Purcell: When I am laid in earth (from Dido and Aeneas) (Dido's Lament) - CD

This page lists all recordings of When I am laid in earth (from Dido and Aeneas) (Dido's Lament), by Henry Purcell (1659-95) on CD. Generally, more recent releases are listed first, but with priority given to those that are in stock.


Editor's Choice
January 2013

All recordings

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Inspired by Song

Inspired by Song


The King's Health, to Farrinel's Ground


Flow my teares (Lacrimæ)

Eccles, S:

Divisions upon a ground


Engels nachtegaeltje

Doen Daphne d'over schoone Maeght


Lady Ann Bothwel’s Lament

An Irish Tune


Can Love be controul'd?


Can Love be controul'd by advice?


When I am laid in earth (from Dido and Aeneas)

Schop, J:

Lacrimae Pavan


John come kiss me now

Lady Anne Bothwell’s Lament

When Daphne did from fair Phoebus fly

Faronells Ground


Dorothee Mields (soprano)

The Gentleman's Band, Stefan Temmingh (recorder & direction)

“They are great tunes of course, and in truth the musical strength and interest often comes more from that than from the quality of the variations, but the full-toned virtuosity of Temmingh's recorder and the creative musicality of his accompanying continuo band...make for an entertaining and often affecting programme.” Gramophone Magazine, August 2014

Deutsche HM - 88843044582



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Purcell: Music for a While (Standard)

Purcell: Music for a While (Standard)

Improvisations on Purcell



(Leonard Cohen) – Bonus Track


Twas within a furlong of Edinburgh Town (from The Mock Marriage, Z605)

Music for a while, Z583

Strike the Viol (from Come Ye Sons of Art, Z323)

An Evening Hymn 'Now that the sun hath veiled his light', Z193

In vain the am'rous flute (from Hail, Bright Cecilia!, Z328)

A Prince of glorious race, from Who can from joy refrain?

O solitude, my sweetest choice, Z406

When I am laid in earth (from Dido and Aeneas)

Wondrous machine

Here the deities approve, Z339

Ah ! Belinda

Hark how the songsters of the grove (from Timon of Athens, Z632)

One charming night (from The Fairy Queen, Z629)

Man that is born of a woman, Z27

Plainte - O, Let Me Weep (from The Fairy Queen, Z629)

Curtain Tune from Timon of Athens Z632

Philippe Jaroussky (countertenor), Raquel Andueza (soprano), Vincenzo Capezzuto (alto), Dominique Visse (countertenor), Gianluigi Trovesi (clarinet) & Wolfgang Muthspiel (acoustic guitar & electric guitar)

L’Arpeggiata, Christina Pluhar

After the intoxicating heat of Mediterraneo, released in 2013, Christina Pluhar and her ensemble L’Arpeggiata – again in the company of countertenor Philippe Jaroussky, soprano Raquel Andueza and alto singer Vincenzo Capezzuto – now head to the cooler climes of England with Music for a while, an album based on the haunting, graceful and sometimes deeply moving music of Henry Purcell.

Often considered England’s greatest composer, Purcell (1659-1695) represents an especially good match for the aesthetic of L’Arpeggiata: he made frequent use of the ground bass, a repeated (ostinato) figure in the lower line – the most famous instance of this occurs in Dido’s lament ‘When I am laid in earth’, the closing number from his opera Dido and Aeneas. The ground bass provides an ideal foundation for the brilliant, sometimes jazz-like improvisation that is the stock-in-trade of the L’Arpeggiata, here comprising singers, (plucked) strings, wind instruments, keyboard and percussion.

As the New York Times has written: “Just as the composers and ensembles that ply the indie path in new music combine structures and language from contemporary classical styles with gestures and timbres from pop and world music, L’Arpeggiata has lately been hopping through cultures and across centuries. The group uses modern pop vocal inflections and improvisational techniques from jazz in its performances of antique pieces ... Its audacious hybrids are driven principally by a fascination with reviving the Baroque art of ornamental extemporization and a curiosity about how contemporary improvisatory styles might be enlisted in that quest.” When L’Arpeggiata appeared at Carnegie Hall’s Zankel auditorium in 2012, the newspaper reported that: “Here a lean septet combined precision and poise with the intuitive flexibility of a jazz combo.”

The contemporary element in Music for a while (named after a song written for John Dryden’s play Oedipus) is exemplified by the contribution, on acoustic and electric guitar, of Austrian jazz-player Wolfgang Muthspiel, while the Baroque tradition is embodied in the celebrated French countertenor Dominique Visse, a singer who set an example for Philippe Jaroussky; Visse was a student of the pioneering British countertenor Alfred Deller (1912-1979), closely associated with the music of Purcell and the revival of interest in Baroque music.

In the course of 2014, Music for a while will be presented at concerts in Rome, Paris, Grenoble, Berlin, Ludwigsburg and London. When the Mediteraneo programme was presented in London in 2013, The Arts Desk reported that: “Perhaps the best bits of any L’Arpeggiata concert are the improvisations. Laying down a ground bass (a riff by any other name) the group then take it in turns to step forward for jazz-style breaks. Jazz might have come down to us via Africa but I defy anyone to hear a Purcell or Monteverdi ground and not trace the natural genealogy. Pluhar here makes her case without effort as we marvel at plucked bass and drums or – most impressive – a percussion solo for the finest wizard of percussion David Mayoral, giving us a single skin that can shriek, cry or sing according to the strokings of his fingers.”

In Germany, the Potsdamer Neueste Nachrichten described a concert given by L’Arpeggiata with Philippe Jaroussky as “a rare two-hour feast of music-making. For years, exulting in sound, [Christina Pluhar and L’Arpeggiata] have been demonstrating in the most persuasive way how fresh and timeless ‘old’ music can sound. Pluhar recognises no borders, no divisions between eras. For her, it is all music.”

“Long experienced in fusing Baroque with jazz-inspired performance styles, L'Arpeggiata's approach breathes new life into the Restoration composer, whose ground basses are akin to riffs, his melodies folk-like in their raw simplicity...Baroque instruments and a jazz-style combo mix to intriguing effect” BBC Music Magazine, June 2014 *****

“most of these songs retain their essential character, and far from having his genius dimmed, Purcell still shines as a writer of songs timelessly receptive to reinterpretation and capable of reaching the heart by the power of melody alone.” Gramophone Magazine, May 2014

Erato - 2564633750



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Patricia Petibon: Nouveau Monde

Patricia Petibon: Nouveau Monde

Baroque Arias & Songs


Cachua a voz y bajo Al Nacimiento de Christo Nuestro Señor (from Codex Martinez Compañon)

Tonada la Lata a voz y bajo, para bailar cantando (from Codex Martinez Compañon)

Mon amy s’en est allé

Tonada la Lata el Congo a voz y bajo para baylar cantando (from Codex Martinez Compañon)

Greensleeves to a ground


Yo soy la locura

Charpentier, M-A:

Quel prix de mon amour (from Medée)

Prélude...Noires filles du Styx (from Medée)

Dieu du Cocyte et des Royaumes sombres (from Medée)


No se emendará jamás, HWV 140

Nebra Blasco:

El bajel que no recela (from Vendado es amor, no es ciego)

En amor, pastorcillos, no hay quien distinga (from Vendado es amor, no es ciego)


When I am laid in earth (from Dido and Aeneas)

Fairest Isle (from King Arthur)


Rondeau – Forêts paisibles (from Les Indes Galantes)

Les Indes galantes: Tempête : La nuit couvre les cieux !


J’ai vu le loup, le renard et la belette

Patricia Petibon (soprano)

La Cetra Baroque Orchestra, Andrea Marcon

Admired for her remarkable creative imagination and exemplary musicianship, soprano Patricia Petibon, in her newest album for Deutsche Grammophon, offers a treasure-trove of fascinating Baroque curiosities guaranteed to enthral both the Baroque aficionado and the casual listener.

Nouveau Monde is conceived as a journey from the Old to the New World, a spell-binding collection of arias, songs and pieces from European composers (Charpentier, Händel, Rameau, Purcell) that testify to their composers’ fascination with the exoticism of recently-discovered lands, as well as South American folksongs which boast exceptional rhythmic energy and colour

Spectacularly accompanied by the La Cetra Baroque Orchestra under the excelling direction of Andrea Marcon – who also stands out as a Baroque organist and harpsichordist - Patricia enchants our senses with a mélange of 17th-century arias and folk songs from England, France, Spain, and Latin America

As a follow-up to her best-selling Rosso and Melancolía albums, Patricia Petibon’s 2012 release is guaranteed to be one of the most popular and sought-after Baroque releases of the year

“Conquest is one theme, confession another; the whole a breakneck A-Z of Baroque song from airs de cours to zarzuela.” BBC Music Magazine, Christmas 2012 ****

“'Nouveau Monde' is a tightly thought-through and arranged and compelling programme, a tour de force for its performer/compiler, most atmospherically recorded. Compulsive, repeatable listening.” Gramophone Magazine, January 2013

GGramophone Magazine

Editor's Choice - January 2013

DG - 4790079



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Lorraine Hunt-Lieberson: A Tribute

Lorraine Hunt-Lieberson: A Tribute

Bach, J S:

Bist du bei mir, BWV508


Qui d'amor (from Ariodante)

Scherza, infida (from Ariodante)

Dopo notte (from Ariodante)

Theodora: Angels, ever bright and fair

Theodora, HWV 68: With Darkness deep

Theodora, HWV 68: Oh! that I on wings could rise

To thee, thou glorious son of worth (from Theodora)

with Drew Minter (counter-tenor)

Messiah: Rejoice Greatly, O Daughter of Zion

Messiah: But who may abide

Messiah: He was despised

Messiah: I know that my Redeemer liveth

Clori, degli occhi miei, HWV 91a

Susanna, HWV 66: Bending to the throne of glory

Crystal streams in murmurs flowing: Susanna

Susanna, HWV 66: Guilt trembling spoke my doom

Susanna: If guiltless blood be your intent

Qual nave smarrita (from Radamisto)

Come to me, soothing sleep (from Ottone)

Svegliatevi nel core (from Giulio Cesare)

Qual Leon (from Arianna)


Thy hand, Belinda … When I am laid in earth (from Dido & Aeneas)

When I am laid in earth (from Dido and Aeneas)

As a tribute to the artistry of Lorraine Hunt Lieberson, this retrospective gathers together many of the finest recordings of arias and duets made during her acclaimed association with harmonia mundi. The booklet notes include tributes from her husband, Peter Lieberson, Nicholas McGegan and her obituary from Le Monde.

Lorraine Hunt - who became Lorraine Hunt Lieberson after her marriage to the American composer Peter Lieberson in 1999 - was born on March 1st 1954, in San Francisco. Her father was a music teacher and a conductor, her mother a contralto and a voice teacher. She played viola professionally until she was 26, when she found that her voice could be a better and richer way to express her musicality and secure her professional future. Lorraine would have a professional singing career of only 2 decades (1984-2006), interrupted twice by illness. She died from cancer on July 3, 2006, aged 52.

For harmonia mundi, Lorraine Hunt Lieberson recorded operas, oratorios and Handel arias, conducted notably by Nicholas McGegan. For Erato, she added the rôles of Rameau’s Phèdre and Charpentier’s Medea, under William Christie. Since her death, other taped live performances have been added to her discography, including two Wigmore Hall Live recitals and Peter Lieberson’s Rilke and Neruda Songs.

In 2009 harmonia mundi issued a recital given at the Ravinia Festival in August 2004 with pianist Peter Serkin. More recently, new label Philharmonia Baroque has issued Lorraine’s live performances of Les Nuits d’Eté and Handel Arias.

A formidable musician, a natural-born actress, she was at her best in roles of sacrificed victims, which didn’t prevent her from displaying a dark sense of humour. After having sung during the same evening Stravinsky’s Jocasta and Britten’s Phaedra, she once said: ‘Two suicides in one night! That’s right up my alley’.

“For those who loved Lorraine and her singing, and for those who have not yet heard her, my gratitude to harmonia mundi.” PETER LIEBERSON (b.1946, d.2011)

“Handel's popular "Angels, ever bright and fair" from Theodora and "Scherza infida" from Ariodante remind us of her musical intelligence and vitality...The final tracks on each disc, Dido's Lament and "Bist du bei mir" from the Notebook of Anna Magdalena Bach, are almost unbearably moving in their characteristic simplicity and intensity. She is much missed.” The Observer, 24th July 2011

Harmonia Mundi - HMU907471/72

(CD - 2 discs)


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Favourite Baroque Arias

Favourite Baroque Arias

Bach, J S:

Sheep May Safely Graze, from Cantata BWV208


Ode for St Cecilia's Day: The trumpet's loud clangor

Ombra mai fu (from Serse)

Semele: Where'er you walk

O ruddier than the Cherry (from Acis and Galatea)

Joshua: Heroes, when with glory burning

Jephtha: Waft her, angels, through the skies

Alexander's Feast: Revenge, revenge, Timotheus cries

Samson: How willing my paternal love

Samson: Let the bright seraphim


When I am laid in earth (from Dido and Aeneas)


Sol da te, mio dolce amore (from Orlando furioso)


Arise ye subterranean winds

John-Mark Ainsley, Gillian Fisher, Michael George & James Bowman

King’s Consort, Robert King

Alto - ALC1102



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The Organs of Southwell Minster and Chester Cathedral

The Organs of Southwell Minster and Chester Cathedral

Alcock, W G:

Introduction & Passacaglia

Harris, W:

A Fancy


Toccata 'Now Thank We All Our God'


Elegy in D flat

Jackson, F:

Impromptu, Op. 5


When I am laid in earth (from Dido and Aeneas)


Pastorale in F


Riff-Raff for organ, Op. 34

Vierne, L:

Pièces de fantaisie, 3rd suite, Op. 54: No. 6, Carillon de Westminster

Philip Rushforth (organ)

OxRecs - OXCD103



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Music by George Crumb & Henry Purcell

Crumb, G:

Three Early Songs



Music for a while, Z583

If music be the food of love, Z379

Ah! how sweet it is to love (from Tyrannic Love or The Royal Martyr, Z613)

Thrice happy lovers (An Epithalamium)

Sweeter than Roses (from Pausanius, the Betrayer of his Country, Z585)

From Rosy Bow'rs (from Don Quixote)

Not all my torments can your pity move, Z400

Crown the altar (from Celebrate this Festival - Birthday Ode for Queen Mary, Z321)

When I am laid in earth (from Dido and Aeneas)

Christine Schäfer (soprano) & Eric Schneider (piano/amplified piano)

“The first part of the disc intersperses Crumb's moderately Coplandesque Three Early Songs (1947) with Purcell favourites like "Sweeter than Roses" and "Music for a While". The sovereign authority of Schäfer's voice and the intensity of her presence makes for a seamless narrative, and the clarity of her diction and innate dramatic sensibility revitalise the Purcell works.” Gramophone Magazine, March 2008

“Given Christine Schäfer's wide-ranging repertoire, this mixing of 17th-century English and 20th-century American songs is no surprise. Her exemplary clarity of tone and diction, and her emotional commitment to both composers, make for a powerful recital.” BBC Music Magazine, January 2008 ****

Onyx - ONYX4021



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Elin Manahan-Thomas - Eternal Light

Elin Manahan-Thomas - Eternal Light


Where the Bee Sucks

Bach, J S:

Bist du bei mir, BWV508

St Matthew Passion, BWV244: Aus Liebe will mein Heiland sterben


Flow my teares (Lacrimæ)

Weepe you no more, sad fountaines


Ode for the Birthday of Queen Anne HWV74 'Eternal source of light divine'

Ombra mai fu (from Serse)

Semele: Where'er you walk

Lascia ch'io pianga (from Rinaldo)


Vision (O Euchari in Leta Via)


Pur ti miro (I gaze upon you) from L'Incoronazione di Poppea


Et Jesum


When I am laid in earth (from Dido and Aeneas)


Nulla in mundo pax sincera, motet for soprano, strings & continuo, RV 630

Dell'aura al sussurrar (from Dorilla in Tempe)

“…what really marks Thomas out is the humanity and intimacy of her very personal interpretations of such familiar pieces as Handel's 'Ombra Maio Fu' (which also features lovely trumpet playing by David Blackadder) and Dowland's 'Flow My Tears'. The final track Monteverdi's 'Pur Ti Miro', is an exemplary duet with countertenor Robin Blaze.” BBC Music Magazine, Proms 2007 ****

Presto Disc of the Week

9th July 2007

Heliodor - 4765970



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Treasures of Baroque Opera

Treasures of Baroque Opera


Rise, Glory, Rise (Rosamond)

The Soldier Tir'd of War's Alarms (Artaxerxes)


Ardo, Sospiro E Piango (La Calisto)


Rinaldo: March & Battle

Care selve (from Atalanta)

Tornami a vagheggiar (from Alcina)


Toccata (L'Orfeo)

Prologo: Ritornello...Dal mio Permesso amato (L'Orfeo)


Stizzoso, mio stizzoso (from La Serva Padrona)


Furia Di Donna (La Buona Figliuola)


But Death, Alas! (Dido And Aeneas)

When I am laid in earth (from Dido and Aeneas)

With Drooping Wings (from Dido and Aeneas)


Ah! Qu'on Daigne Du Moins...Puisque Pluton Est Inflexible (Hippolyte Et Aricie)

Le Temple de la Gloire: Overture

Soleil, On A Detruit Tes Superbes Asiles (Les Indes Galantes)

Penguin Guide

Rosette Winner

Presto CD

Decca Rosette Collection - 4761671

(Presto CD)


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Jessye Norman Classics

Jessye Norman Classics


Non, tu ne m'aimes pas (from Carmen)


Love is here to stay


St Cecilia Mass: Sanctus


Oft denk' ich, sie sind nur ausgegangen (Kindertotenlieder)


E Susanna non vien! … Dove sono i bei momenti (from Le nozze di Figaro)


Les chemins de l'amour


When I am laid in earth (from Dido and Aeneas)


Ave Maria, D839

Strauss, R:

Es gibt ein Reich (from Ariadne auf Naxos)

Frühling (from Vier Letzte Lieder)


Egli non riede ancora! (from Il Corsaro)

Jessye Norman (soprano)

Presto CD

20% off Philips Presto CDs

Philips - 4341612

(Presto CD)

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Special: $12.80

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