Henry Purcell's Dido and Aeneas
Although it takes little more than an hour to perform, Purcell's Dido and Aeneas stands as the greatest operatic achievement of seventeeth-century England. This book demonstrates the opera's deep roots in the theatrical and musical traditions of its day, summarizing the cultural climate in which the opera was composed and analyzing Nahum Tate's libretto in light of seventeenth-century English music text conventions. Harris also evaluates the surviving sources, comparing them with the original libretto, and discusses the work's performance history and critical reception from the first performance through the revivals of the nineteenth and twentieth centuries.
12 pages matching laid in earth in this book
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Synopsis and History
Introduction to Part II
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Academy sources accented Aeneid Albion and Albanius allegorical altered Ancient Music appears begins Belinda Benjamin Britten Brutus of Alba cadence cadential Carthage century changes chorus clef composers composition couplet Cupid Curtis Price declamation declamatory air dialogue Dido and Aeneas dramatic operas Dryden duet edition end of Act English Example F major fate final G minor Grief ground bass harmonic Henry Purcell hunt laid in earth libretto London Lully's masque Matthew Locke melisma melody movement Musical Antiquarian Society musical setting musical sources Ohki manuscript orchestral playbook Prologue Purcell Society Purcell's Purcell's Dido Queen recitative regular reorchestration repeated repetition rhyme rhythm rhythmic role Royal sailors scene Second Woman seventeenth-century sings solo song Sorceress style sung surviving Tate Tate's libretto Tatton Park tempo Tenbury manuscript Tenbury score textual tonal tonic tradition Triumphing Dance tuneful air two-part Venus Virgil's virtue spring vocal line William witches words