Dido and Aeneas (Z. 626) 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, and had been performed at Josias Priest's girls' school in London by the end of 1689. Some scholars argue for a date of composition as early as 1683. The story is based on Book IV of Virgil's Aeneid. 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. 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. The influence of Cavalli's opera Didone is also apparent. Both works use the prologue/three acts format and there are similarities between, for instance, Mercury's solo in Didone and the solo "Come away fellow sailors" in Purcell's work.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

The English composer Henry Purcell wrote funeral music that includes his Funeral Sentences and the later Music for the Funeral of Queen Mary, Z. 860. Two of the funeral sentences, "Man that is born of a woman" Z. 27 and "In the midst of life we are in death" Z. 17, survive in autograph score. The Music for the Funeral of Queen Mary comprises the March and Canzona Z. 780 and the funeral sentence "Thou knowest, Lord, the secrets of our hearts" Z. 58C. It was first performed at the funeral of Queen Mary II of England in Westminster Abbey on 5 March 1695. Purcell's setting of "Thou knowest, Lord" was performed at his own funeral in November of the same year. In modern performances the March, Canzona and three funeral sentences are often combined as Purcell's Funeral Sentences, Z. 860.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

"Blessed city, heavenly Salem" is a Christian hymn. It was translated in 1851 by John Mason Neale from the text of the 6th- or 7th-century Latin monastic hymn Urbs beata Jerusalem. It describes the prophetic vision of the New Jerusalem from the Bible. The first word is normally spoken or sung with disyllabic pronunciation as blessèd. Salem is a poetic name for Jerusalem. Later stanzas of Neale's translation also gained popularity as a standalone hymn, "Christ is made the sure foundation", and the two hymns are sometimes published separately in hymnals.

Come Ye Sons of Art, Z.323, also known as Ode for Queen Mary's Birthday, is a musical composition by Henry Purcell. It was written in 1694, and is one of a series of odes in honour of the birthday of Queen Mary II of England. The text of the ode is often attributed to Nahum Tate, who was poet laureate at the time.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

Hail! Bright Cecilia (Z.328), also known as Ode to St. Cecilia, was composed by Henry Purcell to a text by the Irishman Nicholas Brady in 1692 in honour of the feast day of Saint Cecilia, patron saint of musicians. Annual celebrations of this saint's feast day (22 November) began in 1683, organised by the Musical Society of London, a group of musicians and music lovers. Welcome to all the pleasures (Z.339) was written by Purcell in 1683 and he went on to write other Cecilian pieces of which Hail! Bright Cecilia remains the best known. The first performance on 22 September 1692 at Stationers' Hall was a great success, and received an encore.

Hail! Bright Cecilia (Z.328), also known as Ode to St. Cecilia, was composed by Henry Purcell to a text by the Irishman Nicholas Brady in 1692 in honour of the feast day of Saint Cecilia, patron saint of musicians. Annual celebrations of this saint's feast day (22 November) began in 1683, organised by the Musical Society of London, a group of musicians and music lovers. Welcome to all the pleasures (Z.339) was written by Purcell in 1683 and he went on to write other Cecilian pieces of which Hail! Bright Cecilia remains the best known. The first performance on 22 September 1692 at Stationers' Hall was a great success, and received an encore.

This is a list of musical compositions by Henry Purcell.

"Hear my prayer, O Lord", Z. 15, is an eight-part choral anthem by the English composer Henry Purcell (1659–1695). The anthem is a setting of the first verse of Psalm 102 in the version of the Book of Common Prayer. Purcell composed it c. 1682, at the beginning of his tenure as Organist and Master of the Choristers for Westminster Abbey.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

Henry Purcell (, rare: ; c. 10 September 1659 – 21 November 1695) was an English composer and organist of the middle Baroque era. He was extremely prolific, having composed more than 100 songs, a tragic opera Dido and Aeneas, and wrote incidental music to a version of Shakespeare's A Midsummer Night's Dream called The Fairy Queen. Purcell's musical style was uniquely English, although it incorporated Italian and French elements. Purcell is generally considered to be one of the greatest English composers.

Christ lag in Todes Banden (also spelled Todesbanden; "Christ lay in death's bonds" or "Christ lay in the snares of death"), BWV 4, is a cantata for Easter by German composer Johann Sebastian Bach, one of his earliest church cantatas. It is agreed to be an early work partly for stylistic reasons and partly because there is evidence that it was probably written for a performance in 1707. Bach went on to complete many other works in the same genre, contributing complete cantata cycles for all occasions of the liturgical year. John Eliot Gardiner described it as Bach's "first-known attempt at painting narrative in music". Christ lag in Todes Banden is a chorale cantata, a style in which both text and music are based on a hymn. In this instance, the source was Martin Luther's hymn of the same name, the main hymn for Easter in the Lutheran church. The composition is based on the seven stanzas of the hymn and its tune, which was derived from Medieval models. Bach used the unchanged words of a stanza of the chorale in each of the seven vocal movements, in the format of chorale variations per omnes versus (for all stanzas), and he used its tune as a cantus firmus. After an opening sinfonia, the variations are arranged symmetrically: chorus–duet–solo–chorus–solo–duet–chorus, with the focus on the central fourth stanza about the battle between Life and Death. All movements are in E minor, and Bach achieves variety and intensifies the meaning of the text through many musical forms and techniques. Christ lag in Todes Banden is Bach's first cantata for Easter – in fact, his only extant original composition for the first day of the feast – and his earliest surviving chorale cantata. It was related to his application for a post at a Lutheran church at Mühlhausen. He later twice performed it as Thomaskantor in Leipzig, beginning in 1724 when he first celebrated Easter there. Only this second version survives. It is scored for four vocal parts and a Baroque instrumental ensemble with two components, an instrumental "choir" of cornetto and three trombones doubling the choral voices (only in the 2nd Leipzig performance in 1725 were these used), and a string section of two violins, two violas, and continuo. While this scoring reflects the resources at Bach's disposal (the cornetto and brass players would have been available because of the city band tradition in Leipzig), it was old-fashioned and exemplifies a 17th-century Choralkonzert (chorale concerto) style; the lost scoring of the earlier performances was perhaps similar. Gardiner calls Bach's setting of Luther's hymn "a bold, innovative piece of musical drama", and observes "his total identification with the spirit and letter of Luther's fiery, dramatic hymn".

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of Private Passions episodes from 2020 to present. It does not include repeated episodes or compilations.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

The history of opera has a relatively short duration within the context of the history of music in general. It appeared in 1597, when the first opera, Dafne, by Jacopo Peri, was created. Since then it has developed parallel to the various musical currents that have followed one another over time up to the present day, generally linked to the current concept of classical music. Opera (from the Latin opera, plural of opus, "work") is a musical genre that combines symphonic music, usually performed by an orchestra, and a written dramatic text—expressed in the form of a libretto—interpreted vocally by singers of different tessitura: tenor, baritone, and bass for the male register, and soprano, mezzo-soprano, and contralto for the female, in addition to the so-called white voices (those of children) or in falsetto (castrato, countertenor). Generally, the musical work contains overtures, interludes and musical accompaniments, while the sung part can be in choir or solo, duet, trio, or various combinations, in different structures such as recitative or aria. There are various genres, such as classical opera, chamber opera, operetta, musical, singspiel, and zarzuela. On the other hand, as in theater, there is dramatic opera (opera seria) and comic opera (opera buffa), as well as a hybrid between the two: the dramma giocoso. As a multidisciplinary art form, opera combines music, drama, dance, scenography, costume, and makeup, relying on collaborative work between the composer, librettist, performers, conductor, and production team. Designed for live audiences, opera has historically reflected prevailing cultural, philosophical, religious, and political ideas. Opera originated with the Florentine Camerata, a group of late 16th-century humanists who sought to revive the musical and dramatic traditions of Ancient Greek theater. This led to early works by Jacopo Peri, including Dafne (1597) and Euridice (1600), and Claudio Monteverdi's L'Orfeo (1607), which helped define the genre by introducing structured arias and instrumental sinfonias. The genre evolved through major musical periods. The Baroque era (17th–mid-18th century) established many operatic conventions and was marked by elaborate vocal and scenic elements, accessible mainly to elites. The Classical period emphasized clarity and balance, with major contributions from Mozart and Beethoven. In the 19th century, Romanticism elevated the status of composers and vocalists, reflecting bourgeois tastes and giving rise to national operatic traditions. Later developments included French impressionism and Italian verismo. The 20th century introduced Modernist approaches and new technologies—radio, phonograph, and television—which expanded opera’s reach, while earlier works remained central to repertory. During the course of history, within opera there have been differences of opinion as to which of its components was more important, the music or the text, or even whether the importance lay in the singing and virtuosity of the performers, a phenomenon that gave rise to bel canto and to the appearance of figures such as the diva or prima donna. From its beginnings until the consolidation of classicism, the text enjoyed greater importance, always linked to the visual spectacle, the lavish decorations and the complex baroque scenographies; Claudio Monteverdi said in this respect: "the word must be decisive, it must direct the harmony, not serve it." However, since the reform carried out by Gluck and the appearance of renowned composers such as Mozart, music as the main component of opera became more and more important. Mozart himself once commented: "poetry must be the obedient servant of music". Other authors, such as Richard Wagner, sought to bring together all the arts in a single creation, which he called "total work of art" (Gesamtkunstwerk).

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of notable events in music that took place in the year 1956.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

Leontyne Price ( LEE-ən-teen, lee-ON-teen; born Mary Violet Leontine Price, February 10, 1927) is an American singer who was the first African-American soprano to receive international acclaim. From 1961 she began a long association with the Metropolitan Opera, becoming the first Black singer to maintain a sustained relationship with the company. She regularly appeared at the world's major opera houses, including the Vienna State Opera, the Royal Opera House, San Francisco Opera, Lyric Opera of Chicago, and La Scala. She was particularly renowned for her performances of the title role in Giuseppe Verdi's Aida. Born in Laurel, Mississippi, Price studied music at the College of Education and Industrial Arts in Wilberforce, Ohio which at the beginning of her education was a department inside Wilberforce University. By the time she graduated in June 1948 with a degree in music education the department had split from Wilberforce and become its own separate institution, the State College of Education and Industrial Arts at Wilberforce (now known as Central State University). She pursued further studies at the Juilliard School from 1948 until 1952, where she was trained as a soprano by Florence Kimball. Price developed a close relationship with Kimball and continued to study with her until Kimball's death in 1977. Price's first significant professional engagement was in Virgil Thomson's Four Saints in Three Acts which she performed both on Broadway and in Paris at a music festival held by the Congress for Cultural Freedom in 1952. While performing in Paris she continued her education through studies at the Fontainebleau School. Later that same year she starred as Bess in the third revival of George Gershwin's Porgy and Bess, a production which she remained with through the end of 1954 for performances throughout the United States (including a Broadway run), and on two tours to Europe. She married her co-star, bass-baritone William Warfield who portrayed Porgy, just prior to beginning the first European portion of the tour in 1952. They later divorced in 1973. The success of the stage production of Porgy and Bess led to other opportunities for Price, including frequently singing excerpts from that opera with major orchestras across the United States. Other opportunities evolved from these on the concert and recital stage, with Beethoven's Symphony No. 9 and Verdi's Requiem in particular becoming works which she performed frequently on the concert stage. She began a long association with composer Samuel Barber in 1953 when she performed the world premiere of his Hermit Songs with the composer as her accompanist at the Library of Congress; it was the first of many works by Barber which she premiered during her career. They later repeated performances of the piece multiple times, including in 1954 for Price's lauded New York recital debut at Town Hall and in Rome at the International Society for Contemporary Music's Twentieth Century Music Conference. Price also sang Hermit Songs with Barber for her first professional recording for Columbia Masterworks in 1955. In 1955 Price became the first African American to star in a televised opera when she portrayed the title role in Puccini's Tosca with the NBC Opera Theatre. This event was widely viewed as a significant moment in breaking the color barrier for black opera singers who were historically barred from appearing on the opera stage. The success of this performance led to her first contract with an American opera company, the San Francisco Opera, and she made her debut with this organization in 1957 as Madame Lidoine in the United States première, in English, of Poulenc's Dialogues des Carmélites. With the aid of her manager, André Mertens, Price developed a relationship with conductor Herbert von Karajan which launched her international career through many appearances at the Vienna State Opera and the Salzburg Festival among other venues. In the 1958–1959 season she became an internationally lauded artist when she triumphed as Aida for performances in Vienna, Verona, and London. She also had a major success in this role at La Scala in 1960. Price made a successful debut at the Metropolitan Opera (Met) in 1961, as Leonora in Verdi's Il trovatore. Continuing her career there, she starred in a multitude of operas for 20 years, securing her place among the leading performers of the century. One of these works was Barber's Antony and Cleopatra, which she starred in for its world premiere for the grand opening of the newly built Metropolitan Opera House at Lincoln Center on September 16, 1966. She made her farewell opera performance at the Met in 1985 in Aida. In interviews, Price referred to her own voice as that of a lyric soprano. However, critical assessment of her voice has not uniformly agreed. Some writers have referred to her as a lyric soprano and others as a dramatic soprano. Still others have designated her voice as a spinto or "lirico spinto" (Italian for "pushed lyric") soprano, a type of voice that inhabits the space in-between a lyric and dramatic soprano. The designation of Price's voice as a spinto soprano has also been embraced by academics in the field of vocal pedagogy, with several books discussing voice classification using Price's voice as the prime example of the spinto soprano voice type. Price's musical interpretations were subtle and often overshadowed her acting. She was noted for her roles in operas by Mozart and Puccini, as well as playing Cleopatra in Handel's Giulio Cesare and Poppea in Monteverdi's L'incoronazione di Poppea. However, the "middle period" operas of Verdi remain her greatest triumph: Aida, the Leonoras of Il trovatore and La forza del destino, as well as Amelia in Un ballo in maschera. Her performances in these works, as well as Mozart and Puccini's operas, survive in her many recordings. After her retirement from opera, Price continued to appear in recitals and orchestral concerts until 1998. After that, she would come out of retirement to sing at special events, including a memorial concert at Carnegie Hall, in 2001 for victims of the 9/11 terrorist attacks. Among her many honors and awards are the Presidential Medal of Freedom in 1964, in addition to her 13 Grammy Awards.

"Music for a While" is a song for voice and continuo by the English Baroque composer Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

"Rejoice in the Lord alway" (c. 1683–1685), Z. 49, sometimes known as the Bell Anthem, is a verse anthem by Henry Purcell. It was originally scored for SATB choir, countertenor, tenor and bass soloists, and strings, though it is also sometimes performed with organ replacing the strings. It has always been one of Purcell's better-known works, and is today his most popular anthem and probably the most often performed of all verse anthems.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of string quartet composers, chronologically sorted by date of birth and then by surname. It includes only composers who have Wikipedia articles. This list is by no means complete. String quartets are written for four string instruments—usually two violins, viola and cello—unless stated otherwise.

The year 1687 in music involved some significant events.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

Lake Pend Oreille ( POND-ə-RAY) in the northern Idaho Panhandle is the largest lake in the U.S. state of Idaho and the 38th-largest lake by area in the United States, with a surface area of 148 square miles (380 km2). It is 69 kilometres (43 mi) long, and 1,152 feet (351 m) deep in some regions, making it the fifth-deepest in the nation and having a volume of 43,939,940 acre feet = 54 km3. The lake is fed by the Clark Fork River and the Pack River, and drains into the Pend Oreille River, as well as subsurfacely into the Spokane Valley–Rathdrum Prairie Aquifer. It is surrounded by national forests and a few small towns, with the largest population on the lake at Sandpoint. The majority of the shoreline is non-populated and all but the southern tip of the lake is in Bonner County. The southern tip is in Kootenai County and is home to Farragut State Park, formerly the Farragut Naval Training Station during World War II, of which a small part is still active and conducts U.S. Navy acoustic underwater submarine research. The surrounding forests consist of ponderosa pine, Douglas fir, red cedar, poplar, quaking aspen, hemlock, paper birch and western larch. Local animal species include white-tailed deer, elk, gray wolves, moose, mice, squirrels, chipmunks, black bears, grizzly bear, coyotes, mountain goat, cougar and bobcats, along with bald eagles, wild turkeys, osprey, owls, hummingbirds, hawks, woodpeckers, ducks, and the mountain bluebird. The lake is a home for several species of migratory water fowl.

This is a list of musical compositions by Henry Purcell.

After Midnight, stylized as @fter midnight or abbreviated @m and alternatively known as After Midnight with Taylor Tomlinson, is an American late-night comedy panel game show hosted by Taylor Tomlinson and executive produced by Stephen Colbert via his company Spartina Productions, Henry R. Muñoz III via his comedy studio Funny or Die, and The Late Show with Stephen Colbert executive producer Tom Purcell. The program premiered on CBS at 12:37 am ET on January 17, 2024, in the time slot previously held by The Late Late Show with next day streaming on Paramount+. It is a reboot of @midnight, which ran from 2013 to 2017 on sister cable network Comedy Central. Upon its debut, it received generally positive reviews. The show had originally been renewed for a third season but plans for it were canceled due to Tomlinson's decision to leave the program in order to focus on her stand-up career. The series finale aired on June 13, 2025.

This is a list of musical compositions by Henry Purcell.

Welcome to All the Pleasures, Z. 339, is a 1683 composition by Henry Purcell, the first of a series he wrote in honour of the patron saint of music, Saint Cecilia. It was commissioned by an organisation called "The Musical Society" for performance in London on 22 November (the saint´s feast day).

The history of opera has a relatively short duration within the context of the history of music in general. It appeared in 1597, when the first opera, Dafne, by Jacopo Peri, was created. Since then it has developed parallel to the various musical currents that have followed one another over time up to the present day, generally linked to the current concept of classical music. Opera (from the Latin opera, plural of opus, "work") is a musical genre that combines symphonic music, usually performed by an orchestra, and a written dramatic text—expressed in the form of a libretto—interpreted vocally by singers of different tessitura: tenor, baritone, and bass for the male register, and soprano, mezzo-soprano, and contralto for the female, in addition to the so-called white voices (those of children) or in falsetto (castrato, countertenor). Generally, the musical work contains overtures, interludes and musical accompaniments, while the sung part can be in choir or solo, duet, trio, or various combinations, in different structures such as recitative or aria. There are various genres, such as classical opera, chamber opera, operetta, musical, singspiel, and zarzuela. On the other hand, as in theater, there is dramatic opera (opera seria) and comic opera (opera buffa), as well as a hybrid between the two: the dramma giocoso. As a multidisciplinary art form, opera combines music, drama, dance, scenography, costume, and makeup, relying on collaborative work between the composer, librettist, performers, conductor, and production team. Designed for live audiences, opera has historically reflected prevailing cultural, philosophical, religious, and political ideas. Opera originated with the Florentine Camerata, a group of late 16th-century humanists who sought to revive the musical and dramatic traditions of Ancient Greek theater. This led to early works by Jacopo Peri, including Dafne (1597) and Euridice (1600), and Claudio Monteverdi's L'Orfeo (1607), which helped define the genre by introducing structured arias and instrumental sinfonias. The genre evolved through major musical periods. The Baroque era (17th–mid-18th century) established many operatic conventions and was marked by elaborate vocal and scenic elements, accessible mainly to elites. The Classical period emphasized clarity and balance, with major contributions from Mozart and Beethoven. In the 19th century, Romanticism elevated the status of composers and vocalists, reflecting bourgeois tastes and giving rise to national operatic traditions. Later developments included French impressionism and Italian verismo. The 20th century introduced Modernist approaches and new technologies—radio, phonograph, and television—which expanded opera’s reach, while earlier works remained central to repertory. During the course of history, within opera there have been differences of opinion as to which of its components was more important, the music or the text, or even whether the importance lay in the singing and virtuosity of the performers, a phenomenon that gave rise to bel canto and to the appearance of figures such as the diva or prima donna. From its beginnings until the consolidation of classicism, the text enjoyed greater importance, always linked to the visual spectacle, the lavish decorations and the complex baroque scenographies; Claudio Monteverdi said in this respect: "the word must be decisive, it must direct the harmony, not serve it." However, since the reform carried out by Gluck and the appearance of renowned composers such as Mozart, music as the main component of opera became more and more important. Mozart himself once commented: "poetry must be the obedient servant of music". Other authors, such as Richard Wagner, sought to bring together all the arts in a single creation, which he called "total work of art" (Gesamtkunstwerk).

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.

This is a list of musical compositions by Henry Purcell.