William Christie's reading of Dido is very much in terms of the reputed French influence on Purcell. Overdotting, reverse dotting and inégalité are used throughout; the lines are often heavily embellished in the manner of Lully. This is a perfectly justifiable approach to the music, since there's little direct evidence to say exactly how much the French style dominated in England.
This version, with single strings, an excellent small choir and a slightly obtrusive harpsichord, stands well alongside what's available. Apart from a few moments' inattention in Belinda's 'Haste, haste to town', you'd hardly notice that most of the cast are Francophone, except in that Nathan Berg's imposing bass-baritone finds it slightly easier to exploit the colour and the meaning of Aeneas's words. Véronique Gens is a lucid and sensible Dido, partnered by a sprightly Belinda from Sophie Marin-Degor and a good Second Woman from Sophie Daneman. Claire Brua's Sorceress is a splendidly insinuating conception, with a slithering melodic style.
Perhaps the main musical distinction of this version is the way Christie presents the final paragraphs. Up to this point he's taken generally quick speeds, and he runs the final confrontation of Dido and Aeneas at a headlong tempo, which works well. Then he comes almost to a standstill at the moment when Aeneas leaves the stage, choosing an unusually slow speed for the chorus'Great minds against themselves conspire'. This makes way for a dangerously slow Lament,which is heart-stopping, and the final chorus, which is not.