The Meeting of Dido and Aeneas by Nathaniel Dance-Holland, 1766
Purcell: Dido and Aeneas
VOICES & INSTRUMENTS
Tutor: John Hancorn
Location: Sale Methodist Church
Reviewer: Susie Greenwood
Dido and Aeneas (Purcell: “An Opera in two Acts”), John Hancorn, Sale, 17th September
We met on a warm September day at the Avenue Methodist Church; a new venue for a NWEMF workshop. While no-one noticed, our tutor, John Hancorn, prodded and pushed at partition screening thus enlarging the available space by 100%. That, together with increased oxygen levels, once the windows were unlocked and opened, made for a very suitable venue with comfortable padded chairs.
Full scores were provided for the dozen or so singers. A select gathering of instrumentalists, violin, viola, ‘cello, theorbo and organ/harpsichord, were seated to one side of our “stage”. All were welcomed by Mark (Flinn) and John, particularly soloists who had prepared their music in advance.
So to the music? Not yet! John put us all through an exhilarating vocal warm up routine, improving our breathing techniques and challenging our brains and counting abilities!! All good fun and most useful. After reminding us of the historical context of the opera, set in Carthage and composed no later than 1688, the music began.
The Queen, Dido, is grief stricken as Aeneas, a Trojan prince, is tempted to abandon her. Following the opening recitative by Belinda, soprano Katy Holland Howarth, the chorus, SATB, sing a chorale-like entreaty to Dido to banish sorrow and grief. The recitative sung by Dido, soprano Deborah Catterall, in reply to her sister is underpinned by a ground bass from the instruments, almost engulfing her in her certainty that the situation will not change. Additional female vocal roles were variously sung by Anne Clements, Sheena Cummins and Susie Greenwood. Aeneas, tenor, dramatically sung by Tom Salmon, declares his fate to be with Dido. The chorus continue to support all that is unfolding between recitatives.
John by this time had decided we needed some action and also refreshments!!
Our Sorceress for the day was sung by Isabelle Jenkins who stirred up the story in mezzo-soprano voice. By lunchtime our acting abilities and singing were improving. Purcell’s ability to word-paint with his music, the like of which had not been heard before this opera, is truly incredible. Audiences of the day must have been shocked, amazed and thrilled with the dramatic interpretation in music of the poetry of the words.
More drama and action throughout the afternoon, with Mark ably singing, with great gusto, the role of a somewhat inebriated sailor!?!?
John kept us on our toes, except for the picnic scene when a few more agile singers sat on the floor enjoying imaginary strawberries and cream and a tipple of something chilled, Glyndebourne style!! John’s amusing reminiscences of Glyndebourne Culture were interspersed with his musical direction throughout the day.
The band, (whose names I forgot to record, mostly Johns!!!) played almost continuously, underpinning our singing, which was an enormous support and much appreciated, especially as not everyone had sung the opera before.
We sang a semi-staged version of the whole opera after a quick break for tea. Our audience of two appeared to enjoy our efforts and achievements.
Profound thanks were given to John who, once more, guided us through a very rewarding day’s workshop, and to Mark and the committee for ensuring the success of a wonderful day.
Susie Greenwood
First published in November 2016 Newsletter
