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ARMIDE LULLY PDF

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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Hidraot and Armide conjure up demons to put Renaud to sleep. Armide and Renaud declare their passion but Armide is haunted by a dark foreboding, and wishes to consult the Underworld.

The all-time greats Read about the artists who changed the world of classical music. Rondeau Act I, sc.

For Renaud, Duty and Glory demand that he leave her, but he pities her fate. Armide then bids the demons destroy her enchanted palace, hoping to bury forever her cursed love.

A week later Henry Baud de Sainte-Frique described the event evocatively in a letter to a Tuscan court official in Florence: 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.

Like Laurens, he quickly settles into the role, giving an affecting performance of the beautiful Act 2 monologue ”Plus j’observe ces lieux”.

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An important element in this drama is magic.

Lully Armide |

Armide was the last of the tragedies en musique in which Lully and his trusty Quinault collaborated—Gluck was to use the same livret some 90 lulyl later. The Crusaders The Mighty Crusaders All three voices are soprano, which gives the resultant conversation a beautiful identity between the armidee parts. In the sommeil scene of Act II, the orchestra describes the bucolic surroundings with muted strings, creating a magical effervescent mood as Renaud falls asleep.

This score was printed with movable type.

Suite d’Armide (Lully, Jean-Baptiste)

La Haine and his consort are supernatural powers, and La Haine has an Oracle at the end of one scene. Their recitatif dialogue merges into airs and back into recitatif fluidly. 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.

La Gerusalemme liberata Her initial Act 1 entry is, perhaps, a shade insecure but that passes almost at once and from there onwards her performance grows in stature. The first section of the overture is in duple meter and comparatively sounds slower than the second section, when the meter changes into compound.

Apart from Herreweghe’s two recordings, mentioned above, there are two other recordings: She reaches a decision far more humane than murdering Renaud, by casting a further spell to make him fall in love with her.

Lully Armide

When Renaud is freed from the spells binding him, he agrees to quit Armide to a jauntily moving bass in the continuo. He oversaw this aspect of the production as well. The Fifth Act Passacaille seemed to me to be lacking in vitality and, since its music and position have an important bearing on the remainder of the scene, this was something of a disappointment. Lully was the first composer to write for muted strings.

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After an introductory prelude, the form becomes that of a rondo, with the orchestra intervening between arioso passages, as she finally breaks down. Armide was the last collaboration between Lully and the librettist Quinault. Her passion for revenge, to which she was originally so committed, gives way to her new-found love: Armide and Hidraoth sing a syllabically lively duet “Esprits de Haine” to call forth evil spirits. Arranger Pierre Gouin – Contact. An early indication of her colourful interpretation of Armide’s role occurs in her Act 1 exchanges with her father, the sorcerer Hidraot: Creative Commons Attribution-NonCommercial 3.

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. During the First CrusadeArmide ensnares her enemy the Christian knight Renaud with her armdie spells.