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.
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Unlike most of his operas, Armide concentrates on the sustained psychological development of a character — not Renaud, who spends most of the opera under Armide’s spell, but Armide, who repeatedly tries without success to choose vengeance over love. Sidonia’s and Ramide speeches are somewhere between air and metered recitatif as they comfort her.
Lully Armide |
Sarabande Act I, sc. The Crusaders The Mighty Crusaders The recitative was written the way it was to aid the actors and actresses in the deliverance of the poetic lines of the tragedy. Armide enters, intending to kill Renaud as he sleeps. It continues to be well-regarded, featuring some of the best-known music in Lluly baroque opera and being arguably ahead of its time in its psychological interest.
If you are a library, university or other organisation that would be interested in an armid subscription to Gramophone please click here for further information. In the second scene, the character of Hidraoth is introduced. Lully was famous for his orchestra. Everyone was charmed by the orchestra and the music.
LULLY, J.: Armide (Opera Lafayette, )
Glory has the first air and Wisdom follows with a rhythmically complex answer. Creative Commons Attribution-ShareAlike 4. Her palace collapses and she flies away in a winged chariot. She retires and leaves the Pleasures and a troop of Fortunate Lovers to amuse Renaud.
Hate curses Armide, condemning her to the punishment of endless love. They manage to resist the temptations and dangerous delights set in their path by Armide. The remaining soloists make a very impressive showing, too, with Bernard Deletre as a menacing Hidraot, John Hancock as a spiteful La Haine Hate —his Act 3 scene 4 comes off particularly well—and Gilles Ragon as the Chevalier Danois, whose search for Renaud in the company of Ubalde Bernard Deletre leads to a variety of strange encounters.
Glory and Wisdom have final lyrical statements, and the orchestra again plays two minuets. Creative Commons Attribution-ShareAlike 3.
It is a continuous interplay between orchestra, chorus, and solo airs in which the orchestra predominates. However, Armide expresses her anger and frustration because she has not been able to prevail over Renaud, the most valiant of the Christian knights.
The king found all three to his liking and chose that of Armide.
Armide and Hidroat swear that such an enemy will not escape their vengeance. She zrmide a spell to make him love her in return.
He used a lot of asses and violins, as well as “Petit choeurs” of instruments such as recorders and oboes. 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. Finally they have a beautifully expanding duet in duple, as their voices mingle closely and intimately, and then build with impassioned music.
Views Read Edit View history. The French libretto and an English translation can be accessed at www.
Gramophone’s expert reviews easier than ever before. In Armide they sing La Gloire and La Sagesse Prologue respectively, and later in the opera, the two confidantes of Armide, the two ”dames des pensees” of the Chevalier Danois and his companion in arms Ubalde, and a shepherdess and naiad. He took part in every aspect of his operatic productions.
From a purely action viewpoint it is weak and the plot loses nothing by its exclusion; indeed, there were critics in Lully’s own time who felt the act to be superfluous.
In fact, arjide story lent itself well to political allegory. Instead, she is overcome by love for him, and decides that her triumph, thanks to her spells, would be to bring Renaud into her power and have him love her. Howard Crook’s Renaud is lightly articulated and, in all but one or two instances, tonally well-focused.