DELVING INTO DIDO

In preparation for a unique and new production of this opera (or masque) by Henry Purcell, I have been delving into the vast amount of research conducted by American musicologist, Ellen Harris. The second edition of her book about the work ‘Dido and Æneas’, is providing great insight into what we actually know about the works original form. It has introduced all sorts of academic ideas, opinions and arguments from across the spectrum about (usually) simple questions regarding: its first performance, what the original score actually looked like and even how we should interpret the ‘Ground Bass’ notation.

Even though I’m going to conceive a brand-new version of this work with a brand-new orchestration and harmonic vocabulary, I strongly believe that it’s my duty to understand as much as possible of the original work and the context of which it premiered (even if some areas of detail are lacking). There will be great liberties taken in the conception of this work. However, if we are to do this work the justice it deserves, it’s important to find out as much as possible about it.

​Thank you Ellen Harris and all musicologists for helping us to understand as much as possible of the great musical works in human history. I’d also like to thank musicologists like Ellen for informing its notation in the modern format. This stuff is invaluable. Whilst Benjamin Britten and Imogen Holst did some great things to bring the work back to life in notation, performance and recording (in collaboration with Boosey & Hawkes in its publication) - Harris takes the cake for continuing the research and digging deeper.