updating nvidia drivers in vista - Dido dating 201

AN intriguing double bill presents us with lovelorn women - and musical styles - from across the ages. The singing, though, remains disciplined, though edgy and affecting. After the interval comes a different sound as Purcell’s opera from the 17th Century brings us lute, harpsichord and more mellifluous tones.

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These emerge later as her character, Elle, slides into mental meltdown. Loved the look, loved the music, can’t really tell you what was going on ...

The bounder messing up her life appears sometimes in a two-way mirror, on one occasion clutching a showy blonde. The brown hair’s a mess, the make-up’s running, she’s on the bed.

But Lesley Garrett’s performance, measured and full of pathos, holds the attention.

Poulenc’s creation charts a night of yearning and desolation, a discordant, staccato thing, full of tense emotion.

1.1 The origins of Henry Purcell’s Dido and Aeneas remain shrouded in mystery.

Despite (or because of) this ambiguity, much ink has been spilled about the opera, as scholars have speculated about where (at court or at Josias Priest’s school in Chelsea?

) it does not match the earliest version of Nahum Tate’s libretto, a printed souvenir from Priest’s boarding school performance, as it is missing a laudatory prologue, an Act II witches’ chorus, and several dances (the number depends on who does the counting).

Purcell’s contemporaries saw no problem with hacking the “original” Dido to bits to serve their own commercial needs, interpolating it into Charles Gildon’s reworking of Measure for Measure (1700) and later using it as an afterpiece, first to Edward Ravenscroft’s comedy The Anatomist and then to George Etheridge’s The Man of Mode—indeed, that’s probably why Purcell’s opera survives at all.

So why should we mind if Mark Morris or Sasha Waltz or now Wayne Mc Gregor uses Purcell’s score as the basis for modern terpsichorean experiments?

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