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Donald Macleod explores the composer’s role in London’s newly re-emergent theatre scene.

Henry Purcell was the most important English composer of the era, described as the "Orpheus Britannicus" for his ability to combine Baroque counterpoint with dramatic settings of English words. He composed music for the church, the royal court, the theatre and for England’s newly emerging concert scene, with an intelligence and creativity that marked him out as one of the most original composers in all of Europe. More than anything, though, he composed music for London – the city where he lived all of his short life. Over the course of this week, Donald Macleod explores the city during Purcell’s lifetime and London’s effect on a man who lays claim to being England’s greatest composer. During Purcell’s childhood, it was a city reeling from civil war, the disastrous spread of disease, and the destruction wreaked by the Great Fire. We’ll explore London’s churches, and music Purcell wrote for them, especially Westminster Abbey, where Purcell was organist, the state of London’s theatre scene in Purcell’s day, and the changing demands for music from the various monarchs of the composer’s lifetime. Finally, Donald explores London’s response to the shock of Purcell’s death in his mid-30s, and the tributes paid to the composer from his own Fairest Isle.

Purcell, has been called Britain's 'musical Shakespeare'. In Thursday’s programme, Donald Macleod explores the composer’s role in London’s newly re-emergent theatre scene after the near-two decade restriction to stage entertainments forced by Thomas Cromwell’s Commonwealth. It could be a financially precarious and sometime physically violent environment, but London’s stages inspired some of Purcell’s most glorious music. We’ll hear from some of his greatest stage works, and a piece often cited as the first English opera, but which was likely never heard in a public theatre in Purcell’s lifetime - Dido and Aenaes.

Timon of Athens, Z. 632 (Curtain Tune on a Ground)
Lautten Compagney Berlin
Wolfgang Katschner, conductor

Dido and Aeneas, Act II (excerpt)
Felicity Palmer, mezzo-soprano (Sorceress)
Carys Lane, soprano (First Witch)
Rebecca Outram, soprano (Second Witch)
European Voices
Le Concert d'Astrée
Emmanuelle Haïm, conductor

Theodosius, or the Force of Love (Overture; Prepare the Rites Begin)
David Thomas, bass (chief priest)
Taverner Choir
Academy of Ancient Music
Christopher Hogwood, director

King Arthur (excerpt)
Claron McFadden, soprano (honour)
Les Arts Florissants
William Christie, director

The Fairy Queen (excerpt)
Roderick Williams, baritone (Hymen)
Mhairi Lawson, soprano (1st woman)
Anna Dennis, soprano (2nd woman)
Carolyn Sampson, soprano
Ashley Riches, bass-baritone
Gabrieli Consort
Paul McCreesh, director

Indian Queen, Act 4 ‘They tell us that you mighty powers above’
Joyce DiDonato, mezzo-soprano (Orazia)
Il Pomo d'Oro
Maxim Emelyanychev, conductor

Produced by Sam Phillips for ´óÏó´«Ã½ Audio Wales & West

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