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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She retires and leaves the Pleasures and a troop of Fortunate Lovers to amuse Renaud. This scene is considered to be one of the most perfect examples of recitatif as she struggles in music to resolve her inner conflict between love and hatred.
Suite d’Armide (Lully, Jean-Baptiste)
He drilled his orchestra members in rhythmic precision, and was able to demand an excellence of playing not found in other orchestras. Armide deplores the conquest of her heart by Renaud.
Creative Commons Attribution-ShareAlike 3. The scene is magical, ethereal, and to spell-binding harmonious sounds, Renaud falls into a deep sleep. After an instrumental passacaglia, airs, solos and choruses alternate in an imaginative scene full of contrasts. La Haine and his consort are supernatural powers, and La Haine has an Oracle at the end of one scene. Retrieved 21 September Rainy Day Relaxation Road Trip. Jahrhunderts VariousDritter Theil. Composition Artist Credits Armide.
After an introductory prelude, the form becomes that of a rondo, with the orchestra intervening between arioso passages, as she finally breaks down. She returns in time to confront Renaud as he leaves, imploring him to take her with him as a captive if he will not remain as her lover. As the composer, he took control of the presentation of the drama.
For Renaud, Duty and Glory demand that he leave her, but he pities her fate. 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.
Renaud manages to escape from Armide, who is left enraged, despairing, and hopeless. 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. Armide is an opera by Jean-Baptiste Lully. For our recording, we have departed from the original version of Armide in some places. Rondeau Act I, sc.
Armide, a sorceress and aarmide warrior, has won a victory over the Crusaders; but one of the Christian knights, Renaud Rinaldo —the bravest of them all—though held captive, remains unconquered in spirit and impervious to her charms. This was Lully’s last opera, for he died before the King, but had he lived, his operas would probably no longer have been performed at court, for they were elaborate, grand and full of pageantry. Armide’s free declamatory recitatif is in dramatic contrast and with a change of mode indicates the difference in content of the speech; Armide is distressed.
Heroes who follow Glory; nymphs armde 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.
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. 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.
The bass amplifies and is much more emphatic in this part, while the supporting dynamic harmony permits a more melodic style.
Armide – Lully | Philharmonie de Paris
Armide and Hidraoth are both magicians, so there are many invocations and incantations and magical happenings throughout that give this tragedy a mysteriousness. A stylish realization of a beautiful score makes this a must for opera-lovers and Francophiles.
AllMusic Featured Composition Noteworthy. Yet Renaud is not the principal protagonist of the opera. The prologue is an interesting dialogue between Glory and Wisdom.
Armide is struck by her contradictory and confusing feelings of love, and the use of ellipses conveys this dramatic hesitation and inner turmoil.
Armide, opera, LWV 71 | Details | AllMusic
Metaphorically this theme may be read in the tragedy itself, the virtuous European Crusader Renaud symbolizing Catholic France and the seductive Middle Eastern princess-magician Armide symbolizing Protestant heresy. As Armide and Hidraoth learn that the knight Renaud has freed their captives, they have an exclamatory duet of rage that is made rhythmically active by some quick syllabic text setting, and the Act ends. Armide and Hidroat swear that luloy an enemy will not escape their vengeance.
Yet Louis XIV had selected the subject for the libretto: In Armive 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.
In this opera Lully leaves behind one of his many important legacies; he has elevated dance music to an independent orchestral art form.
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.
Her lengthy speeches vary in mood her emotions shift and become uncontrolled. Finally they have a beautifully expanding duet in duple, as their voices mingle closely and intimately, and then build with impassioned music. The first section of the overture is in duple meter and comparatively sounds slower than the second section, when the meter changes into compound. The dances he writes are a minuet, gavotte, and rondeau. Hate and her followers perform a powerful invocation, but Armide cannot give up Renaud, and she sends Hate away.
The all-time greats Read about the artists who changed the world of classical music. Lully alternates between recit, air, and speeches that flow smoothly in continuous song. Armide represents the culmination of the long and fruitful career of Jean-Baptiste Lully —the most powerful musician at the court of Louis XIV and the first important composer of French opera.