Performing Dido and Aeneas, Purcell’s most famous work, is no mean feat. His short opera may be only 50 minutes in length, but both cast and chorus are afforded little break from his intricate, inventive writing. The Sidney Sussex College Music Society’s production, at its very best, seized upon the genius of Purcell’s musical language and produced something far greater than the standard college music society performance.

In a performance that was at once both innovative and authentic, Maia Béar captured the tortured character of Dido, Queen of Carthage. She is a member of the Selwyn College Chapel Choir, which was clear from her quality of tone and the ease with which she navigated complex vocal runs that she possesses natural talent cultivated by years of training. In fact, all of the main cast were excellent in terms of vocals: particular mention must go to Amber Reeves-Piggott, whose sweeping glissandi and crisp diction combined to create a vividly characterised Sorceress, and Eleanor Burke, portraying Dido’s handmaiden Belinda, who demonstrated great diversity as her character shifted from coquettish playfulness in the opening scenes to grief and despair near the story’s conclusion. Also of note was the stoic Aeneas, played with aplomb by Tom Ashton. The cast’s quick and naturalistic interaction, even when coping with challenging melodic lines, contributed greatly to the sense of immersion.

However, some of the most impressive performances on display came not from the soloists, but from the chorus, the standard of which was impressively high. Being a staged production, the Director Marcus Ellis’s decision to make full use of the physical presence of the chorus was a wise one. A particularly effective technique was having the chorus process past the audience, highlighting the intricate contrapuntal writing which was so ably performed. Indeed, the chorus are to be commended for their commitment to character, shifting from Carthaginian nobles to spirits from Hades, to lackadaisical sailors and back again – amid all this the quality of singing was rarely, if ever, compromised. This versatility could perhaps have been exploited earlier in the production, particularly during the first scene in which the chorus stood in formation, with little movement for a staged production – although I recognise the challenges of naturalistic staging in a chapel setting. Of particular note was countertenor soloist Tristan Selden, whose performance as a Spirit (imitating Mercury) was captivating, however brief. A particularly memorable display of skill was the synchronised musical cackling in the second act, showcasing the cohesiveness of the vocal ensemble.

The instrumental ensemble approached the challenging score with great gusto, and most of the time this produced music of an excellent standard – particularly the lightness and joviality afforded to the many dance like passages throughout the work. These passages were carried off with a noteworthy flair and stylistic awareness. At other times, and somewhat understandably, Purcell’s more chromatic harmonies gave way to slightly inaccurate tuning. But taken as a whole the orchestra must be commended, particularly those on violin and recorder, who had to navigate many complex passages – and did so confidently. This is in no small part due to the efforts of Musical Directors Oliver Pickard and Laurence Carden.

I thought the lighting could have been varied slightly more – obviously being set in a chapel limits this feature, but this could have been used to a greater advantage – I can’t help but think that Dido’s famous lament could have been made more atmospheric had it been lit solely by the ambient light from the chapel’s candles. However, these criticisms are very minor, and overall the staging was good, improving as the performance continued. Especially effective was the use of opposite ends of the chapel to convey different perspectives, for example when both the chorus, at one end of the chapel, and Dido and Aeneas, at the opposite end, react to the same impending storm.

Overall, while not perfect, this was an excellent rendition of some very challenging music, containing all the distinctly Purcellian wit, charm, and tragedy needed to make this show a success