[anvar]

Jean-Baptiste Lully (1632–1687) - The Tragedy of Armide
Жанр: Baroque Opera
Страна-производитель диска: Germany
Год издания диска: 2008
Издатель (лейбл): Naxos
Номер по каталогу: 8.660209-10
Дата записи: 2007
Аудиокодек: APE
Тип рипа: image+.cue
Битрейт аудио: lossless
Продолжительность: 55'33+66'16
Источник: собственный рип
Наличие сканов в содержимом раздачи: да

1. Overture
2. Act I Scene 1: Dans un jour de triomphe
3. Act I Scene 1: Un songe affreux
4. Act I Scene 2: Armide, que le sang qui m'unit avec vous
5. Act I Scene 3: Armide est encor plus aimable
6. Act I Scene 3: Suivons Armide, et chantons sa Victoire
7. Act I Scene 4: O Ciel! O disgrace cruelle!
8. Act I: Entr'acte
9. Act II Scene 1: Invincible Heros, c'est par votre courage
10. Act II Scene 2: Arretons - nous ici, c'est dans ce lieu fatal
11. Act II Scene 3: Plus j'observe ces lieux, et plus je les admire
12. Act II Scene 4: Au temps heureux ou l'on scait plaire
13. Act II Scene 5: Enfin il est en ma puissance
14. Act II: Entr'acte

1. Act III Scene 1: Ah! Si la liberte me doit etre ravie
2. Act III Scene 2: Que ne peut point votre art
3. Act III Scene 3: Venez, Haine implacable
4. Act III Scene 4: Je reponds a tes voeu
5. Act III: Entr'acte
6. Act IV Scene 1: Nous ne trouvons par tout que des Gouffres ouverts
7. Act IV Scene 2: Voici la charmante Retraite
8. Act IV Scene 3: Je tourne en vain
9. Act IV: Entr'act
10. Act V Scene 1: Armide, vous m'allez quitter
11. Act V Scene 2: Les Plaisirs ont choisi pour asile
12. Act V Scene 3: Il est seul
13. Act V Scene 4: Renaud Ciel! O mortelle peine!
14. Act V Scene 5: Le perfide Renaud me fuit

Исполнители:
Jean-Baptiste Lully (1632–1687) - The Tragedy of Armide
Tragédie en Musique in 5 Acts
Libretto: Philippe Quinault
Armide - Stephanie Houtzeel, Mezzo-soprano
Renaud - Robert Getchell, Tenor
Hidraot; Ubalde - François Loup, Bass
Artémidore; La Haine - William Sharp, Baritone
Phénice; Lucinde - Ann Monoyios, Soprano
Sidonie - Miriam Dubrow, Soprano
Le Chevalier danois; Un Amant fortuné - Tony Boutté, Tenor
Aronte - Darren Perry, Baritone
Une Bergère héroïque - Adria McCulloch, Soprano
Une Naïade - Tara McCredie, Soprano
Opera Lafayette,
Ryan Brown

Код:

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EAC extraction logfile from 25. December 2014, 16:31
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Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 25. December 2014, 16:46
Lully / Armide, Brown CD2
Used drive : TS8XDVDSTRANSCEND Adapter: 1 ID: 1
Read mode : Secure
Utilize accurate stream : Yes
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Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
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Quality : High
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Command line compressor : C:\Program Files (x86)\Exact Audio Copy\MAC\MAC.exe
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Код:

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Lully’s Armide had a rich and varied performance history at the Paris Opéra during the eighty years following its début in 1686. Those in charge of the productions, while holding Lully and his librettist Quinault in the highest esteem and responding with deep enthusiasm to this extraordinary opera, did not hesitate to alter the score and libretto in ways they thought likely to ensure the success of the work. Performers today owe an immense debt of gratitude to scholars who, like Lois Rosow in the case of Armide, have created editions and done research which carefully reconstruct for us the original circumstances of a musical première and provide us with details on the subsequent historical treatments of these works.
For our recording, we have departed from the original 1686 version of Armide in some places. The changes reflect practical concerns, the differences inherent in listening to a recording versus seeing a production, and dramatic issues addressed in the work’s own eighteenth century performance history.
The first important historical changes in the performance practice of the work centered around the much disputed relevance of Act IV and in particular its scene iv, during which the knight Ubalde is tempted by Mélisse, mirroring the previous scenes in which Le Chevalier danois is tempted by Lucinde. Lecerf de la Viéville declared in 1705 that “one must cut” this scene, and it was eliminated from productions as early as 1697. Rebel and Francoeur, inspecteurs généraux of the Opéra in the mid-eighteenth century, cut from a point in scene iii, though they also lengthened the previous divertissement. Our choice was simply to go from the third air of scene iii directly to the entr’acte before Act V, moving smoothly from one triple metre in C major to another. This addresses some of the larger dramatic concerns of repetitiveness within Act IV and reduces the extensive recitative which would otherwise both end Act IV and begin Act V.
We slightly shortened the divertissement in Act II, scene iv, by deleting one of the Bergère’s airs. In the eighteenth century Rebel and Francoeur also made adjustments to this scene, though somewhat differently and in the context of other stylistic changes. In the dances of various divertissements and entr’actes we have eliminated several repeats, most significantly in the Act I Sarabandes which, seen fully choreographed in a stage production, would probably prove mesmerizing and give a grand symmetry to the scene, but seem too repetitive for a recording alone.
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. Historically the Prologue was only dropped in 1761, at which time artistic and political sensibilities had changed considerably. Still, the public seemed enthusiastic for this dramatic tale, and in 1777 Gluck produced his own Armide without a prologue, which otherwise followed Quinault’s libretto almost exactly and went on to have as impressive a performance history in the nineteenth century as Lully’s version did in the eighteenth century. Both historically and in our own version we are reminded that each generation of performers bequeaths something of its experience to the next, and that interpreting masterpieces such as Armide is a living, transformative experience.

Act I: Armide, a warrior princess and sorceress, is praised by her confidantes Phénice and Sidonie for her victory over the Crusaders whom she has taken captive. However, Armide expresses her anger and frustration because she has not been able to prevail over Renaud, the most valiant of the Christian knights. Armide’s uncle, Hidraot, urges his niece to choose a husband, but she declares that were she to yield to love she would only consider someone who could conquer Renaud. Amidst the celebration of Armide’s victory, Aronte, who was guarding the prisoners, enters mortally wounded, announcing the prisoners’ rescue by Renaud. Armide and Hidroat swear that such an enemy will not escape their vengeance.
Act II: Artémidore, one of the knights rescued by Renaud, praises his rescuer and asks him to flee the place where Armide rules. Renaud assures Artémidore that his heart is safe from Armide’s enchantment. Hidraot and Armide conjure up demons to put Renaud to sleep. The hero admires his surroundings and sits down to rest. The demons, in the shape of nymphs and shepherds, weave their spells over Renaud. Armide enters, intending to kill Renaud as he sleeps. Instead, she is overcome by love for him, and decides that her triumph, thanks to her spells, would be to bring Renaud into her power and have him love her. She asks the demons to transform themselves into zephyrs to carry her and Renaud far away.
Act III: Armide deplores the conquest of her heart by Renaud. Phénice and Sidonie urge Armide to abandon herself to love, but Armide is troubled because, while she is in love with him, he is bound to her only by her spells. Armide invokes the spirit of Hate to rescue her from her love for Renaud. Hate and her followers perform a powerful invocation, but Armide cannot give up Renaud, and she sends Hate away. Hate curses Armide, condemning her to the punishment of endless love.
Act IV: Two of Renaud’s companions, Ubalde and the Danish Knight, are searching for their hero to rescue him from Armide. They manage to resist the temptations and dangerous delights set in their path by Armide.
Act V: Armide and Renaud declare their passion but Armide is haunted by a dark foreboding, and wishes to consult the Underworld. She retires and leaves the Pleasures and a troop of Fortunate Lovers to amuse Renaud. In her absence, Ubalde and the Danish Knight discover Renaud and break Armide’s spell. She returns in time to confront Renaud as he leaves, imploring him to take her with him as a captive if he will not remain as her lover. For Renaud, Duty and Glory demand that he leave her, but he pities her fate. Armide, left alone, laments her love and the horror of her torment, and declares that the hope of vengence is all that remains to her. Armide then bids the demons destroy her enchanted palace, hoping to bury forever her cursed love.