The Royal Opera, the Royal Ballet, and director-choreographer Wayne McGregor bring us an interpretation of DIDO AND AENEAS, an opera composed by Henry Purcell, with a libretto by Nahum Tate; based on Book IV of Virgil's Aeneid. We find Dido in her court with her attendants. Dido fears that her love for Aeneas will make her a weak monarch, but her attendants assure her that heroes, too, love....
The Royal Ballet and the Royal Opera collaborate in Wayne McGregor's production of Handel and Gay's classic opera, in which the nymph Galatea falls in love with a shepherd named Acis.
The Royal Ballet and the Royal Opera collaborate in Wayne McGregor's production of Handel and Gay's classic opera, in which the nymph Galatea falls in love with a shepherd named Acis.
In Handel's day this best-loved of all oratorios was performed by fewer than forty instrumentalists and a chorus, less than thirty strong, of boy trebles and men. That is the tradition to which Christopher Hogwood has returned in his performances with the Academy of Ancient Music.
Members of the Academy all play instruments of the period or accurate modern copies. In this recording the choruses are sung by boy trebles and male altos, tenors and basses, members of the Choir of Westminster Abbey. The soloists improvise embellishments in the arias and, in certain cases, join in the singing of the choruses, just as they would have done 240 years ago. The recording takes full advantage not only of Westminster Abbey's fine acoustic qualities, but also of the incomparable architectural splendor of the surroundings.
In Handel's day this best-loved of all oratorios was performed by fewer than forty instrumentalists and a chorus, less than thirty strong, of boy trebles and men. That is the tradition to which Christopher Hogwood has returned in his performances with the Academy of Ancient Music.
Members of the Academy all play instruments of the period or accurate modern copies. In this recording the choruses are sung by boy trebles and male altos, tenors and basses, members of the Choir of Westminster Abbey. The soloists improvise embellishments in the arias and, in certain cases, join in the singing of the choruses, just as they would have done 240 years ago. The recording takes full advantage not only of Westminster Abbey's fine acoustic qualities, but also of the incomparable architectural splendor of the surroundings.
