Cadmus et Hermione is a tragédie en musique in a prologue and five acts by Jean-Baptiste Lully. print | 1 score (136 f., 271 p.) | Ms. in unidentified hand. The stories focused on a romantic quadrangle or parallelogram: it set a couple of lovers (heroes or royal) against their rivals (kings, gods, sorceresses), with a parallel intrigue involving their attendants. The Opéra-Comique calls it an “Allegory in praise of the King as Sol Invictus”. Print (Form). | With figured bass. The recitative provides clear explanations to the intelligent French listener. France had a strong theatrical tradition; the 17th century was the age of Racine and Corneille. (Additional Physical Form). It’s historically important, but a nullity as an opera. This site uses Akismet to reduce spam. Envy appears, plunges the stage into darkness, and summons a terrible Python from a cave, and foul winds from below. New members are welcome! Libretta by P. Quinault. (Citation). Dido and Aeneas (Purcell) – The Opera Scribe, 134. print | score (2p.L., 225 p.) port.,illus. print | 1 ms. score (211 p.), bound ; 39 cm. In 1671, the Abbé Pierre Perrin and composer Robert Cambert were granted royal licence to found the Académie d’Opéras en Musique et verbe français, and staged the first French opera, Pomone. The father of French opera was an Italian. Most of the music is dull, bar the Africans’ trio, the chorus of the sacrifice to Mars, and the finale. That’s not to mention l’Envie (an angry man in a dress, à la Roger De Bris); the Tyrian princes, whose long ringlets and makeup make them look like members of an early ’80s New Romantic band; or the Nurse, a middle-aged woman played by a man in drag, like one of the Pythons’ pepperpots, pursuing the bass. Following Monteverdi’s Florentine tradition, Lully sacrifices music to the clarity of declamation. Cadmus finds his Hermione – but Juno kidnaps her in her chariot. Users should consult the bibliographic information that accompanies each item for specific information. Print (Form). Cadmus rescues Hermione, while his companion Arbas distracts the women of her retinue – flirting with Charite, and avoiding the Nurse. No. Hurrah! Please contact:  Performing Arts Reading Room. LWV 49 I-Catalogue Number I-Cat. & Quinault, P. (1673) Cadmus et Hermione. Change ), You are commenting using your Google account. vraiment je vous trouve bonne, Air d’Hermione: Ah ! Register now to continue reading Thank you for visiting Gramophone and making use of our archive of more than 50,000 expert reviews, features, awards and blog articles. Cadmus et Hermione Alt ernative. On one level, it’s a fascinating recreation of the 1673 staging, using technology of the time: painted backcloths, moving scenery, gods coming down from chariots, serpents coming out of the floor…. microfilm | 1 ms. score (xlvii, 180 p.) ; 38 cm. Change ), You are commenting using your Facebook account. Nature spirits and worshippers of Pan wait for the rising of the Sun (pronounced “Louis”). It took me, I confess, a while to warm to Lully’s operas; I found the later Rameau more immediately attractive. This article falls within the scope of WikiProject Opera, a group writing and editing Wikipedia articles on operas, opera terminology, opera composers and librettists, singers, designers, directors and managers, companies and houses, publications and recordings.The project discussion page is a place to talk about issues and exchange ideas. Responsibility for making an independent legal assessment of an item and securing any necessary permission ultimately rests with persons desiring to use the item. Arbas and two Africans lurk outside the dragon’s cave, afraid to face the beast. Print (Form). Title Cadmus et Hermione Contributor Names Lully, Jean-Baptiste -- 1632-1687 Quinault, Philippe -- 1635-1688 Much of Lully’s trágedies lyriques consists of recitative accompanied by strings (guitars). Print (Form). After Mademoiselle’s disgrace (exiled because of the Fronde), he became composer to the royal chamber (1653), and eventually surintendant of the king’s chamber music (1661). Livret: French / English. The Sun appears, and banishes the monsters. Similarly, Donald Jay Grout thought “Anyone who plays through the whole score of a Lully opera is likely to emerge from that experience (if he survives it at all) with a confused impression of page upon page of music void of imagination, pale in colour, thin in harmony, monotonous in invention, stereotyped in rhythm, limited in melody, barren of contrapuntal resource and so cut into little sections by perpetually recurring cadences that all sense of movement seems lost in a desert of cliches, relieved all too rarely by oases of real beauty.”. The Library of Congress is hosting the consortium Web site which gives bibliographic information on each item; access to the digital items is provided through links to the holding library's own Web site. It’s only two hours long, but feels longer than some twice its length. For operatic performances, such as Lully’s Cadmus et Hermione and Cavalli’s Egisto (both staged by Benjamin Lazar), Le Poème Harmonique studies in depth the correspondences between ‘period’ aesthetics – use of candles for lighting, authentic gestures and painted sets and machinery – and the aesthetics of modern stage productions. Libretto by Quinault. Cupid brings statues to life to amuse the Princess (cue ballet), and promises to protect her. Only by listening to Lully in context – coming off the back of Monteverdi’s Ulisse and Poppea – did I appreciate him. (Francophone readers should see David LeMarrec’s excellent “Introduction à la tragédie lyrique – quels codes, quel but?”, Carnets sur sol, August 2007.). but Pallas tells him that Jupiter and Juno have ended their quarrel, and the gods will restore Hermione. I was misled by the website promoting this DVD which proclaims that it features "prononciation restituée, travail sur la rhétorique gestuelle et chorégraphique, éclairage à la bougie et recherche sur la machinerie d'époque". Suggested credit line: Library of Congress, Music Division. (Additional Physical Form). It was first performed on 27 April 1673 by the Paris Opera at the Jeu de paume de Béquet. “Its greatest pride was justness of declamation, a characteristically French virtue which does not mark its dryness of expression“. Arbas comes out of hiding, stabs the beast, and pretends to have killed it – but is terrified by its death throes. When their enterprise failed, Lully bought the royal licence. Opéra-Comique, Paris, 2008. Lully, Jean-Baptiste, and Philippe Quinault. "Finale" (Cadmus et Hermione) - J.B.Lully (1632 ... - YouTube “The persistence of the same tonalities and the same stylistic procedures, the absence of rhythm, lead to a monotony of accent. The libretto to Cadmus et Hermione was written by a renowned member of the Académie Française with a score by the king’s brilliant music superintendant. Result: monotony. They fight the prince, but Cupid helps him defeat them with a magic grenade. The young Giovanni Battista Lulli accompanied Louis XIV’s cousin Anne-Marie-Louise d’Orléans, duchess of Montpensier, “the Grand Mademoiselle”, to France as her Italian conversation partner. a convenience, and may not be complete or accurate. Media in category "Cadmus et Hermione (Lully)" This category contains only the following file. The French-language libretto is by Philippe Quinault, after Ovid's Metamorphoses. Change ), You are commenting using your Twitter account. Vignette on t.p. Their sung and danced work has the refinement of courtly entertainments though it is set in a drama of unprecedented consistency and a still Baroque diversity. After what Vincent Giroud calls “a hastily assembled patchwork” the pastoral Les fêtes de l’Amour et de Bacchus (1672), Lully and his librettist Quinault produced the first tragédie lyrique (tr.
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