CD Review | Joyce DiDonato in Dido and Aeneas

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Purcell: Dido and Aeneas

Joyce DiDonato (Dido), Michael Spyres (Aeneas), Fatma Said (Belinda), Beth Taylor (Sorceress), Laurence Kilsby (First Sailor); Il Pomo d’Oro, Maxim Emelyanychev, conductor

Erato, 2025

This new recording of Purcell’s pocket masterpiece Dido and Aeneas features veteran mezzo-soprano Joyce DiDonato in the title role with a strong supporting cast and the period band Il Pomo d’Oro conducted by Maxim Emelyanychev.

What’s striking about this version is the combination of drama and precision. Early on we get a punchy version of “When monarchs unite” from the chorus and a rhythmically precise “Fear no danger” from Fatma Said’s Belinda. The Sorceress (Beth Taylor) has a full, dark tone without over-exaggerating the witchiness and if her sidekicks Alena Dantcheva and Anna Piroli are a bit less restrained, they are still well within the bounds of good taste.

Michael Spyres, when he makes his appearance as Aeneas, also combines precision with drama and beauty of tone. Even “Behold! Upon my bended spear” sounds dignified rather than ridiculous and the final confrontation with the queen is sincere and touching. There’s drama and humour from the chorus, band and First Sailor (Laurence Kilsby), who produce a most lively “sailor” scene with some rather striking effects before the ”Witches Dance.”

Then there’s DiDonato. Her Dido is passionate and strong. She sings beautifully (and touchingly) when appropriate—as in, for example, “Ah! Belinda I am pressed with torment” and, of course, the famous Lament. But it’s her passion, especially in the confrontation scene with Aeneas, that comes over most strongly, making this one of the most dramatic Didos I have heard.

The 22-piece ensemble directed from the harpsichord by Emelyanychev sounds period appropriate, if not aggressively so and Il Pomo d’Oro’s chorus is also consistently good.

This is being released as a standard resolution CD and in digital and streaming formats which will include Dolby ATMOS. I listened to CD standard digital files and they are fine; not extraordinary, but perfectly listenable. There’s a booklet with track listings and full libretto including translations into French and German. English speakers won’t need it as diction is exemplary throughout.

All in all, a useful addition to the considerable catalogue of Dido and Aeneas recordings with a fine, individual take on the title role by Joyce DiDonato.