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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Her palace collapses and she flies away in a winged chariot. Accompanied recitative was relatively new, but in this opera Lully used his orchestra in many kinds of dramatic capacities armlde his recit.
lul,y The Goddess condemns Armide to eternal love. Much of the libretto of Armide is taken right out of the Tasso original, but Quinault, as usual, supplied Lully with a happy resolution of classical demands and baroque sumptuousness.
Phenice and Sidonia sing in dialogue as well as in duet. Retrieved from ” http: Armide and Renaud are accompanied by a chorus of Fortunate Lovers and Pleasures to attend them.
Radio Suisse Romande The amphitheatre and the parterre and the gallery were so jumbled that the size of the crowd there could not be taken lluly without astonishment.
Renaud manages to escape from Armide, who is left enraged, despairing, and hopeless. Yet Renaud is not the principal protagonist of the opera. This is one of the movements in which there is extended orchestral music to accompany the ballet. The scene is filled with harmonious, sweet sound. All this is prefaced in Lully’s opera by a prologue consisting of a conversational encomium to Louis XIV delivered by two allegorical figures, Glory and Wisdom.
La Gerusalemme liberata All the loges held ten people each.
Suite d’Armide (Lully, Jean-Baptiste)
The syllabic rhythmic enunciations that end the scene predict the tragedy. Armide, left alone, laments her love and the horror of her torment, and declares that the hope of vengence is all that remains to her.
In other projects Wikimedia Commons. Genre Categories Tragedies en musique ; Theatrical Works ; Operas ; For ullly, 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.
Renaud’s has a short, moving response that is repeated.
PDF scanned by archive. Miniature songs and short instrumental introductions mingle with passages of melodious, expressive recitative lukly form large-scale patterned scene structures. When Renaud is freed from the spells binding him, he agrees to quit Armide to a jauntily moving bass in the continuo.
Armide invokes the spirit of Hate to rescue her from her love for Renaud. The prologue is an interesting dialogue between Glory and Wisdom. Lully was famous for his orchestra. Gramophone products and those of specially selected partners from the world of music.
Heroes who follow Glory; nymphs who follow Wisdom; people of Damascus; demons disguised as nymphs, shepherds and shepherdesses; flying demons disguised as Zephyrs; followers of Hatred, the Furies, Cruelty, Vengeance, Rage, etc. Editor Pierre Gouin – Contact. The ballet episodes in each act, whether civic ceremony, scene of pastoral enchantment, or the horrifying ritual of Hatred and her followers, brought troupes of performers together in communal action, the dancers representing the bodies of the collective characters and the chorus representing their voices.
Armide – Lully | Philharmonie de Paris
The scenery seemed armidde and new, and especially the theatre that breaks apart. In the second scene, the character of Hidraoth is introduced. At the moment she raises her dagger to kill him, she finds herself falling in love with him.
For 2 descant, treble, tenor and bass recorders These file s are part of the Werner Icking Music Collectionand are also included in the Mondrup Recorder Collection.
But the set was seriously flawed by the entire omission of the Fourth Act of the opera. 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. Their recitatif dialogue merges into airs and back into recitatif fluidly.