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Fetal viability
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Fetal viability or foetal viability is the ability of a fetus to survive outside the uterus.[1]
Contents
[hide]
1 Definitions
2 Medical viability
3 Legal definitions
3.1 United States Supreme Court
3.2 Born-Alive Infants Protection Act of 2002
3.3 U.S. State Law
4 Limit of viability
5 Factors that influence the chance of survival
6 See also
7 References
Definitions[edit]
As the word is used in United States constitutional law since Roe v. Wade, viability is the potential of the fetus to survive outside the uterus after birth, natural or induced, when supported by up-to-date medicine. Fetal viability depends largely on the fetal organ maturity, and environmental conditions.[2] Another definition for viability, as used in the medical phrase limit of viability, is the expectation that a fetus has an equal chance of surviving and not surviving outside his or her mother's womb.
According to Websters Encyclopedic Unabridged Dictionary of the English Language, viability of a fetus means having reached such a stage of development as to be capable of living, under normal conditions, outside the uterus. Viability exists as a function of biomedical and technological capacities, which are different in different parts of the world. As a consequence, there is, at the present time, no worldwide, uniform gestational age that defines viability.[3]
Medical viability[edit]
There is no sharp limit of development, gestational age, or weight at which a human fetus automatically becomes viable.[1] According to studies between 2003 and 2005, 20 to 35 percent of babies born at 23 weeks of gestation survive, while 50 to 70 percent of babies born at 24 to 25 weeks, and more than 90 percent born at 26 to 27 weeks, survive.[4] It is rare for a baby weighing less than 500 g (17.6 ounces) to survive.[1] A baby's chances for survival increases 3-4% per day between 23 and 24 weeks of gestation and about 2-3% per day between 24 and 26 weeks of gestation. After 26 weeks the rate of survival increases at a much slower rate because survival is high already.[5]
Stages in prenatal development, showing viability and point of 50% chance of survival (limit of viability) at bottom. Weeks and months numbered by gestation,
Completed weeks of gestation at birth
21 and less 22 23 24 25 26 27 30 34
Chance of survival[5]
0% 0-10% 10-35% 40-70% 50-80% 80-90% >90% >95% >98%
Legal definitions[edit]
It sometimes incorporates weight as well as gestational age.[6] It ranges from 16 weeks in Norway, to 20 weeks in the US and Australia, 24 weeks in the UK and 26 weeks in Italy and Spain.[6][7][8]
United States Supreme Court[edit]
The United States Supreme Court stated in Roe v. Wade (1973) that viability (i.e., the "interim point at which the fetus becomes ... potentially able to live outside the mother's womb, albeit with artificial aid"[9]) "is usually placed at about seven months (28 weeks) but may occur earlier, even at 24 weeks."[9] The 28-week definition became part of the "trimester framework" marking the point at which the "compelling state interest" (under the doctrine of strict scrutiny) in preserving potential life became possibly controlling, permitting states to freely regulate and even ban abortion after the 28th week.[9] The subsequent Planned Parenthood v. Casey (1992) modified the "trimester framework," permitting the states to regulate abortion in ways not posing an "undue burden" on the right of the mother to an abortion at any point before viability; on account of technological developments between 1973 and 1992, viability itself was legally dissociated from the hard line of 28 weeks, leaving the point at which "undue burdens" were permissible variable depending on the technology of the time and the judgment of the state legislatures.
Born-Alive Infants Protection Act of 2002[edit]
In 2002, the U.S. Government enacted the Born-Alive Infants Protection Act. Whereas a fetus may be viable or not viable in utero, this law provides a legal definition for personal human life when not in utero. It defines "born alive" as "the complete expulsion or extraction from his or her mother of that member, at any stage of development, who after such expulsion or extraction breathes or has a beating heart, pulsation of the umbilical cord, or definite movement of voluntary muscles"[10] and specifies that any of these is the action of a living human person. While the implications of this law for defining viability in medicine may not be fully explored,[11] in practice doctors and nurses are advised not to resuscitate such persons with gestational age of 22 weeks or less, under 400 g weight, with anencephaly, or with a confirmed diagnosis of trisomy 13 or 18.[12][13]
U.S. State Law[edit]
Forty-three states have laws restricting post-viability abortions. Some allow doctors to decide for themselves if the fetus is viable. Some require doctors to perform tests to prove a fetus is pre-viable and require multiple doctors to certify the findings. The procedure intact dilation and extraction (IDX) became a focal point in the abortion debate,[14] based on the belief that it is used mainly post-viability.[15] IDX was made illegal in most circumstances by the Partial-Birth Abortion Ban Act in 2003, which the U.S. Supreme Court upheld in the case of Gonzales v. Carhart.
Limit of viability[edit]
The limit of viability is the gestational age at which a prematurely born fetus/infant has a 50% chance of long-term survival outside its mother's womb. With the support of neonatal intensive care units, the limit of viability in the developed world has declined since 50 years ago, but has remained unchanged in the last 12 years.[16][17] Currently the limit of viability is considered to be around 24 weeks although the incidence of major disabilities remains high at this point.[18][19] Neo-natologists generally would not provide intensive care at 23 weeks, but would from 26 weeks.[20][21][22]
As of 2006[update], the two youngest children to survive premature birth are thought to be James Elgin Gill (born on 20 May 1987 in Ottawa, Ontario, Canada, at 21 weeks and 5 days gestational age),[23][24] and Amillia Taylor (born on 24 October 2006 in Miami, Florida, at 21 weeks and 6 days gestational age).[25][26] She was born on 24 October 2006 in Miami, Florida, at 21 weeks and 6 days gestation, as an IVF pregnancy. Both children were born just under 20 weeks from fertilization (or 22 weeks gestation). At birth, Taylor was 9 inches (22.86 cm) long and weighed 10 ounces (283 grams).[25] She suffered digestive and respiratory problems, together with a brain hemorrhage. She was discharged from the Baptist Children's Hospital on 20 February 2007.[25] As of 2013, Taylor was in kindergarten and at the small end of the normal growth curve with some developmental delays.[27]
Factors that influence the chance of survival[edit]
There are several factors that affect the chance of survival of the baby. Two notable factors are age and weight. The baby's gestational age (number of completed weeks of pregnancy) at the time of birth and the baby's weight (also a measure of growth) influence whether the baby will survive. Other major factors include race and gender. For a given weight, Black babies have a slightly better chance of survival than White, while most other races have a rate between the two. Male infants are slightly less mature and have a slightly higher risk of dying than female infants.
Several types of health problems also influence fetal viability. For example, breathing problems, congenital abnormalities or malformations, and the presence of other severe diseases, especially infection, threaten the survival of the neonate.
Other factors may influence survival by altering the rate of organ maturation or by changing the supply of oxygen to the developing fetus.
The mother's health plays a significant role in the child's viability. Diabetes in the mother, if not well controlled, slows organ maturation; infants of such mothers have a higher mortality. Severe high blood pressure before the 8th month of pregnancy may cause changes in the placenta, decreasing the delivery of nutrients and/or oxygen to the developing fetus and leading to problems before and after delivery.
Rupture of the fetal membranes before 24 weeks of gestation with loss of amniotic fluid markedly decreases the baby's chances of survival, even if the baby is delivered much later.[5]
The quality of the facility- whether the hospital offers neonatal critical care services, whether it is a Level I pediatric trauma care facility, the availability of corticosteroids and other medications at the facility, the experience and number of physicians and nurses in neonatology and obstetrics and of the providers has a limited but still significant impact on fetal viability. Facilities that have obstetrical services and emergency rooms and operating facilities, even if smaller, can be used in areas where higher services are not available to stabilize the mother and fetus or neonate until they can be transferred to an appropriate facility.[28][29][30][31]
See also[edit]
Beginning of human personhood
Futile medical care
Office for Human Research Protections#Additional protection for pregnant women, human fetuses, and neonates
References[edit]
^ Jump up to: a b c Moore, Keith and Persaud, T. The Developing Human: Clinically Oriented Embryology, p. 103 (Saunders 2003).
Jump up ^ (2012). Fetal Viability. [ONLINE] Available at: http://www.reference.md/files/D005/mD005328.html. [Last Accessed 15 November 2012].
Jump up ^ Breborowicz, G. H. (2001). "Limits of fetal viability and its enhancement". Early pregnancy (Online). 5 (1): 49–50. PMID 11753511.
Jump up ^ March of Dimes --> Neonatal Death Retrieved on November 10, 2014. In turn citing:
Tyson JE, Parikh NA, Langer J, Green C, Higgins RD (April 2008). "Intensive care for extreme prematurity--moving beyond gestational age". N. Engl. J. Med. 358 (16): 1672–81. PMC 2597069  . PMID 18420500. doi:10.1056/NEJMoa073059.
Luke B, Brown MB (December 2006). "The changing risk of infant mortality by gestation, plurality, and race: 1989-1991 versus 1999-2001". Pediatrics. 118 (6): 2488–97. PMC 3623686  . PMID 17142535. doi:10.1542/peds.2006-1824.
The American College of Obstetricians and Gynecologists (September 2002). "ACOG Practice Bulletin: Clinical Management Guidelines for Obstetrcian-Gynecologists: Number 38, September 2002. Perinatal care at the threshold of viability". Obstet Gynecol. 100 (3): 617–24. PMID 12220792.
^ Jump up to: a b c (). What are the chances that my baby will survive?. [ONLINE] Available at: http://www.spensershope.org/chances_for_survival.htm. [Last Accessed 14 November 2012].
^ Jump up to: a b Li, Z; Zeki, R; Hilder, L; Sullivan, EA (2012). "Australia's Mothers and Babies 2010". Perinatal statistics series no. 27. Cat. no. PER 57. Australian Institute of Health and Welfare National Perinatal Statistics Unit, Australian Government. Retrieved 4 July 2013.
Jump up ^ Mohangoo AD, Blondel B, Gissler M, Velebil P, Macfarlane A, Zeitlin J (2013). Wright, Linda, ed. "International comparisons of fetal and neonatal mortality rates in high-income countries: should exclusion thresholds be based on birth weight or gestational age?". PLoS ONE. 8 (5): e64869. PMC 3658983  . PMID 23700489. doi:10.1371/journal.pone.0064869. CS1 maint: Multiple names: authors list (link)
Jump up ^ Royal College of Obstetricians; Gynaecologists UK (April 2001). "Further Issues Relating to Late Abortion, Fetal Viability and Registration of Births and Deaths". Royal College of Obstetricians and Gynaecologists UK. Archived from the original on 5 November 2013. Retrieved 4 July 2013.
^ Jump up to: a b c Roe v. Wade, 410 U.S. 113, 160, 93 S.Ct. 705, 730 (1973).
Jump up ^ http://frwebgate.access.gpo.gov/cgi-bin/getdoc.cgi?dbname=107_cong_reports&docid=f:hr186.107
Jump up ^ Sayeed, SA (October 2005). "Baby doe redux? The Department of Health and Human Services and the Born-Alive Infants Protection Act of 2002: a cautionary note on normative neonatal practice.". Pediatrics. 116 (4): e576–85. PMID 16199687. doi:10.1542/peds.2005-1590.
Jump up ^ Powell, Traci (2012). "Decisions and Dilemmas Related to Resuscitation of Infants Born on the Verge of Viability". NAINR. 12 (1): 27–32. doi:10.1053/j.nainr.2011.12.004. Retrieved 8 October 2015.
Jump up ^ Kattwinkel, J (2010). "Neonatal resuscitation: 2010 American Heart Association guidelines for cardiopulmonary resuscitation and emergency cardiovascular care.". Pediatrics. 126 (400): e1400 –e1413. doi:10.1542/peds.2010-2972E. Retrieved 8 October 2015.
Jump up ^ Guttmacher.org Abortion Incidence and Services in the United States in 2000
Jump up ^ Franklin Foer (1997). Fetal Viability. [ONLINE] Available at: http://www.slate.com/articles/news_and_politics/the_gist/1997/05/fetal_viability.html. [Last Accessed 14 November 2012].
Jump up ^ Fergus Walsh (11 April 2008). "Prem baby survival rates revealed". BBC News. Retrieved 2008-05-11.
Jump up ^ "Early baby survival 'unchanged'". BBC News. 9 May 2008. Retrieved 2008-05-11.
Jump up ^ Kaempf JW, Tomlinson M, Arduza C, et al. (2006). "Medical staff guidelines for periviability pregnancy counseling and medical treatment of extremely premature infants". Pediatrics. 117 (1): 22–9. PMID 16396856. doi:10.1542/peds.2004-2547. - in particular see TABLE 1 Survival and Neurologic Disability Rates Among Extremely Premature Infants
Jump up ^ Morgan MA, Goldenberg RL, Schulkin J (2008). "Obstetrician-gynecologists' practices regarding preterm birth at the limit of viability". J. Matern. Fetal. Neonatal. Med. 21 (2): 115–21. PMID 18240080. doi:10.1080/14767050701866971.
Jump up ^ Vavasseur C, Foran A, Murphy JF (2007). "Consensus statements on the borderlands of neonatal viability: from uncertainty to grey areas". Ir Med J. 100 (8): 561–4. PMID 17955714. All would provide intensive care at 26 weeks and most would not at 23 weeks. The grey area is 24 and 25 weeks gestation. This group of infants constitute 2 per 1000 births.
Jump up ^ Kaempf et al. (2006) Table of neo-natologists resuscitation advice showing gestation ages at which they have neutral positions whether they would or would not recommend resuscitation.
Jump up ^ Roe v. Wade, 410 U.S. 113 (1973) ("viability is usually placed at about seven months (28 weeks) but may occur earlier, even at 24 weeks.") Retrieved 2007-03-04.
Jump up ^ "Powell's Books - Guinness World Records 2004 (Guinness Book of Records) by". Retrieved 2007-11-28.
Jump up ^ "Miracle child". Archived from the original on 2007-12-09. Retrieved 2007-11-28.
^ Jump up to: a b c "Most-premature baby allowed home". BBC News. 2007-02-21. Retrieved 2007-05-05.
Jump up ^ Baptist Hospital of Miami, Fact Sheet (2006).
Jump up ^ Kirkey, Sharon (29 March 2013). "Fate of the fetus: As politicians debate, science reveals more and more about what happens during pregnancy". Postmedia News. Retrieved 5 June 2013.
Jump up ^ https://www.nih.gov/news-events/news-releases/nih-study-reveals-factors-influence-premature-infant-survival-disability
Jump up ^ Glass, H. C.; Costarino, A. T.; Stayer, S. A.; Brett, C; Cladis, F; Davis, P. J. (2015). "Outcomes for Extremely Premature Infants". Anesthesia & Analgesia. 120 (6): 1337–1351. PMC 4438860  . doi:10.1213/ANE.0000000000000705.
Jump up ^ https://www.ncbi.nlm.nih.gov/books/NBK11385/
Jump up ^ https://www.nytimes.com/2015/05/07/health/premature-babies-22-weeks-viability-study.html?_r=0
United States. National Commission for the Protection of Human Subjects of Biomedical and Behavioral Research (2006-05-23). FETAL VIABILITY AND DEATH. [ONLINE] Available at: https://scholarworks.iupui.edu/bitstream/handle/1805/583/OS76-127_VII.pdf?sequence=1. [Last Accessed 17 November 2012].
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Harold & Kumar Go to White Castle
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Harold & Kumar Go to White Castle
Theatrical release poster
Directed by
Danny Leiner
Produced by
Nathan Kahane
Greg Shapiro
Written by
Jon Hurwitz
Hayden Schlossberg
Starring
John Cho
Kal Penn
Paula Garcés
Neil Patrick Harris
Anthony Anderson
Fred Willard
Music by
David Kitay
Cinematography
Bruce Douglas Johnson
Edited by
Jeff Betancourt
Production
company
Senator International
Kingsgate Films
Endgame Entertainment
Distributed by
New Line Cinema
Release date
July 30, 2004 (2004-07-30)
Running time
88 minutes
Country
United States
Language
English
Budget
$9 million[1]
Box office
$23.9 million[1]
Harold & Kumar Go to White Castle is a 2004 American stoner comedy film and the first installment of the Harold & Kumar series. The film was written by Jon Hurwitz and Hayden Schlossberg, and directed by Danny Leiner.
The story follows Harold Lee (John Cho) and Kumar Patel (Kal Penn) as they decide to go to the fast food chain White Castle after smoking marijuana, but end up on a series of comical misadventures along the way.
The film also features Fred Willard, Paula Garcés, Anthony Anderson, Dan Bochart, Ethan Embry, Jamie Kennedy, Bobby Lee, Christopher Meloni, Ryan Reynolds, Shaun Majumder, David Krumholtz, Eddie Kaye Thomas, Malin Åkerman, and Neil Patrick Harris, who plays a fictionalized version of himself.
Contents
1 Plot
2 Cast
3 Production
3.1 Casting
3.2 Filming
4 Soundtrack
5 Release
5.1 Marketing
5.2 Box office
5.3 Critical reception
6 Home media
7 Sequels
8 References
9 External links
Plot[edit]
Investment banker Harold Lee is persuaded by his colleagues to do their work while they leave for the weekend. Kumar Patel attends a medical school interview, but intentionally botches it to prevent getting accepted. Harold is attracted to his neighbor, Maria, but is unable to admit his feelings. After smoking marijuana with Kumar, and seeing an advertisement for White Castle, the pair decide to get hamburgers. After traveling to the nearest White Castle in New Brunswick, they find it replaced by "Burger Shack" but learn of another White Castle in Cherry Hill.
Kumar suggests stopping at Princeton University to buy more marijuana. Kumar buys marijuana from a student and they are discovered by campus security and forced to flee, losing their marijuana. Harold and Kumar resume their drive, and Kumar pulls over to urinate. A raccoon gets in the car and bites Harold. Kumar takes Harold to a hospital where Kumar's father and older brother work. Kumar steals ID badges to obtain medical marijuana, but after being mistaken for his brother, Kumar performs surgery on a gunshot victim and, after the surgery, the patient tells them how to reach White Castle.
Kumar spots Maria at a movie theatre. He decides to get her attention so Harold can talk to her, but Harold panics and crashes the car. They are rescued by Freakshow, a tow-truck driver, who takes them to his house to repair their car. Harold and Kumar are propositioned by Freakshow's wife, but after Freakshow suggests a foursome, Harold and Kumar flee in disgust. Kumar picks up a hitchhiker, Neil Patrick Harris, who is high on ecstasy. Harold and Kumar go into a convenience store to get directions and Harris drives away. The duo are then harassed by a racist police officer for jaywalking. Harold attempts to punch Kumar for teasing the officer, but ends up punching the officer, resulting in his arrest.
Kumar fakes a 911 call to draw the police away and breaks into the station to free Harold. Harold and Kumar flee. The pair encounters an escaped cheetah, and after smoking marijuana with it, they ride it. After encountering a group of extreme sports punks who have been harassing the pair, Harold and Kumar steal their truck. A police officer spots the speeding truck and chases them. They are trapped when they reach the edge of a cliff. Spotting the White Castle below, Harold and Kumar use a hang glider from the truck to reach their destination. The pair place their orders but are disheartened to find they have no money. Harris suddenly appears, and pays for their meal as an apology for stealing their car.
Kumar realizes he wants to be a doctor, but is afraid of conforming to the stereotype of Indians becoming doctors. Harold notices his co-workers pull up with two women and gets angry at them because they said they had to work with clients but were actually out partying. He tells them off and threatens to get them fired and humiliated if it happens again. After returning to their apartment they encounter Maria. Harold professes his feelings for her and they kiss. She informs Harold that she is leaving for Amsterdam but will return in ten days. Kumar convinces Harold to go with him to Amsterdam to pursue Maria, reminding him that marijuana is legal in the Netherlands.
Cast[edit]
John Cho as Harold Lee, a second generation Korean-American man working at his first job in investment banking.
Kal Penn as Kumar Patel, a second generation Indian-American whose family thinks that he will become a doctor like his father and brother.
Paula Garcés as Maria Perez, Harold and Kumar's neighbor, on whom Harold has a crush.
Neil Patrick Harris as a fictionalized version of himself.
Ryan Reynolds as an OR nurse
David Krumholtz as Goldstein, Harold and Kumar's neighbor and Rosenberg's roommate
Eddie Kaye Thomas as Rosenberg, Harold and Kumar's neighbor and Goldstein's roommate
Brooke D'Orsay as Clarissa, twin sister student at Princeton University who agreed to smoke weed with Kumar
Kate Kelton as Chrissy, twin sister student at Princeton University who agreed to smoke weed with Kumar
Christopher Meloni as Randy/Freakshow, a car mechanic with infected pimples on his face and neck who fixed Harold and Kumar's car
Sandy Jobin Bevans as Officer Palumbo, a police officer
Fred Willard as Dr. Willoughby, medical school dean who interviewed Kumar
Robert Tinkler as J.D.
Anthony Anderson as the Burger Shack Employee
Siu Ta as Cindy Kim, student at Princeton University who has a crush on Harold
Malin Åkerman as Liane, Freakshow's wife
Dov Tiefenbach as Bradley Thomas, student at Princeton University who sold weed to Kumar
Gary Anthony Williams as Tarik Jackson, a philosophical black man in who has been arrested for being black
Gary Archibald as Nathaniel Brooks
Craig Stevens as Ralph
Jamie Kennedy as Creepy Guy (uncredited)
Ethan Embry as Billy Carver
Production[edit]
While living in Los Angeles, screenwriters Jon Hurwitz and Hayden Schlossberg decided to write a low-budget stoner film and base the main characters on their high school friends from Randolph High School. They based the character of Harold on their real-life friend Harold Lee. Hurwitz got the idea to base the film around White Castle from his own experience craving White Castle burgers when he lived in Pennsylvania for several years. At the time, Pennsylvania did not have any White Castle locations and Hurwitz had to have family members bring him frozen White Castle burgers from New Jersey.[2]
The filmmakers received permission from White Castle in 2002 to use the chain's name in the film.[3] One scene that depicted a White Castle being closed was changed at the request of the company's director of marketing. The film was also supposed to feature a hunt for Krispy Kreme donuts, but the food was changed to hotdogs when Krispy Kreme refused to allow the film to use their name.[4]
Casting[edit]
Hurwitz and Schlossberg included a role for Neil Patrick Harris as himself in the script without asking him first. Harris liked the script and agreed to appear in the film.[5] During casting, both Kal Penn and actor Sendhil Ramamurthy were being considered for the role of Kumar. After auditioning seven times, Penn eventually won the part.[6]
The University of Toronto's campus was used as one of the sets in Harold & Kumar Go to White Castle.
Filming[edit]
Harold & Kumar began filming on May 12, 2003.[7] The film is set in New Jersey, but was mainly filmed in Toronto, Ontario, Canada. Scenes set at Princeton University were actually filmed at the University of Toronto's Victoria College and Knox College.[8] The production design team had to build a White Castle franchise especially for the shoot since Canada does not have White Castle restaurants. During filming, Penn ate veggie burgers as he is a vegetarian.[9]
Soundtrack[edit]
Harold & Kumar Go to White Castle – Soundtrack
Soundtrack album by Various Artists
Released
July 27th, 2004
Label
Bulletproof
Harold & Kumar Go to White Castle : Original Soundtrack was released on July 27, 2004. It contains 16 songs from the film.
Track list
"Chick Magnet" – MxPx
"One Good Spliff" – Ziggy Marley / The Melody Makers
"Yeah (Dream of Me)" – All Too Much
"Righteous Dub" – Long Beach Dub All Stars
"Skunk One" – Kottonmouth Kings
"Same Old Song" – Phunk Junkeez
"White Castle Blues" – The Smithereens
"Crazy On You" – Heart
"Cameltoe" – Fannypack
"Kinda High, Kinda Drunk" – Coolio
"Mary Jane" – Rick James
"I Wanna Get Next to You" – Rose Royce
"Hold On" – Wilson Phillips
"Ridin'" – Classic & 86
"Arrival at White Castle" – Heiruspecs
"Total Eclipse of the Heart" – Nicki French
Songs that are in the film but do not appear on the soundtrack include:
"Also Sprach Zarathustra" – David Kitay
"Baby Baby" – Amy Grant
"Ballin' Boy" – No Good
"Click Click Pow" – Lexicon (real song title is "The Official")
"Warrior Dance" – Zion I feat. Pep Love
"Fall In Line" – Phunk Junkeez
"Faraway" – Dara Schindler
"Gangsta Gangsta" – J. O'Neal / D. Black
"Girl From Ypsilanti" – Daniel May
"Let's Get Retarded" – Black Eyed Peas (this song is the unedited version of their "Let's Get It Started" hit)
"Looney" – Moonshine Bandits
"Mariachi Speier" – Eric Speier
"On the Ganges" – Matt Hirt
"Rock to the Rhythm" – Lexicon (actual song name is "Rock")
"Rock Your Body 2004" – Stagga Lee
"Ooh Wee" – Mark Ronson
Release[edit]
Marketing[edit]
In the 11 days before the film's release, New Line Cinema turned a parking lot on Sunset Strip into a temporary White Castle. The restaurant served 40,000 burgers to patrons, including Quentin Tarantino, Farah Fawcett and Jay Leno.[10]
White Castle launched several promotions in tandem with the film's release. The restaurant chain featured beverage cups with pictures of Harold and Kumar. They also provided free hamburgers to moviegoers attending the film's premiere.[3] Cho and Penn were inducted into the company's White Castle Cravers Hall of Fame in 2004.[11]
Box office[edit]
In its opening weekend, the film grossed $5,480,378 in 2135 theatres in the United States and Canada. In total it had a worldwide gross of $23,936,908.[1]
Critical reception[edit]
The film was positively received by critics, with a 74% rating at Rotten Tomatoes based on 147 reviews; the consensus states "The likable leads and subversion of racial stereotypes elevate Harold and Kumar above the typical stoner comedy."[12][13]
Film critic Roger Ebert of the Chicago Sun-Times awarded the film 3 out of 4 stars and wrote "One secret of fiction is the creation of unique characters who are precisely defined. The secret of comedy is the same, with the difference being that the characters must be obsessed with unwholesome but understandable human desires."[14]
Home media[edit]
The "Extreme Unrated" edition of the DVD was released on January 4, 2005. It includes special features like a mockumentary, "The Art of the Fart", "The Backseat Interview", an interview with Cho and Penn, and a making-of featurette about the Land of Burgers animated segment. The DVD also features two commentaries: one by writers Jon Hurwitz and Hayden Schlossberg and one by actor Dan Bochart in character as Extreme Sports Punk #1.[15] The film was re-released on DVD in 2007 and a remastered edition was released in 2008. The film was released on Blu-ray on November 13, 2012.
As of August 17, 2008, the film had 2,878,770 DVD sales in the United States, grossing $30,609,751.[16]
Sequels[edit]
Harold & Kumar Escape from Guantanamo Bay is the 2008 sequel to White Castle. The movie revolves around Harold and Kumar trying to get to Amsterdam to find Maria, but when the two are mistaken for terrorists on the plane, they are sent to the Guantanamo Bay detention camp.
Both Hurwitz and Schlossberg announced plans to write a third Harold and Kumar film, with Greg Shapiro returning as producer, and Kal Penn and John Cho returning in their title roles,[17][18] While Todd Strauss-Schulson directed the film. A Very Harold & Kumar 3D Christmas, was released on November 4, 2011 in 2D and 3D.
References[edit]
^ Jump up to: a b c "Harold and Kumar Go to White Castle (2004)". Box Office Mojo. Retrieved 2017-04-20.
Jump up ^ Vespe, Eric (July 20, 2004). "Quint interviews HAROLD AND KUMAR writers Jon Hurwitz and Hayden Schlossberg about Doogie and Battlesh!ts!!!". Ain't It Cool News.
^ Jump up to: a b Cebrznynski, Greg (July 26, 2004). "White Castle on Promotional Journey with "Harold and Kumar"". Nation's Restaurant News. p. 20.
Jump up ^ "White Castle rolls dice with movie role". The Chicago Tribune. July 29, 2004.
Jump up ^ Charaipotra, Sona (August 16, 2004). "Harold & Kumar's Neil Patrick Harris". People (Vol. 62 Issue 7). p. 37.
Jump up ^ Preeti Chhibber and Swapna Krishna (May 23, 2008). "Interview: Sendhil Ramamurthy from NBC's "Reverie"". Desi Geek Girls (Podcast). Event occurs at 20:50.
Jump up ^ "Film Co. News". Film Journal International (Vol. 106, Issue 6). June 2003.
Jump up ^ Fleischer, David (June 17, 2008). "Reel Toronto: Harold & Kumar Go to White Castle". Torontoist.
Jump up ^ "Kal Penn: Hungry for Sucess". Teen Tribute. June 1, 2004. p. 33.
Jump up ^ Rushfield, Richard (August 10, 2004). "Farah Goes to White Castle". Variety (Vol. 395). p. 34.
Jump up ^ Kim, Hank (May 31, 2004). "White Castle lands title role in feature". Advertising Age (Vol. 75, Issue 22).
Jump up ^ "Harold & Kumar Go to White Castle".
Jump up ^ "A Very Harold & Kumar Christmas - WarnerBros.com - Movies". Haroldandkumar.com. 2011-11-04. Retrieved 2017-04-20.
Jump up ^ "Harold and Kumar:Go to White Castle". Roger Ebert.com. Retrieved 26 March 2014.
Jump up ^ Howard, Brendan (November 28, 2004). "DVD Review: Harold & Kumar Go to White Castle". Video Store Magazine. p. 22.
Jump up ^ "Harold & Kumar Go to White Castle (2004) - Video Sales". The Numbers. Retrieved June 3, 2018.
Jump up ^ "Harold and Kumar 3 Announced - /Film". Slashfilm.com. 2008-07-25. Retrieved 2017-04-20.
Jump up ^ Siegel, Tatiana (2008-07-24). "'Harold & Kumar' set for third puff". Variety. Retrieved 2008-08-02.
External links[edit]
Wikiquote has quotations related to: Harold & Kumar Go to White Castle
Harold & Kumar Go to White Castle on IMDb
Harold & Kumar Go to White Castle at AllMovie
Harold & Kumar Go to White Castle at Box Office Mojo
Harold & Kumar Go to White Castle at Rotten Tomatoes
Harold & Kumar Go to White Castle at Metacritic
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Harold & Kumar
Harold & Kumar Go to White Castle (2004)
Harold & Kumar Escape from Guantanamo Bay (2008)
A Very Harold & Kumar 3D Christmas (2011)
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Films directed by Danny Leiner
Time Expired (1992)
Layin' Low (1996)
Dude, Where's My Car? (2000)
Harold & Kumar Go to White Castle (2004)
The Great New Wonderful (2005)
Balls Out: Gary the Tennis Coach (2008)
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Films by Jon Hurwitz and Hayden Schlossberg
As director
Harold & Kumar Escape from Guantanamo Bay (2008)
American Reunion (2012)
As writer
Harold & Kumar Go to White Castle (2004)
Harold & Kumar Escape from Guantanamo Bay (2008)
A Very Harold & Kumar 3D Christmas (2011)
American Reunion (2012)
Blockers (2018)
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Dido and Aeneas
From Wikipedia, the free encyclopedia
Jump to: navigation, search
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.

[show]
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Dido and Aeneas (1689) ("Dido's Lament", Dido and Aeneas discography)
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[show]
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"Dido and Aeneas" from Virgil's Aeneid
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Dido and Aeneas (1688, Purcell)
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"Dido's Lament"
Didon (1693, Desmarets)
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values: Дидона и Еней – Bulgarian

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