Purcell: Dido and Aeneas - L'Arpeggiata o.l.v. Christina Pluhar (Festival Oude Muziek Utrecht 2015)

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L'Arpeggiata en Voces8 o.l.v. Christina Pluhar
Solisten
Mariana Flores [sopraan]
Céline Scheen [sopraan]
Marc Mauillon [bariton]
Voces8
Andrea Haines [sopraan]
Emily Dickens [sopraan]
Barnaby Smith [contratenor]
Christ Wardle [contratenor]
Oliver Vincent [tenor]
Samuel Dressel [tenor]
Paul Smith [bariton]
Dingle Yandell [bas]
Purcell: Dido and Aeneas
Opname: 5 september 2015 in TivoliVredenburg Utrecht i.h.k.v. Festival Oude Muziek Utrecht
Purcells Dido and Aeneas
Welk repertoire Christina Pluhar ook onder handen neemt, het verandert in muzikaal goud, en dat zal met Purcells Dido niet anders zijn. Purcell schreef zijn opera vermoedelijk voor de meisjes van de Boarding School for Young Gentlewomen in Chelsea, wat het grote aantal vrouwenrollen verklaart. De plot is losjes gebaseerd op Vergilius: de liefde tussen Dido en Aeneas krijgt een tragisch einde wanneer een tovenares Aeneas doet bewegen haar te verlaten. Het lamento dat Dido zingt voordat ze sterft van verdriet is een van de meest geliefde aria’s ooit. Pluhar reconstrueert de proloog aan de hand van werken van Purcell.

[@Claude1Rochon]

this is the discovery of my whole life. i have about 66 years of music in me at 72. but my mind was never blown this good . until now. i'm so glad to be alive ! this is THE most amazing show i have ever seen.

[@AlexToussiehChannel]

I'm also appalled. It doesn't seem baroque though.

[@szaszgyorgy9878]

Christina Pluhar has been my daily companion for ten years

[@joselopes2293]

Henry Purcell belonged to a family of musicians. His father enrolled him at a very young age in the children’s choir in the Royal Chapel directed by H. Cook. In 1672 P. Humfrey succeeded Cook and proposed to introduce his students to the new French and Italian styles. Upon changing his voice, Purcell becomes Blow’s student. At age 11, he began writing his first works and in 1679, he was appointed composer of the king for violins and replaced Blow on Westminster Abbey organ. His first published work is a collection of 12 sonatas for three, in which Vitali’s influence (1683) can be seen. In 1689, his masterpiece Dido and Aeneas is performed for the first time, whose score is marvelous, with admirable perfection even in the smallest details. The circumstances surrounding Purcell’s death at age 36 are unknown. He was buried on 26 November, next to the organ of Westminster Abbey, and during the funeral ceremony the magnificent anthem he had composed for the funeral of Queen Mary was played. He composed one opera, five pseudo-operas, religious music, profane vocal music, instrumental music, etc. The music is magnificent and of incredible elegance and grace. This is one of the greatest masterpieces written to date. The voices of the soloists, the choir, the orchestra and their direction are superb. Viva Purcell and his music, one of the greatest genius of the English composers that ever existed so far. What divine interpretation!!!

[@gnowttps1]

This is an amazing beautiful performance. L'Arpeggiata are always startlingly good. Voces8 are in the absolute top rank. All the principals can feel truely proud of their parts. The cameo of Capezzuto added a touching close. Thanks to all these wonderful people.

[@ildefonsogiron4034]

What am I doing at four in the morning watching this beauty, which I intended to only take a peek into before going to bed? Nasty KZbin.

[@gemstone212121]

ACT I 24:40 Belinda, Dido ; 37:05 enter Aeneas ; 38:50 Bel: Pursue thy conquest ; 39:40 dance ; 44:18 Cho: To the hills ; 45:15 The triumphing dance ;;; ACT II 49:15

[@justinolosunde4255]

This performance has captured my soul for over 5 years, I cannot wait to witness their performance post Covid. A triumph :)

[@sitiodatiaamora9728]

The best music never dies...

[@grayscalemike]

tThe quality of the music and the individual performances are beyond measure. all the women like angels, no matter the shape or size, the are outstandingly NORMAL, effortlessly stylish at the same time. the solos from the cornetist, keyboard player and the cellist invest the music with the lightness and style of the best in jazz.

[@michaeldavidrubin8823]

And the Bassist, man. Purcell a la Charles Mingus, Thelonious, Gerry Mulligan... :) Agreed re the ladies - G-d's reminder that beauty has its many flavors, not so?

[@michaeldavidrubin8823]

Hell, even Wild Bill Davison. Note those string players quietly plucking along during the solos - for the sheer fun of it? Not sure they were supposed to be playing those measures.

[@ivanpavlov7574]

Like a breath of fresh air! A truly liberating experience

[@jamesduncan1076]

Absolutely fantastic in every creative way. Major Christina Pluhar fan here. Thanks.

[@JuanManuelGrijalvo]

Holy shit... Yet another time I am riveted to the bloody computer by L'Arpeggiata.

[@barnabysmith4470]

I actually attended this concert live. I have to say it challenges the more straight version of the opera in some interesting ways. Ways I don't always agree with. What I can say is that in the hall love it was magnificent. There was an instant standing ovation from the whole audience of 1700 people who were gripped from start to finish. You know what you are going to get if you go to a Christina Pluhar concert. Her ideas aren't for everyone. But I LOVED this concert, and I know everyone else did too. BRAVO!

[@peterroycroft]

Barnaby, I empathise with your comments. It is on my wish list to see a Christina Pluhar/ L'Arpeggiata concert. I am not learned in music but even to me it seems clear that their performances are unlikely to be utterly "authentic". However I feel we need performers like this (and many of the great young performers coming out of France) to rekindle interest in early baroque in particular, and classical music in general. The period instrument movement was a breath of fresh air and we need to keep refreshing the canon or I fear that younger generations will simply have no interest in this sublime music. Perhaps musicians needed to go back to a rather scholarly version of "authenticity" before they could be allowed the freedom to make the music more appealing to a contemporary audience without losing any of the essence? I love both!

[@lerippletoe6893]

@@peterroycroft I think the direction is taking improvisation further, not burlesque

[@robertpagelsen124]

Perfectly wonderful. Vibrant, full of life. Totally alive, dynamic.

[@berniolberg401]

Eine großartige, dem damaligen Zeitgeist voll entsprechende Aufführung! Das ist LEBENDIG & HISTORISCH begründet zugleich! So macht alte Musik Spaß... HERRLICH.

[@foliesamsterdam3836]

It was great to be there once more. Such a privilege to see the ensemble once more live. Most hilarious moment at 54:13 when the shoe of one of the performers got stuck at the floor on stage! She solved the situation beautifully but I could hardly stop laughing in the following serious scene. This was a total spectacle and the crowd loved it! They were standing instantly after the performance and clapped for minutes. Only the few purists had to leave.

[@johneichmann1028]

Love the traditional baroque instrumentation. Fun as a violinist to watch the actual styling, especially the instruments and the bowing techniques. So different. We don't get to see that so often in America. Always like Purcell.

[@frankd5871]

Never knew such music existed. I'm in my mid seventies. Watched/listened to the other vid - Chants - several times the music gets me. Some how It seems familiar but is very different. Like walking along in a Foreign place and seeming to know I've been here before. Thank you for presenting - letting the music out.

[@peterwynn4088]

Listening from the kitchen, the intervention at 16:30 brought me scurrying back to see what was going on!

[@jeffreyjohnson5336]

With the mystically animated dance section , starting at 39:00 Purcell seemed to anticipate some kind of 22nd century progressive jazz. If this piece doesn't get you dancing, then surely nothing could!

[@benswithen236]

I'm enjoying this tremendously! I'm a big fan of Dido and Aeneas, and the new chapter feels close enough to feel right, but bold enough to be exciting in itself. It's lively, not just imitative. Good art!

[@benswithen236]

In fact this and the Heathcliffe Blair versions are both very pleasing alternative takes - I suspect they'd both rile some people, but these things give me joy.

[@benswithen236]

The sailors' dance after 'Come Away' is excellently jaunty here - who could listen without hand-jiving?

[@gpsgps307]

7:16 A revelation! Stunning! A masterpiece!

[@mpearlk]

Classic Pluhar at its best! How I miss the Utrecht Festival

[@claire2237]

To be honest I understand both of the opinions stated in the comments. I do feel, however, that this is an interesting and refreshing way of experiencing Purcell. For those moments when we would prefer a more conventional performance, there are plenty of those to pick from on KZbin. Creative reimaginings will never replace traditional performance, so whichever you prefer, there will be an abundance of performances to choose from.

[@sharokhjoudi4693]

BEAUTIFUL.* TOO MUCH BEAUTIFUL. "UPON THE WINGS OF THE DREAM" THANK YOU DEAR. PLEASURED

[@wolfhomma1590]

A wonderful, adventurous performance, stretching the limits in some cases. It makes me proud to be from Europe, where the arts are supported by many wonderful festivals, such as this one in Utrecht that allows the performers to leaver the beaten path. If you compare this performance with a true to the score recording of the opera you will hardly find any overlap, which was OK with me, since I have never seen Purcell's original opera. I agree with other comments that early music must be made interesting by bringing in new ideas and a good sense of humor. I have seen Don Giovanni with the chorus of the street guys on stage dressed in jeans and drinking from coke cans. I have seen the gods in Cavalli's opera Il Calisto descend in business suits during a remarkable performance at Staatstheater Wiesbaden, Germany, and I was not offended. Make more of this!

[@experimentalis]

A feelgood Dido, a pop Aeneas, and bunny witches... Expectable.

[@pelayosquared]

Le plus grand compositeur anglais. Merci.

[@eliosalcedolatouche1239]

27:18 sopranos and countertenors are flawless cherubines up there! Superb!

[@henrikcarstensen2798]

Late but not? least... Extraordinary performance in any way!! SPECTACULAR - thank you for sharing.

[@mcburcke]

After this performance, I don't think I could ever watch another "standard" performance....what a bore that would be! Bravo!!

[@David-jm8wt]

Bringing Purcell to the millions.

[@willemvantwillertorganist]

Prachtig. What divine interpretation. Swinging Purcell on 41:00 (!)

[@ollehedstrom3536]

Splendid opera. Beautifully portrayed. Excellent singing and playing. An extraordinary experience to watch.

[@mariajuliamuchwitsch]

I love this Pluhar's rhythmic style of Ancient Music! The percussion, the tanginess, the naturality of her interpretations. TANKS for sharing this video!!!

[@lacolombe2534]

HENRY PURCELL { LONDRES, Commonwealth d’Angleterre, d’Ecosse, et d’Irlande 1659~1695 LONDRES, Royaume d’Angleterre } « PURCELL - DIDO AND AENEAS {Z.626} {1689} - L’ARPEGGIATA CHRISTINA PLUHAR - {FESTIVAL OUDE MUSIEK UTRECHT 2015} « Quelle opéra magnifique, avec ses voix vocales et instrumentales exceptionnelles, dirigé par CHRISTINA PLUHAR grandiose bravo à tous. VOCES 8, lauréat de nombreux prix internationaux, est l’un des principaux ensembles vocaux britanniques, et propose un répertoire allant des polyphonies anciennes jusqu’au jazz en passant par des arrangements populaires. VOCES8 capture son public à travers l’Europe par des concerts sensationnels, un chant raffiné aux multiples sonorités bravo. CHRISTINA PLUHAR, cheffe d’orchestre, luthiste, harpiste, guitariste classique, et joueuse de théorbe, spécialiste de musique ancienne, le son de l’ensemble, qui s’est constitué autour des cordes pincées, est immédiatement identifiable. En empruntant le nom d’une toccata du compositeur allemand, né en Italie, GIOVANNI GIROLAMO KAPSBERGER {v.1580~1651}, CHRISTINA PLUHAR a donné le ton qui préside à la destinée de l’ensemble vocal et instrumental de musique ancienne qu’elle fonde en l’an 2000. Il a pour vocation d’explorer la riche musique du répertoire peu connu des compositeurs romains, napolitains et espagnols du début du Baroque bravo. DIDO AND AENEAS, opéra Baroque en trois actes écrit au printemps 1689, sur un livret de NAHUM TATE {1652~1715}, poète anglo-irlandais, qui devient poète lauréat de l’Angleterre en 1692. Le seul opéra de HENRY PURCELL lui fut sans doute commandé en 1684 par un roi anglais francophile, CHARLES II {1630~1685}, dont le décès annula la création à la cour. Dans les théâtres londoniens, on préférait les ouvrages mixtes où la musique servait à agrémenter les scènes parlées. Si bien que DIDO AND AENEAS ne vit le jour que plus tard dans une école de jeunes filles. Texte politique, L’Eneide de Virgile célébrait les exploits du héros troyen destiné par les dieux à fonder Rome. DIDO, la reine de Carthage, n’occupait qu’une étape du périple d’AENEAS. Mais l’opéra tel qu’il s’épanouit au XVIIe siècle était centré sur les passions et dans les nombreux ouvrages inspirés par Virgile, la femme bafouée prît le pas sur l’homme d’action. Archétype de la trahison amoureuse, DIDO donne à entendre le chant de l’âme. Pour l’avoir formulé si parfaitement dans la langue anglaise. HENRY PURCELL fut sacré Orpheus Britannicus par ses contemporains. Merci pour ce moment d’art lyrique, avec ce chef-d’œuvre DIDO AND AENEAS grandiose, de ce compositeur de génie HENRY PURCELL, et l’ensemble VOCES8, et L’ARPEGGIATA sous la direction de CHRISTINA PLUHAR, et MARIANA FLORES soprano, CÉLINE SCHEEN soprano, MARC MAUILLON baryton tous grandioses, au Festival OUDE MUSIEK UTRECHT 2015, que j’ai beaucoup aimé bravo.

[@petervirag5095]

A pleasant surprise! Great concept, exceptionally entertaining! BRAVO! - and Thank You! :-)

[@jepz11]

'When I am laid..'- er komt niemand in de buurt van Emma Kirkby. Zij zingt het hart in deze muziek. Maar dit is toch een prachtige uitvoering. Ik vind vooral de overdadige expressie van gevoel van deze zangeres heel goed passen bij het smartlapperige van de opera zelf, en ze zingt het even overdreven, heel mooi. Klopt prima.

[@markolopa]

Interessant. Mijn favoriet Dido is Janet Baker, kent u haar? kzbin.info/www/bejne/epCYYa2gbK9oZrc

[@hectordomiane4140]

so subtile, elegant and full of humour and talents. Christina Pluhar makes this music so pleasant and refreshing. Thanks for posting this video which made me change my mind about the baroque style and made me discover l'Arpeggiata !

[@mouniroueslati8153]

E' meraviglioso, intenso, coinvolgente ,fantastico ,attuale come scritto ieri!

[@jean-luclavier3978]

Quelle claque! Effectivement, rafraichissant est bien le mot! J'adore cette approche.

[@ludovicobareatoscan3642]

Amusing and exiting. Very rich interpretation. Good

[@pianeto]

No words!!! So beautiful!!!

[@peteacher52]

Purcell's contemporary, Samuel Pepys, would have loved this as he was very definitely no prude!

[@FLYINGJAN1948]

Ik geniet er nog steeds van💕💕

[@steamworkzcf9100]

Ik ook🙂

[@raymondefouanon9930]

Merci à l’ensemble des instrumentistes et au chef bien sûr. Quel talent ! J’aime beaucoup l’instrument (luth). Merci à toi 💔💔💔💔💔💔💔

[@blackletter2591]

Very fine singing and playing here. All praise to that musical genius Christina Pluhar and her associate artists. The people making comments here damning the introduction of jazz and other non-baroque elements must have grown up in a glass bubble and probably very recently, because it is not a new thing, kiddies. If you think Purcell wouldn't have understood this, it's completely gone over your heads. I believe the modern stage elements shown (the music stands, mikes etc) might be working against the atmosphere a bit and I'm not clear why the ever-brilliant Vincent Capezzuto is frocked up, but never mind, I love his version of 'Twas within a Furlong. Clearly, a good time was had by all.

[@vincenzocap]

dragonize1952 Thanks for your comment! I was asked to make “MssCross” performance as an “intermezzo” It wasn’t something that frocked me up but gave me the chance to do something different and not boring at all 😂

[@PMS1950]

I certainly don't agree with you and wouldn't waste time arguing with someone who clearly thinks he knows it all - just like my three year old.

[@lerippletoe6893]

I would damn it for being introduced poorly

[@brutusalwaysminded]

Wow. What a treat. Thank You Very Much. 💖👏👏👏

[@gegemec]

Very controversial comments to be read here. People seem to either love it or hate it. Like the Sydney Opera House, when first built. I love it, really invigorating, raw and fresh. Returning theatre to wooden boards, candle lights and painted scenes.

[@michaeldavidrubin8823]

As an architect, I regret not yet visiting the iconic hall in Sydney. However, having grown up backstage at the Metropolitan Opera & Carnegie Hall, I can admire the daring forms at Sydney, but would judge it purely on acoustics, sightlines & movement of crowds (& the sherry available at intermission). Innovation is essential, & must "function," in all arts.

[@pazzoredento2191]

As spectacular as the Sydney Opera House looks, it is not fit for purpose.

[@TheYopogo]

I haven't yet gotten my head around what people like about things being "raw"

[@gerardlacey9384]

Absolutely beautiful!, I never enjoyed an hour and a half so much!. Many thanks. Le gra mor!.Gérard lacey in Ireland. X.

[@michaeldunn5648]

I think Purcell would have approved - he was an innovator, just as am sure Monteverdi would have approved the somewhat spiced up version of the piece in this group's "Icones du Seicento". I love this group, and their rendering of the Monteverdi Vespers is one of the greatest performances ever.

[@johnedwards486]

Just loved it, and for those who did enjoy it, surely would agree. Does one have to be an expert to enjoy music, the comments indicate that some people must live in torment.

[@tgomezsoutullo]

Fantástica toma de sonido y preciosa versión. Una maravilla de grabación

[@anitaallema587]

De aller mooiste muziek, zeer bezield.

[@RicardoPinto___]

Dido and Aeneas é uma ópera muito sombria e o modo como é apresentado por Pluhar afasta um pouco a escuridão sem deixar de ser fiel ao texto. Gostei. Parabéns!

[@joaopauloalvarez9151]

Bravíssimo! 👏👏❤❤ I loved the witches performance. You guys are amazing!

[@TONIKOBLER]

wonderfull, purcel for the people , joking, maravilha ,lindíssimo trabalho contemporâneo .bravo!!

[@raphaelfreiresantos]

Muito bonito 😍 esse estilo de música me fisgou, amo cada apresentação ❤️

[@joaquinsafontgimeno3397]

Increíble, magnifica interpretación.

[@doritaschlenker3014]

Hermosa la interpretación. Muy buena la toma del sonido. Aplausos!!!!

[@jmlopez3464]

¡Maravilloso! Estoy preparando mi oposición gracias a las cadencias tan sublimes que provoca el texto, la música, la dirección de orquesta y la interpretación de los cantantes. Realmente exquisito.

[@gabormetzker5270]

A masterpiece! I have at least four recordings of this piece on CD, each one is beautiful for different reasons. - The opera effectively begins at 24:46.

[@francorey7235]

What a Great Performance......!!! Mariana .... Wonderfull...!!! a powerfull and soft voice that touch my Heart...!

[@marcio5457]

Lindo! Fantástico! Espetacular! 🇧🇷🇧🇷🇧🇷

[@bellotacarlos]

Beauuuutiful. Some people I guess would never ever change anything but this is part of human nature.

[@win21vin]

Wunderbar erfrischend. Ein swingender Purcell!

[@KaeL111]

Why dont you put all the names in the info? There are definitely more than 3 solists, and also I believe the instrumentalists deserve at least some credit, so their names could be mentioned as well. Great music! I love it! Cheers!

[@patrickarchaux]

Une nouvelle approche de cette œuvre par l'Arpeggiatac'est une appropriation par l'époque du patrimoine légué. Au dela des borborygmes techniques des ronchons de service, je trouve interessante, rafraichissante, vivante, finalement cette interpretation de C Pluhar et de l'ensemble. Vivant, créatif, extremement respectueux du compositeur... dans la forme et dans le fond... car probablement, deja à l'epoque de Purcell, on ne restait pas confis dans l'historique, mais on en jouait en accord avec la vie qui va...

[@45gerard57]

EXCELLENT COMMENTAIRE

[@jezebelsalem7030]

Uma obra prima do Barroco! Numa transcrição vivaz, quase casual, mas sensível e afinada. Um prazer encontrar este vídeo.

[@isabellefallot5064]

Purcell aurait adoré ! C'est génial...

[@giocondaulloa1961]

Maravillosa esta puesta en escena, ecleclectica,...libre,y a la vez respetuosa al espíritu de su creador, en aquello tiempos era común el arte del ricercare y Cristina Plutarco ha ejercido las variaciones de una manera impecable acercando el barroco a nuestra era y regresándonos de nuevo con solo variar el ritmo a esos tiempos donde el tiempo parecía

[@wh5254]

Fun and interesting performance. Playfully and beautifully done.

[@christophefaivre1097]

Splendide, merveilleux. Henry Purcell est divinement séduit par votre interprétation Mille mercis à tous.

[@guyherter5286]

Magnifique interprétation, que de belles voix, que des musiciens inspirés un grand merci à l'Arpeggiata

[@milu1950]

¡Maravillosa la versión de Pluhar! Esas improvisaciones, ese respeto al texto... Un hallazgo.

[@LocoMarioPL]

WONDERFUL , BECAUSE SO DIFFERENT. PLUHAR STYLE !

[@ungavaproductions]

AMAZING INTERPRETATION......VOICES ARE SPLENDID........SO WONDERFUll !

[@joaquinsafontgimeno3397]

La voz del barítono genial.

[@vfc96]

Bravo! A great performance, wow!

[@mayatell-nohet9571]

THAT'S HOW BAROCCOOO's SHOULD BE SANG AND PLAYED!! I love it. &if you think it's totaly fuck'in crazy... I answer: probably the most faithfull way to make baroque MUZIKK 2day;)) Anda to next production, hope to be there!

[@richardbetton-foster3899]

If you could express yourself more coherently with some correct grammar and spelling and without expletive language I might get some idea of what you are talking about.

[@artursaiman6688]

Un sodo lavoro. Un stupendo risultato. Complimenti

[@marritjansen3542]

I'm stunned! A whole new experience.

[@VicenteChavarria]

Excellent!!! These guys managed to breathe some life into what can often be a stiff, stodgy piece. I was at this performance as well. Ms. Pluhar's choices are not for everyone, but almost everything she does only enhances what is already in the music, and is by and large very much in the spirit of the score and of performance practice of the time. We tend to put this music into a box, about how it should sound. When we hear it otherwise, we can choose to either open our minds and see it differently, or retreat into the box. The latter only destroys what so many performers, such as these, have been working for years to build: a freshness to the music that so many people choose to ignore because it's "not appropriate".

[@lagunagreg4019]

Boy, I disagree with your choices and opinions entirely. Ms. Pluhar is no musical genius, but she certainly knows how to sell a product and how to strike when the iron is hot. I give her a 2-year sell-by date, and then people like you will throw her over for the next new shiny thing. I myself prefer Purcell, not some modern take on it what they think is ought to have been.

[@arjenbij]

This is complety shite man, you have no idea what you're talking about if you think this was the performance practice at that time.

[@Ctenomy]

Stiff and stodgy piece?! sorry, but no. Dido and Aeneas is full of life as it is, without any of Pluhar's forced and by now routine arrangements... Pluhar's arrangements may have sounded great on her earlier albums, when it was applied to popular dance music (like in Tarantella), as these popular songs were designed to be improvised upon. But to apply the same(!) gimmicks to a piece like Dido and Aeneas is just absurd...

[@Ctenomy]

That is to say, that if you want to arrange a piece, give it a modern twist, you have to apply techniques that fit the original piece. Pluhar is applying the same techniques (a jazzy bass, percussion, clarinet, etc.) to all her arrangements, no matter if a popular dance piece or a court opera. A great example for a modern arrangement on a more serious subject is Max Richter's take on Vivaldi's Season. There he adds modern techniques, but still being well conscious of the source material and of Vivaldi's overall style..

[@RicardoMartinez-jy5lo]

There was a time when classical musicians and classical music lovers alike looked down on other genres or the so called "minor" classical genres; now luckily one such an attitude is being overcome.

[@mudws]

What I'd like to know is what music is performed for the first 25 minutes? Some of it is a replacement for the lost music of the Prologue, with dances and airs from other Purcell works, but then the abandon the Prologue and conclude with 'Twas within a furlong of Edinburgh town' from The Mock Marriage.

[@DrRickKool]

Wow!!! I played this in University in the late 1960s and thought it rather dated and not really all that interesting until the end... the final piece, remember me, is so moving and so emotional and for me, justifies the entire performance. And Dido in this performance was amazing! What an amazing interpretation and performance! Kudos to everyone, and especially Ms. Pluhar!

[@alanmorr3635]

This is a excellent 'concert performance', a little different from the original opera version most of you are used to. Dutch NPO Radio 4 is the equivalent of BBC Radio 3 in the UK

[@jeromehebert3943]

magnifique !!!!! j'adore !!!!!! et les petits agneaux en fond sont sublimes .

[@mariacamposgutierrez]

Magnifique. Merveilleux!

[@Migdal1971]

I love it, i love Christina Pluhar

[@anitaallema587]

De mooiste muziek, ooit.

[@freddiemercuryxx]

I NEED MORE DINGLE YANDELL IN MY LIFE.

[@guyherter5286]

Que la musique est belle surtout jouée si parfaitement! les voix, les solistes, encore!

[@krisk1650]

Amazing!

[@Strandjutter]

Schitterende uitvoering!! Wat een verzameling van talent!

[@monesma6950]

Nuria Rial, Hana Blažíková, Celine Sheen... those are really good sopranos.

[@Yatamata]

I think this is one of the most ingenious interpretations of Dido and Aenas. Anyone who thinks it's too "modern" or doesn't correspond to the original is probably not familiar with Baroque performance practice. I also find the reconstruction of the prologue very fitting. The music for the prologue was lost or perhaps never existed. The music here is also by Purcell, I was able to find some pieces (perhaps someone can help with the question marks): Till 2:55 Ouverture 2:55 ? Phoebus: From Aurora's spicy bed 4:44 Music: Bonduca: Sing, sing ye Druids Text: First Neride: Phoebus strives in vain to tame 'em,… 7:15 ? Text: Phoebus: Whose lustre does out­shine… 10:43 Music: Purcell: Bonduca - Air - Hornpipe - Air Text: Venus: Fear not, Phoebus, fear not me,a harmless deity. 16:05 Married Beau, or The Curious impertinent, Z. 603 Hornpipe, only music 17:58 Timon of Athen (Sympony of pipes…) only music 20:37 jazz version of Twas within a Furlong of Edinboro Z.605/2 24:50 Overture

[@GeertHeirbaut]

waauw. schitterende uitvoering, Prachtig. zeer speels. jeugdig. beetje jazzy. vol dynamiek.

[@raphaelb8671]

Tant pis si je me répète, mais ce baryton basse est un excellent chanteur. J'espère qu'on pourra l'entendre en France. A Aix on peut entendre en ce moment le nouveau chouchou de certains médias : Philippe Sly. Le timbre de Yandell est plus chaud. Un vrai baryton basse. Moins exubérant, Yandell incarne avec au moins autant de brio les rôles qu'il doit chanter.

[@jodohse8479]

klasse Arrangement, mit diversen modernen Einlagen, Sowohl Ohren- wie auch Augenschmaus !

[@Gladfulspirit]

I found it a very enjoyable interpretation.