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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Creative Commons Attribution-ShareAlike 4. This scene is considered to be one of the most perfect examples of recitatif as she struggles in music to resolve her inner conflict between love and hatred.

They took as their model the ancient classical tragedy, and turned these tragedies into successful operas by wedding them to existing French genres. 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.

The Tragedy of Armide. Her palace collapses and she flies away in a winged chariot. Armife recitatif dialogue merges into airs and back into recitatif fluidly.

From Wikipedia, the free encyclopedia. The demons, in the shape of nymphs and shepherds, weave their spells over Renaud. The many diversions and magical scenes are woven right into armids plot.


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

She is notably skilful in the art of declamation, is gifted with amide sharp ear for detail and has a lively feeling for musical gesture. This score was printed with movable type. He used a lot of asses and violins, as well as “Petit choeurs” of instruments such as recorders and oboes. In other projects Wikimedia Commons.

Armide, opera, LWV 71

The chorus’s homophonous and harmonious sound closes the Prologue sumptuously. Lully was famous for his orchestra. On the other, the stories told in these operas represent archetypes familiar from classical mythology: The French lull and an English translation can be accessed at www. For this performance editorial percussion has been added.

There are also quite a few orchestral ballet pieces that border on the symphonic. Hate and her followers perform a powerful invocation, but Armide cannot give up Renaud, and she sends Hate away. Armide has armidee important dramatic soliloquy framed by instrumental ritornelli here.

Armide and Hidraoth sing a syllabically lively duet “Esprits de Haine” to call forth evil spirits.

Armide – Lully | Philharmonie de Paris

An early indication of her colourful interpretation of Armide’s role occurs in her Act 1 exchanges with her father, armkde sorcerer Hidraot: La Gerusalemme liberata In this opera Lully leaves behind one of his many important legacies; he has elevated dance music to an independent orchestral art form. Accompanied by rushes of notes in the orchestra, she is whisked away by her demons in a chariot. All the loges held ten people each.


The hero admires his surroundings and sits down to rest. Please enable JavaScript in your browser to use the site fully. The remaining soloists make a very impressive showing, too, with Bernard Deletre as a menacing Hidraot, John Hancock as a spiteful La Haine Hate —his Act 3 scene 4 comes off particularly well—and Gilles Ragon as the Chevalier Danois, whose search for Renaud in the company of Ubalde Bernard Deletre leads to a variety of strange encounters. After a rift in between Lully and Moliere over the ownership of the Academie, Lully and Quinault had collaborated on a tragedie-lyrique each year.

Armide invokes the spirit of Hate to rescue her from her love for Renaud.

LULLY Armide

All three voices are soprano, which gives the resultant conversation a beautiful identity between the vocal parts. Before Armide can return to Renaud, two of his fellow soldiers reach Renaud and break Armide’s spell.

Lully alternates between recit, air, and speeches that flow lullly in continuous song. Glory and Wisdom have final lyrical statements, and the orchestra again plays two minuets.