Find composition details, parts / movement information and albums that contain performances of Armide, opera, LWV 71 on AllMusic. Jean-Baptiste Lully. It is almost exactly ten years since Philippe Herreweghe recorded his earlier version of Lully’s Armide (Erato, 11/83—nla). That version had some strong features. Armide () was the last collaboration between Lully and the librettist Quinault. Considered by contemporaries as the perfect exemplar of Lulliste tragédie en.
|Published (Last):||27 June 2006|
|PDF File Size:||6.20 Mb|
|ePub File Size:||5.72 Mb|
|Price:||Free* [*Free Regsitration Required]|
A Naiad sings an air about love’s sweetness, and the chorus echoes her in a-capella style.
The casting of Guillemette Laurens in the title-role was an inspired choice. Gramophone products and those of specially selected armise from the world of music. He also was in control of his dancers, and he invented some exacting choreographed moves as well as dramatic pantomime. Skip to main content. Phenice and Sidonia sing in dialogue as well as in duet.
The orchestra plays an important role in the delineation of character. As love seems to win, she ends her scene with the air “venez, secondez mes desires”, a magical incantation that has the demons spirit she and Renaud away.
Composition Artist Credits Armide. Christophe Ballard The amphitheatre and the parterre and the gallery were so jumbled that the size of the crowd there could not be taken in without astonishment. Glory has the first air and Wisdom follows with a rhythmically complex answer.
This is a magical scene in every sense which, together with the superbly constructed Fifth and final Act, makes it easier for us nowadays to understand the potency of the disputes between the supporters of Lully and the supporters of Rameau which arose half a century later. Armide is struck by her contradictory and confusing feelings of love, and the use of ellipses conveys this dramatic hesitation and inner turmoil. Creative Commons Attribution 3.
The music Lully writes is sometimes demonic, and sometimes ephemeral, but always spell-binding. Renaud manages to escape from Armide, who is left enraged, despairing, and hopeless. The dances he writes are a minuet, gavotte, and rondeau. And last but by no means least there is the happy partnership of the sopranos Veronique Gens and Noemi Rime.
Lully Armide |
lul,y Retrieved 21 September It continues to be well-regarded, featuring some of the best-known music in French baroque opera and being arguably ahead of its time in its psychological interest. Introspection Late Night Partying.
Accompanied by rushes of notes in the orchestra, she is whisked away by her demons in a chariot. Upon returning to her castle, she cannot bear that Renaud’s love is only the work of enchantment.
LULLY, J.: Armide (Opera Lafayette, )
About this Recording 8. Howard Crook’s Renaud is lightly articulated and, armdie all but one or two instances, tonally well-focused. After a rift in between Lully and Moliere over the ownership of the Academie, Lully and Quinault had collaborated on a tragedie-lyrique each year. Hidraot and Armide conjure up demons to put Renaud to sleep.
Whether you want to see what we think of today’s latest releases or discover what our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database.
They took as their model the ancient classical tragedy, and turned these tragedies into successful operas by wedding them to existing French genres. Repetition is also luully with the orchestra first introducing the entire melody, and Armide echoing its sentiment. The heavy rhythmic accompaniment armidd La Haine’s, a baritone, forceful, grand, powerful solo.
Yet Renaud is not the principal protagonist of the opera. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. When Lully published the score later that year, he began his letter of dedication to the king by alluding to the scheduling difficulties at Versailles: Tragedies en musique ; Theatrical Works ; Operas ; For voices, mixed chorus, strings, continuo ; Scores featuring the voice ; Scores featuring mixed chorus ; Scores featuring string ensemble ; Scores with basso continuo ; For voices and chorus with strings ; French language ; For 5 recorders arr ; Scores featuring the recorder ; For 5 players ; For harpsichord arr ; Scores featuring the harpsichord ; For 1 player ; For piano arr ; Scores featuring the piano ; For viola, piano arr ; Scores featuring the viola ; For 2 players.
This is one of Lully’s great monologues where text and music complement one another in a way that was much admired by the composer’s contemporaries. If you are a library, university or other organisation that would luloy interested in an institutional subscription to Gramophone please click here for further information. Armide deplores the conquest of her heart by Renaud.
In the eighteenth century Rebel and Francoeur also made adjustments to this scene, though somewhat differently and in the context of other stylistic changes.
Armide invokes the spirit of Hate to rescue her from llully love for Renaud. Hidraoth is the only full bass in the opera as well, so this scene has the added dimension of the polarity automatically created in a duet between soprano and bass voices. You know that seven is enough to fill them and is uncomfortably crowded. Hate and her followers perform a powerful invocation, but Armide cannot give up Renaud, and she sends Hate away.
La Haine is accompanied by a pounding, driving orchestral accompaniment full of demonic rhythm that suggests his connection to evil and the infernal powers. Her character develops gradually throughout the opera, in airs, lkllyand most importantly in soliloquy. Skip to main content. Glory and Wisdom have final lyrical statements, and the orchestra again plays two minuets. Composition Artist Armidd Armide. The political event uppermost in the minds of Luly at the beginning of was the revocation of the Edict of Nantes on 22 Octoberthe climax of years of persecution of the Huguenots.