‘director Rebecca Meltzer triumphs musically and theatrically with this stylish interpretation’
Considered one of the first and best loved of all English operas, director Rebecca Meltzer triumphs musically and theatrically with this stylish interpretation capturing the beauty, drama, and desolation at the heart of Purcell’s score and Nahum Tate’s libretto, and performed as the second half of a double-bill with Elena Langer’s Ariadne, which is reviewed separately.
Queen Dido (Samantha Price) finally admits her love for the Trojan war hero, Aeneas (Michael Lafferty), and agrees to marry him, despite her fears that this passion weakens her as a leader. But just as the lovers celebrate, supernatural and natural forces combine to drive them apart and Dido’s worst fears are realised, with devastating consequences.
Alex Berry’s set of towering black rocks and three large, frosted glass panels captures the sense of scale of Carthage which has become a playground for the ensemble – Isabelle Atkinson; Alexandra Meier; Lydia Shariff; Kieron-Connor Valentine; Guy Elliott; Binny-Supin Yang; Daniel Gray Bell; Jonathan Eyers; and Peter Lidbetter) – who appear androgynously resplendent in blazers and pleated skirts.
It’s an inspired approach which communicates in an instant the human machinations and behaviours at the heart of this myth, and which with minor adaptation allows the ensemble to segue between friend, enemy, and even sailors in Aeneas’ employ.
Equally stylish to match the action on stage is the orchestra delightfully conducted by Alex Robinson on harpsichord, who perfectly expressed the joy and anguish at the heart of Purcell’s score, with the theorbo’s ensuring a further enjoyable dimension.
Price is compelling as Dido, her expressive singing capturing that sense of the world unwittingly falling apart around her, whilst Lafferty was suitably heroic, resplendent in khaki and greatcoat, with a strong vocal embodying his sense of duty. The performance benefitted from their natural chemistry which caught the emotion and passion of love from its initial blooming with the encouragement of Belinda (Atkinson) and another handmaiden (Meier) through to its fulfilment. Its subsequent untimely demise through the intervention of the Gods, Witches (Atkinson; Meier) and a Sorceress (Shariff), is all the more heartfelt because of that chemistry which they establish so early on.
The entertaining ensemble brought energy and enthusiasm that enhances every scene and drives the story forward through a procession of wonderfully choreographed choruses. Demonstrating some adept comic timing, individually and collectively they heightened the dramatic tension at every turn, and you could tell they were enjoying every minute of it as much as the audience were. With each member of the ensemble excelling throughout, I must make special mention of Atkinson and Meier who as both friends and enemies to Dido, were utterly captivating each time they appeared with beautiful vocals, fine acting, and skilled movement.
Since 1979, English Touring Opera has been creating exceptional accessible musical theatre to tour across the UK. Further details on the company and their current productions https://englishtouringopera.org.uk/
Buxton Opera House opened in 1903, designed by the famous theatre architect Frank Matcham, and has continued to remain at the forefront of culture and entertainment with over 450 shows annually. Further details https://buxtonoperahouse.org.uk/
Reviewer: Mark Davoren
Review Date: 24th October 2026
Star Rating: FIVE