I first thought of writing a «musical comedy», on the theme of «Dido and Aeneas», already explored by renowned composers, in particular Purcell. But the symphonic accompaniment rather imposes the term «opera», even if it is interpreted by non-lyric voices, which is quite possible, because this work does not require very extensive vocal tessitures (maximum one “G” above the staff, in some cases).
In this perspective, I imagined a recorded orchestra, a technique that allows to easily respect the balance between all the musicians and singers, by adjusting the sound volumes, as is the case for the synthetic recordings present on this site. Hence the choice, for example, to use only one wind instrument per section, which is sufficient for complete harmony.
Nevertheless, the presence on stage (or at the foot of the stage) of an orchestra is possible: in this case, the conductor must ensure that sound balance, if necessary by using microphones, in the orchestra and/or for singers, or by dubbing certain instruments.
Probably because I am a classical philologist – Before becoming a composer, I was a professor of Latin and ancient Greek, then I ran a college, then I became an inspector of ancient languages courses – I wanted to write a libretto very faithful to the work of Virgil (which Purcell did not). I have only once or twice departed from his text, to increase the interest and variety of the show; the “song to drink” (chant 12), the hymn to Athena and to the Horse (16), or the love song of Aeneas (26) are however faithful to the atmospheres described by Virgil.
Because I am as interested in modern languages as I am in old ones, and because I find English and Italian particularly “singing”, I wanted to adapt the text to these languages, which I read very often, without actively practicing them. You may therefore make certain changes to these adaptations (poetic in French, but more like prose in English and Italian), if you find them necessary.
I thank you very sincerely for your interest in this opera, and wish you every success if you decide to put it on the stage; very sincerely, I think that whatever the means at your disposal, you can make a great show, which will please the musicians and singers as well as your audience; for I have put my whole soul into it.
Jean-Philippe,
Harchies, Belgium.
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