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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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Work Title Armide Alt ernative. He also was in control of his dancers, and he invented some exacting choreographed moves as well as dramatic pantomime.

Glory and Wisdom also have a duet which arises naturally out of the flow of the music of their conversation.

Accompanied by rushes of notes in the orchestra, she is whisked away by her armidr in a chariot. For other works with the same title, see Armide disambiguation.

Nevertheless, of all my works it is the one I deem the least happy since it has not yet had the advantage of appearing before Your Majesty…. From Wikipedia, the free encyclopedia. The amphitheatre and the parterre and the gallery were so jumbled that the size of the crowd there could not be taken in without astonishment.


Armide deplores the conquest of her heart by Renaud. The ending is truly spectacular. 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. The chorus response is demonic and infernal. The demons, in the shape of nymphs and shepherds, weave their spells over Renaud.

He took part in every aspect lulpy his operatic productions. That version had some strong features among which Rachel Yakar’s singing of the title-role should be mentioned.

Howard Crook’s Renaud is lightly articulated and, in all but one or two instances, tonally well-focused.

LULLY Armide |

Retrieved from ” ullly The recitative was written the way it was to aid the actors and actresses in the deliverance of the poetic lines of the tragedy. 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. Renaud’s has a short, moving response that is repeated.

Her palace collapses and she flies away in a winged chariot. On the one hand, this shift toward tales of the Crusades is understandable: PDF scanned by archive. Hate curses Armice, condemning her to the punishment of endless love.

Lully Armide

Armida Clorinda Tancred, Prince of Galilee. An important element in this drama is magic.

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. And last but by no means least there is the happy partnership of the sopranos Veronique Gens and Noemi Rime. Streams Videos All Posts.


Lully Armide |

Retrieved from ” https: Gramophone’s expert reviews easier than ever before. La Gerusalemme liberata The final moments of the opera are introduced by some recitatif dialogue between Armide and Renaud. At the moment she raises her dagger to kill him, she finds herself falling in love with him.

Let us avenge… I sigh! The singers are mostly well supported by assured instrumental playing and such weak passages as there are—there is an unsettled moment, for example, in the Sarabande armiee the third scene in Act 3—are few and far between. When Lully published the score later that year, he began his letter of dedication to the king by alluding to the scheduling difficulties at Versailles: Armide was the last collaboration between Lully and the librettist Quinault.