For any enthusiast of Baroque music, the production of Lully's Armide at the Theatre des Champs Elysées, directed by William Christie and staged by Robert Carsen, was an exceptional event. The last and most successful collaboration between Lully and his librettist Quinault, Armide is the ideal of the genre as desired by Louis XIV: a tragic opera that achieves the perfect fusion of music, song and dance. William Christie leads the orchestra and chorus of Les Arts Florissants and a dazzling cast. Stephanie D’Oustrac is the imperious sorceress Armida, overcome by the violence of a forbidden passion.
‘Perhaps the best of all my works’, said Gluck of his Armide. But this, the fifth of his seven ‘reform operas’, has never quite captured the public interest as have Orfeo, Alceste, the two Iphigenies and even Paride ed Elena. Unlike those works it is based not on classical mythology but on Tasso’s crusade epic, Gerusalemme liberata. No doubt Gluck turned to this libretto, originally written by Quinault, to challenge Parisian taste by inviting comparison with the much-loved Lully setting. Its plot is thinnish, concerned only with the love of the pagan sorceress Armide, princess of Damascus, for the Christian knight and hero Renaud, and his enchantment and finally his disenchantment and his abandonment of her; the secondary characters have no real life. Its style, largely determined by the structure of the libretto, is closer to the French tragedie-lyrique traditions than are Gluck’s more familiar operas, with its short airs gliding into arioso and recitative.
The playing and singing of Hickox’s own orchestra and chorus are always mindful of stylistic matters, crisp and airy in the sensuous dance music, urgent and theatrical (in the best sense) in passionate sections of the score, which Hickox holds together in exemplary manner (Gramophone Magazine). Hickox conducts with a fine sense of theatre, as well as an aptly Gluckian restraint…Palmer is remarkable at her best, and her duet with Rolfe Johnson ('Armide, vous m'allez quitter') is memorably done (International Record Review).
Twenty-four years ago, William Christie and Les Arts Florissants premièred Jean-Baptiste Lully s opera Atys at the Opéra Comique in Paris. It was a smashing success, and marked a pivotal moment in the history of period performance practice. Christie became a tireless champion of the music of Lully and helped rehabilitate the composer s once stodgy reputation. In Armide, the tragédie en musique (a genre that Lully and his librettist Quinault jointly invented) reaches its peak of emotional and musical expression. Robert Carsen s highly acclaimed 2008 production of Armide at the Théâtre des Champs-Elysées rekindled interest in French Baroque music. On this new video from FRA Musica, filmed at the Château de Versailles, Carsen and stage director Jean-Claude Gallotta present an opulent and powerful vision of Lully s poignant masterpiece.
Today we take high fidelity sound quality for granted, but how did it start? When was the moment when compressed and scratchy sound gave way to natural, realistic sound that captured the whole picture of a performance?
Decca Sound ‘Mono Years’ seeks to answer that question and shows how, 70 years ago, amidst war-time privations, a small team at Decca made technological breakthroughs that brought hi-fi to the world. This latest cube explores Decca’s earliest high-fidelity history, and restores some restores critically acclaimed albums from ensembles such as the Trio di Trieste, Quintetto Chigiano and Griller Quartet which have not been available since their original LP release more than sixty years ago. An equally impressive array of soloists includes pianists Clifford Curzon, Julius Katchen, Friedrich Gulda and Moura Lypmany and violinists Ruggiero Ricci and Alfredo Campoli. Several generations of cellists are represented with recordings by Pierre Fournier, Maurice Gendron and Zara Nelsova.