Armide (Gluck)
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| Operas by Christoph Willibald Gluck |
|---|
Le cinesi (1754) |
Armide is an opera by Christoph Willibald Gluck, his fourth for the Parisian stage and the composer's own favourite among his works. It was first performed in Paris at the Académie Royale on September 23, 1777.
Gluck set the same libretto Philippe Quinault had written for Lully in 1686, based on Torquato Tasso's Gerusalemme liberata (Jerusalem Delivered). Gluck seemed at ease in facing French traditions head-on when he composed Armide. 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. A similar attempt to write a new opera to the libretto of Thésée by Jean Joseph de Mondonville in 1765 had ended in disaster, with audiences demanding it be replaced by Lully's original. By utilizing Armide, Gluck challenged the long-standing and apparently inviolable ideals of French practice, and in the process he revealed these values capable of renewal through "modern" compositional sensitivities. Critical response and resultant polemic resulted in one of those grand imbroglios common to French intellectual life. Gluck struck a nerve in French sensitivities, and whereas Armide was not one of his more popular works, it remained a critical touchstone in the French operatic tradition and was warmly praised by Berlioz in his Memoirs. Gluck also set a minor fashion for resetting Lully/Quinault operas: Gluck's rival Piccinni followed his example with Roland in 1778 and Atys in 1780; in the same year, Philidor produced a new Persée; and Gossec offered his version of Thésée in 1782. Gluck himself is said to have been working on an opera based on Roland, but he abandoned it when he heard Piccinni had taken on the same libretto.
Contents |
[edit] Roles
| Role | Voice type | Premiere Cast, September 23, 1777 [1] (Conductor: - ) |
|---|---|---|
| Armide, a sorceress, Princess of Damascus |
soprano | Rosalie Levasseur |
| Renaud, a Crusader | tenor | Joseph Legros |
| Phénice, Armide's confidant | soprano or mezzo-soprano | |
| Sidonie, Armide's confidant | soprano | |
| Hidraot, a magician, King of Damascus |
baritone | |
| Hate | contralto | |
| The Danish Knight, a Crusader | tenor | |
| Ubalde, a Crusader | baritone | |
| Aronte, in charge of Armide's prisoners |
baritone | |
| Artémidore, a Crusader | tenor | |
| A naiad | soprano or mezzo-soprano | |
| Spirits, demons, soldiers, citizens of Damascus, nymphs, shepherds | ||
[edit] Synopsis
For the storyline, see Armide by Lully. Gluck kept the libretto unchanged, although he cut the allegorical prologue and added a few lines of his own devising to the end of Act Three. Similarly, the roles and the disposition of the voices are the same as in Lully's opera.
[edit] Selected recordings
- Armide: Armide (Mireille Delunsch), Renaud (Charles Workman), La Haine (Ewa Podles), Hidraot (Laurent Naouri); Les Musiciens du Louvre, Marc Minkowski (Deutsche Grammophon Archiv, 1999)
[edit] External links
- Free score at the International Music Score Library Project (French)
- Libretto (Italian)
[edit] References
- ^ Roles and premiere cast from The New Kobbés Opera Book (1997), Earl of Harewood and Antony Peattie, eds. (G.P. Putnam's Sons: New York).
