The core of the story is that of the widowed Dido feeling a revival of desire upon meeting the visiting warrior Aeneas. She loves, only to lose again when Aeneas is persuaded to sail away by a deceitful sorceress and her followers.
The women are the focal point and have numerous opportunities to shine. As Dido’s maiden Belinda, soprano Lindsay Ohse is a steady thread from beginning to end. She confidently leads the chorus urging Dido to open up to Aeneas and is there at Dido’s death.
Yes, spoiler alert, she dies in the end, but that shouldn’t be a big surprise. The lament of Dido’s final aria, “When I am laid in earth,” has enjoyed popular fame for more than 300 years as a peaceful resignation.
There are only three – the strong-willed servant, Serpina; the badgered old master, Uberto; and the mute manservant, Vespone.
Ample recitative drives the bickering and narrative between Stefano de Peppo’s Uberto and Anna Mandina’s lofty-minded Serpina. The musical highlights are found in their respective arias and duets.
De Peppo captures the contrast of Uberto’s gruff complaints and submissive resignation to his servant-mistress first in “Sempre in contrasti,” where he talks a good game of standing up to Serpina’s constant arguments. Supremely confident and sure of voice, De Peppo keeps all eyes on himself with clear gestures highlighting his intent. His deeply resonant bass-baritone voice is as captivating and agile as his movement.