Artist:
Joyce DiDonato
Fatma Said
Michael Spyres
Maxim Emelyanychev
Il Pomo d'Oro
Genre:
Classical
Total Time:
52:23
Record Label:
Erato
Purchase Album:
CD,
Apple Music
Release Date
August 22, 2025
Find out more about this album release after the jump.
Joyce DiDonato
Fatma Said
Michael Spyres
Maxim Emelyanychev
Il Pomo d'Oro
Genre:
Classical
Total Time:
52:23
Record Label:
Erato
Purchase Album:
CD,
Apple Music
Release Date
August 22, 2025
Find out more about this album release after the jump.
Product Description: Dido and Aeneas has been described, with good cause, as “the only flawless operatic tragedy ever written”. Maxim Emelyanychev’s interpretation references the spectacular style of theatrical entertainment favored in Henry Purcell’s London to compelling effect. His dramatic vision of the work, foreshadowed in the Overture by a bass line underpinned by two thunderous violones, intensifies the work’s all-too-human drama. While he ratchets up the despair that begins with Dido’s premonition that her love for Aeneas is doomed, and ends in her rejection and death from a broken heart, he also revels in the boisterous rhythms of the show’s dance numbers, its many fleeting changes of mood, and moments of delicious entertainment.
Joyce DiDonato, who sings the role of Dido, agrees. “I loved doing this with Maxim because he’s my kind of collaborator,” the US mezzo-soprano tells Apple Music Classical. “He brings so much integrity to the standard of historical performance practice, yet he lives so freely in the moment. And he’s not trying to reproduce the ‘correct’ version. He brings Dido into the 21st century, blood and guts and alive and improvised and spontaneous. And I felt that all the time on stage with him. He makes it comes alive for audiences today.
But this Dido and Aeneas comes to full-blooded life thanks in equal part to DiDonato’s majestic performance as the Queen of Carthage, by turns tormented, lovestruck, imperious, raging, resigned to fate, abandoned, crushed. She owns the vocal armory and profound psychological insights needed to express the heart-melting confession, “Peace and I are strangers grown,” done with a whisper in her first aria, to explode with blistering scorn when breaking with Aeneas, and unfold an unforgettable lament in “When I am laid in earth.” DiDonato’s Dido is every inch the monarch, superior in rank to the Trojan prince who sails into her realm yet rendered utterly powerless by her overwhelming love for him.
“Purcell presents Dido above all as a woman,” says DiDonato. “We see the woman first—someone who has to assume and perform the duties of a queen. And so her emotional landscape is under the restraints of royalty. But he introduces us to her as a woman, and I think that’s so important. When we get to the end of the opera, and she sings, ‘Remember me,’ we see her as a friend, as a woman, as a lover, as a human being, not as a queen. She's not asking to be remembered in a legacy kind of way. It’s ‘remember me,’ not ‘remember my title.’ For me, that has always been key for this character.”
Performing and recording the role of Didon in Berlioz’s epic five-act opera Les Troyens provided DiDonato with invaluable insights into Dido’s character that she carried into her interpretation of Purcell’s more concise telling of the queen’s story. “Coming to Purcell’s score for the first time, I already knew her, I knew all of the flesh and the muscles and the ligatures around her. I loved the economy of Purcell’s composition, I loved the specificity of it. But I think I was more successful this first time out in the role because I had the entirety of Berlioz in mind. I think the genius of Dido and Aeneas is that it’s funny, it’s engaging, it’s a little bit camp, it has everything. When Purcell clears the way for Dido’s first statement, you immediately know who she is and have the sense of where this tale is going. There’s that brief moment of light with her and Aeneas, and then everything just crashes. The economy of how you have to navigate the music is so pure, and it works so strongly because of everything that he surrounds her part with.”
The luxury casting of Michael Spyres as Aeneas, the warrior destined by the gods to found Rome, adds credence to the queen’s infatuation; likewise, Fatma Said brings a rare expressive depth to the part of Belinda, Dido’s consoling confidante. Beth Taylor’s searing Sorceress and Hugh Cutting’s Spirit enliven the opera’s supernatural business, while Laurence Kilsby launches the sailors’ chorus with a contrasting dose of high-camp humor. The period instruments and choristers of Il Pomo d’Oro, marshaled with consummate flair by Emelyanychev, combine to bring a dazzling array of colors and characters to a tale that takes less than an hour to tell.
Joyce DiDonato, who sings the role of Dido, agrees. “I loved doing this with Maxim because he’s my kind of collaborator,” the US mezzo-soprano tells Apple Music Classical. “He brings so much integrity to the standard of historical performance practice, yet he lives so freely in the moment. And he’s not trying to reproduce the ‘correct’ version. He brings Dido into the 21st century, blood and guts and alive and improvised and spontaneous. And I felt that all the time on stage with him. He makes it comes alive for audiences today.
But this Dido and Aeneas comes to full-blooded life thanks in equal part to DiDonato’s majestic performance as the Queen of Carthage, by turns tormented, lovestruck, imperious, raging, resigned to fate, abandoned, crushed. She owns the vocal armory and profound psychological insights needed to express the heart-melting confession, “Peace and I are strangers grown,” done with a whisper in her first aria, to explode with blistering scorn when breaking with Aeneas, and unfold an unforgettable lament in “When I am laid in earth.” DiDonato’s Dido is every inch the monarch, superior in rank to the Trojan prince who sails into her realm yet rendered utterly powerless by her overwhelming love for him.
“Purcell presents Dido above all as a woman,” says DiDonato. “We see the woman first—someone who has to assume and perform the duties of a queen. And so her emotional landscape is under the restraints of royalty. But he introduces us to her as a woman, and I think that’s so important. When we get to the end of the opera, and she sings, ‘Remember me,’ we see her as a friend, as a woman, as a lover, as a human being, not as a queen. She's not asking to be remembered in a legacy kind of way. It’s ‘remember me,’ not ‘remember my title.’ For me, that has always been key for this character.”
Performing and recording the role of Didon in Berlioz’s epic five-act opera Les Troyens provided DiDonato with invaluable insights into Dido’s character that she carried into her interpretation of Purcell’s more concise telling of the queen’s story. “Coming to Purcell’s score for the first time, I already knew her, I knew all of the flesh and the muscles and the ligatures around her. I loved the economy of Purcell’s composition, I loved the specificity of it. But I think I was more successful this first time out in the role because I had the entirety of Berlioz in mind. I think the genius of Dido and Aeneas is that it’s funny, it’s engaging, it’s a little bit camp, it has everything. When Purcell clears the way for Dido’s first statement, you immediately know who she is and have the sense of where this tale is going. There’s that brief moment of light with her and Aeneas, and then everything just crashes. The economy of how you have to navigate the music is so pure, and it works so strongly because of everything that he surrounds her part with.”
The luxury casting of Michael Spyres as Aeneas, the warrior destined by the gods to found Rome, adds credence to the queen’s infatuation; likewise, Fatma Said brings a rare expressive depth to the part of Belinda, Dido’s consoling confidante. Beth Taylor’s searing Sorceress and Hugh Cutting’s Spirit enliven the opera’s supernatural business, while Laurence Kilsby launches the sailors’ chorus with a contrasting dose of high-camp humor. The period instruments and choristers of Il Pomo d’Oro, marshaled with consummate flair by Emelyanychev, combine to bring a dazzling array of colors and characters to a tale that takes less than an hour to tell.
TRACK LIST:
1 .
Overture
Henry Purcell
Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro
(01:45)
2 . Act 1. Scena: Shake the cloud from off your brow Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:34)
3 . Act 1. Chorus; Banish sorrow, banish care Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:30)
4 . Act 1. Song: Ah! Belinda I am press'd with torment Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (04:00)
5 . Act 1. Recitative: Grief increases by concealing Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:32)
6 . Act 1. Chorus: When monarchs unite, how happy their state Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:13)
7 . Act 1. Recitative: Whence could so much virtue spring? Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:43)
8 . Act 1. Duet & Chorus: Fear no danger to ensue Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:28)
9 . Act 1. Recitative: See, your Royal Guest appears Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:50)
10 . Act 1. Chorus: Cupid only throws the dart Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:33)
11 . Act 1. Recitative: If not for mine, for Empire's sake - Air: Pursue thy conquest, Love Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:13)
12 . Act 1. Chorus: To the hills and the vales Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:23)
13 . Act 1. The Triumphing Dance Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:09)
14 . Act 2. Scene One. Prelude for the Witches - Recitative: Wayward sisters - Chorus: Harm's our delight Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (02:28)
15 . Act 2. Scene One. Recitative: The Queen of Carthage - Chorus: Ha! ha! ha! Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:39)
16 . Act 2. Scene One. Recitative: Ruin'd ere the set of sun? - Chorus; Ha! ha! ha! Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:08)
17 . Act 2. Scene One. Duet: But, ere we this perform Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:08)
18 . Act 2. Scene One. Chorus: In our deep vaulted cell Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:18)
19 . Act 2. Scene One. Echo Dance of Furies Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:07)
20 . Act 2. Scene Two. Ritornelle Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:33)
21 . Act 2. Scene Two. Song & Chorus: Thanks to these lonesome vales Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (02:47)
22 . Act 2. Scene Two. Song: Oft she visits this lone mountain Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:50)
23 . Act 2. Scene Two. Recitative: Behold, upon my bending spear Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:33)
24 . Act 2. Scene Two. Song & Chorus: Haste, haste to town Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:42)
25 . Act 2. Scene Two. Recitative: Stay, Prince! Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (02:36)
26 . Act 3. Scene One. Prelude - Song & Chorus: Come away, fellow sailors Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:22)
27 . Act 3. Scene One. The Sailors' Dance Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:51)
28 . Act 3. Scene One. Recitative: See the flags and streamers curling Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:59)
29 . Act 3. Scene One. Song: Our next motion must be to storm Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:35)
30 . Act 3. Scene One. Chorus: Destruction's our delight Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:30)
31 . Act 3. Scene One. The Witches' Dance Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:46)
32 . Act 3. Scene Two. Recitative: Your counsel all is urg'd in vain Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (03:36)
33 . Act 3. Scene Two. Recitative: But Death, alas! I cannot shun Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:23)
34 . Act 3. Scene Two. Chorus: Great minds against themselves conspire Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:54)
35 . Act 3. Scene Two. Recitative: Thy hand, Belinda Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:57)
36 . Act 3. Scene Two. Song ido's Lament): When I am laid in earth Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (03:30)
37 . Act 3. Scene Two. Chorus: With dropping wings Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (04:18)
2 . Act 1. Scena: Shake the cloud from off your brow Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:34)
3 . Act 1. Chorus; Banish sorrow, banish care Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:30)
4 . Act 1. Song: Ah! Belinda I am press'd with torment Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (04:00)
5 . Act 1. Recitative: Grief increases by concealing Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:32)
6 . Act 1. Chorus: When monarchs unite, how happy their state Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:13)
7 . Act 1. Recitative: Whence could so much virtue spring? Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:43)
8 . Act 1. Duet & Chorus: Fear no danger to ensue Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:28)
9 . Act 1. Recitative: See, your Royal Guest appears Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:50)
10 . Act 1. Chorus: Cupid only throws the dart Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:33)
11 . Act 1. Recitative: If not for mine, for Empire's sake - Air: Pursue thy conquest, Love Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:13)
12 . Act 1. Chorus: To the hills and the vales Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:23)
13 . Act 1. The Triumphing Dance Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:09)
14 . Act 2. Scene One. Prelude for the Witches - Recitative: Wayward sisters - Chorus: Harm's our delight Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (02:28)
15 . Act 2. Scene One. Recitative: The Queen of Carthage - Chorus: Ha! ha! ha! Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:39)
16 . Act 2. Scene One. Recitative: Ruin'd ere the set of sun? - Chorus; Ha! ha! ha! Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:08)
17 . Act 2. Scene One. Duet: But, ere we this perform Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:08)
18 . Act 2. Scene One. Chorus: In our deep vaulted cell Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:18)
19 . Act 2. Scene One. Echo Dance of Furies Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:07)
20 . Act 2. Scene Two. Ritornelle Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:33)
21 . Act 2. Scene Two. Song & Chorus: Thanks to these lonesome vales Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (02:47)
22 . Act 2. Scene Two. Song: Oft she visits this lone mountain Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:50)
23 . Act 2. Scene Two. Recitative: Behold, upon my bending spear Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:33)
24 . Act 2. Scene Two. Song & Chorus: Haste, haste to town Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:42)
25 . Act 2. Scene Two. Recitative: Stay, Prince! Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (02:36)
26 . Act 3. Scene One. Prelude - Song & Chorus: Come away, fellow sailors Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:22)
27 . Act 3. Scene One. The Sailors' Dance Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:51)
28 . Act 3. Scene One. Recitative: See the flags and streamers curling Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:59)
29 . Act 3. Scene One. Song: Our next motion must be to storm Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:35)
30 . Act 3. Scene One. Chorus: Destruction's our delight Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:30)
31 . Act 3. Scene One. The Witches' Dance Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (01:46)
32 . Act 3. Scene Two. Recitative: Your counsel all is urg'd in vain Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (03:36)
33 . Act 3. Scene Two. Recitative: But Death, alas! I cannot shun Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:23)
34 . Act 3. Scene Two. Chorus: Great minds against themselves conspire Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:54)
35 . Act 3. Scene Two. Recitative: Thy hand, Belinda Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (00:57)
36 . Act 3. Scene Two. Song ido's Lament): When I am laid in earth Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (03:30)
37 . Act 3. Scene Two. Chorus: With dropping wings Henry Purcell Joyce D onato / Maxim Emelyanychev / Fatma Said / Michael Spyres / Il Pomo d'Oro (04:18)
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