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Music : Gluck - Armide / Delunsch, Workman, Naouri, Podles, Beuron, Polegato, Kozená, Les Musiciens du Louvre, Minkowski
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Gluck - Armide / Delunsch, Workman, Naouri, Podles, Beuron, Polegato, Kozená, Les Musiciens du Louvre, Minkowski
by: Christoph Willibald Gluck, Mireille Delunsch, Charles Workman, Marc Minkowski, Les Musiciens du Louvre, Ewa Podles, Laurent Naouri, Françoise Masset, Nicole Heaston, Yann Beuron, Vincent Le Texier, Brett Polegato, Valérie Gabail, Magdalena Kozená, Thierry Grégoire, Jean-Christophe Hurtaud, Sandrine Rondot, Eric Vignau, Marcos Loureiro de Sa, Myriam Sosson, Claire Delgado-Boge
CD-Charts Price: $34.98 Prices subject to change.
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Availability: Usually ships in 7 to 10 days
Binding: Audio CD
EAN: 0028945961620
Format: Box set
Label: Archiv Produktion
Manufacturer: Archiv Produktion
Number Of Discs: 2
Publisher: Archiv Produktion
Release Date: March 01, 1999
Studio: Archiv Produktion
Sales Rank: 179297
Disc 1:- Armide: Ouverture
- Armide: Act I: Scene 1 - Duo: Dans un jour de triomphe (Phenice, Sidonie)
- Armide: Act I: Scene 1 - Air: Je ne triomphe pas (Armide)
- Armide: Act I: Scene 1 - Duo: Qu'importe qu'un captif manque (Sidonie, Phenice)
- Armide: Act I: Scene 1 - Air et Récitatif: Les enfers ont prédit cent fois - Un songe affreux (Armide)
- Armide: Act I: Scene 1 - Air: Vous troublez-vous d'une image légère (Sidonie)
- Armide: Act I: Scene 2 - Introduction et Récitatif: Armide, que le sang qui m'unit avec vous (Hidraot)
- Armide: Act I: Scene 2 - Air: Je vois de pres la mort (Hidraot)
- Armide: Act I: Scene 2 - Air: La chaîne de l'hymen m' étonne (Armide)
- Armide: Act I: Scene 2 - Air: Pour vous, quand il vous plait (Hidraot)
- Armide: Act I: Scene 2 - Récitatif: Contre mes ennemis (Armide, Hidraot)
- Armide: Act I: Scene 2 - Air: Si je dois m' engager un jour (Armide)
- Armide: Act I: Scene 3 - Choeur et Soli: Armide est encor plus aimable - Nos ennemis - Suivons Armide, et chantons (Coryphees, Hidraot, peuples de Damas, Phenice, Sidonie)
- Armide: Act I: Scene 3 - Andante
- Armide: Act I: Scene 4 - Soli et Choeur: Ô ciel! Ô disgrâce cruelle! (Aronte, Armide, Hidraot, Sidonie, Phenice, peuples de Damas)
- Armide: Act I: Scene 4 - Choeur: Poursuivons jusqu' au trépas (Armide, Sidonie, Phenice, Hidraot, Aronte, peuples de Damas)
- Armide: Act II: Scene 1 - Introduction et Récitatif: Invincible héros (Artemidore, Renaud)
- Armide: Act II: Scene 1 - Air: Le repos me fait violence - Duo: Fuyez les lieux ou regne Armide - Air: J'aime la liberte (Renaud, Artemidore, Renaud)
- Armide: Act II: Scene 2 - Introduction et Récitatif: Arrêtons-nous ici (Hidraot, Armide)
- Armide: Act II: Scene 2 - Duo: Esprits de haine et de rage - Récitatif: Dans le piège fatal notre ennemi s'engage (Armide, Hidraot)
- Armide: Act II: Scene 3 - Air: Plus j'observe ces lieux (Renaud)
- Armide: Act II: Scene 4 - Trio: Au temps heureux où l' on sait plaire (Une Naïade, deux coryphées en écho)
- Armide: Act II: Scene 4 - Choeur avec danse: Ah! Quelle erreur, quelle folie (Coryphees)
- Armide: Act II: Scene 4 - Moderato
- Armide: Act II: Scene 4 - Air: On s' étonnerait moins (Une Bergere)
- Armide: Act II: Scene 4 - Choeur avec danse: Ah! Quelle erreur, quelle folie (Nymphes, bergers, bergeres)
- Armide: Act II: Scene 5 - Introduction et Récitatif: Enfin, il est en ma puissance (Armide)
- Armide: Act II: Scene 5 - Air: Ah! Quelle cruauté de lui ravir le jour (Armide)
- Armide: Act II: Scene 5 - Air: Venez, secondez mes désirs (Armide)
- Armide: Act III: Scene 1 - Air: Ah! Si la liberté me doit être ravie (Armide)
- Armide: Act III: Scene 2 - Duo et Récitatif: Que ne peut point votre art? - Votre amitie dans mon sort s'interesse (Phenice, Sidonie, Armide)
- Armide: Act III: Scene 2 - Air: De mes plus doux regards Renaud sut se défendre (Armide)
- Armide: Act III: Scene 2 - Trio: Que votre art serait beau! (Phenice, Sidonie, Armide)
- Armide: Act III: Scene 3 - Air: Venez, venez, Haine implacable! (Armide)
- Armide: Act III: Scene 4 - Récitatif: Je réponds à tes voeux (La Haine)
- Armide: Act III: Scene 4 - Air et Choeur: Plus on connait l' amour (La Haine, la suite de la Haine)
- Armide: Act III: Scene 4 - Andante
- Armide: Act III: Scene 4 - Air et Choeur: Amour, sors pour jamais (La Haine, la suite de la Haine)
- Armide: Act III: Scene 4 - Introduction, Soli et Choeur: Sors, sors du sein d' Armide (La Haine, Armide, la suite de la Haine)
- Armide: Act III: Scene 4 - Solo er Choeur: Suis l' amour, puisque tu le veux (La Haine, la suite de la Haine)
- Armide: Act III: Scene 5 - Air: Ô ciel! Quelle horrible menace (Armide)
Disc 2:- Armide: Act IV: Scene 1: Duo: Nous ne trouvons partout que des gouffres - Récitatif: Allons chercher Renaud (La Chevalier danois, Ubalde)
- Armide: Act IV: Scene 1: Duo: Redoublons nos soins - Récitatif: On voit d'ici le séjour enchanté (Ubalde, le Chevalier danois)
- Armide: Act IV: Scene 2: Air et Choeur: Voici la charmante retraite (Lucinde, demons)
- Armide: Act IV: Scene 2: Musette - Second Air - Musette
- Armide: Act IV: Scene 2: Récitatif: Allons, qui vous retient encore? (Ubalde, le Chevalier danois)
- Armide: Act IV: Scene 2: Trio: Enfin je vois l' amant (Lucinde, le Chevalier danois, Ubalde)
- Armide: Act IV: Scene 2: Ce sceptre d'or peut dissiper une erreur - Duo: Je tourne en vain les yeux de toutes parts (Ubalde)
- Armide: Act IV: Scene 4: Trio: D'où vient que vous vous détournez (Melisse, Ubalde, le Chevalier danois)
- Armide: Act IV: Scene 4: Trio: Pourquoi faut-il encor m'arracher mon amant? (Melisse, Ubalde, le Chevalier danois)
- Armide: Act IV: Scene 4: Duo: Fuyons les douceurs dangereuses (Ubalde, le Chevalier danois)
- Armide: Act V: Scene 1: Introduction et Récitatif: Armide, vous m'allez quitter! (Renaud, Armide)
- Armide: Act V: Scene 1: Duo: D' une vaine terreur pouvez-vous être atteinte (Renaud, Armide)
- Armide: Act V: Scene 1: Duo Aimons nous - Récitatif: Témoins de notre amour extrême (Armide, Renaud)
- Armide: Act V: Scene 2: Chaconne
- Armide: Act V: Scene 2: Solo et Choeur: Les Plaisirs ont choisi pour aile (Un Plaisir, choeur des Plaisirs)
- Armide: Act V: Scene 2: Solo et Choeur: C'est l'amour qui retient dans ses chaines (Un Plaisir, choeur des Plaisirs)
- Armide: Act V: Scene 2: Gracieux
- Armide: Act V: Scene 2: Solo et Choeur: Jeunes coeurs (Un Plaisir, choeur des Plaisirs)
- Armide: Act V: Scene 2: Air sicilien
- Armide: Act V: Scene 2: Air: Allez, éloignez-vous de moi (Renaud)
- Armide: Act V: Scene 3: Récitatif Il est seul (Ubalde, Renaud)
- Armide: Act V: Scene 3: Trio: Notre général vous appelle (Ubalde, Renaud, le Chevalier danois)
- Armide: Act V: Scene 4: Récitatif: Renaud! Ciel! Ô mortelle peine! (Armide, Renaud)
- Armide: Act V: Scene 4: Trio: Il faut partir (Le Chevalier danois, Ubalde, Renaud)
- Armide: Act V: Scene 5: Air: Le perfide Renaud me fuit (Armide)
- Armide: Act V: Scene 5: Récitatif et Postlude: Quand le barbare était en ma puissance (Armide)
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Average Rating: 
Rating: -
It seems to be the general consensus that Armide, while quite good, is not Gluck's strongest work. While that could be true, it certainly is my favorite opera by that composer, and it is extraordinarily performed here. When I bought this, I had was not overly familiar with Gluck's works, having heard 'Paride ed Elena', which is a masterpiece in itself, and is perhaps the most "French" of all of Gluck's Italian operas, as well as the somewhat uninspired recording of 'Iphigénie en Tauride' done by Boston Baroque and Pearlmann. I was also, at that time, unfamiliar with the operas of Lully, Rameau, and even Handel. This, however, inspired me to look into those composers, and now, I would say, after hearing other works by Gluck, that this is ... Read More:
Rating: -
I owned the Philippe Herreweghe / La Chapelle Royale recording of Jean-Baptiste Lully's Tragédie lyrique, 'Armide', long before I bought Minkowski's recording of Gluck's opera. I was eager to learn what Christoph Willibald von Gluck would do with Philippe Quinault's libretto nearly one hundred years later. I think the differences are interesting. Of course, Gluck dropped the prologue, and Gluck's orchestra is considerably different from the one employed by Lully.
In both operas the role of Armide is sung by a soprano and the role of Renaud is sung by an haute-contre (tenor) voice.
I have listened to both operas extensively and I cannot honestly say which one I prefer. The Gluck opera owes a clear debt to Rameau and his experiences ... Read More:
Rating: -
It's possible to get a strong sense that this opera improves as it goes along. That's been my own experience with it, but it's not so easy to account for why. The best I can come up with is that it's not the performance that gives me this feeling but partly the music itself and above all the libretto.
The story seems to me to break cleanly into two distinct parts, the second part starting at act IV. From this point on we have abandoned Damascus and Christian armies and been spirited away to an enchanted island. Apart from the two principals Armide and Renaud (Rinaldo) acts IV and V have an almost completely new cast from the previous acts, and Armide has changed roles from being a powerful sorceress to being just another heroine spurned in ... Read More:
Rating: -
To modern music lovers, Gluck is best-known for his Orpheus and Euridice and, to a lesser extent, for Alceste. But he was also the composer of other operas which deserve to be remembered. Among these operas is Armide, which Gluck composed in 1777 for the Paris Opera. (By that time, he had revised his earlier versions of Orpheus and Alceste for staging in Paris.) In setting Armide, Gluck took the liberetto written by Phillipe Quinault which had been used by the great French composer Lully in his opera, Armide, presented in 1686. Thus, Gluck was deliberately setting himself in competition with the earlier master. After Gluck's opera, other composers have set the Armide story, including Haydn in an opera and Brahms in a cantata, Renaldo.
This ... Read More:
Rating:  -
Having long admired Gluck, the one opera that was missing from my collection was "Armide," but I was not certain if this recording would bring out the dramatic side of his music. (So many modern, "historically-informed" performances of his music don't.) Upon listening, however, I felt that although the singers presented herein are mostly smaller-scale Handelians and Mozartians, they do indeed bring out some of the flavor of this fascinating work.
Unlike Gluck's "Alceste" or "Iphigenie en Tauride," "Armide" is less stark, less strophic, more melodic. One might almost describe it as "radical Mozart." Gluck seemed to be purposely striving here for an opera that was both inherently (which is to say, musically) dramatic and yet tuneful. The result ... Read More:
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