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full of doubt as she finds herself unexpectedly falling in love with her sworn enemy. Her passion for revenge, to which she was originally so committed, gives way to her new-found love: "Let us get on with it… I tremble! Let us avenge… I sigh! / My rage is extinguished when I approach him / He seems to be made for love." The exaggerated use of rests is exemplified perfectly here, in measures 38–42, amidst her rage and vengefulness. Armide is struck by her contradictory and confusing feelings of love, and the use of ellipses conveys this dramatic hesitation and inner turmoil.
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dagger, she expresses her unyielding desire to kill the knight Renaud, who has foiled her plan to keep the knights of the
Crusades in captivity. Though not elaborate in terms of orchestration, the techniques of dramatic interpretation of rhythm, impressive use of stressing on downbeats, and exaggerated use of rests beautifully complicate this piece.
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evokes love and idealism, similar to the structure of a minuet. Repetition is also prevalent with the orchestra first introducing the entire melody, and Armide echoing its sentiment. A variation begins with Armide's changing emotions, resulting in a dance-like feel that contains orchestral preludes and a pair of recitative styles.
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She reaches a decision far more humane than murdering Renaud, by casting a further spell to make him fall in love with her. The bass amplifies and is much more emphatic in this part, while the supporting dynamic harmony permits a more melodic style. The idea is elaborated with accompanying music that
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Renaud had taken on the heroic and courageous duty of freeing these knights, much to the vexation of Armide, who now plans to murder him as quickly and swiftly as she can, while he is fast asleep under her magical spell. A stark sense of hesitation washes over her, and her voice grows softer and more
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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". Armide, accompanied by only continuo, alternates between glorying in her own power and succumbing to piercing angst. Clutching a
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a "majesty suitable to the king of France, whose entrance into the theater the overture usually accompanied when he was in attendance". At points it is playful and bouncy, while always remaining ceremonious. The first section of the overture is in duple meter and comparatively sounds slower than the
128:. However, the king would not attend the première or any of the following performances, possibly because Lully was involved in a homosexual scandal. The opera was well received by the Parisians and was revived by the Paris Opera in 1703, 1713–14, 1724, 1746–47, 1761, and 1764. Between 1686 and 1751
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It is a fact that current opera repertoire is moving backwards in time faster than it is moving forwards. One of the generals leading the retreat, so to speak, is
Toronto-based Opera Atelier. The company is celebrating its 20th anniversary season this November with the North American premiere of
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concentrates on the sustained psychological development of a character – not Renaud, who spends most of the opera under Armide's spell, but Armide, who repeatedly tries without success to choose vengeance over love.
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The Château de
Versailles Spectacles record label released a recording in June 2024 featuring Le Poème Harmonique, Chœur de l'Opéra de Dijon, Vincent Dumestre conducting, and Stéphanie d'Oustrac in the title role.
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Jean-Baptiste Lully's Armide, a French
Baroque masterpiece written in 1686. Although a great deal is known about the original production, putting it on 300 years later still has its problems. OA resident
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The opera's instrumental overture is divided into two parts, all with the same highly professional sound, as if to accompany the entrance of a highly revered authority. It is in fact, according to the
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Apart from
Herreweghe's two recordings, mentioned above, there are two other recordings: a budget version on Naxos and Christophe Rousset's account, released on the Aparté label in 2017.
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Opera
Atelier. Toronto opera company specializing in Baroque repertoire (17th and 18th centuries), founded in 1985... Artistic staff have included set designer Gerard Gauci,
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Heroes who follow Glory; nymphs who follow Wisdom; people of
Damascus; demons disguised as nymphs, shepherds and shepherdesses; flying demons disguised as Zephyrs;
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which served as a new form of opera that combined elements of classical French drama with ballet, the French song tradition, and a new form of recitative.
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second section, when the meter changes into compound. These two different styles switch off until the conclusion of the piece (in duple meter).
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followers of Hatred, the Furies, Cruelty, Vengeance, Rage, etc.; demons disguised as rustics; Pleasures; demons disguised as happy lovers
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in the title role. ("Ah! Si la liberté...", "Enfin, il est en ma puissance", "Venez, venez, Haine implacable").
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as Lully's masterpiece. It continues to be well-regarded, featuring some of the best-known music in French
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with his longtime collaborator, playwright Jean-Philippe
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and being arguably ahead of its time in its psychological interest. Unlike most of his operas,
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was one of Lully's last operas and is therefore extremely developed in style.
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A Demon in the form of
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Herreweghe made another recording in the 1990s. See
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Title page of the score's first edition, Paris 1686
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917:Citron, Paula. "The North American premiere of
743:to Quinault's libretto, with some changes added
522:Scene from act II, engraving from a score, 1700
108:was first performed on 15 February 1686 by the
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589:Roughly eight decades following Monteverdi's
38:in 1761, watercolor by Gabriel de Saint-Aubin
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626:Engraving of the composer, from the score's
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171:On 5 November 2005, almost 320 years later,
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577:Learn how and when to remove this message
212:Premiere cast, 15 February 1686
19:For other works with the same title, see
1814:Opera world premieres at the Paris Opera
931:. Vol. 46, no. 3 (Fall 2005).
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1819:Operas based on works by Torquato Tasso
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1583:Il combattimento di Tancredi e Clorinda
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425:The Danish Knight, companion of Ubalde
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84:Critics in the 18th century regarded
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942:'s rehearsal supervisor for Armide."
559:adding citations to reliable sources
503:'s designs for the first staging of
987:Anderson, Nicholas (August 1993).
974:Norton Anthology of Western Music,
831:"Armide: Lully's ultimate triumph"
766:Anderson, Nicholas (August 1993).
616:Norton Anthology of Western Music,
152:, and was also produced abroad in
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1304:George Dandin ou le Mari confondu
1062:The New Grove Dictionary of Opera
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1013:Tim Ashley (8 December 2011).
649:Ubalde et le chevalier Danois
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1824:Libretti by Philippe Quinault
1789:Operas by Jean-Baptiste Lully
1080:Le magazin de l'opéra baroque
651:Louis Jean Francois Lagrenée
16:Opera by Jean-Baptiste Lully
936:music director David Fallis
903:music director David Fallis
798:Magazine de l'opéra baroque
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1539:Tancred, Prince of Galilee
1425:Académie Royale de Musique
709:has been released on DVD.
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697:A 2008 video recording of
338:magician, King of Damascus
262:magician, niece of Hidraot
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895:The Canadian Encyclopedia
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1615:Armida al campo d'Egitto
1382:Jean-Baptiste Lully fils
1350:Jubilate Deo omnis terra
1318:Monsieur de Pourceaugnac
1311:Le Bourgeois gentilhomme
1015:"Lully: Armide – review"
989:"Armide (record review)"
768:"Armide (record review)"
36:Palais-Royal Opera House
114:Théâtre du Palais-Royal
69:La Gerusalemme liberata
21:Armide (disambiguation)
1794:French-language operas
661:A segment in the 1987
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306:Marie-Louise Desmatins
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959:François Beaumavielle
731:to a related libretto
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1799:Tragédies en musique
1564:The Mighty Crusaders
1147:List of compositions
953:According to Rosow (
829:Rosow, Lois (2003).
601:tragédie en musique,
555:improve this article
527:History and analysis
225:Allegorical Prologue
216:Pascal Collasse
1720:Rinaldo discography
1514:Jerusalem Delivered
1448:Tragédie en musique
1277:(completed 1687 by
1274:Achille et Polyxène
1138:Jean-Baptiste Lully
1072:, I, p. 200-02
680:Philippe Herreweghe
183:and music director
162:Carl Heinrich Graun
160:(with revisions by
126:Louis XIV of France
101:Performance history
79:tragédie en musique
74:Jerusalem Delivered
53:Jean-Baptiste Lully
1623:Armida abbandonata
1162:Cadmus et Hermione
887:Haskell, Richard.
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837:on 10 August 2016
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513:First Crusade
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1289:With Molière
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1055:Google Books
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1024:22 September
1022:. Retrieved
1018:
1008:
998:21 September
996:. Retrieved
992:
981:
976:p. 520.
973:
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928:Opera Canada
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841:22 September
839:. Retrieved
835:the original
808:. Retrieved
804:the original
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777:21 September
775:. Retrieved
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684:Rachel Yakar
671:
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628:frontispiece
615:
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590:
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553:Please help
548:verification
545:
510:
504:
479:
429:haute-contre
428:
417:basse-taille
416:
411:
400:
383:
378:
369:basse-taille
368:
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343:basse-taille
342:
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284:haute-contre
282:
277:
261:
253:
243:La Sagesse
224:
214:(Conductor:
185:David Fallis
176:
170:
148:and perhaps
129:
105:
104:
93:
85:
83:
72:
68:
63:is based on
43:
42:
41:
31:
1804:1686 operas
1370:Louis Lully
1335:Other works
1210:Bellérophon
1076:(in French)
810:23 February
511:During the
501:Jean BĂ©rain
377:Artémidor,
231:La Gloire
209:Voice type
110:Paris Opera
1783:Categories
1522:Characters
1218:Proserpine
993:Gramophone
772:Gramophone
748:References
690:Recordings
397:La Haine
330:la Cadette
322:Françoise
134:Marseilles
1442:Intermède
1394:Louis XIV
567:July 2021
405:M. Frère
388:baritenor
336:Hidraot,
312:Sidonie,
296:Phénice,
254:Main Plot
154:The Hague
146:Lunéville
1599:Tancrède
1534:Clorinda
1467:Category
1279:Collasse
1102:Libretto
1045:(1878).
1019:Guardian
860:p. 52 f.
717:See also
491:Synopsis
460:soprano
450:soprano
440:soprano
412:a knight
410:Ubalde,
379:a knight
362:Aronte,
353:Jean Dun
318:soprano
302:soprano
278:a knight
276:Renaud,
266:soprano
260:Armide,
246:soprano
138:Brussels
67:'s poem
57:libretto
30:Lully's
1733:Portals
1714:Rinaldo
1706:Related
1607:Rinaldo
1418:Related
1399:Molière
1234:Phaëton
1170:Alceste
1037:Sources
873:Rosow (
856:Lajarte
724:Rinaldo
705:at the
592:L'Orfeo
499:One of
324:Fanchon
235:soprano
112:at the
34:at the
1809:Operas
1698:(2005)
1695:Armida
1690:(1904)
1687:Armida
1682:(1817)
1679:Armida
1674:(1784)
1671:Armida
1666:(1783)
1663:Renaud
1658:(1780)
1655:Armida
1650:(1777)
1647:Armide
1642:(1772)
1639:Armida
1634:(1771)
1631:Armida
1626:(1770)
1618:(1718)
1610:(1711)
1602:(1702)
1594:(1686)
1591:Armide
1586:(1628)
1575:Operas
1567:(1958)
1559:(1918)
1529:Armida
1375:Alcide
1360:People
1325:Psyché
1269:(1686)
1261:(1686)
1258:Armide
1253:(1685)
1250:Roland
1245:(1684)
1242:Amadis
1237:(1683)
1229:(1682)
1226:Persée
1221:(1680)
1213:(1679)
1205:(1678)
1202:Psyché
1197:(1677)
1189:(1676)
1181:(1675)
1178:Thésée
1173:(1674)
1165:(1673)
1154:Operas
1093:Armide
1068:
1051:online
923:Armide
736:Armide
729:Handel
703:Armide
672:Armide
609:Armide
597:Armide
507:, 1686
505:Armide
486:, 1629
401:taille
384:taille
326:Moreau
177:Armide
158:Berlin
130:Armide
118:BĂ©rain
106:Armide
94:Armide
86:Armide
55:. The
47:is an
44:Armide
32:Armide
1771:Music
1759:Opera
1548:Films
1366:Sons
955:Grove
919:Lully
875:Grove
753:Notes
741:Gluck
206:Role
191:Roles
49:opera
1194:Isis
1186:Atys
1066:ISBN
1026:2015
1000:2015
843:2015
812:2011
779:2015
667:Aria
657:Film
356:père
166:Rome
150:Metz
142:Lyon
1511:'s
1053:at
925:".
921:'s
603:or
557:by
482:by
59:by
1785::
1057:).
1017:.
991:.
966:^
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877:).
866:^
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349:)
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23:.
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