we listen to guitarr dances (Hogwood, Parrott) because the libretto from 1689 tells that. So Why Jacobs omits them? Nowadays, seems unscholarly
3- most important criticism. Dido (Dawson - sorry, I never liked her) may sound a bit operatic to my taste. Not a problem if you want to give this opera a kind of vocal excitement. Indeed, her lament is very well done. Its tempo is slow, but very well sustained (better than Hogwood I think). A gem. But ... her singing does not differentiate from Belinda's. And her worst mistake ... ornamentation. Nowadays nobody should forget it, at least Jacobs (a front runner of HIP today). Look at Hogwood again and he does not loose any chance to show a great undestanding about ornamentation. Please look at dawson's "Ah Belinda" instead of reading those French magazine's reviews (and I include Gramophone) and try to find a SINGLE NOTE of ornaments: Purcell makes her repeat the first part of the aria, od course, to let the singer make ornaments. Here, absent. Sorry, I don`t forgive Jacobs. Is it clear that it is a "deadly sin" coming from him? A pity. As I said, he should have been better. Please, choose Hogwood.
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