The first act begins with an overture in which disturbingly sounding bowed instruments dominate, making the listener feel nervous. It gives way for Belinda and Dido’s part, “Shake the cloud from off your brow,” followed by the chorus, which is more cheerful than the overture and serves to observe and comment on the action.
The chorus is a multifunctional instrument of the composer’s musical and visual palette. Thanks to the chorus’s participation, the opera takes on various timbre colors of what is happening and reveals a rich palette of actions. In the beginning, the choir performed the function of Dido’s courtesies. The choir also commented on the events, summing up the soloists’ positive and negative statements (Belinda and Dido, the witch and the elf). There are also episodes where the choir was a sound transmission element, imitating wind rustling sounds when a thunderstorm approaches (“Haste to town”). Constant repetition of the word “haste” prolonging “s” creates effect of wind. The “In our deep vaulted cell” chorus creates an echo effect echoing the elf. The choir created the mood and background in which dramatic events unfolded.
We then encounter the first aria, “Ah, Belinda!” performed on a ground bass. [1] The technique and instrument significantly control the harmony and melody throughout. While the aria does not advance the story, Dido expresses her anguish and apparent grief over her fears. It enhances the listener’s understanding of the magnitude of Dido’s struggle. The act also incorporates several recitatives that enunciate the conflict that lies in Dido’s conscience. In Layman’s terms, the recitative is psychological alterations clarified in the main characters’ dialogues. The events have already shocked the character. Before giving himself(herself) emotional outburst and free rein in the aria, the singer still reflects in a monologue way. After turmoil, when accumulated emotions break through, the artist performs the aria. Arias reveals the plot, intentions, and feelings of the heroes.
The climax of the set is Dido’s “Lament.” It is an aria that has been hailed as the masterpiece of the opera. It is a demonstration of perfect conceptual blending and music. The recitative that precedes Dido speaking to her confidante, Belinda, with polyphonic recitative sounds wide-ranging and conjunct. Difficulty breathing, gasping for air while inhaling tells more about the act’s and Dido’s life approaching end.
A very organic and laconic aria, conjunct and with a slightly reduced range as if emitting with its cry the last drops of life. Descending and repetitive sounds create the illusion of a person with his last gasp, humbly resigned to the impending death. Her words show that she accepts death as a respite for her sorrow “Death is now a welcomed guest.”
[1] Zbikowski, Lawrence M. “Conceptual blending, creativity, and music.” Musicae Scientiae 22, no. 1 (2018), 6-23. doi:10.1177/1029864917712783.
Art-Music-Movement 