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EARLY MUSIC CONCERTS Henry Purcell: Dido and Aeneas SCHOLA CANTORUM AND BAROQUE ORCHESTRA Jeanne Lamon and Daniel Taylor, Music Directors January 17-19, 2014 Mystical Voices of Medieval Germany SEQUENTIA: ENSEMBLE FOR MEDIEVAL MUSIC Benjamin Bagby, Conductor January 25, 2014 The Coronation of King George II SCHOLA CANTORUM AND THEATRE OF EARLY MUSIC Daniel Taylor, Conductor January 26, 2014 Trinity College Chapel University of Toronto Dido and Aeneas Henry Purcell (1659-1695) JANUARY 17, 2014 - 7:30PM JANUARY 18, 2014 - 4:00 PM & 7:30PM JANUARY 19, 2014 - 7:30PM Musicians led by Jeanne Lamon Soloists and Choristers led by Daniel Taylor Stage direction and Choreography by Bill Coleman TRINITY COLLEGE CHAPEL 6 HOSKIN AVENUE, TORONTO, ON At the dawn of the seventeenth century, a musical breakthrough emerged. Baroque music, unlike anything written until then, digs back to its humanistic roots, and gives meaning to the essence of the voice - in all simplicity and with all its complexities. Purcell’s Dido and Aeneas is a perfect representation of this moment in time. Based on Virgil’s Aeneid, the opera tells the story of Dido, the legendary Queen of Carthage, and Aeneas, the Trojan Prince and refugee with whom the Queen falls in love. MUSICIANS SCHOLA CANTORUM Dido Ellen McAteer, Chelsea Van Pelt Dido (dancer) Carol Prieur Aeneas Geoffrey Sirett Aeneas (dancer) Bill Coleman Belinda Lauren Crowther, Monica Orso, Julia Morson, Hannah Tarder-Stoll Sorceress Whitney O’Hearn, Kristina Alexander Spirit Cameron Shahbazi, Ryan McDonald Sailor Michiel Schrey Second Woman Rebecca Genge, Elizabeth Hetherington Witch One Elizabeth Hetherington, Monica Orso Witch Two Jennifer Routhier, Jessica Wright BAROQUE ORCHESTRA Violin I Jeanne Lamon Violin II Michelle Oderico Viola Charlene Yeh Cello Christina Mahler Lute Lucas Harris, Michel Angers Harpsichord Christopher Bagan THEATRE OF EARLY MUSIC CHOIR Sopranos Michele DeBoer, Bronwyn Thies-Thompson Altos Rebecca Claborn, Peter Mahon, Zachary Windus Tenors Charles Davidson, Kevin Reeves, Michiel Schrey Basses John Giffen, David Roth PRODUCTION TEAM Conductors Jeanne Lamon and Daniel Taylor Director & Bill Coleman Choreographer Assistant to Director Rebecca Claborn Rehearsal Assistant Kristina Alexander, Jennifer Routhier Costume Designers Astrid Jansen with Nell Coleman HENRY PURCELL Raised amidst the veritable explosion keeper of the royal instruments. His of culture that greeted the Restoration extraordinary talents must have been of the British monarchy in 1660, evident, for his first official Court Henry Purcell stands as a colossus appointments came whilst he was still in English music. Hugely prolific, he in his teens. He became organist of wrote with equal skill and imagination Westminster Abbey at the age of only for the church, the court, the nineteen and additionally became theatre, for his royal patrons and for one of the organists at the Chapel small domestic forces: he produced Royal. He served in the court of over a hundred anthems, services Charles II, writing and performing and devotional songs of amazing vast amounts for his royal employer. originality, twenty- four magnificent As opportunities for court musicians Odes and Welcome Songs, an opera waned, Purcell turned his attention and four semi- operas, incidental to the world of the theatre; he was music to over forty plays, more than a London’s busiest and most sought-after hundred secular songs and duets, over composer, adored and revered by his forty pieces of brilliantly inventive contemporaries. instrumental chamber music and more besides. The variety, originality and craftsmanship of Purcell’s work is Purcell lived all his life in London; astonishing. He was a consummate the capital was busy, dirty, crowded, setter of words under whose skill unpredictable but always buzzing. As language comes to life. Purcell’s a child he lived through the plague wonderful, daring music stands not and the Great Fire of London; tragedy just amongst the greatest of the whole struck at the age of only five when his baroque era, but alongside that of the father died. The young Purcell learned true geniuses of all musical history. his musical craft as a boy chorister It was not without justification that at the Chapel Royal; when his voice his contemporary Thomas Tudway broke (at the unusually early age of asserted that Purcell, ‘was confessedly fourteen) he was apprenticed to the the Greatest Genius we ever had’. DIDO AND AENEAS Dido and Aeneas (1689), by Henry Dido and Aeneas offers a well-defined Purcell (1659-1695), is England’s key structure in that Purcell used oldest opera. The work was first major keys to illustrate happiness and performed in 1689, at a private girls’ minor keys to evoke sadness. The first school in Chelsea, London, run by scene is in C minor, because Dido the choreographer Josias Priest, who is fearful about falling in love with was a dancing master. The libretto Aeneas. However, Dido’s wishes are for Dido and Aeneas was adapted from returned and thus the next scene the Aeneid by Virgil. Dido, Queen of shifts in key to C major. Then follows Carthage, falls in love with Aeneas, the Cave Scene, where the witches who has landed in Carthage after hatch their plot. This mirrors the fleeing from Troy after defeat in the key structure of act one, but going Trojan War. However, a plot by the from F minor to F major, when they Sorceress and witches, who hate have finalized their diabolical plan. Dido, serves to remind Aeneas that Although key changes from major he is fated to go and be the founder to minor are a fairly common device of the Roman Empire. Aeneas leaves used to illustrate emotions, Purcell’s Dido who is shamed, heartbroken are exceptional, because they change and kills herself. This is altered from from tonic minor to tonic major (C the version in the Aeneid, where there minor to C major, for example), rather were no witches. In the Aeneid, the than tonic minor to relative major1. Gods intervene to remind Aeneas of Purcell’s use of dissonance is beautiful his duty. The story is exceptional for and effective. Particular examples of opera of this period, because one of dissonance in Dido and Aeneas are the the major characters (Dido) dies. In first part of the overture and Dido’s most pre-19th Century opera, the hero Lament. In the lament, the string parts or heroine’s life may be threatened, but are very dissonant, helping to illustrate the convention of ‘Deus Ex Machina’ Dido’s extreme anguish. (an Act of the Gods) almost always surely preserved the safety of those DANIEL TAYLOR AFTER threatened. ROBERT KING © 2014/2000 LIBRETTO OVERTURE ACT I (The Palace) Enter Dido, Belinda and train BELINDA Shake the cloud from off your brow, fate your wishes does allow. Empire growing, pleasures flowing, fortune smiles and so should you, shake the cloud from off your brow. CHORUS Banish sorrow, banish care, grief should ne’er approach the fair. DIDO Ah! Belinda, I am prest, with torment not to be confest. Peace and I are strangers grown, I languish till my grief is known, yet would not have it guess’d. BELINDA Grief increases by concealing. DIDO Mine admits of no revealing. BELINDA Then let me speak; the Trojan guest into your tender thoughts has pressed; The greatest blessing Fate can give, our Carthage to secure and Troy revive. CHORUS When monarchs unite, how happy their state, they triumph at once, o’er their foes and their fate. DIDO Whence could so much virtue spring? What storms, what battles did he sing? Anchises’ valour mixt with Venus’ charms, how soft in peace, and yet how fierce in arms! BELINDA A tale so strong and full of woe, might melt the rocks as well as you. What stubborn heart unmov’d could see such distress, such piety? DIDO Mine with storms of care opprest is taught to pity the distrest. Mean wretches’ grief can touch, so soft, so sensible my breast; But ah! I fear, I pity his too much. TWO WOMEN (repeated by CHORUS) Fear no danger to ensue, the Hero loves as well as you. Ever gentle, ever smiling, and the cares of life beguiling. Cupid strew your path with flowers, gather’d from Elysian bowers. Enter Aeneas and train BELINDA See, your Royal guest appears; how Godlike is the form he bears! AENEAS When, Royal Fair, shall I be blest, with cares of love and state distrest? DIDO Fate forbids what you pursue. AENEAS Aeneas has no fate but you! Let Dido smile and I’ll defy the feeble stroke of destiny. CHORUS Cupid only throws the dart, that’s dreadful to a warrior’s heart. And she that wounds can only cure the smart. AENEAS If not for mine, for Empire’s sake, some pity on your lover take. Ah! Make not, in a hopeless fire, a hero fall, and Troy once more expire. BELINDA Pursue thy conquest, Love-her eyes confess the flame her tongue denies. [A Dance Gittars Chacony] CHORUS To the hills and the vales, to the rocks and the mountains, to the musical groves and the cool shady fountains. Let the triumphs of love and beauty be shown. Go revel, ye Cupids, the day is your own. THE TRIUMPHING DANCE (Orchestra) ACT II, SCENE i Enter Sorceress WITCHES PRELUDE SORCERESS Wayward sisters, you that fright the lonely traveller by night, who, like dismal ravens crying beat the windows of the dying. Appear! Appear at my call, and share in the fame of a mischief shall make all Carthage flame. Enter Witches FIRST WITCH Say, Bedlam, say what’s thy will. CHORUS Harm’s our delight and mischief all our skill. SORCERESS The Queen of Carthage, whom we hate, as we do all in prosp’rous state. Ere sunset, shall most wretched prove, Depriv’d of fame, of life and love! CHORUS Ho ho ... ho ho ... ho ho! TWO WITCHES Ruin’d ere the set of sun? Tell us, how shall this be done? SORCERESS The Trojan Prince, you know, is bound by fate to seek Italian ground; The Queen and he are now in chase. FIRST WITCH Hark! The cry comes on apace. SORCERESS But, when they’re done, my trusty Elf in form of Mercury himself, as sent from Jove, shall chide his stay, and charge him sail tonight with all his fleet away. CHORUS Ho ho ... ho ho ... ho ho! TWO WITCHES But, ere we this perform, we’ll conjure for a storm, to mar their hunting sport, and drive ‘em back to court. CHORUS and ECHO In our deep vaulted cell the charm well prepare, too dreadful a practice for this open air. ECHO DANCE OF FURIES (Orchestra) HORRIBLE MUSIC ACT II, SCENE ii (The Grove) Enter Aeneas, Dido, Belinda and train BELINDA (repeated by CHORUS) Thanks to these lonesome vales, these desert hills and dales. So fair the game, so rich the sport, Diana’s self might to these woods resort. SECOND WOMAN Oft she visits this lov’d mountain, oft she bathes her in this fountain; Here Actaeon met his fate, pursued by his own hounds, and after mortal wounds Discover’d too late. Dance... Women leave. Sprit appears in the form of Mercury. SPIRIT Stay, Prince! And hear great Jove’s command; He summons thee, this night, away. AENEAS Tonight? SPIRIT Tonight thou must forsake this land, the angry God will brook no longer stay. Jove commands thee, waste no more in Love’s delights, those precious hours, allow’d by th’Almighty Pow’rs, to gain th’Hesperian shore and ruined Troy restore. AENEAS Jove’s commands shall be obey’d, tonight our anchors shall be weigh’d but ah! What language can I try my injur’d Queen to pacify? No sooner she resigns her heart, but from her arms I’m forc’d to part. How can so hard a fate be took? One night enjoy’d, the next forsook. Yours be the blame, ye gods! For I Obey your will, but with more ease could die. [The Groves Dance] ACT III, SCENE i (The Ships) PRELUDE Enter Sailors FIRST SAILOR (repeated by CHORUS) Come away, fellow sailors, your anchors be weighing, time and tide will admit no delaying. Take a bouzy short leave of your nymphs on the shore, and silence their mourning with vows of returning, but never intending to visit them more. SAILORS’ DANCE (Orchestra) Enter Sorceress and Witches SORCERESS See the flags and streamers curling, anchors weighing, sails unfurling. FIRST WITCH Phoebus’ pale deluding beams gliding o’er deceitful streams.