Composed by the prolific Henry Purcell in the 1680s, with a libretto by Nahum Tate (who also wrote the words to ‘While shepherds watched their flocks by night’), this baroque opera, Dido and Aeneas, is traditionally performed in three acts and a prologue (although Purcell’s original score for the prologue has been lost). In this abridged 70‑minute version, presented by Ensemble OrQuesta and directed by Marcio da Silva for the Grimeborn Opera Festival, the work is distilled into a tighter, minimalist format.
The story of Dido and Aeneas is based on part of Virgil’s Aeneid and recounts the love of Dido, Queen of Carthage, for the Trojan hero Aeneas, and her despair when he abandons her. As plots go, it is quite slight, but we aren’t really here for the story.
Marcio Da Silva, Helen May and Rosemary Carlton‑Willis lead the cast. On three of the five performances, the audience chooses on the night which of the two female singers will perform as Dido and which as the Sorceress. For this performance, Helen May took the role of Dido. They are supported by a handful of other performers and an accomplished array of musicians providing the distinctive basso continuo line throughout the opera.
Dido and Aeneas is Purcell’s only all-sung opera, and the entire cast brought soaring melodies and wonderful performances throughout. Helen May’s lyric soprano convincingly displayed the emotions and torment of losing her love. Director and co‑music director Márcio da Silva as Aeneas was a notably assured presence on stage, his rounded, resonant tone blending seamlessly with May’s, and he brought a calm authority to the role. Rosemary Carlton-Willis as the Sorceress also gave a powerful performance, avoiding any temptation to become a leering pantomime villain.
The opera began with Sofia Galvão, who brought a poised, attentive presence to the role of Belinda. Her soprano line floated elegantly around the intimate Arcola studio, and her voice carried beautifully in the industrial, brick and concrete space. Unfortunately, as is often the case with English-language opera performed without surtitles, the text was not always easy to follow. Even with generally clear diction, the absence of surtitles meant that sections of the libretto were occasionally lost, transforming the performance into a dreamy soundscape.
The staging added another layer of complexity. With the audience seated on three sides, singers frequently directed their lines away from portions of the room, and those moments of turned‑away delivery made comprehension noticeably harder. It’s a familiar challenge for ‘in‑the‑round’ or thrust staging, and this production felt its effects more sharply given the scale of the studio and the conversational nature of Purcell’s text. If you are new to this work, a little bit of reading up beforehand will certainly help you follow the action.
The musicians were positioned behind the opera performers and stood up for the whole show. They created a moving soundtrack to this desperate story. The harpsichord and lutes added a distinct texture to the sound, making it nearly hypnotic at points. There were several moments with just instrumentation and no voices, and these interludes were among the most captivating. The effect was so beautiful it seemed enough simply to close your eyes and listen.
Ensemble OrQuesta’s stated aim is to create “historically informed performances of baroque and classical repertoire”. This will always be a challenge for a small cast in a fringe venue, but despite not having a large chorus or extravagant staging, Dido and Aeneas succeeds in being a beautiful experience. Another Grimeborn success.
Review by Fiona Gilbert
One of the oldest and most enduring in the English repertoire, Purcell’s operatic masterpiece gets a strikingly intimate, minimalist treatment in Arcola’s downstairs studio.
Five performers bring to life a story of love, betrayal and abandonment that has moved audiences for over three centuries. Based on Virgil’s Aeneid, the opera follows the story of Dido, Queen of Carthage, who falls for the Trojan hero Aeneas, knowing he is destined to leave her.
Helen May – Dido / Sorceress
Rosemary Carlton-Willis – Dido / Sorceress
Marcio da Silva – Aeneas
Sofia Galvão – Belinda
Emma Humann – 1st Witch
Priscilla Fong – 2nd Witch
Cecilia Zhang – 2nd Woman/Spirit
Paul Jenkins – Sailor
Predrag Gosta – Harpsichord
Matthew Millkey – Violin
Amber Emson – Violin
Hinki Suen – Viola
Santi Lowe – Cello
Michael Fields – Lute/Guitar
Marcio da Silva – Stage & Music Director
Predrag Gosta – Co-Music Director
DIDO AND AENEAS
Arcola Theatre
11 to 15 August 2026
