COMPLETE PRESENTATION: LOOK THE VIDEO DESCRIPTION. END
Purcell - Dido and Aeneas: When i am Laid in Earth (reference recoding: Dame Janet Baker, A. Lewis)
Henry Purcell (1659-1695) - Dido and Aeneas / Full Opera REMASTERED. 🎧 Qobuz https://bit.ly/3DDU48O Apple Music https://apple.co/3WAjiNS 🎧 Amazon Music https://amzn.to/3sZ4dYH Deezer https://bit.ly/3FLY3mg 🎧 Spotify https://spoti.fi/3T6248k Tidal https://bit.ly/3Up0Oy0 🎧 Youtube Music https://bit.ly/3zOsrsC SoundCloud https://bit.ly/3zL0iCw 🎧 LineMusic日本, Awa日本, Napster, Pandora, Anghami, QQ音乐 … Dido and Aeneas: Act 3 (excerpt) 00:00 But Death, alas! ... (Remastered 2022) 02:20 When I am laid in earth (Dido) (Remastered 2022) 06:26 With drooping wings ye Cupids come (Chorus) (Remastered 2022) Full Opera available the main streaming platforms (Qobuz in 24/96 His-Res, Apple Music, Amazon Music, Deezer, Tidal, Spotify, Youtube Music..): https://www.youtube.com/watch?v=XnJzV_XcyGI&list=OLAK5uy_nEcbmyoeQH77dBjYloXXrN4iy_7nf0Ix4&index=1 Dido, Queen of Carthage: Dame Janet Baker Aeneas, a Trojan Prince: Raimund Herincx Belinda: Patricia Clark Sorceress: Monica Sinclair The St Anthony Singers English Chamber Orchestra Conductor: Anthony Lewis Recorded in 1961 New mastering in 2022 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : https://spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : https://bit.ly/370zcMg ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) https://www.patreon.com/cmrr Dame Janet Baker as Dido by Alan Blyth The early part of Janet Baker's career was closely connected with both Purcell's opera and with Anthony Lewis. Some of her first operatic appearances back in the late 1950s were in Dido and Aeneas — but not in the title role, usually sung by sopranos, not mezzos. She had worked with Anthony Besch at Glyndebourne when she was in the Chorus. When he produced the work at Ingestre, then home of Lord and Lady Shrewsbury, in 1957, he gave her the role of Second Witch. By the time the staging reached the Bath Festival in 1959, she had advanced to the main mezzo role of the Sorceress. When the production reached Hampton Court later that year, The Times commented: "The vocal honours went to Miss Janet Baker as the Sorceress, an impressive and flexible voice finely handled". In the meantime she had begun a long and fruitful association with Anthony Lewis, then at the barber Institute in Birmingham (he later became Principal of the Royal Academy of Music in London). She gained much attention and praise there in a series of notable productions of Handel operas. In 1961, Lewis approached Baker to sing Dido. She was at first surprised as she had always thought of it as a soprano part, but he thought it should have the character of a darker voice, and in any case she had the range, as the role goes no higher than G. In consequence she was chosen to sing the part on this recording, one which many think is unsurpassed, certainly as far as the casting of the title role is concerned. Soon after it was made she gave memorable performances of Dido with the English Opera Group in Britain and abroad, and she turned to Glyndebourne, now as leading lady, to sing the part to overwhelming effect, as I well recall, in 1966. Dido was the first operatic role Janet Baker attempted on disc, which makes the intensity, the passion of her singing all the more astonishing and proves that she had already mastered the art of acting through the voice in the studio as well as on stage. Edward Greenfield wrote in The Guardian at the time of the set's first issue that "on this showing she can set her sights on almost any peak" prophetic words. He added: "Miss Baker's stylishness, range of tone and colour, depth of emotion implied with no untidy gusts all reveal a natural command that promises great things". The noble Lament at the end, of course, crowns the performance. The way Baker grades her half-voice at the repeat of "When I am laid in earth", the absence of vibrato for the ache of "Remember me", the perfect movement from B flat to E on the word "create" are just indications of how refined and instinctive was the singer's art as early as 1961, when she was still in her twenties. So do the fury at "Your counsel all is urg'd in vain" and at "Away, away!" as she dismisses Aeneas in this final scene, and the manner in which she darkens her tone for the grief-laden words "But Death, alas! I cannot shun". Earlier, "Ah! Belinda" is equally fine. Listen for the grace notes on the phrase "Peace and I" and the way Baker fully conveys the onomatopoeia of the single word "languish" in the same aria. Everywhere phrasing and words are re-thought with that vividness and care for meaning that has always distinguished her singing. Nor should Anthony Lewis's contribution to the singer's achievement be overlooked: Baker knew just how much she owed to him at that stage of her burgeoning career. The American Vocalist - Spirituals and Folk Hymns 1850-1870 (Century's recording: Joel Cohen): https://youtu.be/Em9l_ojCoCU
Classical Music/ /Reference Recording
1 year ago
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Henry Purcell (1659-1695) - Dido and Aeneas / Full Opera REMASTERED. 🎧 Qobuz https://bit.ly/3DDU48O Apple Music https://apple.co/3WAjiNS 🎧 Amazon Music https://amzn.to/3sZ4dYH Deezer https://bit.ly/3FLY3mg 🎧 Spotify https://spoti.fi/3T6248k Tidal https://bit.ly/3Up0Oy0 🎧 Youtube Music https://bit.ly/3zOsrsC SoundCloud https://bit.ly/3zL0iCw 🎧 LineMusic日本, Awa日本, Napster, Pandora, Anghami, QQ音乐 … Dido and Aeneas: Act 3 (excerpt) 00:00 But Death, alas! ... (Remastered 2022) 02:20 When I am laid in earth (Dido) (Remastered 2022) 06:26 With drooping wings ye Cupids come (Chorus) (Remastered 2022) Full Opera available the main streaming platforms (Qobuz in 24/96 His-Res, Apple Music, Amazon Music, Deezer, Tidal, Spotify, Youtube Music..): https://www.youtube.com/watch?v=XnJzV_XcyGI&list=OLAK5uy_nEcbmyoeQH77dBjYloXXrN4iy_7nf0Ix4&index=1 Dido, Queen of Carthage: Dame Janet Baker Aeneas, a Trojan Prince: Raimund Herincx Belinda: Patricia Clark Sorceress: Monica Sinclair The St Anthony Singers English Chamber Orchestra Conductor: Anthony Lewis Recorded in 1961 New mastering in 2022 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : https://spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : https://bit.ly/370zcMg ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) https://www.patreon.com/cmrr Dame Janet Baker as Dido by Alan Blyth The early part of Janet Baker's career was closely connected with both Purcell's opera and with Anthony Lewis. Some of her first operatic appearances back in the late 1950s were in Dido and Aeneas — but not in the title role, usually sung by sopranos, not mezzos. She had worked with Anthony Besch at Glyndebourne when she was in the Chorus. When he produced the work at Ingestre, then home of Lord and Lady Shrewsbury, in 1957, he gave her the role of Second Witch. By the time the staging reached the Bath Festival in 1959, she had advanced to the main mezzo role of the Sorceress. When the production reached Hampton Court later that year, The Times commented: "The vocal honours went to Miss Janet Baker as the Sorceress, an impressive and flexible voice finely handled". In the meantime she had begun a long and fruitful association with Anthony Lewis, then at the barber Institute in Birmingham (he later became Principal of the Royal Academy of Music in London). She gained much attention and praise there in a series of notable productions of Handel operas. In 1961, Lewis approached Baker to sing Dido. She was at first surprised as she had always thought of it as a soprano part, but he thought it should have the character of a darker voice, and in any case she had the range, as the role goes no higher than G. In consequence she was chosen to sing the part on this recording, one which many think is unsurpassed, certainly as far as the casting of the title role is concerned. Soon after it was made she gave memorable performances of Dido with the English Opera Group in Britain and abroad, and she turned to Glyndebourne, now as leading lady, to sing the part to overwhelming effect, as I well recall, in 1966. Dido was the first operatic role Janet Baker attempted on disc, which makes the intensity, the passion of her singing all the more astonishing and proves that she had already mastered the art of acting through the voice in the studio as well as on stage. Edward Greenfield wrote in The Guardian at the time of the set's first issue that "on this showing she can set her sights on almost any peak" prophetic words. He added: "Miss Baker's stylishness, range of tone and colour, depth of emotion implied with no untidy gusts all reveal a natural command that promises great things". The noble Lament at the end, of course, crowns the performance. The way Baker grades her half-voice at the repeat of "When I am laid in earth", the absence of vibrato for the ache of "Remember me", the perfect movement from B flat to E on the word "create" are just indications of how refined and instinctive was the singer's art as early as 1961, when she was still in her twenties. So do the fury at "Your counsel all is urg'd in vain" and at "Away, away!" as she dismisses Aeneas in this final scene, and the manner in which she darkens her tone for the grief-laden words "But Death, alas! I cannot shun". Earlier, "Ah! Belinda" is equally fine. Listen for the grace notes on the phrase "Peace and I" and the way Baker fully conveys the onomatopoeia of the single word "languish" in the same aria. Everywhere phrasing and words are re-thought with that vividness and care for meaning that has always distinguished her singing. Nor should Anthony Lewis's contribution to the singer's achievement be overlooked: Baker knew just how much she owed to him at that stage of her burgeoning career. The American Vocalist - Spirituals and Folk Hymns 1850-1870 (Century's recording: Joel Cohen): https://youtu.be/Em9l_ojCoCU Henry Purcell PLAYLIST (reference recordings): https://www.youtube.com/playlist?list=PL3UZpQL9LIxNgRQk8s0xP0M3l2zHKcV1t
Purcell divides the perfection without remainder
I've listened to this many many times, and I'm always moved to tears. Henry Purcell was a genius.
How wonderful is this beautiful voice singing this gem of Purcell . Thank you ,wonderous, Janet Baker. A voice from God . I have treasured you for such a long time, Transfixed from the first moment I heard you Thank You Gods Blessings on you always.
Without doubt the high water mark of western civilisation.
Wow!...out of this world!... Thanks!!!
Was für eine bezaubernde Stimme, tief, durchsichtig doch zugleich warmherzig, überzeugend und vor allem wunderschön!
I listened to it with a lump in my throat. It's so beautiful. Thank you so much CMRR!
Quelle voix! et Quel opéra. C'est divin ce chant.
Exquisite. Thank you.
I loved this piece. 💙🥲
My favorite Purcell piece! Fantastic!
Dame Janet Baker as Dido by Alan Blyth The early part of Janet Baker's career was closely connected with both Purcell's opera and with Anthony Lewis. Some of her first operatic appearances back in the late 1950s were in Dido and Aeneas — but not in the title role, usually sung by sopranos, not mezzos. She had worked with Anthony Besch at Glyndebourne when she was in the Chorus. When he produced the work at Ingestre, then home of Lord and Lady Shrewsbury, in 1957, he gave her the role of Second Witch. By the time the staging reached the Bath Festival in 1959, she had advanced to the main mezzo role of the Sorceress. When the production reached Hampton Court later that year, The Times commented: "The vocal honours went to Miss Janet Baker as the Sorceress, an impressive and flexible voice finely handled". In the meantime she had begun a long and fruitful association with Anthony Lewis, then at the barber Institute in Birmingham (he later became Principal of the Royal Academy of Music in London). She gained much attention and praise there in a series of notable productions of Handel operas. In 1961, Lewis approached Baker to sing Dido. She was at first surprised as she had always thought of it as a soprano part, but he thought it should have the character of a darker voice, and in any case she had the range, as the role goes no higher than G. In consequence she was chosen to sing the part on this recording, one which many think is unsurpassed, certainly as far as the casting of the title role is concerned. Soon after it was made she gave memorable performances of Dido with the English Opera Group in Britain and abroad, and she turned to Glyndebourne, now as leading lady, to sing the part to overwhelming effect, as I well recall, in 1966. Dido was the first operatic role Janet Baker attempted on disc, which makes the intensity, the passion of her singing all the more astonishing and proves that she had already mastered the art of acting through the voice in the studio as well as on stage. Edward Greenfield wrote in The Guardian at the time of the set's first issue that "on this showing she can set her sights on almost any peak" prophetic words. He added: "Miss Baker's stylishness, range of tone and colour, depth of emotion implied with no untidy gusts all reveal a natural command that promises great things". The noble Lament at the end, of course, crowns the performance. The way Baker grades her half-voice at the repeat of "When I am laid in earth", the absence of vibrato for the ache of "Remember me", the perfect movement from B flat to E on the word "create" are just indications of how refined and instinctive was the singer's art as early as 1961, when she was still in her twenties. So do the fury at "Your counsel all is urg'd in vain" and at "Away, away!" as she dismisses Aeneas in this final scene, and the manner in which she darkens her tone for the grief-laden words "But Death, alas! I cannot shun". Earlier, "Ah! Belinda" is equally fine. Listen for the grace notes on the phrase "Peace and I" and the way Baker fully conveys the onomatopoeia of the single word "languish" in the same aria. Everywhere phrasing and words are re-thought with that vividness and care for meaning that has always distinguished her singing. Nor should Anthony Lewis's contribution to the singer's achievement be overlooked: Baker knew just how much she owed to him at that stage of her burgeoning career. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : https://spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : https://bit.ly/370zcMg ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) https://www.patreon.com/cmrr
The One of Gorgeous Master Work of Opera!Great!👍👌🎼👏🎶👏🎶🌻🧠❤
I cannot stop listening to this truly stupendous, slightly haunting, absolutely beautiful performance! Bravo! Thank you for Uploading & Sharing!!!
Absolutely beautiful, a gem
Я потрясён.
Yes, I think this can justifiably be called a "reference recording". And it breaks my heart every time I hear it.
Beautiful.
This was deep.