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

This page lists our only recording of When I am laid in earth (from Dido and Aeneas) (Dido's Lament), by Henry Purcell (1659-95) on SACD.

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Pure Diva

Catalogue No:

MR301129

Discs:

1

Release date:

19th Sept 2011

Barcode:

9314574112924

Length:

78 minutes

Medium:

SACD (download also available)

Format:

Hybrid Multi-channel
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Pure Diva

Tribute to Joan Hammond


Bishop, H R:

Home, Sweet Home

Timothy Young (piano)

Coates, E:

The Green Hills o' Somerset

Timothy Young (piano)

Dvorak:

Mesícku na nebi hlubokém 'Song to the Moon' (from Rusalka)

Korngold:

Glück, das mir verbleib 'Marietta's Lied' (from Die Tote Stadt)

Offenbach:

Elle a fui, la tourterelle (from Les Contes d' Hoffmann)

Purcell:

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

Settle:

Shadows

Timothy Young (piano)

Tchaikovsky:

Puskay pogibnu ya 'Tatiana's Letter Scene' (from Eugene Onegin)

trad.:

The Last Rose of Summer

Timothy Young (piano)

Verdi:

Mia madre aveva...Piangea cantando...Ave Maria (from Otello)

Tu che la vanità (from Don Carlo)


Cheryl Barker (soprano)

Queensland Symphony Orchestra, Guillaume Tourniaire

SACD

$15.50

(also available to download from $10.00)

Usually despatched in 2 - 3 working days. (Available now to download.)

The ravishing Australian soprano Cheryl Barker has an important career in many major opera houses – English National Opera, Scottish Opera, Welsh National Opera and The Royal Opera Covent Garden among them – and concert halls. She is widely celebrated for her riveting performances. Pure Diva: is her very personal tribute to her teacher, the great Dame Joan Hammond, a disc, Barker says, “that feels as if it’s been a long time coming”.

The orchestral scenes are high drama from the first note to the last reverberation. Cheryl’s glorious lyric soprano rides the wave of Guillaume Tourniaire’s orchestral texture in grand operatic scenes, arias and songs made famous by Hammond. They include Tatyana’s Letter Scene, Dido's Lament, Desdemona’s Willow Song, and other arias by Verdi, Dvořák, Korngold, and Offenbach. Cheryl’s visceral portrayals of these operatic heroines convey the full emotional depth of these multi-dimensional characters in extremis.

The tributes with piano accompaniment (by Timothy Young) provide a contrast to the preceding drama, encore pieces beloved of Joan Hammond, the biggest selling recording artist during the war. Her recording of The Green Hills o’ Somerset became a best seller and Cheryl includes it as a homage here. The delightful rarity Shadows is a song written for Hammond by the Australian composer Ronald Settle.

Illuminating CD notes are by the late and great vocal commentator John Steane who was an insightful witness to Dame Joan Hammond (1912-96) and all the great singers of her era and those that followed.

Cheryl Barker’s relationship with Melba Recordings stretches back almost to the label’s beginning: Puccini=Passions (MR301085) was her acclaimed 2003 collection of arias with Richard Bonynge conducting Orchestra Victoria.

Pyotr Ilyich Tchaikovsky: Eugene Onegin Op. 24: Tatiana’s Letter Scene

Eugene Onegin Op. 24: Tatiana’s Letter Scene

Giuseppe Verdi: Otello

Willow Song

Ave Maria

Giuseppe Verdi: Don Carlo: Tu che le vanita

Don Carlo: Tu che le vanita

Antonín Dvořák: Rusalka Op. 114, B. 203: Song to the Moon

Rusalka Op. 114, B. 203: Song to the Moon

Erich Wolfgang Korngold: Die Tode Stadt: Mariettas Lied

Die Tode Stadt: Mariettas Lied

Jacques Offenbach: Les contes d'Hoffmann: Elle a fui, la tourterelle

Les contes d'Hoffmann: Elle a fui, la tourterelle

Henry Purcell: Dido and Aeneas Z. 626: When I Am Laid In Earth (Dido's Lament)

Dido and Aeneas Z. 626: When I Am Laid In Earth (Dido's Lament)

Ronald Settle: Shadows

Shadows

Henry Bishop: Home Sweet Home

Home Sweet Home

Eric Coates: The Green Hills of Somerset

The Green Hills of Somerset

Traditional: The Last Rose of Summer

The Last Rose of Summer

International Record Review

January 2012

“The excitement and sense of urgency of young Tatyana are well caught ad projected, with the fullness of Barker's voice brought into play...Despite the occasional unsteadiness and a certain lack of tonal freshness at time, I find much to like in the singing, and the Queensland orchestra and the pianist work well with the soloist.”

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