Cupid only throws the dart

Opera details:

Opera title:	Dido and Aeneas
Composer:	Henry Purcell
Language:	English
Synopsis:	Dido and Aeneas Synopsis
Libretto:	Dido and Aeneas Libretto
Translation(s):	Deutsch

Choir details:

Type:	choir
Role(s):	Not entered yet.
Voice(s):	n/a
Act:	1.09

Previous scene:	See our royal guest appears
Next scene:	If not for mine for Empire's sake

A complete version of Henry Purcell's "Dido & Aeneas" (No. 2. Aeneas' Introduction) (Catherine Bott, Emma Kirkby, John Mark Ainsley, Julianne Baird, David Thomas, Sara Stowe, Daniel Lochmann, Michael Chance)

Singer(s): John Mark Ainsley Julianne Baird Michael Chance Catherine Bott Emma Kirkby

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I've divided the work itself into several sections, each centered around a key situation of the work. Thus, the present, second section could be called "Aeneas' introduction".

First, let us note the cast:

Dido - Catherine Bott,
Belinda - Emma Kirkby,
Aeneas - John Mark Ainsley,
Second woman - Julianne Baird,
Sorceress - David Thomas,
Witches - Elizabeth Friday & Sara Stowe,
First sailor - Daniel Lochmann,
Spirit - Michael Chance.

1. "See, your royal guest appears", Aeneas enters, with all professing how luminous his presence is, with only Dido still fighting herself, while Aeneas has clearly forgotten himself in Dido's eyes.

2. No. 5. "Cupid only throws the dart", a romantic, hushed chorus as the retinue of the monarchs gossip on the future of their rulers.

3. "If not for mine", an arioso-like recitative for Aeneas that seems to become an aria but never truly does. Aeneas is surprisingly lacking in vocal presence in an opera where he is the main male hero, only appearing in several recitative passages and a duettino with Dido. Still, his role is pivotal for the plot, as he is the one that tries to ignore his duty in favor of loving Dido, while the latter experience quite different feelings, in spite of her love for the hero.

4. No. 6. "Pursue, thy conquest, Love", Belinda's aria put into a very interesting ABA form, unusual so early into the baroque period, as the confidante celebrates the future happiness of her lady.

5. No. 7. "To the hills and the vales", a finishing chorus flanked by two dances for the retinues, contrasting with Dido's reserve.

Hope you'll enjoy :)!