Name: Dido y Eneas – Ópera barroca
Start: 2019-11-23T00:00:00.000Z
End: 2019-11-23T00:00:00.000Z
Location: Teatro Real Carlos III

Organization

Stage director

Carlos Pardo

Conductor

Celia Laguna

Singer

Soprano

Beatriz Lanza

Dido

Tenor

Marco Moncloa

Aeneas

Raquel González

Belinda

Mezzo-soprano

Amanda Serna

First witch

Second woman

Inés Olabarría

Second witch

First sailor

Others

Coro de Cámara Clavileño

Opera Nova w Bydgoszczy

Coro Gestural Getafe enClave

Teatro Real Carlos III

Dido y Eneas – Ópera barroca

Aranjuez

Spain

Dido y Eneas – Ópera barroca: Dido and Aeneas

Public

Dido and Aeneas

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Theorbist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Baritone

Countertenor

Bass-baritone

Bass

Alto

Child vocalist

Continuo

Silent

Spoken

Based on book IV of the Aeneid (Virgil). This history spans at least from the 12th century BC, a date that antiquarians attributed to the destruction of Troy, up to the Augustus century.

Virgil tells the fall of Troy, from the point of view of Aeneas, the defeated. Aeneas is a social hero, he leaves behind him his entire destroyed world and must look for a new homeland for his son, his companions and his gods.

His character is obedient and respectful; their passivity and lack of initiative are censured. Rather than a succession of real dangers, his journey would be made up of tests of a spiritual nature. Aeneas undergoes an evolution, his journey has characteristics of an initiation journey. In it he is strengthened, full of confidence and self-assurance. For thinkers like Virgil, a divine providence animates both the large-scale cosmos and the microcosm. This was his thought system.

Virgil, by showing Aeneas so courageous on the last night of Troy, what he tries to do is offer a new vision that will erase the fame of a traitor and a collaborator with the Greeks who had adhered to his name.

IV Book of the Aeneid.

Aeneas in Carthage, his love for Dido and the temptation to forget about his mission: to found a city in Lazio.

The author knew how to reflect the inexorable character of destiny and the patriotic-religious submission of Aeneas to its dictates. The existence of laws understood as "signs" should alert men, since the world is part of an intelligent whole and providence emits signals about the future. So atmospheric phenomena are signs we feel or sometimes causes of others. They are harbingers of catastrophes.

Dido is a widow and cannot remarry, so she promised to her husband's ashes. (The univira, woman of one husband). Custom is among the old-fashioned Romans, since he was well regarded.

Virgil focuses his interest on the gradual disintegration and self-destruction of the queen of Carthage. He contemplates her from within her in dialogues, monologues and even dreams. He turns her into a broken and frantic woman (maenad) under the onslaught of love, as well as a queen full of dignity and revenge at the time of her death.

Dido's intimacy is represented in detail in contrast to the paucity of information we obtain about Aeneas.

Aeneas is the winner because he follows the dictates of the gods. He wins, but does not convince. Sympathy is with Dido.

Virgil presents both the emotional restraint of Aeneas, and the overflow of love, hate, and pride of Dido. Virgilio identifies with the victims, endowing them with greater human appeal.

Espinosa Polit's translation of the fragment in which Aeneas has just met the Spirit.

“But at such a vision, annihilated.
Aeneas is silent, his hair
Stiff with horror and his throat oppressed.
Flee, his desire to flee... that the sweet lands that invite love are left behind.
In the divine admonition,
So high majesty and so much empire overwhelm him.
More ouch! What can he do? And how now
Prepare the passionate queen?.
And if she stops to talk, where does she start?...

English

Basada en el libro IV de la Eneida (Virgilio). Historia esta que abarca al menos desde el siglo XII a.c., fecha que los anticuarios atribuían a la destrucción de Troya, hasta el siglo de Augusto.

Virgilio cuenta la caida de Troya, desde el punto de vista de Eneas, el vencido. Eneas es un héroe social, deja detrás todo su mundo destruido y debe buscar una nueva patria para su hijo, sus compañeros y sus dioses.

Su carácter es obediente y respetuoso; se censura su pasividad y falta de iniciativa. Mas que una sucesión de peligros reales, su viaje, se compondría  de pruebas de carácter espiritual. Eneas sufre una evolución, su viaje tiene  características de un viaje iniciatico. En él resulta fortalecido, lleno de confianza y seguridad en sí mismo. Para los pensadores como Virgilio, una providencia divina anima tanto al cosmos a gran escala, como al microcosmos. Este era su sistema de pensamiento.

Virgilio al mostrar a Eneas tan valeroso en la ultima noche de Troya  lo que intenta es ofrecer una nueva visión que borrara la fama de traidor y de colaboracionista con los griegos que se habían adherido a su nombre.

IV Libro de la Eneida.

Eneas en Cartago, su enamoramiento de Dido y la tentación  de olvidarse de su misión: fundar una ciudad en el Lacio.

El autor supo reflejar el carácter inexorable del destino y la sumisión patrioticoreliguiosa de Eneas a sus dictados. La existencia de leyes entendidas como “signos” deben alertar a los hombres, ya que el mundo forma parte de un todo inteligente y la providencia emite señales sobre  el futuro. Así fenómenos atmosféricos son  signos sintamos o  aveces causas de otros. Son presagio de catástrofes.

Dido es viuda y no puede volver a casarse, así lo prometió a las cenizas de su esposo.(La univira, mujer de un solo marido). Costumbre esta entre los romanos chapados a la antigua, ya que estaba bien mirado.

Virgilio concentra su interés en la gradual desintegración y autodestrucción de la reina de Cartago. La contempla desde dentro en diálogos, monólogos e incluso sueños. La convierte en una mujer descompuesta y frenética (ménade) bajo los embates del amor, a la vez que en reina llena de dignidad y venganza a la hora de su muerte.

La intimidad de Dido  es representada con detalle en contraste con la parquedad de información que obtenemos sobre Eneas.

Eneas es el vencedor porque sigue los dictados de los dioses. Vence, pero no convence. La simpatía esta con Dido.

Virgilio presenta tanto la restricción emotiva de Eneas, como el desbordamiento de amor, odio  y orgullo de Dido. Virgilio se identifica con las víctimas, dotándolas de mayor atractivo humano.

Traducción de Espinosa Polit del fragmento en el que Eneas acaba de encontrarse con el Espíritu.

“Mas ante tal visión, aniquilado.
Eneas enmudece, los cabellos
Yertos de horror y la garganta opresa.
Huir, su ansia huir… que atrás se quedan las dulces tierras que al amor convidan.
En la divina admonición le abruman
Tan alta majestad y tanto imperio.
Más ¡ay! ¿qué puede hacer? Y como ahora
Preparar a la reina apasionada?.
Y si se arresta a hablar, ¿por donde empieza?…

español

Dido y Eneas – Ópera barroca by Purcell, sob. 23 nov. 2019, Od (2019/2019), Režija: Carlos Pardo,, Dirigent Celia Laguna, Teatro Real Carlos III, Aranjuez, Spain

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