Armide (Lully)

Armide was first performed on 15 February 1686 by the Paris Opera at the Théâtre du Palais-Royal, with scenery by Bérain, in the presence of the Grand Dauphin.

[4] Between 1686 and 1751 Armide was mounted in Marseilles, Brussels, Lyon, Lunéville and perhaps Metz, and was also produced abroad in The Hague, Berlin (with revisions by Carl Heinrich Graun) and apparently, in two concert performances, in Rome.

[5] On 5 November 2005, almost 320 years later, Opera Atelier of Toronto gave Armide its North American premiere under conductor Andrew Parrott and music director David Fallis.

Roughly eight decades following Monteverdi's L'Orfeo, Jean-Baptiste Lully produced Armide with his longtime collaborator, playwright Jean-Philippe Quinault.

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".

Though not elaborate in terms of orchestration, the techniques of dramatic interpretation of rhythm, impressive use of stressing on downbeats, and exaggerated use of rests beautifully complicate this piece.

Renaud had taken on the heroic and courageous duty of freeing these knights, much to the vexation of Armide, who now plans to murder him as quickly and swiftly as she can, while he is fast asleep under her magical spell.

A stark sense of hesitation washes over her, and her voice grows softer and more full of doubt as she finds herself unexpectedly falling in love with her sworn enemy.

Directed by Jean-Luc Godard, it is set in a gym and uses a selection of music from Philippe Herreweghe's first recording of the opera with Rachel Yakar in the title role.