Product Details

• Actors: Maria Ewing, Karl Raymond, Richard Hickox
• Directors: Peter Maniura
• Format: Classical, Color, Dolby, DVD, NTSC
• Language: English
• Subtitles: English, French, German
• Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
  
• Aspect Ratio: 1.33:1
• Number of discs: 1
• Rated: NR (Not Rated)
• Studio: KULTUR VIDEO
• DVD Release Date: June 24, 2008
• Run Time: 60 minutes
• Average Customer Review: 4.0 out of 5 stars  See all reviews (8 customer reviews)
• ASIN: B0017HEY9S
• Amazon Best Sellers Rank: #74,953 in Movies & TV (See Top 100 in Movies & TV)
  • #61 in Music > Classical > Historical Periods > Baroque (c.1600-1750) > Composers > Purcell, Henry
  • #65 in Music > Classical > Opera & Vocal > Languages > English
• For more information about "Purcell - Dido & Aeneas / Maria Ewing, Karl Daymond, Collegium Musicum 90" visit the Internet Movie Database (IMDb)

Editorial Reviews

Dido: MARIA EWING
Aeneas: KARL DAYMOND
Belinda: REBECCA EVANS
Sorceress: SALLY BURGESS
Second Woman: PATRICIA ROZARIO
First Enchantress: MARY PLAZAS
Second Enchantress: PAMELA HELEN STEPHEN
Aeneas' Lieutenant: JAMIE MCDOUGALL
Mercury: FRANÇOIS TESTORY
Voice Of Mercury: JAMES BOWMAN
Conductor: RICHARD HICKOX
Director: PETER MANIURA

Purcell's much-loved tragic opera is an intense tale of heroism, passion, betrayal and ultimate tragedy, played out against a backdrop of fiery rituals, evil spells and pageantry. It was filmed entirely on location at Hampton Court House, England, where spectacular settings are created in the house and grounds.

Dido, Queen of Carthage, and Prince Aeneas, a fugitive lately arrived in her realm after the fall of Troy, fall in love; Dido's confidante Belinda urges her to yield to his suit, and they go off on a hunting party which, as a seventeenth-century audience would readily have understood, symbolises Aeneas's sexual capture of Dido. Meanwhile, skulking in the gloom of a cave, an evil Sorceress and her Enchantresses (an addition of Tate's not found in Virgil) plot to destroy Dido by conjuring up a false vision of Mercury to send Aeneas on his way; this is duly done when the hunting party is scattered by a sudden thunderstorm. Soon afterwards, as the Trojan mariners prepare to set sail, the Sorceress and Enchantresses arrive at the quayside to gloat; Dido upbraids Aeneas for his faithlessness and furiously dismisses him but after he has left she dies, broken-hearted, in Belinda's arms.

The dramatic power of the piece is complemented by its musical riches, which are shared among all the individual singers and the various colourful groups: urbane courtiers, gleefully malignant witches, salty mariners portrayed by the chorus.

Dido & Aeneas is not only one of the most perfect operas ever written but also an ideal opera for television. The extreme dramatic compression of its plot, which is one of the few grounds on which it is open to criticism, is even an advantage in film terms. Cinema and television audiences are extremely familiar with fast cutting, rapid plot development and the emotional twists and turns of much contemporary drama. A classical tragedy compressed into just under one hour is thus not as implausible as it might at first appear.

The location, Hampton Court House, is an empty mid-eighteenth century mansion with its own, slightly decayed, formal gardens and grounds. Ancient Carthage on the coast of North Africa, the setting for the story, was a trading city and a melting pot of nations. Niek Kortekaas, the designer, decided to create a rich yet primitive world, lit by fire (for which there are many references both literal and metaphorical in the text) in which Dido's court draws together elements of many cultures and traditions fusing them into a society dominated by ritual and pageantry

The challenge of working on film was a new one for most of the cast and it allowed a great subtlety in the vocal performances since the artists did not have to worry about projecting their performances into an auditorium. Magnetic performers like Maria Ewing were able to relish intimate effects which would not have registered in an opera house. Equally the tight focus of film work with its close-ups and reaction shots called for a style of acting quite different from that employed in a theatre and one which the cast embraced with great enthusiasm. I hope that this film captures both the personal intimacy and the public tragedy which lie at the heart of Purcell's great masterpiece. Peter Maniura

Customer Reviews

Most Helpful Customer Reviews

26 of 29 people found the following review helpful:

3.0 out of 5 stars Ever Wonder Why Dryden Was Appreciated?, July 18, 2008

By 

Giordano Bruno (Wherever I am, I am.) - See all my reviews
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This review is from: Purcell - Dido & Aeneas / Maria Ewing, Karl Daymond, Collegium Musicum 90 (DVD)

Those jangling, affected tetrameter rhymed couplets? Listen to them sung to the strains of Purcell's best masque music and you'll understand. In fact, this performance of Dido and Aeneas, which makes no effort at recreating the historical staging, nonetheless will bring you closer to the "spirit of the times" of mid-17th Century England than any amount of reading. It's only a 55-minute production, so it might even be useful for classrooms in English literature and history.

If the dandies and grandees of Hampton Court had had video cameras and sound equipment, surely they would have made a film as visually noir as this. As it happens, they didn't. They depended on dancing and costumes for their visual thrills, and a good deal of the music Purcell wrote was intended for dancers. The film has no dancing at all, about which you, dear reader, may or may not care. What it has is movie-quality camera handling, evocative sets, and fairly good acting for a bunch of singers.

The singing is good. Maria Ewing (Dido) has enough drama left in her voice to compensate for a slight lack of athleticism in her rapid passages. Karl Daymond (Aeneas) doesn't have the voice to match his macho presence, but Aeneas doesn't get to sing much in this production anyway. Rebecca Evans is vocally delightful as Belinda. The best singing of all is that of James Bowman as Mercury, but he has hardly more than twenty bars. The chorus carries Purcell's musical art here, with the melodies you'll remember and the words you won't forget:
"Come away, come away, fellow sailors!
Take a boozy short leave of your nymphs on the shore,
and silence their mourning
with vows of returning,
but never, no never intending to visit them more."
Purcell is the household deity of English music, and his premature death is lamented as the reason why England fell short of other European countries in music for the rest of the millennium. Welll... This is elegant and diverting music, but it's no more than that. Unfortunately, this DVD comes with no notes at all - no history, no libretto, no performers' bios. Kinda cheap, Kultur!

Four stars for the singing, minus one for the lack of any notes.

13 of 14 people found the following review helpful:

5.0 out of 5 stars Interesting and lovely feature adaptation, August 18, 2008

By 

bruce (st. louis) - See all my reviews

This review is from: Purcell - Dido & Aeneas / Maria Ewing, Karl Daymond, Collegium Musicum 90 (DVD)

Unfortunately, this is the only operatic version of Purcell's masterpiece on DVD. However, it's definitely worth the money. There are many purists who look for different traits in a filmed Baroque opera; for example, costumes and dancing that reflect the styles of the original performance are usually expected. While these traits are certainly wonderful, it makes more sense on the first DVD release to have a dynamic and lavish feature-style presentation, with the original music and libretto preserved (which is what this recording does). To a mainstream audience, this approach will be far more engaging than an attempt at historical xeroxing. I'd like to see an historically accurate reproduction of this opera myself, but it's best that such a film come later. Baroque music can be too slow for many people, and Baroque costumes and dancing will put the majority of prospective purchasers into either an ennui-induced coma or fits of laughter.

My wife likes only a few choice operas, and was surprised by how much she enjoyed this one. So, for those who might read this review considering a purchase, here are a few things she found appreciable about it:
- It's short (1 hour).
- Almost every aria or duet is stunningly beautiful and instantly infectious.
- It gives a fine sample of some of the best music of that period.
- It's in English!

I think these traits make a strong argument for why many might find this DVD enjoyable. Purcell's opera will fade away if modern filmmakers, opera houses, and recording studios don't strive to make it relevant to a wider audience. This movie is a must-have for the opera collector.

13 of 14 people found the following review helpful:

5.0 out of 5 stars Five Stars, Not Three, July 27, 2008

By 

Alan M. Walworth - See all my reviews
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This review is from: Purcell - Dido & Aeneas / Maria Ewing, Karl Daymond, Collegium Musicum 90 (DVD)

I hadn't planned to write an exhaustive review (or any at all) of this DVD, but I just couldn't let the one previous assessment, Giordano Bruno's three-star rating, stand alone. Actually, it's surprising that Mr. Bruno gave such a relatively low score, given his generally positive written comments.

Let me say, then, that I think this is an excellent filmed production of Purcell's miniature masterpiece. The director, Peter Maniura, manages to be at once traditional and imaginative in setting this Virgilian tragic love story of ancient Carthage within the confines of the eighteenth-century Hampton Court House. To liven this elegant, stately background, Maniura makes particularly good use of fire as a persistent motif, whether in the blazing torches celebrating the lovers' public acknowledgement of their mutual passion, or the fiery engulfment of the exterior of the house to indicate both the end of the brief affair and the accompanying fall of Carthage, or the final conflagration of the funeral pyre which consumes the body of the tragic queen who has died of thwarted love. The two principals, Maria Ewing and Karl Daymond, are both attractive and convincingly wrapped up in one another's longing gazes, so as to make their tempestuous passion compelling. Maniura even manages to make the Sorceress and her cackling demonic followers, so oddly (and potentially comically) discordant with Virgil's classical narrative, into genuinely fearsome and formidable figures. All this, plus a stirring rendition of Purcell's lovely score, makes for an entrancing and moving production which more than makes up, Mr. Bruno notwithstanding, for the lack of dancing and liner notes.