Organization

Il Pomo d'Oro

Conductor

Maxim Emelyanychev

Singer

Baritone

Andrew Staples

Jephte

Tenor

Aeneas

Soprano

Joyce DiDonato

Dido

Fatma Said

Belinda

Mezzo-soprano

Beth Taylor

Sorceress

Hugh Cutting

Spirit

Carlotta Colombo

Second woman

Filia

Massimo Altieri

First sailor

Alena Dantcheva

First witch

Anna Piroli

Second witch

Teatro Real de Madrid

Théâtre des Champs-Elysées

Others

Chœur Il Pomo d'Oro

Elbphilharmonie & Laeiszhalle Hamburg

Philharmonie Luxembourg

Aalto-Musiktheater Essen

영어

라틴어

Joyce DiDonato: Dido and Æneas

Essen

Germany

Philharmonie

Alfried Krupp Saal

Hamburg

Elbphilharmonie

Grosser Saal

Paris

France

Madrid

Spain

Teatro Real

Sala Principal

Luxembourg

Grand Auditorium

Dido and Aeneas

Public

Jephtha

프랑스어

Approved

Joyce DiDonato: Dido and Æneas: Jephte Carissimi (+1 More)

Con un programa que incluye la ópera más famosa de Purcell y Jephte de Carissimi, Joyce DiDonato y Il Pomo d’Oro se suben otro año más al escenario del Real para interpretar a Dido, la reina de Cartago. La mezzosoprano estadounidense es una de las voces más destacadas de su generación y más grandes del momento con una reputación mundial, habiéndose subido a escenarios tan sobresalientes como el Metropolitan de Nueva York, la Ópera de París o el Covent Garden de Londres.  

En sus Heroidas, el poeta Ovidio imaginó las epístolas que una ilustre nómina de mujeres abandonadas —entre ellas Penélope, Dido, Ariadna y, por supuesto, Medea— habrían escrito a sus respectivos y huidizos amantes. La fama de muchas de estas heroínas se prolongó durante la era barroca a través de la ópera, inspirando uno de sus subgéneros más sublimes: el aria de lamento. El lamento de Dido de la ópera Dido & Aeneas de Henry Purcell desdice a la furibunda amante despechada descrita por Virgilio en su Eneida acogiéndose por entero al retrato compasivo de Ovidio, quien la muestra en sus últimos instantes de vida apesadumbrada por el triste recuerdo que dejará entre los suyos.

Estrenada en 1689 en la escuela femenina de danza de Josias Priest, y probablemente concebida para ser representada por las internas de este centro londinense, Dido & Aeneas se ha convertido en una de las óperas de su tiempo más interpretadas en nuestros días, apoyada en el sensible retrato de su protagonista femenina —capaz de reducir a su antagonista a la condición de antihéroe— y a la inmediatez, concisión y belleza de su partitura.

español

With a programme that includes Purcell's most famous opera and Carissimi's Jephte, Joyce DiDonato and Il Pomo d'Oro take to the stage of the Real again this year to perform Dido, Queen of Carthage. The American mezzo-soprano is one of the leading voices of her generation and one of the greatest of the moment with a worldwide reputation, having performed on such outstanding stages as the Metropolitan in New York, the Paris Opera and London's Covent Garden.

In his Heroides, the poet Ovidio created epistles for an illustrious list of abandoned women — among them, Penelope, Dido, Ariadna and, Medea, of course — who would have written to their respective and elusive   lovers. The fame of many of these heroines extended into the Baroque era through opera, inspiring one of its most sublime subgenres: the “aria de lamento”. The Lament of Dido in the opera Dido & Aeneas by Henry Purcell clashes with the enraged and resentful lover described by Virgil in the Aeneid. The composer preferred the compassionate portrait of Ovidio, one which shows Dido in the last moments of life as troubled by the sad memory she will leave among her people.

Premiered in 1689 in Mr. Josias Priest’s Boarding School for Girls, and probably conceived to be performed by the boarders of this London school, Dido & Aeneas has become one of the operas of its time to be most performed in our times. It is reinforced by the sensitive portrayal of its female protagonist — who reduces her antagonist to an antihero— and the immediacy, concision, and beauty of its score.

English

Joyce DiDonato: Dido and Æneas by Carissimi, Purcell, 에서 (2024/2024), 지휘자 Maxim Emelyanychev, Théâtre des Champs-Elysées, Paris, France

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