Cyclops is the only satyr play by Euripides to come down to us though I guess whether it’s “complete” is a bit of an open question. A satyr play was a kind of weird hybrid of comedy and tragedy that closed out the Festival of Dionysos after the tragedies had been performed. Unlike most Athenian comedy it was usually based on mythological source material; in this case Odysseus’ encounter with the Cyclops from the Odyssey. It would have featured principals and a chorus of satyrs; half man, half goat with enormous erect phalluses.
Iconic British countertenor James Bowman passed away last March. On Sunday night at Trinity-St. Pauls the Early Music folks at UoT presented a tribute to the man and his career. It was very well done. Music associated with Bowman; mostly Purcell and Britten, was interspersed with video and personal recollections/testimonials that fully reflected the considerable influence Bowman had on the English music scene and on the more widespread acceptance of the countertenor voice in the classical music world generally. 
Purcell’s Dido and Aeneas has a long and dense history in the recording studio. The first recording dates back to 1935 and the vast stream of recordings since serve as a kind of barometer of the changes in style in performing 17th century music. I haven’t listened to every recording but I can look at four key moments in the discography and compare them. I’ve also listened or watched a fair number of fairly recent productions. The video review page has six entries for this work; all 1995 or later. There are also five reviews of live productions and reviews of several related shows. But for the purposes of this mini-project I’m going to look at four recordings that take us from the early 1950s to the mid 1990s. The four recordings are:
operaramblings 