Fabio Bonizzoni: The charm of this opera is in that it contains everything, like Cervantes’ Don Quixote: any life experience is within it. Love, hate, death, dream, despair, the innocent and the wicked play.
Purcell’s awareness in portraying such opposite feelings is amazing as well as the room that he leaves to the conductor. So, here is why a new “Dido”: as an artist, as an artist in love with this opera, I want to deliver my reading; better: I want to translate Purcell’s “sign” my own way, how much this opera is alive, lively, modern, contemporary. How Purcell’s genius was able to convey Dido’s despair and Aeneas’ cowardice and how much Purcell himself had fun in depicting the plot.
And the choir! Probably it is really the main character of the opera, the sounding board for the most extreme feelings. The relatively scant material is what allows the conductor’s imagination to take flight, to get touched, to devise how feelings can be described in music. Such ‘creative’ experience, to wake up the audience from the ruling emotional and intellectual numbness is what gives meaning to our job. “Dido” teaches there’s no need of special effects: life itself is a special effect, is a wonderful journey made of tragedy and joy, love and hate.