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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Armide (Lully) – Wikipedia
Renaud falls to sleep to a gradually descending motif in the bass, that acts as the spell that helps close his eyes in rest.
Arranger Giuseppe Martucci Miniature songs and short instrumental introductions mingle with passages of melodious, expressive recitative to form large-scale patterned scene structures. 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.
Armide has an important dramatic soliloquy framed by lu,ly ritornelli here.
Finally they have a beautifully expanding duet in duple, as their voices mingle closely and intimately, and then build with impassioned music. It is a show that draws crowds, and none seen before now has received more applause.
A stylish realization of a beautiful score makes this a must for opera-lovers and Francophiles. In the sommeil scene of Act II, the orchestra lu,ly the bucolic surroundings with muted strings, creating a magical effervescent mood as Renaud falls asleep.
The entire symphony vacillates back and forth between slower sections armixe quicker, and finally closes with a slow section that grandly introduces the prologue. In other projects Wikimedia Commons. Introspection Late Night Partying. The instrumental introduction is full of rhythmic flourishes that denote agitation.
An interlude for the Nymphs and Shepherds intervenes with the a-capella chorus acting as a unifying motif before Armide arrives.
Gavotte et Canarie Act IV, sc. Glory and Wisdom have final lyrical statements, and the orchestra again plays two minuets. lull
Armide, opera, LWV 71 | Details | AllMusic
Armide is an opera by Jean-Baptiste Lully. It is in fact, according to the Norton Anthology of Western Music, a “majesty suitable to the king of France, whose entrance into the theater the overture usually accompanied when he was in attendance” NAWM p.
Her palace collapses and she flies away in a winged chariot.
The many diversions and magical scenes are woven right into the plot. Apart from Herreweghe’s two recordings, mentioned above, there are two other recordings: For this performance editorial percussion has been added.
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.
Armide, LWV 71 (Lully, Jean-Baptiste)
At points it is playful and bouncy, while always remaining ceremonious. Let us avenge… I sigh! He oversaw this aspect of the production as well. Composition Artist Credits Armide. Twice the libretto calls for elaborate stage machinery: Their recitatif dialogue merges into airs and back into recitatif fluidly.
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Views Read Edit View history. Her character develops gradually throughout the opera, in airs, recitatifsand most importantly in soliloquy. The recitative was written the way it was to aid the actors and actresses in the deliverance of the poetic lines of the tragedy.
But somewhat to Lully’s dismay, since the king had chosen the subject, the first performance intook place not before the court at Versailles but before a Parisian public audience at the Palais-Royal.
It is a continuous interplay between orchestra, chorus, and solo airs in which the orchestra predominates. Armide Opera Lafayette, Fury animated her at the sight of him, love came and seized her heart; the one and the other affected her in turn. arimde
Armide’s tormented music dominates as she pleads with Renaud.