The first act begins with an overture in which disturbingly sounding bowed instruments dominate, making the listener feel nervous. It gives way to 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, sensual palette of action. Here the choir performed the function of Dido’s courties. The choir also commented on the events, summing up the soloists’ positive and negative statements (the maid and Dedona, 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 effects 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. Sometimes recitatives are inserted between the arias – melodious rhythmic replicas. In Leman’s terms, the recitative is psychological alterations clarified in the main characters’ dialogues and the following “messengers” replicas. The events and emotions have already stunned the character. Before giving himself free rein in the aria/ the artist still reflects a little in a monologue way. There are moments when the accumulated emotion breaks through in the aria. Arias reveals the plot, character, and feelings of the heroes. In contrast to the recitative, directly related to the stage action, the aria, as it were, summarizes a particular stage of it emotionally.
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 which precedes it shows Dido speaking to her confidante, Belinda. Polyphonic recitative sounds wide-ranging and conjunct. Difficulty breathing, gasping for air while inhaling, tells of the end approaching.
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 is accepting death as a respite for her sorrow “Death is now a welcome guest.”
1 Zbikowski, Lawrence M. “Conceptual blending, creativity, and music.” Musicae Scientiae 22, no. 1 (2018: 2024 – Write My Essay For Me | Essay Writing Service For Your Papers Online), 6-23. doi:10.1177/1029864917712783.
