A Naiad sings an air about love’s sweetness, and the chorus echoes her in a-capella style. Armide, a sorceress and a warrior, has won a victory over the Crusaders; but one of the Christian knights, Renaud Rinaldo —the bravest of them all—though held captive, remains unconquered in spirit and impervious to her charms. It was an instant and enduring success: She confesses that, if she marries, it will only be to the man who defeats Renaud. Glory has the first air and Wisdom follows with a rhythmically complex answer. 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.
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: After the knights have left, Armide alternates between despair and desire for vengeance. This is one of Lully’s great monologues where text and music complement one another in a way that was much admired by the composer’s contemporaries. At points it is playful and bouncy, while always remaining ceremonious. Ubalde and the Danish Knight enter and show Renaud the diamond shield. Similarly, the roles and the disposition of the voices are the same as in Lully’s opera. They all swear vengeance on him.
Like Laurens, he quickly settles into the role, giving an affecting performance of the beautiful Act 2 monologue ”Plus j’observe ces lieux”.
The final but largest change is that we move directly from the Ouverture to the drama of Act I, suppressing the Prologue, a paean to Louis XIV featuring the allegorical characters of Wisdom and Glory. Gluck kept the libretto unchanged, although he cut the allegorical prologue and added a synopsix lines of his own devising to the end of Act Three. They dispel these visions with the golden scepter and go on their way towards Armide’s palace.
This page was last edited on 1 Septemberat She returns in time to confront Renaud as he leaves, imploring him to take her with him arkide a captive if he will not remain as her lover. From Wikipedia, the free encyclopedia. This last of Lully’s operas is adventurous in many ways.
Armide – Synopsis
Armide (Lully) – Wikipedia
The music Lully writes is sometimes demonic, and sometimes ephemeral, but always spell-binding. The scene is magical, ethereal, and to spell-binding harmonious sounds, Renaud falls into a deep sleep.
Those in charge of the productions, while holding Lully and his librettist Quinault in the highest esteem and responding with deep enthusiasm to srmide extraordinary opera, did not hesitate to alter the score and libretto in ways they thought likely to ensure the success of the work.
Armide and Hidroat swear that such an enemy will not escape their vengeance. Finally they have a beautifully expanding duet in duple, as their voices mingle closely and intimately, and then build with impassioned music.
Renaud manages to escape from Armide, who is left enraged, despairing, and hopeless. When this opera was written, it is possible that Lully was falling out of favor. 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.
Howard Crook’s Renaud is lightly articulated and, in all but one or two instances, tonally well-focused. Armide describes how she has recently seen him in a dream in which she fell in love with him at the very moment he struck her synopeis fatal blow. Quinault has also given us one of his most complete psychological portraits of his heroine, Armide. After an introductory prelude, the form becomes that of a rondo, with the orchestra intervening between arioso passages, as she finally breaks down.
Armied interlude for the Nymphs and Shepherds intervenes with the a-capella chorus synopsjs as a unifying motif before Armide arrives. Lully and Quinault were the very founders of serious opera in France and Armide was generally recognized as their masterpiece, so it was a bold move on Gluck’s part to write new music to Quinault’s words.
One of the movements high points is the dance of the followers of Hate. Lully was originally a dancer, and he would have choreographed his dances. He oversaw this aspect of the production as well. At war with the Christian Crusaders, Armide ensnares her enemy Renaud with her magic spells, but at the moment she raises her dagger to kill him, she finds herself falling in love with him.
This addresses some of the larger dramatic concerns of repetitiveness within Act IV and reduces the extensive recitative which would otherwise armise end Act IV and begin Act V.
Lully was the first composer to write for muted strings. Armide’s free declamatory recitatif is in dramatic contrast and with a change of mode indicates the difference in content of the speech; Armide is armidee. 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”.
Lully: Armide – review | Music | The Guardian
Gluck seemed armice ease in facing French traditions head-on when he composed Armide. Unlike most of his operas, Armide 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.
Lully was famous for his orchestra. The Goddess condemns Armide to eternal love. Pity and tenderness followed, and love was the winner. The Danish Knight and Ubalde, sent to Armide’s palace to find Renaud and bring him back to the war, find their way barred by Armide’s monsters. There are also quite a few orchestral ballet pieces that border on the symphonic. Lois Rosow Portions of this commentary first appeared in J. For the storyline, see Armide by Lully.
Retrieved 21 September In other projects Wikimedia Commons. The scene is filled with harmonious, sweet sound. Quinault provided poetic libretti that opea plastic enough, and Lully made sure that the music that he wrote left the dramatic recitation in relief. Share on facebook twitter tumblr. Armide has an important dramatic soliloquy framed by instrumental ritornelli here.