Purcell: Dido and Aeneas

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October 2024
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Opera in three acts with libretto by Nahum Tate, first performed in London in 1689.

Show in English with French and English surtitles.

 

Synopsis

Act 1

Dido's court

The opera opens with Dido in her court with her attendants. Belinda is trying to cheer Dido up, but Dido is full of sorrow, saying 'Peace and I are strangers grown'. Belinda believes the source of this grief to be the Trojan Aeneas, and suggests that Carthage's troubles could be resolved by a marriage between the two. Dido and Belinda talk for a time: Dido fears that her love will make her a weak monarch, but Belinda and the Second Woman reassure her that "The hero loves as well." Aeneas enters the court, and is at first received coldly by Dido, but she eventually accepts his proposal of marriage.

 

Act 2

Scene 1: The cave of the Sorceress

The Sorceress/Sorcerer is plotting the destruction of Carthage and its queen, and summons companions to help with evil plans. The plan is to send her "trusted elf" disguised as Mercury, someone to whom Aeneas will surely listen, to tempt him to leave Dido and sail to Italy. This would leave Dido heartbroken, and she would surely die. The chorus join in with terrible laughter, and the Enchantresses decide to conjure up a storm to make Dido and her train leave the grove and return to the palace. When the spell is prepared, the witches vanish in a thunderclap.

 

Scene 2: A grove during the middle of a hunt

Dido and Aeneas are accompanied by their train. They stop at the grove to take in its beauty. A lot of action is taking place, with attendants carrying goods from the hunt and a possibly a picnic in progress, Dido and Aeneas forming the focus of all the activity. This ceases when Dido hears distant thunder, prompting Belinda to tell the servants to prepare for a return to shelter as soon as possible. As every other character leaves the stage, Aeneas is stopped by the Sorceress's elf, who is disguised as Mercury. This pretend Mercury brings the "command of Jove" that Aeneas is to wait no longer in beginning his task of creating a new Troy on Latin soil. Aeneas consents to the wishes of what he believes are the gods, but is heart-broken that he will have to leave Dido. He then goes off-stage to prepare for his departure from Carthage.

 

Act 3

The harbour at Carthage

Preparations are being made for the departure of the Trojan fleet. The sailors sing a song, which is followed shortly by the Sorceress and her companions' sudden appearance. The group is pleased at how well their plan has worked, and the Sorceress sings a solo describing her further plans for the destruction of Aeneas "on the ocean". All the characters begin to clear the stage after a dance in three sections, and then disperse.

The palace

Dido and Belinda enter, shocked at Aeneas’ disappearance. Dido is distraught and Belinda comforts her. Suddenly Aeneas returns, but Dido is full of fear before Aeneas speaks, and his words only serve to confirm her suspicions. She derides his reasons for leaving, and even when Aeneas says he will defy the gods and not leave Carthage, Dido rejects him for having once thought of leaving her. After Dido forces Aeneas to leave, she states that "Death must come when he is gone." The opera and Dido's life both slowly come to a conclusion, as the Queen of Carthage sings her last aria, "When I am laid in Earth", also known as "Dido's Lament." The chorus and orchestra then conclude the opera once Dido is dead by ordering the "cupids to scatter roses on her tomb, soft and gentle as her heart. Keep here your watch, and never, never part."

Program and cast

VIP CATEGORY : Best seats in house with complimentary glass of champagne and programme.

PRESTIGE CATEGORY : Excellent seats with complimentary glass of champagne and programme.

 

Sonya Yoncheva: Didon

Sarah Charles: Belinda

Halidou Nombre: Énée

Attila Attila Varga-Tóth: The witch and a sailor

Pauline Gaillard* et Yara Kasti: Witches

Arnaud Gluck: A spirit

Lili Aymonino: Second wife

*Members of the Royal Opera Academy

Chœur de l’Opéra Royal 

Orchestre de l’Opéra Royal

Under the high patronage of Aline Foriel-Destezet

Stefan Plewniak Conductor

Cécile Roussat et Julien Lubek Director, costumes, choreography, set design and lighting

Palace of Versailles Opera Theater

Royal Opera

 

The Royal Opera of Versailles, located in the grounds of the Castle, one of the major opera houses.

The opening of the opera house at Versailles brought to a close a process of planning, projects and designs that had lasted for nearly a century. While the Royal Opera was finally built towards the end of the reign of Louis XV, it had been envisaged since as early as 1682, the year when his predecessor Louis XIV took up residence at Versailles. The King had commissioned Jules Hardouin-Mansart and Vigarani to draw up plans for a ballet theatre. Mansart shrewdly decided on a position at the far end of the new wing that was to be built over the coming years: the nearby reservoirs for the gardens’ fountains could be used to fight any fire that might break out, while the sloping ground on that part of the site would allow provision of the necessary technical spaces below the stage without major excavation work. So cleverly-chosen, indeed, was the planned location that none of Mansart’s successors ever questioned it.

Major building work was already under way in 1685, but was soon interrupted because of the wars and financial difficulties which beset the later part of the king’s reign. Louis XV in his turn was long put off by the huge expense involved in the project. As a result, for almost a century the French court was forced to put up with a makeshift theatre installed below the Passage des Princes. When a grand opera was required, with a large cast and complicated stage machinery, a temporary theatre would be built in the stables of the Grande Ecurie, with the entire structure being demolished once the performances were over. This temporary solution was adopted, for instance, during the celebrations of the Dauphin’s wedding in February 1745, but its inconvenience was so starkly obvious that Louis XV finally resolved to build a permanent theatre, entrusting its design to his first architect, Ange­Jacques Gabriel.

The process of actually building the new theatre, however, was to take over twenty years. During this lengthy period of construction Gabriel, who had studied the leading theatres of Italy, in particular Vicenza, Bologna, Parma, Modena and Turin, presented a series of different designs to his royal patron, none of which was accepted. Only in 1768, faced with the forthcoming successive marriages of his grandchildren, did the king finally give the order for work to commence. Building progressed steadily and the new opera house was completed in twenty-three months, ready for its inauguration on the 16th of May 1770, the day of the Dauphin’s marriage to the Archduchess Marie-Antoinette, with a performance of Persée by Quinault and Lully.
 

Royal Chapel
 

This extraordinary two-level palatine chapel was built by Jules Hardouin Mansart between 1699 and 1708 and completed by Robert de Cotte in 1710.
The paintings on the vaulted ceiling by Antoine Coypel, Charles de la Fosse and Jean Jouvenet, as well as the lavish decoration fashioned by a team of sculptors working for Louis XIV, depict a number of Old and New Testament scenes. Facing the royal gallery is the remarkable organ, created by Robert Clicquot, the King's organ builder, which was first played on Easter Sunday 1711 by François Couperin.
Even though Hardouin-Mansart did not witness the completion of the chapel, he was the one who had dictated the major aspects of the architecture and decor: a ground floor with a nave, aisles and ambulatory, and an upper floor with galleries, a harmonious combination of white and gold contrasting with the polychromatic marble floor and paintings on the vaulted ceiling, all combining to create an original space with references to both gothic architecture and baroque aesthetics.
Every day, generally at 10 a.m., the court would attend the King's mass. The King would sit in the royal gallery, surrounded by his family, while the ladies of the court would occupy the side galleries. The "officers" and the public would sit in the nave. The King would only descend to the ground floor for important religious festivals when he would take communion, for Order of the Holy Spirit ceremonies and for the baptisms and weddings of the Children of France, which were celebrated there between 1710 and 1789. Above the altar, around the Cliquot organ played by the greatest virtuosos of their age, including François Couperin, the Chapel Choir, renowned throughout Europe, would sing motets throughout the entire service, every day.

The Orangerie gardens
 

From May to October, orange trees and other shrubs are taken out of the Parterre Bas of the Orangerie gardens. At the center of this parterre, there is a large circular pool surrounded by six sections of lawn.

 

Orangerie
 

A great stone cathedral within a formal garden, The Orangerie is both a royal and magical place.

Built between 1684 and 1686 by Jules Hardouin-Mansart to house and protect precious trees and shrubs during the Winter, this extraordinarily large building is located beneath the parterre du Midi (South flowerbed), for which it acts as a support. Two monumental staircases, known as "les Cent Marches" (the hundred steps), frame the Orangerie's three galleries, which overlook the parterre where, during the Summer, more than 1,200 exotic trees are arranged.

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