Posts

Dido’s Ghost – Buxton International Festival – The Guardian Review

★★★★

Flora Willson, The Guardian

“A beguiling tapestry of fragmentary quotations and knowing gestures to an earlier music language, overlaid with a contemporary sonic palette.”

Read the full review here.

Dido’s Ghost – Buxton International Festival – The Arts Desk Review

★★★★★

Robert Beale, The Arts Desk

“It’s a stimulating piece of creation and adaptation, done to a very high standard indeed, and may even be remembered as one of the most striking and original artistic products of the Covid era.”

Read the full review here.

Dido’s Ghost – World Premiere at the Barbican – The Stage Review

★★★★

George Hall, The Stage

“Wallen’s skilful score offers atmosphere, variety and some impressive characterisation and is finely sung and played in a performance founded on the excellent Baroque specialist Dunedin Consort under conductor John Butt; musical standards are high throughout.”

Read the full review here.

Dido’s Ghost – World Premiere at the Barbican – The Times Review

Geoff Brown, The Times

“… there was the lively precision of John Butt’s Dunedin Consort, its period instruments regularly spiked with the electric guitars that signalled when Wallen had arrived and Purcell had left.”

Read the full review here.

Dido’s Ghost – World Premiere at the Barbican – Planet Hugill Review

Robert Hugill, Planet Hugill

4.5/5 stars

“… breathtakingly daring yet intelligently done.”

Read the full review here.

Dido’s Ghost – World Premiere at the Barbican – The Economist Review

The Economist

“A conversation across centuries and styles… Dido’s Ghost hauntingly shows that so-called “period” instruments can, and should, play key parts in the music of today.”

Read the full review here.

Dido’s Ghost – World Premiere at the Barbican – Vox Carnyx

Keith Bruce, Vox Carnyx

“It is desirable beyond argument that Dido’s Ghost becomes a repertoire work.… Dunedin stalwart Matthew Brook has never been better than he is here… Nardus Williams as the supportive Belinda is also a powerful presence, and Scots mezzo Allison Cook is fearsome as Lavinia…”

Read the full review here.

Dido’s Ghost – World Premiere at the Barbican – Bachtrack Review

★★★★

David Smythe, Bachtrack

“a dramatic and thrilling work… Purcell’s work is performed as a memory masque, not quite bookended by the new work as the ghosts take over and the operas collide at the end with an extraordinary and unexpected twist”

Read the full review here.

Dido’s Ghost – World Premiere at the Barbican – The Guardian Review

★★★★

Fiona Maddocks, The Guardian

“Anyone who insists on Purcell pure might find the mix too challenging, yet this new work is bold and moving, a piercing reminder of how the past haunts the present. Dido’s celebrated lament is heard, but not as you expect it. With a conviction that transfixes, Aeneas himself now sings the plaintive, tolling utterance, to devastating effect.”

Read the full review here.

Events

Dido’s Ghost | Edinburgh International Festival

‘Remember me, but ah! Forget my fate sings Dido at the end of Purcell’s opera. But life isn’t always quite so straightforward, and some memories have a destiny of their own. Set several years after the Carthaginian queen’s death, Dido’s Ghost finds Dido’s sister Anna abandoned on the shores of Aeneas’s new kingdom, igniting a murderous jealously in Aeneas’s wife Lavinia – and as events play out, its characters confront a past that refuses to fade.

Co-commissioned by Dunedin Consort, the Barbican Centre, Buxton International Festival, Edinburgh International Festival, Philharmonia Baroque Orchestra & Chorale, and Mahogany Opera, Dido’s Ghost reframes, illuminates and expands Purcell’s Dido and Aeneas, which is performed in its entirety as a flashback within Wallen’s drama. Performed on period instruments, Dido’s Ghost bridges the gap between worlds, as past blurs into present and memory becomes emotion in this ambitious new commission.

Dido’s Ghost | Edinburgh International Festival

‘Remember me, but ah! Forget my fate sings Dido at the end of Purcell’s opera. But life isn’t always quite so straightforward, and some memories have a destiny of their own. Set several years after the Carthaginian queen’s death, Dido’s Ghost finds Dido’s sister Anna abandoned on the shores of Aeneas’s new kingdom, igniting a murderous jealously in Aeneas’s wife Lavinia – and as events play out, its characters confront a past that refuses to fade.

Co-commissioned by Dunedin Consort, the Barbican Centre, Buxton International Festival, Edinburgh International Festival, Philharmonia Baroque Orchestra & Chorale and Mahogany Opera, Dido’s Ghost reframes, illuminates and expands Purcell’s Dido and Aeneas, which is performed in its entirety as a flashback within Wallen’s drama. Performed on period instruments, Dido’s Ghost bridges the gap between worlds, as past blurs into present and memory becomes emotion in this ambitious new commission.

Dido’s Ghost | Edinburgh International Festival

‘Remember me, but ah! Forget my fate sings Dido at the end of Purcell’s opera. But life isn’t always quite so straightforward, and some memories have a destiny of their own. Set several years after the Carthaginian queen’s death, Dido’s Ghost finds Dido’s sister Anna abandoned on the shores of Aeneas’s new kingdom, igniting a murderous jealously in Aeneas’s wife Lavinia – and as events play out, its characters confront a past that refuses to fade.

Co-commissioned by Dunedin Consort, the Barbican Centre, Buxton International Festival, Edinburgh International Festival, Philharmonia Baroque Orchestra & Chorale and Mahogany Opera, Dido’s Ghost reframes, illuminates and expands Purcell’s Dido and Aeneas, which is performed in its entirety as a flashback within Wallen’s drama. Performed on period instruments, Dido’s Ghost bridges the gap between worlds, as past blurs into present and memory becomes emotion in this ambitious new commission.