Offer, Lully: Armide

Antonio Figueroa, Marie-Claude Chappuis, Marc Mauillon, Douglas Williams, Cyril Auvity, Etienne Bazola, Marie-Adeline Henry, Judith van Wanroij, Emiliano Gonzalez Toro & Marie-Claude He

Chœur de Chambre de Namur, Les Talens Lyriques, Christophe Rousset

It is no accident that the most-recorded sections of Armide are the anti-heroine’s monologues. In Christophe Rousset’s exquisitely produced live recording, these are delivered with appropriate... — BBC Music Magazine, August 2017, 4 out of 5 stars More…

Release Date: 19th May 2017
Catalogue No: AP135
Label: Aparté
Series: Christophe Rousset Lully Operas
Length: 2 hours 27 minutes

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July 2017

Editor's Choice
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2018

Nominated - Complete Opera Recording
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Lully: Armide

Work length2:27:16

$58.60

$73.25

$85.00

Cyril Auvity, Marie-Claude Henry, Marie-Claude Chappuis, Antonio Figueroa, Judith van Wanroij, Douglas Williams, Emiliano Gonzalez Toro, Etienne Bazola, Marie-Adeline Henry, Marc Mauillon
Chœur de Chambre de Namur, Les Talens Lyriques
Christophe Rousset

Prologue: Ouverture

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Prologue: Tout doit céder dans l'univers (La Gloire, la Sagesse et sa suite)

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Prologue: D'une égale tendresse (La Gloire, la Sagesse et leurs suite)

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Prologue: Entrée

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Prologue: Menuet

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Prologue: Gavotte

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Prologue: Suivons notre héros, que rien ne nous sépare (La Gloire, la Sagesse et leurs suites)

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Prologue: Entrée

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Prologue: Menuet

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Prologue: Que dans le temple de mémoire (Chœur)

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Prologue: Ouverture (reprise)

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Acte premier, scène I: Dans un jour de triomphe, au milieu des plaisirs (Armide, Sidonie, Phénice)

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Acte premier, scène I: Je ne triomphe pas du plus vaillant de tous (Sidonie, Armide)

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Acte premier, scène II: Armide, que le sang qui m'unit avec vous (Armide, Hidraot)

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Acte premier, scène III: Entrée

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Acte premier, scène III: Armide est encore plus aimable (Chœur, Hidraot)

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Acte premier, scène III: Sarabande "Suivons Armide et chantons sa victoire" - Sarabande "Que la douceur d'un triomphe est extrême" (Sidonie, Chœur, Phénice)

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Acte premier, scène IV: Ô ciel ! Ô disgrâce cruelle ! (Armide, Hidraot, Aronte)

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Acte premier, scène IV: Poursuivons jusqqu'au trépas (Chœur, Armide, Hidraot)

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Acte premier, scène IV: Entracte

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Acte second, scène I: Invincible héros, c'est par votre courage (Renaud, Artémidore)

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Acte second, scène II: Arrêtons-nous ici, c'est dans ce lieu fatal (Armide, Hidraot)

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Acte second, scène III: Plus j'observe ces lieux, et plus je les admire (Renaud)

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Acte second, scène IV: Au temps heureux où l'on sait plaire (une Naïde)

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Acte second, scène IV: Ah ! Quelle erreur ! Quelle folie ! (Chœur)

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Acte second, scène IV: Premier air

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Acte second, scène IV: Second air

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Acte second, scène IV: On s'étonnerait moins que la saison nouvelle (une bergère)

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Acte second, scène IV: Ah ! Quelle erreur ! Quelle folie ! (Chœur)

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Acte second, scène V: Enfin il est en ma puissance (Armide)

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Acte second, scène V: entr'acte

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Acte troisième, scène I: Ah ! Si la liberté me doit être ravie (Armide)

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Acte troisième, scène II: Que ne peut point votre art ? (Armide, Sidonie, Phénice)

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Acte troisième, scène III: Venez, venez, Haine implacable (Armide)

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Acte troisième, scène IV: Je réponds à tes vœux, ta voix s'est fait entendre (Chœur, la Haine)

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Acte troisième, scène IV: Entrée

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Acte troisième, scène IV: Amour, sors pour jamais, sors d'un cœur qui te chasse (Chœur, la Haine)

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Acte troisième, scène IV: Air

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Acte troisième, scène IV: Sors, sors du sein d'Armide, brise ta chaîne (Armide, la Haine)

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Acte troisième, scène IV: entr'acte

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Acte quatrième, scène I: Nous ne trouvons partout que des gouffres ouverts (Ubalde, le Chevalier danois)

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Acte quatrième, scène II: Air "Voici la charmante retraite" (Chœur, Lucinde)

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Acte quatrième, scène II: Gavotte

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Acte quatrième, scène II: Canaries

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Acte quatrième, scène II: Allons, qui vous retient encore ? (Le Chevalier danois, Lucinde, Ubalde)

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Acte quatrième, scène III: Je tourne en vain les yeux de toutes parts (Le Chevalier danois, Ubalde)

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Acte quatrième, scène IV: D'où vient que vous vous détournez (Ubalde, le Chevalier danois, Mélisse)

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Acte quatrième, scène IV: Que devient l'objet qui m'enflamme ? (Le Chevalier danois, Ubalde)

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Acte quatrième, scène IV: entr'acte

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Acte cinquième, scène I: Armide, voous m'allez quitter ! (Armide, Renaud)

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Acte cinquième, scène I: Passacaille

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Acte cinquième, scène II: Les Plaisirs ont choisi pour asile (Choeur, un Amant fortuné)

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Acte cinquième, scène II: Allez, éloignez-vous de moi (Renaud)

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Acte cinquième, scène II: Prélude

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Acte cinquième, scène III: Il est seul; profitons d'un temps si précieux (Renaud, le Chevalier danois, Ubalde)

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Acte cinquième, scène IV: Renaud ! Ciel ! Ô mortelle peine ! (Renaud)

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Acte cinquième, scène V: Le perfide Renaud me fuit (Armide)

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Acte cinquième, scène V: Prélude

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Following the huge success of 'Bellérophon', 'Phaéton' and 'Amadis', Aparté presents the highly-awaited rediscovery of 'Armide' by Les Talens Lyriques and Christophe Rousset, served by an impeccable cast, as the grand finale of their Lully recordings.

'Armide' is in the form of a tragédie en musique, a genre invented by Lully and Quinault, and was their last collaboration. It was a new form of opera that combined elements of classical French drama with ballet, French song and a new form of recitative. Critics in the 18th century regarded 'Armide' as Lully's masterpiece and it continues to be well-regarded, featuring some of the best-known music in French baroque opera and being arguably ahead of its time in its psychological interest. The subject, chosen for Lully by King Louis XIV, is the enchantress Armide’s unhappy love for the knight Renaud, drawn from Tasso’s 'Gerusalemme liberata'.

Numbered limited edition!

Reviews

August 2017

It is no accident that the most-recorded sections of Armide are the anti-heroine’s monologues. In Christophe Rousset’s exquisitely produced live recording, these are delivered with appropriate ferocity and charisma by Marie-Adeline Henry. The orchestral accompaniment is vivacious, with attentive and imaginative continuo playing, plenty of bite from the strings, and even more bite when La Haine (an abrasive Marc Mauillon) appears.

26th May 2017

With its vivid central role for the sorceress Armide, in which soprano Marie-Adeline Henry here casts a potent spell, the opera captivatingly mixes fantasy and human passion. The many attractive passages of dance, a staple of French Baroque opera, elicit playing of subtle orchestral sonorities from Christophe Rousset and Les Talens Lyriques

July 2017

Les Talens Lyriques play with consummate mastery of elegantly swaying inégales, fizzy brilliance or suave dancelike gestures as each moment in Lully's score demands...Marie-Adelaide Henry captures the full measure of Armide's conflicting emotions, and the undercurrent of theatrical tensions produced by Rousset and his band indicates why Rameau judged this sensational music to be worthy of analytical praise.

23rd June 2017

Rousset is, of course, a whizz with this sort of repertoire, and he has the finest feeling for this whole lost musical world…there is tremendous class and élan throughout … Rousset brilliantly recaptures the feel of the French court as though it were all in a day’s work … The cast of singers he has assembled is formidable, and worthy of the challenge. In particular, Marie-Adeline Henry in the title role has a magnificent sit-up-and-take-notice quality to her voice

July 2017

The performance, recorded live at the Philharmonie in Paris, is outstanding. It is rightly dominated by Marie-Adeline Henry’s powerful Armide … a thoroughly satisfying cast. Christophe Rousset is indisputably the outstanding Lully conductor of our day, or indeed perhaps any other day … a recorded performance that, thanks largely to Henry’s shattering Armide, I would rate as one of the best of any Lully opera

4th June 2017

Rousset is a state-of-the-art Lulliste, here conducting a memorable cast led by Marie-Adeline Henry’s fierce antiheroine, who rushes headlong into despair and madness...The dance music is irresistibly done. If you don’t know much Lully, this will convert you.

Record Review 11th June 2017

[Henry is] a very powerful singer…she’s somebody who is much freer and expressive than maybe what we would have heard 10 or 20 years ago in a recording of this work … there’s some lovely accompaniment there in the continuo playing, the space they give the singers to develop the passion and the emotion … a fairly theatrical and dramatic rendition of this from very experienced Lully performers

Offer, Lully: Armide

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