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, opera, LWV 71 | Details | AllMusic
The chorus response is demonic and infernal. La Haine is accompanied by a pounding, driving orchestral accompaniment full of demonic rhythm that suggests his connection to evil and the infernal powers.
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 final scene in which her palace is destroyed and she flies away is culminating. The Tragedy of Armide.
He oversaw this aspect of the production as well. Gavotte et Canarie Act IV, sc.
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. The orchestra describes the flowing brook with moving, undulating eighth notes play on muted strings. 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. In this opera Lully leaves behind one of his many important legacies; he has elevated dance music to an independent orchestral art form.
For other works with the same title, see Armide disambiguation. A variation begins with Armide’s changing emotions, resulting in a dance-like feel that contains orchestral preludes and a pair of recitative styles.
The hero admires his surroundings and sits down to rest. The prologue is an interesting dialogue between Glory and Wisdom. An interlude for the Nymphs and Shepherds intervenes with the a-capella chorus acting arjide a unifying motif before Armide arrives.
PDF scanned by Pierre. 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.
The most famous moment in the opera is Act II, scene 5, a monologue by the enchantress Armide, considered “one of the most impressive recitatives in all of Lully’s operas”. Her palace collapses and she flies away in a winged chariot. 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 years later. Lully invented agmide new art form to aid this marriage; a type of declamatory recitative that came as close to tragic recitation as possible.
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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From Wikipedia, the free encyclopedia. She calls on the Goddess of Hate to lully her hatred for Renaud, but fails to escape from her feelings of love for him. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. Heroes who follow Glory; nymphs who 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.
Renaud falls to sleep to a gradually descending motif in the bass, that acts as the spell that helps close his eyes in rest. But dramatically it does have a purpose in relieving the tension of the previous act and there is certainly no case to be argued for leaving it out.