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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The king found all three to his liking and chose that of Armide. Naxos Javascript not enabled. He took part in every aspect of armids operatic productions. Gramophone products and those of specially selected partners from the admide of music. Before Armide can return to Renaud, two of his fellow soldiers reach Renaud and break Armide’s spell.

The demons, in the shape of nymphs and shepherds, weave their spells over Renaud. In the second scene, the character of Hidraoth is introduced. A Naiad sings an air about love’s sweetness, and the chorus echoes her in a-capella style. Much of the libretto of Armide is taken right out of the Tasso original, but Quinault, as oully, supplied Lully with a happy resolution of classical demands and baroque sumptuousness.

You know that wrmide is enough to fill them and is uncomfortably crowded. Repetition is also prevalent with the orchestra first armise the entire melody, and Armide echoing its sentiment.

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.

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The first section of the overture is in duple meter and comparatively sounds slower than the second section, when the meter changes into compound.

A stark sense of hesitation washes over her, and her voice ullly softer and more full of doubt as she finds herself unexpectedly falling in love with her sworn enemy.

LULLY Armide

They manage to resist the temptations and dangerous delights set in their path by Armide. Streams Videos All Posts. For our recording, we have departed from the ljlly version of Armide in some places.

The singers are mostly well supported by lull instrumental playing and such weak passages as there are—there is an unsettled moment, for example, in the Sarabande of the third scene in Act 3—are few and far between. But the set was seriously flawed by the entire omission of the Fourth Act of the opera. In Armide they sing La Gloire and La Sagesse Prologue respectively, and armid 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.

Armide – Lully | Philharmonie de Paris

The scenery seemed grand and new, and especially the theatre that breaks apart. Armide has an important dramatic soliloquy framed by instrumental ritornelli here.

He wrote the recitatif with changing meters and speech rhythms that helped the actors and actresses dramatize their roles. Gramophone’s expert reviews easier than ever before. Creative Commons Attribution Non-commercial 3.

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The scene is magical, ethereal, and to spell-binding harmonious sounds, Renaud falls into a deep sleep. They claim that Lully received 10, francs that day.

The hero admires his surroundings and sits down to rest. She asks the demons to transform themselves into zephyrs to carry her and Renaud far away. An important element in this drama is magic. Renaud’s lyrical tenor solo compliments the orchestral accompaniment rhythmically, and a feeling of complete contentment is arrived at.

In summary, this is a stylish and sympathetic performance of one of Lully’s greatest achievements. The orchestra plays an important role in the delineation of character. Miniature songs and short instrumental introductions mingle with passages of melodious, expressive recitative to form large-scale patterned scene structures.

Yet Renaud is not the principal protagonist 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.

LULLY, J.: Armide (Opera Lafayette, )

Christophe Ballard The Goddess condemns Armide to eternal love. She casts a spell to make him love her in return. In this new recording Herreweghe gives us the work complete, adding some 44 minutes to the performing time of the older issue.