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Sunday Bloody Sunday
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This article is about the song by U2. For other uses, see Sunday Bloody Sunday (disambiguation).
"Sunday Bloody Sunday"
Single by U2
from the album War
Released
21 March 1983[1]
Format
7" vinyl
12" vinyl
CD single
Recorded
September–November 1982
Studio
Windmill Lane Studios (Dublin)
Genre
Post-punk[2]
Length
4:40
Label
Island
Songwriter(s)
U2
Producer(s)
Steve Lillywhite
U2 singles chronology
"Two Hearts Beat as One"
(1983) "Sunday Bloody Sunday"
(1983) "Pride (In the Name of Love)"
(1984)
"Two Hearts Beat as One"
(1983) "Sunday Bloody Sunday"
(1983) "Pride (In the Name of Love)"
(1984)
War track listing
"Sunday Bloody Sunday"
(1) "Seconds"
(2)
Under a Blood Red Sky track listing
"Party Girl"
(4) "Sunday Bloody Sunday"
(5) "The Electric Co."
(6)
Audio sample
file
help
"Sunday Bloody Sunday" is a song by Irish rock band U2. It is the opening track from their 1983 album War and was released as the album's third single on 21 March 1983 in Germany and the Netherlands.[3] "Sunday Bloody Sunday" is noted for its militaristic drumbeat, harsh guitar, and melodic harmonies.[4] One of U2's most overtly political songs, its lyrics describe the horror felt by an observer of the Troubles in Northern Ireland, mainly focusing on the Bloody Sunday incident in Derry where British troops shot and killed unarmed civil rights protesters and bystanders. At the same time, the lyrics reject hate and revenge as a response, as noted in the line "There's many lost, but tell me who has won." Along with "New Year's Day," the song helped U2 reach a wider listening audience. It was generally well received by critics on the album's release.[5][6]
The song has remained a staple of U2's live concerts.[7] During its earliest performances, the song created controversy. Lead singer Bono reasserted the song's anti-sectarian-violence message to his audience for many years. Today, it is considered one of U2's signature songs, and is one of the band's most performed tracks. Critics rate it among the best political protest songs,[8] and it has been covered by over a dozen artists.[9] It was named the 272nd-greatest song by Rolling Stone on their list of "The 500 Greatest Songs of All Time."
Contents
[hide]
1 Writing and recording
2 Composition
3 Reception
4 Live performances
5 Music video
6 Other releases
7 In popular culture
8 Formats and track listings
9 Personnel
10 Charts
11 See also
12 References
13 External links
Writing and recording[edit]
"Sunday Bloody Sunday" grew from a guitar riff and lyric written by the Edge in 1982. While newlyweds Bono and Ali Hewson honeymooned in Jamaica, the Edge worked in Ireland on music for the band's upcoming album. Following an argument with his girlfriend, and a period of doubt in his own song-writing abilities, the Edge—"feeling depressed... channelled [his] fear and frustration and self-loathing into a piece of music."[10] This early draft did not yet have a title or chorus melody, but did contain a structural outline and theme. After Bono had reworked the lyrics, the band recorded the song at Windmill Lane Studios in Dublin. During the sessions, producer Steve Lillywhite encouraged drummer Larry Mullen, Jr. to use a click track, but Mullen was firmly against the idea. A chance meeting with Andy Newmark of Sly & the Family Stone – a drummer who used a click track religiously – changed Mullen's mind.[10] The opening drum pattern soon developed into the song's hook. A local violinist, Steve Wickham, approached the Edge one morning at a bus stop and asked if U2 had any need for a violin on their next album. In the studio for only half a day, Wickham's electric violin became the final instrumental contribution to the song.[10]
The direct impetus for the lyrics was an encounter with IRA supporters in New York City.[11] As a promotional gimmick, U2 manager Paul McGuinness had made arrangements for the band to appear in the 1982 St. Patrick's Day parade. However, he later found that there was a possibility that Bobby Sands, an IRA hunger striker who had starved to death the previous year, would be the parade's honorary marshal. As they felt that the IRA's tactics were prolonging the fighting in Northern Ireland, McGuinness and the band members mutually decided they should withdraw from the parade. McGuinness met with one of the parade's organizers in a New York bar to arrange the cancellation, and ended up in a heated debate about the IRA. McGuinness recalled, "He kept telling me to keep my voice down. The place was full of New York policemen - Irish cops - and he thought I was going to get us killed."[11]
Drummer Mullen said of the song in 1983:
"We're into the politics of people, we're not into politics. Like you talk about Northern Ireland, 'Sunday Bloody Sunday,' people sort of think, 'Oh, that time when 13 Catholics were shot by British soldiers'; that's not what the song is about. That's an incident, the most famous incident in Northern Ireland and it's the strongest way of saying, 'How long? How long do we have to put up with this?' I don't care who's who – Catholics, Protestants, whatever. You know people are dying every single day through bitterness and hate, and we're saying why? What's the point? And you can move that into places like El Salvador and other similar situations – people dying. Let's forget the politics, let's stop shooting each other and sit around the table and talk about it... There are a lot of bands taking sides saying politics is crap, etc. Well, so what! The real battle is people dying, that's the real battle."[12]
Composition[edit]
This two-bar guitar riff[13] is repeated often throughout "Sunday Bloody Sunday."
"Sunday Bloody Sunday" is played at a tempo of 103 beats per minute in a 4/4 time signature.[13] The song opens with a militaristic drumbeat and electric violin part; the aggressive snare drum rhythm closely resembles a beat used to keep a military band in step. The distinctive drum sound was achieved by recording Mullen's drumwork at the base of a staircase, producing a more natural reverb. It is followed by the Edge's repeating arpeggios (see notation at left). The riff, which follows a Bm–D–G6 chord progression, establishes the minor chord territory of the piece. As the song progresses, the lyrics and guitar become more furious. The guitar riff has been described as the "bone-crushing arena-rock riff of the decade" by Rolling Stone.[14] A bass drum kick on every beat provides the musical foundation until the first chorus, when Adam Clayton's bass guitar enters.
In contrast to the violent nature of the verses, the emergence of major chords creates a feeling of hope during Bono's "How long, how long must we sing this song?" refrain. During the chorus, the Edge's backing vocals further develop this tread, using a harmonic imitative echo. The snare drum is absent from this section, and the guitar parts are muted. This part of the song deviates musically from the raw aggression seen in the song's verses and gives the song a more uplifting structure.[13] Bono once commented that "love is...a central theme" of "Sunday Bloody Sunday"[15]
The band have said the lyrics refer to the events of both Bloody Sunday in 1972 and Bloody Sunday in 1920, but are not specifically about either event.[16] The song takes the standpoint of someone horrified by the cycle of violence in the province. Bono rewrote the Edge's initial lyrics, attempting to contrast the two events with Easter Sunday, but he has said that the band were too inexperienced at the time to fully realise that goal, noting that "it was a song whose eloquence lay in its harmonic power rather than its verbal strength."[10]
Early versions opened with the line "Don't talk to me about the rights of the IRA, UDA."[10] U2's bassist, Adam Clayton, recalls that better judgment led to the removal of such a politically charged line, and that the song's "viewpoint became very humane and non-sectarian...which, is the only responsible position."[17] The chosen opening line, "I can't believe the news today" crystallises the prevailing response, especially among young people, to the violence in Northern Ireland during the 1970s and 1980s.[17] In successive stanzas, the lyrics paraphrase religious text from Matthew 10:35 ("mother's children; brothers, sisters torn apart") and bring a twist to 1 Corinthians 15:32 ("we eat and drink while tomorrow they die", instead of "let us eat and drink; for tomorrow we die"). The song finishes with a call for the Irish to stop fighting each other, and "claim the victory Jesus won...on [a] Sunday bloody Sunday."[13]
Reception[edit]
U2 were aware when they decided to record "Sunday Bloody Sunday" that its lyrics could be misinterpreted as sectarian, and possibly place them in danger. Some of the Edge's original lyrics explicitly spoke out against violent rebels, but were omitted to protect the group.[10] Even without these lyrics, some listeners still considered it to be a rebel song—even one which glorifies the events of the two Bloody Sundays to which the lyrics refer.[18]
Commercially, the single had its biggest impact in the Netherlands, where it reached number 3 on the national charts.[19] In the US, the song gained significant album-oriented rock radio airplay, and together with the earlier "New Year's Day" helped expose U2 to a mainstream American rock audience.
Critical reception to the song was positive. In the Irish magazine Hot Press, Liam Mackey wrote that "Sunday Bloody Sunday" "takes the widescreen view...a powerful riff and machine-gun drumming [is] crisscrossed by skipping violin."[5] Denise Sullivan commented for Allmusic that Mullen's opening drumwork "helps set the tone for the unforgiving, take-no-prisoners feel of the song, as well as for the rest of the album."[6]
In 2010, Rolling Stone ranked "Sunday Bloody Sunday" 272nd on its list of "The 500 Greatest Songs of All Time."[20] In 2006, Q named "Sunday Bloody Sunday" the 18th-greatest song of the 1980s.[21] The staff of the Rock and Roll Hall of Fame selected "Sunday Bloody Sunday" as one of 500 Songs that Shaped Rock and Roll.[22] The New Statesman listed it as one of the Top 20 Political Songs,[23] and similarly, Time named it one of the Top 10 Protest Songs.[24]
Live performances[edit]
"Sunday Bloody Sunday" has been performed more than 600 times by U2.[7] It was first heard by a live audience in December 1982 in Glasgow, Scotland, on a twenty-one show "Pre-War Tour." The band were particularly nervous about playing the song in Belfast, Northern Ireland. Introducing the song there at the Maysfield Leisure Centre, Bono stated "It's not a rebel song.", attempted to further clarify this point by reciting the entire second verse ("Broken bottles under children's feet ..."), and added as a final note, "If you don't like it, you let us know."[11] The crowd overwhelmingly enjoyed the song; the Edge recalls that "the place went nuts, it drew a really positive reaction.", also saying that "We thought a lot about the song before we played it in Belfast and Bono told the audience that if they didn't like it then we'd never play it again. Out of the 3,000 people in the hall about three walked out. I think that says a lot about the audience's trust in us."[25] The band remained apprehensive, however. Even by the song's sixth performance, Bono was introducing the song with the statement "This song is not a rebel song."[26][27]
Throughout 1983's War Tour, Bono continued to reassure audiences that "This song is not a rebel song, this song is 'Sunday Bloody Sunday'"[28] highlighting the non-partisan intentions of the lyrics. The live performances on this tour featured a routine during which Bono would set a white flag in the front of the stage while the band vamped three chords—B minor, D major, and G major. (though the band traditionally tune their instruments down a half step so the chords are B flat minor, D flat and G Flat). As the band vamped, Bono would sing "no more!" with the audience.[29] These performances were highly effective with U2's audience (at the time, U2 were most popular as a college rock act). Live performances of the song subsequently appeared on their 1983 live album Under a Blood Red Sky and their concert film Live at Red Rocks: Under a Blood Red Sky. In the Unforgettable Fire Tour of 1984 and 1985, "Sunday Bloody Sunday" continued to be a prominent midpoint of each U2 concert—as did the "no more!" interlude. Along with a performance of "Bad," the song was performed at Live Aid in July 1985.
As U2 reached new levels of fame in 1987 with The Joshua Tree, "Sunday Bloody Sunday" continued to be a focal point of concerts. Some performances featured slower, more contemplative versions of the song; other concerts saw the wilder, more violent version. This tour marked the first time "Sunday Bloody Sunday" was played in Northern Ireland since 1982, and it has not been performed there since.[7]
The 1988 rockumentary Rattle and Hum includes a particularly renowned version of the song, recorded on 8 November 1987 at McNichols Sports Arena in Denver, Colorado.[30] On this version Bono's mid-song rant angrily and emphatically condemns the Remembrance Day Bombing that had occurred earlier that same day in the Northern Irish town of Enniskillen:
“ And let me tell you somethin'. I've had enough of Irish Americans who haven't been back to their country in twenty or thirty years come up to me and talk about the resistance, the revolution back home...and the glory of the revolution...and the glory of dying for the revolution. Fuck the revolution! They don't talk about the glory of killing for the revolution. What's the glory in taking a man from his bed and gunning him down in front of his wife and his children? Where's the glory in that? Where's the glory in bombing a Remembrance Day parade of old age pensioners, their medals taken out and polished up for the day. Where's the glory in that? To leave them dying or crippled for life or dead under the rubble of a revolution that the majority of the people in my country don't want. No more![31] ”
This concert in Mexico City in February 2006 depicts the elaborate stage effects used for "Sunday Bloody Sunday."
After the Joshua Tree Tour, Bono was heard saying the band might never play the song again, because the song was "made real" with the performance in Denver, and it could never be matched again.[31][32] Following their original intent, "Sunday Bloody Sunday" was not played during any of the forty-seven shows on the Lovetown Tour in 1989. The song reappeared for a brief period during the Zoo TV Tour, and late during the second half of PopMart Tour (1997–1998), U2 played an emotional concert in war-ravaged Sarajevo that included a solo performance of the song by the Edge. "Sunday Bloody Sunday" was subsequently played live in this style until the end of the tour in March 1998.[7]
"Sunday Bloody Sunday" was played at every concert on the 2001 Elevation and 2005–2006 Vertigo tours.[7] Performances in 2001 frequently included parts of Bob Marley's "Get Up, Stand Up" and "Johnny Was". A memorable mid-song message referencing the Omagh bombing of 1998 ("Turn this song into a prayer!") is captured on the live DVD U2 Go Home: Live from Slane Castle. In concerts in New York City after the September 11, 2001 attacks, the "no more!" interlude was replaced by Bono holding an American flag.[33]
"Sunday Bloody Sunday" was used during the Vertigo Tour of 2005 and 2006, often alongside "Bullet the Blue Sky" and "Love and Peace or Else" as a trio of politically driven songs performed during the middle part of the band's set. Bono extended the "no more!" interlude to explain a headband he had donned in the previous song.[34] The headband depicted the word "coexist" (written to depict a crescent, a Star of David, and a Christian cross). The Coexist symbol is trademarked in the United States by an LLP in Indiana,[35] and the original artwork was created in 2001 by a Polish artist.[36] As with the 2001 shows, the Vertigo tour saw the song applied to subjects further afield than The Troubles in Northern Ireland. During 2006 Australian shows, in Brisbane, Bono asked for Australian Terrorism suspect David Hicks to be brought home and tried under Australian laws. In subsequent Australian concerts he dedicated the song to the victims of the 2002 Bali bombings – where 88 of the fatalities were Australians – saying 'This is your song now!'.[37] The song was also performed at every concert on the U2 360° Tour, paying tribute to the 2009 Iranian election protests on each occasion by projecting scenes from the protests and Persian writing in green on the video screen.[38]
"Sunday Bloody Sunday" has been played as the opening song at shows on the Joshua Tree Tour 2017.
Music video[edit]
This performance in June 1983 from the concert film U2 Live at Red Rocks was later released as the song's music video.
Although a promotional music video had not been produced for the original release, the band used footage from a 5 June 1983 live performance filmed for the concert film U2 Live at Red Rocks: Under a Blood Red Sky to promote the song. Directed by Gavin Taylor, the video displays Bono's use of a white flag during performances of the song. The video highlights the intensity and emotion felt by many audience members during U2's concerts, while the rainy, torch-lit setting in Colorado's Red Rocks Amphitheatre further adds to the atmosphere. In 2004, Rolling Stone cited the performance as one "50 Moments that Changed the History of Rock and Roll" and noted that "the sight of Bono singing the anti-violence anthem 'Sunday Bloody Sunday' while waving a white flag through crimson mist (created by a combination of wet weather, hot lights and the illumination of those crags) became the defining image of U2's warrior-rock spirit and—shown in heavy rotation on MTV—broke the band nationwide."[39]
Other releases[edit]
The album version of "Sunday Bloody Sunday" was originally included on War, but it can also be heard on a number of promotional releases, including the compilations The Best of 1980-1990 and U218 Singles. Several live versions have been released; the video available on Live at Red Rocks: Under a Blood Red Sky is from a performance at Red Rocks Amphitheatre in June 1983, but the version on the live album Under a Blood Red Sky is from a performance on August 20th, 1983 during the Rockpalast Open Air music festival at the Lorelei, (West) Germany. Audio from the Sarajevo concert of 1997 is featured as a b-side on 1997's single "If God Will Send His Angels." The song also appears on Rattle and Hum, PopMart: Live from Mexico City, Elevation 2001: Live from Boston, U2 Go Home: Live from Slane Castle, Vertigo 2005: Live from Chicago, Live from Paris, U2 3D, U2 360° at the Rose Bowl and in the closing credits of the 2002 TV film Bloody Sunday.[40][41] The only concert films that "Sunday Bloody Sunday" does not appear on are Zoo TV: Live from Sydney and Vertigo 05: Live from Milan.
In popular culture[edit]
In 2007, The Roots covered "Sunday Bloody Sunday" in a medley with "Pride (In the Name of Love)" for an NAACP dinner honouring Bono. While the band played the song, Black Thought rapped lines from the band's own "False Media" and bits of Edwin Starr's "War".[42]
In 2008, Jay-Z sampled "Sunday Bloody Sunday" in a version of "Heart of the City" performed at the Glastonbury Festival.[43] During a version of "Sunday Bloody Sunday" performed by the band at the 2009 MTV Europe Music Awards, Jay-Z improvised lyrics over the breakdown in the song before including a snippet of "Get Up, Stand Up."[44]
Formats and track listings[edit]
"Sunday Bloody Sunday" was commercially released throughout most of Europe in support of U2's album War. Its cover art is the same as that of "Two Hearts Beat as One," except on the Japan release. The B-side on the single, "Endless Deep," is one of the few U2 songs that features bassist Adam Clayton singing.
7" German and Netherlands release
No.
Title
Length
1. "Sunday Bloody Sunday" 4:34
2. "Endless Deep" 2:58
7" alternate release
No.
Title
Length
1. "Sunday Bloody Sunday" 4:34
2. "Two Hearts Beat as One" (7" edit) 3:52
7" Japanese release
No.
Title
Length
1. "Sunday Bloody Sunday" 4:34
2. "Red Light" 4:03
12" and Austrian CD release[3]
No.
Title
Length
1. "Sunday Bloody Sunday" 4:34
2. "Two Hearts Beat as One" (U.S. remix) 5:40
3. "New Year's Day" (U.S. remix) 4:30
Personnel[edit]
Bono – lead vocals
The Edge – guitar, backing vocals
Adam Clayton – bass guitar
Larry Mullen, Jr. – drums
Steve Wickham – electric violin
Charts[edit]
Chart (1983)
Peak
position
US Billboard Top Tracks[45] 7
Chart (1985)
Peak
position
Belgium (Ultratop 50 Flanders)[46] 11
Netherlands (Dutch Top 40)[19] 3
Netherlands (Single Top 100)[47] 3
Chart (2010)
Peak
position
Belgium (Ultratop 50 Back Catalogue Singles Flanders)[48] 5
See also[edit]
List of anti-war songs
List of covers of U2 songs – Sunday Bloody Sunday
Bloody Sunday
References[edit]
Footnotes
Jump up ^ Sams, Aaron; Kantas, Harry. "U2 - "Sunday Bloody Sunday" Single". u2songs.com. Retrieved 1 Apr 2016.
Jump up ^ Gimarc, George (1997). Post Punk Diary: 1980–1982. New York: St. Martin's Press. p. 342.
^ Jump up to: a b U2Wanderer.org. "U2 Discography – Sunday Bloody Sunday Single". Retrieved 22 October 2006.
Jump up ^ Hillburn, Robert (8 August 2004). "The Songwriters – U2 – 'Where Craft Ends and Spirit Begins'". Los Angeles Times. Retrieved 22 October 2006.
^ Jump up to: a b Mackey, Liam (18 February 1983). "Review of War". Hot Press. Retrieved 22 October 2006.
^ Jump up to: a b Sullivan, Denise. "Song Review: "Sunday Bloody Sunday"". Allmusic. Retrieved 22 October 2006.
^ Jump up to: a b c d e U2-Vertigo-Tour.com. "U2 on Tour – played songs: Sunday Bloody Sunday". Retrieved 22 October 2006.
Jump up ^ VH1 Editors (2004). VH1's 25 Greatest Political Protest Songs (Television series). VH1 television.
Jump up ^ U2Wanderer.org. "U2 Cover Songs Discography". Retrieved 22 October 2006.
^ Jump up to: a b c d e f McCormick (2006), pp. 135–139
^ Jump up to: a b c Henke, James (June 9, 1983). "Blessed Are the Peacemakers". Rolling Stone (397): 11–14.
Jump up ^ "Larry Mullen Interview". White Lucy. 1 April 1983. Retrieved 6 November 2007.
^ Jump up to: a b c d Commercial sheet music for "Sunday Bloody Sunday." Universal-Polygram International Music Publishing. Distributed by Hal Leonard Publishing. ISBN 0-7119-7309-1. Retrieved 12 December 2006.
Jump up ^ Connelly, Christopher (19 January 1984). "Under A Blood Red Sky Review: U2: Review". Rolling Stone. Archived from the original on 19 April 2008. Retrieved 17 May 2010.
Jump up ^ Lozaw, Tristam (1 June 1984). "Love, Devotion & Surrender". U2 Magazine. Retrieved 22 October 2006.
Jump up ^ U2, Rona Elliot (interviewer) (11 September 1987). U2: The Rona Elliot Interview (Online download). NBC via iTunes Store. Retrieved 22 October 2006.
^ Jump up to: a b Stokes (1996), pp. 37–39
Jump up ^ Flanagan (1996), p. 385
^ Jump up to: a b "Nederlandse Top 40 – U2" (in Dutch). Dutch Top 40.
Jump up ^ "500 Greatest Songs of All Time: U2, 'Sunday Bloody Sunday'". Rolling Stone (Special collectors edition). 2010.
Jump up ^ "80 Best Records of the '80s". Q (241). August 2006.
Jump up ^ "500 Songs that Shaped Rock and Roll". Rock and Roll Hall of Fame. Archived from the original on 2 June 2008. Retrieved 8 November 2010.
Jump up ^ Smith, Ian K (25 March 2010). "Top 20 Political Songs: Sunday Bloody Sunday". New Statesman. Retrieved 25 March 2010.
Jump up ^ Silver, Alexandra (14 December 2011). "Top 10 Protest Songs: 'Sunday Bloody Sunday'". Time.com. Time Inc. Retrieved 11 June 2014.
Jump up ^ McCormick (2006), p. 179
Jump up ^ de la Parra (1995)
Jump up ^ Thrills, Adrian (26 February 1983). "War & Peace". NME. Retrieved 7 November 2007.
Jump up ^ U2. Under a Blood Red Sky. Island Records. Compact disc, 1983.
Jump up ^ U2, Gavin Taylor (director) (1983). Under a Blood Red Sky (VHS). RCA / Columbia Video.
Jump up ^ Chatterton (2001)
^ Jump up to: a b U2, Phil Joanou (director) (1999). U2: Rattle and Hum (DVD). Paramount.
Jump up ^ Mackey, Liam (1 December 1998). "I Still Haven't Found What I'm Looking For – Part 1". Hot Press. Retrieved 22 October 2006.
Jump up ^ Guzman, Isaac (26 October 2001). "No Bombast, but U2 Bands Together with N.Y.". New York Daily News.
Jump up ^ U2, Hamish Hamilton (director) (2005). Vertigo 2005: U2 Live from Chicago (DVD). Island / Interscope Video.
Jump up ^ Hutchinson, Kevin. "Can't We All Just Coexist?". Retrieved 16 December 2006.
Jump up ^ "Jerozolimie" (in Polish). Archived from the original on 6 July 2007. Retrieved 16 December 2006.
Jump up ^ U2 Concert, Sydney 11 Nov 2006.
Jump up ^ "Lunch with Bono". Edith Bowman. London, England. 19 August 2009. 35:30 minutes in. BBC. BBC Radio 1. Retrieved 19 August 2009. [link expired]
Jump up ^ Cave, Damien; et al. (24 June 2004). "U2's Gamble at Red Rocks". Rolling Stone: 146.
Jump up ^ U2Wanderer.org. "U2Wanderer.org – U2 Discography – By Song U2 Discography". Retrieved 22 October 2006.
Jump up ^ U2Wanderer.org. "U2Wanderer.org – U2 Discography – U2 Video and DVD Releases". Retrieved 22 October 2006.
Jump up ^ Ray Padgett (16 August 2010). "Song of the Day: The Roots, "Sunday Bloody Sunday / Pride (In the Name of Love)" (U2 cover)". Cover Me. Retrieved 15 July 2013.
Jump up ^ "Jay-Z vs U2 - Heart Of The Bloody City (MTM's Glastonbury 2008 Edit)". YouTube. Retrieved 8 March 2015.
Jump up ^ "EMAs: Jay-Z Joins U2 on Stage!". MTV.co.uk. Retrieved 6 February 2014.
Jump up ^ "War awards on Allmusic". Allmusic. Rovi Corporation. Retrieved 15 July 2013.
Jump up ^ "Ultratop.be – U2 – Sunday Bloody Sunday" (in Dutch). Ultratop 50.
Jump up ^ "Dutchcharts.nl – U2 – Sunday Bloody Sunday" (in Dutch). Single Top 100.
Jump up ^ "50 Back Catalogue Singles – 2 October 2010". Ultratop 50. Hung Medien. Retrieved 15 July 2013.
Bibliography
Alan, Carter (1997). U2: The Road to Pop. Boston: Faber & Faber. ISBN 0-571-19930-5.
Assayas, Michka; Bono (2005). Bono: In Conversation with Michka Assayas. New York: Penguin Group. ISBN 1-57322-309-3.
Chatterton, Mark (2001). U2 The Complete Encyclopedia. London: Firefly Publishing.
de la Parra, Pimm Jal (1995). U2 Live: A Concert Documentary. Omnibus Press. ISBN 0-7119-9198-7.
Dunphy, Eamon (1987). Unforgettable Fire. New York: Warner Books. ISBN 0-446-38974-9.
Flanagan, Bill (1996). U2 at the End of the World (Paperback ed.). New York: Delta. ISBN 978-0-385-31157-1.
Stockman, Steve (2003). Walk On: The Spiritual Journey of U2. Orlando, Florida: Relevant Books. ISBN 0-9760357-5-8.
Stokes, Niall (1996). Into The Heart: The Story Behind Every U2 Song. Australia: HarperCollins Publishers. ISBN 0-7322-6036-1.
U2 (2006). McCormick, Neil, ed. U2 by U2. London: HarperCollins. ISBN 0-00-719668-7.
Wasserloos, Yvonne (2012): "Sunday Bloody Sunday" und "Belfast Child". Politischer Terror und musikalische Reflexion im Nordirland-Konflikt der 1980er Jahre. In: Sabine Mecking/Yvonne Wasserloos (Ed.): Musik – Macht – Staat. Kulturelle, soziale und politische Wandlungsprozesse in der Moderne. Göttingen: Vandenhoeck & Ruprecht, p. 339–370. ISBN 978-3-89971-872-0
External links[edit]
Lyrics
Lyrics of this song at MetroLyrics
[show]
v
t
e
War track listing
"Sunday Bloody Sunday"
"Seconds"
"New Year’s Day"
"Like a Song"
"Drowning Man"
"The Refugee"
"Two Hearts Beat as One"
"Red Light"
"Surrender"
"40"
October
The Unforgettable Fire
[show]
v
t
e
Rattle and Hum track listing
Album
"Helter Skelter"
"Van Diemen's Land"
"Desire"
"Hawkmoon 269"
"All Along the Watchtower"
"I Still Haven't Found What I'm Looking For"
"Freedom for My People"
"Silver and Gold"
"Pride (In the Name of Love)"
"Angel of Harlem"
"Love Rescue Me"
"When Love Comes to Town"
"Heartland"
"God Part II"
"The Star Spangled Banner"
"Bullet the Blue Sky"
"All I Want Is You"
Film
"Helter Skelter"
"Van Diemen's Land"
"Desire"
"Exit"
"I Still Haven't Found What I'm Looking For"
"Freedom for My People"
"Silver and Gold"
"Angel of Harlem"
"All Along the Watchtower"
"In God's Country"
"When Love Comes to Town"
"Heartland"
"Bad"
"Where the Streets Have No Name"
"MLK"
"With or Without You"
"The Star-Spangled Banner"
"Bullet the Blue Sky"
"Running to Stand Still"
"Sunday Bloody Sunday"
"Pride (In the Name of Love)"
"All I Want Is You"
The Joshua Tree
Achtung Baby
[show]
v
t
e
U2 singles discography
1980s
1980
"Another Day"
"11 O'Clock Tick Tock"
"A Day Without Me"
"I Will Follow"
1981
"Fire"
"Gloria"
1982
"A Celebration"
"I Will Follow" (live recorded by Veronica's Countdown)
1983
"New Year's Day"
"Two Hearts Beat as One"
"Sunday Bloody Sunday"
1984
"I Will Follow" (live, from Under a Blood Red Sky)
"Pride (In the Name of Love)"
1985
"The Unforgettable Fire"
1987
"With or Without You"
"I Still Haven't Found What I'm Looking For"
"Where the Streets Have No Name"
"In God's Country"
1988
"One Tree Hill"
"Desire"
"Angel of Harlem"
1989
"When Love Comes to Town" (feat. B.B. King)
"All I Want Is You"
1990s
1991
"The Fly"
"Mysterious Ways"
1992
"One"
"Even Better Than the Real Thing"
"Who's Gonna Ride Your Wild Horses"
1993
"Numb"
"Lemon"
"Stay (Faraway, So Close!)"
1995
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Dido and Aeneas
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For the myth on which the opera is based, see Aeneid.
Dido and Aeneas
Opera by Henry Purcell
The composer, portrait by John Closterman, c. 1695
Librettist
Nahum Tate
Based on
Book IV of Virgil's Aeneid
Premiere
C.1683-1688
Josias Priest's girls' school, London
Dido and Aeneas (Z. 626)[1] is an opera in a prologue and three acts, written by the English Baroque composer Henry Purcell with a libretto by Nahum Tate. The dates of the composition and first performance of the opera are uncertain. It was composed no later than July 1688,[2] and had been performed at Josias Priest's girls' school in London by the end of 1689.[3] Some scholars argue for a date of composition as early as 1683.[4][5] The story is based on Book IV of Virgil's Aeneid.[6] It recounts the love of Dido, Queen of Carthage, for the Trojan hero Aeneas, and her despair when he abandons her. A monumental work in Baroque opera, Dido and Aeneas is remembered as one of Purcell's foremost theatrical works.[6] It was also Purcell's only true opera, as well as his only all-sung dramatic work. One of the earliest known English operas, it owes much to John Blow's Venus and Adonis, both in structure and in overall effect.[6] The influence of Cavalli's opera Didone is also apparent.[citation needed]
Contents
[hide]
1 Background and context
1.1 Libretto
1.2 Score
2 Performance history
2.1 Premiere and early revivals
2.2 20th- and 21st-century performances
2.3 Adaptations
3 Roles
4 Synopsis
4.1 Act 1
4.2 Act 2
4.3 Act 3
5 Recordings
6 See also
7 References
8 External links
Background and context[edit]
Dido and Aeneas, from a Roman fresco, Pompeian Third Style (10 BC - 45 AD), Pompeii, Italy
Before Dido and Aeneas, Purcell had composed music for several stage works, including nine pieces for Nathaniel Lee's Theodosius, or The Force of Love (1680) and eight songs for Thomas d'Urfey's A Fool's Preferment (1688). He also composed songs for two plays by Nahum Tate (later the librettist of Dido and Aeneas), The Sicilian Usurper (1680) and Cuckold-Haven (1685). Dido and Aeneas was Purcell's first (and only) all-sung opera and derives from the English masque tradition.
Libretto[edit]
Originally based on Nahum Tate's play Brutus of Alba, or The Enchanted Lovers (1678), the opera is likely, at least to some extent, to be allegorical. The prologue refers to the joy of a marriage between two monarchs, which could refer to the marriage between William and Mary. In a poem of about 1686, Tate alluded to James II as Aeneas, who is misled by the evil machinations of the Sorceress and her witches (representing Roman Catholicism, a common metaphor at the time) into abandoning Dido, who symbolises the British people. The same symbolism may apply to the opera.[6] This explains the addition of the characters of the Sorceress and the witches, which do not appear in the original Aeneid. It would be noble, or at least acceptable, for Aeneas to follow the decree of the Gods, but not so acceptable for him to be tricked by ill-meaning spirits.
Although the opera is a tragedy, there are numerous seemingly lighter scenes, such as the First Sailor's song, "Take a boozy short leave of your nymphs on the shore, and silence their mourning with vows of returning, though never intending to visit them more." Musicologist Ellen T. Harris considers the callousness and cynicism of the song to underline the "moral" of the story, that young women should not succumb to the advances and promises of ardent young men.[7]
Score[edit]
No score in Purcell's hand is extant, and the only seventeenth-century source is a libretto, possibly from the original performance. The earliest extant score, held in the Bodleian Library, was copied no earlier than 1750, well over sixty years after the opera was composed.[8] No later sources follow the act divisions of the libretto, and the music to the prologue is lost. The prologue, the end of the act 2 'Grove' scene, and several dances, were almost certainly lost when the opera was divided into parts to be performed as interludes between the acts of spoken plays in the first decade of the eighteenth century.[9]
The first of the arias to be published separately was "Ah, Belinda" in Orpheus Britannicus.[6] The most famous aria of the work is "When I am laid in earth", popularly known as "Dido's Lament". Both arias are formed on a lamento ground bass. "Dido's Lament" has been performed or recorded by artists far from the typical operatic school, such as Klaus Nomi (as "Death"), Ane Brun and Jeff Buckley. It has also been transcribed or used in many scores, including the soundtrack to the HBO miniseries Band of Brothers (renamed "Nixon's Walk"). It is played annually by a military band at the Cenotaph remembrance ceremony, which takes place on the Sunday nearest to 11 November (Armistice Day) in London's Whitehall. The music is thought by some to be too simple for Purcell in 1689, but this may simply reflect that the intended performers were schoolchildren.[6] The work is scored for four-part strings and continuo. The fact that the libretto from the Chelsea School performance indicates two dances for guitar, the "Dance Gittars Chacony" in act 1, and the "Gittar Ground a Dance" in the 'Grove' scene of act 2, has led one scholar to suggest that Purcell envisioned a guitar as a primary member of the continuo group for the opera.[10] Music for neither of these dances is extant, and it seems likely that Purcell did not compose them, but rather left them to be improvised by the guitarist.[11] Several editions of the opera have been made and have been provided with a continuo realisation; a notable, if rather idiosyncratic edition being that made by Imogen Holst and Benjamin Britten. There are a number of editions with realisations, and the opera's accessibility to amateur performers is a feature that has greatly abetted the growth of its popularity in the latter half of the twentieth century.[12] While the Prologue's music has been lost and has not been reconstructed, several realisations of the opera include a solution to the missing ritornello at the end of the second act. Known to have been part of the score, it is now performed as a dance taken from other, similar works by Purcell, or invented outright in the same vein, to keep the integrity and continuity of the performance.
Performance history[edit]
Premiere and early revivals[edit]
A letter from the Levant merchant Rowland Sherman associates Dido and Aeneas with Josias Priest's girls' school in Chelsea, London no later than the summer of 1688.[13] The first performance may have taken place as early as 1 December 1687,[14] and evidence suggests that the opera was performed at the school again in 1689.[3] Several scholars have argued that the work was composed for the English court, either for Charles II (and perhaps as early as 1684)[4][5] or for James II.[15] Following the Chelsea performances, the opera was not staged again in Purcell's lifetime. Its next performance was in 1700 as a masque incorporated into an adapted version of Shakespeare's Measure for Measure at Thomas Betterton's theatre in London.
After 1705 it disappeared as a staged work, with only sporadic concert performances, until 1895 when the first staged version in modern times was performed by students of the Royal College of Music at London's Lyceum Theatre to mark the bicentenary of Purcell's death.[16] Dido and Aeneas received its first performance outside England on 14 December 1895 in a concert version at the University Society in Dublin.
20th- and 21st-century performances[edit]
Dido and Aeneas premiered in the United States at the Plaza Hotel in New York City on 10 February 1923 performed by the girls of the Rosemary School, although The New York Times noted that "considerable liberties" had been taken with the score.[17] A concert version with professional musicians organised by the Society of Friends of Music took place on 13 January 1924 at the New York City Town Hall, using a score edited by Artur Bodanzky, who also conducted the performance.[18]
As new critical editions of the score appeared, and with the revival of interest in Baroque music, the number of productions steadily increased. After Jonathan Miller's visit to Bornholm, Denmark, Dido was performed in 2008 at the Rønne Theatre (which had been built in 1823). Devin Duggan conducted. Amongst the new productions of the opera in 2009 (the 350th anniversary of Purcell's birth) were those staged by the De Nederlandse Opera, the Royal Opera, London, the Divertimento Baroque Opera Company, and Glimmerglass Opera in Cooperstown, New York. The Royal Opera production, which featured contemporary dance by Wayne McGregor Random Dance and animated effects by Mark Hatchard, formed part of a double bill with Handel's Acis and Galatea.[19] In 2011 the opera was revived by City Wall Productions and set during World War II.[20] A new Opera North production of the opera opened at Leeds Grand Theatre in February 2013[21] Opera Up Close performed a truncated version in 2011, setting it in an American high school in the 1950s.
Adaptations[edit]
A version of the opera adapted to modern dance was choreographed by the American Mark Morris, who originally danced both the roles of Dido and the Sorceress. It premiered on 11 March 1989 at the Théâtre Varia in Brussels.[22] It has since been performed many times and was filmed in 1995 by Canadian director Barbara Willis Sweete, with Morris in the roles of Dido and the Sorceress.[23] Another dance version, choreographed by Sasha Waltz, premiered at the Staatsoper Unter den Linden in Berlin on 29 January 2005 and opened with the dancers performing underwater in an enormous tank.[24] The production was subsequently seen at the Grand Théâtre in Luxembourg, Opéra national de Montpellier, and Sadler's Wells Theatre in London. In both the Morris and the Waltz adaptations, the characters are each portrayed by both a singer and a dancer, with the dancers onstage and the singers performing from the side of the stage or the orchestra pit.
Roles[edit]
Role
Voice type
Dido (also known as Elissa), Queen of Carthage soprano or mezzo-soprano[25]
Belinda, Dido's sister and handmaid light soprano
Second Woman, Another Handmaiden soprano or mezzo-soprano
Aeneas, Trojan Prince tenor or high baritone[26]
Sorceress/Sorcerer mezzo-soprano, contralto, countertenor or bass[27]
First Witch/Enchantress mezzo-soprano
Second Witch/Enchantress mezzo-soprano
Spirit, in form of Mercury soprano or countertenor
First Sailor tenor[28]
Chorus, SATB: all members at one point or another represent courtiers, witches, cupids, and sailors.
Synopsis[edit]
The Meeting of Dido and Aeneas by Nathaniel Dance-Holland
Act 1[edit]
Dido's court
The opera opens with Dido in her court with her attendants. Belinda is trying to cheer up Dido, but Dido is full of sorrow, saying 'Peace and I are strangers grown'. Belinda believes the source of this grief to be the Trojan Aeneas, and suggests that Carthage's troubles could be resolved by a marriage between the two. Dido and Belinda talk for a time—Dido fears that her love will make her a weak monarch, but Belinda and the Second Woman reassure her that "The hero loves as well." Aeneas enters the court, and is at first received coldly by Dido, but she eventually accepts his proposal of marriage.
Act 2[edit]
Scene 1: The cave of the Sorceress
The Sorceress/Sorcerer is plotting the destruction of Carthage and its queen, and summons companions to help with evil plans. The plan is to send her "trusted elf" disguised as Mercury, someone to whom Aeneas will surely listen, to tempt him to leave Dido and sail to Italy. This would leave Dido heartbroken, and she would surely die. The chorus join in with terrible laughter, and the Enchantresses decide to conjure up a storm to make Dido and her train leave the grove and return to the palace. When the spell is prepared, the witches vanish in a thunderclap.
Scene 2: A grove during the middle of a hunt
Stay, Prince and hear
The Sorceress' messenger, in form of Mercury, attempts to convince Aeneas to leave Carthage.
Problems playing this file? See media help.
Dido and Aeneas are accompanied by their train. They stop at the grove to take in its beauty. A lot of action is going on, with attendants carrying goods from the hunt and a picnic possibly taking place, and Dido and Aeneas are together within the activity. This is all stopped when Dido hears distant thunder, prompting Belinda to tell the servants to prepare for a return to shelter as soon as possible. As every other character leaves the stage, Aeneas is stopped by the Sorceress's elf, who is disguised as Mercury. This pretend Mercury brings the command of Jove that Aeneas is to wait no longer in beginning his task of creating a new Troy on Latin soil. Aeneas consents to the wishes of what he believes are the gods, but is heart-broken that he will have to leave Dido. He then goes off-stage to prepare for his departure from Carthage.
Act 3[edit]
The harbour at Carthage
Preparations are being made for the departure of the Trojan fleet. The sailors sing a song, which is followed shortly by the Sorceress and her companions' sudden appearance. The group is pleased at how well their plan has worked, and the Sorceress sings a solo describing her further plans for the destruction of Aeneas "on the ocean". All the characters begin to clear the stage after a dance in three sections, and then disperse.
The palace
Dido and Belinda enter, shocked at Aeneas’ disappearance. Dido is distraught and Belinda comforts her. Suddenly Aeneas returns, but Dido is full of fear before Aeneas speaks, and his words only serve to confirm her suspicions. She derides his reasons for leaving, and even when Aeneas says he will defy the gods and not leave Carthage, Dido rejects him for having once thought of leaving her. After Dido forces Aeneas to leave, she states that "Death must come when he is gone." The opera and Dido's life both slowly come to a conclusion, as the Queen of Carthage sings her last aria, "When I am laid in Earth", also known as "Dido's Lament." The chorus and orchestra then conclude the opera once Dido is dead by ordering the "cupids to scatter roses on her tomb, soft and gentle as her heart. Keep here your watch, and never, never part."[29]
Recordings[edit]
Main article: Dido and Aeneas discography
The first complete recording of the opera was made by Decca Records in 1935 with Nancy Evans as Dido and Roy Henderson as Aeneas,[30] followed in 1945 by HMV's release with Joan Hammond and Dennis Noble. Kirsten Flagstad, who had sung the role at the Mermaid Theatre in London, recorded it in 1951 for EMI with Thomas Hemsley as Aeneas. Dido and Aeneas has been recorded many times since the 1960s with Dido sung by mezzo-sopranos such as Janet Baker (1961), Tatiana Troyanos (1968), Teresa Berganza (1986), Anne Sofie von Otter (1989) and Susan Graham (2003). In addition to Joan Hammond and Kirsten Flagstad, sopranos who have recorded the role include Victoria de los Ángeles (1965), Emma Kirkby (1981), Jessye Norman (1986), Catherine Bott (1992), Lynne Dawson (1998), and Evelyn Tubb (2004).
Beginning with Andrew Parrott's 1981 recording for Chandos with the Taverner Consort and Players, there was an increasing preference for a more genuine period sound.[31] Further recordings by conductors and ensembles using this approach include those by Christopher Hogwood and The Academy of Ancient Music, William Christie and Les Arts Florissants (1986); Trevor Pinnock and The English Concert (1989); René Jacobs and the Orchestra of the Age of Enlightenment (1998); Emmanuelle Haïm and Le Concert d'Astrée (2003); and Predrag Gosta and New Trinity Baroque (2004). The Haïm recording with Susan Graham as Dido and Ian Bostridge as Aeneas was nominated for the Best Opera Recording in the 2005 Grammy Awards.[32]
Several performances of the opera have been filmed and are available on DVD, most recently the 2008 performance at the Opéra-Comique in Paris conducted by William Christie and directed by Deborah Warner (FRA Musica FRA001)[33] and the 2009 performance at London's Royal Opera House conducted by Christopher Hogwood and directed by Wayne McGregor (OpusArte OA1018D). The Mark Morris dance version of the opera is also preserved on DVD (recorded 1995, Image Entertainment 8741) as is the dance version by Sasha Waltz (recorded 2005, Arthaus Musik 101311). Leopold Stokowski made a string orchestra arrangement of "Dido's Lament" and in addition to his own recordings, others who have recorded it include Matthias Bamert, Jose Serebrier, Richard Egarr and Iona Brown.
See also[edit]
List of compositions by Henry Purcell
References[edit]
Notes
Jump up ^ "Z" refers to the Zimmerman catalogue of Purcell's works by the American musicologist Franklin B. Zimmerman
Jump up ^ White, Bryan, 'Letter from Aleppo: dating the Chelsea School performance of Dido and Aeneas', 426
^ Jump up to: a b White, Bryan, 'Letter from Aleppo: dating the Chelsea School performance of Dido and Aeneas', 417
^ Jump up to: a b Pinnock, Andrew, 'Which Genial Day? More on the court origin of Purcell's Dido and Aeneas, with a shortlist of dates for its possible performance before King Charles II’, Early Music 43 (2015), 199–212
^ Jump up to: a b Bruce Wood and Andrew Pinnock, "'Unscared by turning times'? The dating of Purcell's Dido and Aeneas,"
^ Jump up to: a b c d e f Price in Grove
Jump up ^ Harris (1990) p. 17
Jump up ^ Price, Henry Purcell and the London Stage, 239
Jump up ^ Price, Henry Purcell and the London Stage, 239–245
Jump up ^ Holman, Henry Purcell, 200–201
Jump up ^ Holman, Henry Purcell, 200
Jump up ^ Purcell (1991) p. iv
Jump up ^ White, Bryan, 'Letter from Aleppo: dating the Chelsea School performance of Dido and Aeneas', 420
Jump up ^ White, Bryan, 'Letter from Aleppo: dating the Chelsea School performance of Dido and Aeneas', 422
Jump up ^ Keates (1996) p. 179 and Walkling (August 1994) p. 469
Jump up ^ Crozier (1987) p. 114
Jump up ^ Rosenthal and Warrack (1979) p. 134; The New York Times (11 February 1923) p. 19
Jump up ^ Harris (1990) p. 157 lists this performance as the US premiere
Jump up ^ Melanie Eskenazi, The Royal Opera & The Royal Ballet – Dido and Aeneas / Acis and Galatea" on classicalsource.com
Jump up ^ City Wall Productions' website Archived 8 January 2014 at the Wayback Machine.
Jump up ^ "What's On: Details on Opera North's website operanorth.co.uk
Jump up ^ Mark Morris Dance Group
Jump up ^ Walker (9 July 1995) p. C1
Jump up ^ Daily Mail (15 March 2007)
Jump up ^ The original score was written for soprano, but can be performed by mezzo-sopranos. See Price (1984) p. 247
Jump up ^ The original score was written for tenor, but is often performed by high baritones. See Harris (1990) pp. 60–62
Jump up ^ Price and Cholij, ‘Dido's Bass Sorceress’
Jump up ^ The part was originally played by a woman, although as early as 1700 the part was customarily played by a tenor. See Purcell (1971) p. v
Jump up ^ Synopsis based on Kobbé (1987) pp. 1010–1014.
Jump up ^ Darrell (1936) p. 371
Jump up ^ Boyden et al. (2002) p. 30
Jump up ^ Associated Press (7 December 2004)
Jump up ^ Jordy (9 December 2009)
Sources
Boyden, Matthew et al., "Dido and Aeneas", The rough guide to opera 3rd edition, Rough Guides, 2002. ISBN 1-85828-749-9
Darrell, R.D., The Gramophone Shop Encyclopedia of Recorded Music, The Gramophone Shop, Inc., 1936
Harris, Ellen T., Henry Purcell's Dido and Aeneas, Oxford University Press, 1990. ISBN 0-19-315252-5
Holman, Peter, Henry Purcell (Oxford, 1995).
Holst, Imogen, "Purcell's librettist, Nahum Tate" Henry Purcell 1659–1695 Essays On His Music, Imogen Holst (ed.), Oxford University Press, 1959, pp. 35–41
Jordy, Catherine, "Flamboyante tragédie au Comique", Forum Opéra, 9 December 2009 (accessed 19 January 2010, in French)
Keates, Jonathan, Purcell: A biography, Northeastern University Press, 1996. ISBN 1-55553-287-X
Kobbé, Gustav, The Definitive Kobbé's Book of Opera. The Earl of Harewood (ed.), 1st American ed., G.P. Putnam's and Sons, 1987, pp. 1010–1014.
Mark Morris Dance Group, Work details: Dido and Aeneas
Price, Curtis, "Dido and Aeneas", Grove Music Online, ed. L. Macy (accessed 31 December 2005), grovemusic.com (subscription access)
Price, Curtis, Henry Purcell and the London stage, Cambridge University Press, 1984. ISBN 0-521-23831-5
Price, Curtis and Irena Cholij, ‘Dido's Bass Sorceress’, The Musical Times, Vol. 127 (Nov. 1986), 615–618
Pinnock, Andrew, ‘Deus ex machina: A royal witness to the court origin of Purcell’s Dido and Aeneas.’ Early Music, 40 (2012): 265–278.
Pinnock, Andrew, ‘Which Genial Day? More on the court origin of Purcell’s Dido and Aeneas, with a shortlist of dates for its possible performance before King Charles II’, Early Music 43 (2015), 199-212
Purcell, Henry, Dido and Aeneas (vocal score), Edward Dent and Ellen Harris (eds.), Oxford University Press, Oxford, 1991.
Purcell, Henry, Dido and Aeneas (vocal and full score), Margaret Laurie and Thurston Dart (eds.), Novello, 1971
Walker, Susan, "Every inch a diva. Opposites attract dancer Mark Morris. They define his life and his art", Toronto Star, 9 July 1995, p. C1
Walkling, Andrew (1995). "Political Allegory in Purcell's Dido and Aeneas". Music & Letters. 76 (4): 540–571. doi:10.1093/ml/76.4.540.
White, Bryan, 'Letter from Aleppo: dating the Chelsea School performance of Dido and Aeneas', Early Music 37 (2009), 417–428. doi.org/10.1093/em/cap041
White, Eric Walter, "New Light on Dido and Aeneas" Henry Purcell 1659–1695 Essays On His Music, Imogen Holst (ed.), Oxford University Press, 1959, pp. 14–34
Wood, Bruce and Andrew Pinnock, "'Unscared by turning times'? The dating of Purcell's Dido and Aeneas," Early Music 20 (1992), 372–90
External links[edit]
Analysis in French
Libretto at Stanford University
Free excerpts from a recording by the New Trinity Baroque orchestra
Internet Movie Database listing
Free scores by Dido and Aeneas in the Choral Public Domain Library (ChoralWiki)
BBC Radio 4 programme about "Dido's Lament"
Dido and Aeneas: Scores at the International Music Score Library Project (IMSLP)
The Purcell Society
Public domain recording, 1951, (mp3 files) on www.liberliber.it.

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