Atys marks the beginning of a new phase in which all extraneous elements are purged in order to concentrate on the drama of the central plot. The opportunity to revisit Atys came courtesy of philanthropist Ronald P. This upsets Cybèle because she too loves Atys and has bestowed the title of high priest on him. He invited them, once more, into a room with a beauty that was unforgettable. Directors: , Starring: , Composer: Conductor: » Lully: Atys Blu-ray Review It's not nice to fool Mother Nature. The ballet had been a favorite entertainment in itself, and it now became an important element in French opera.
Atys follows the tradition of tragédie en musique by being cast in five acts prefaced by a prologue. Scene 1 commences immediately with a dialogue between Sangaride and Atys. This becomes even clearer to the viewer when the company takes its bows and curtsies, with the prominent members of the cast doing so individually. The music is full of nuances, and contrast between the drowsy utterances of Sommneil, Morphee, and Phobetor, on the one hand and the harsh, strident warnings of the ''Songes Funestes'' on the other. Although many Venetian traditions were not appreciated by the French, Lully and his librettist Quinnault clearly accepted the sleep scene type. Needless to say, Cybèle will have none of it, and while things may not be as deathly as, say, the final few moments of Hamlet, there are a couple of deceased major characters onstage by the time Atys winds up its story. The most striking and original music of the opera occurs in the Third Act where Lully treats his audience to one of his undoubted specialities, a sleep scene of the kind that he introduced so effectively into Armide, ten years later.
He used to say that a friar gave him his first music lessons and taught him guitar. In 1653 he appeared alongside the young in the Ballet royal de la Nuit. With an opulent but not overblown production, this Atys is a joy to watch and hear, and it comes Highly recommended. The purpose was to recreate the twenty-five year old production as it was. For the next four hours, we will live among them. Lully was an early influence on the development of French opera. There is destabilization, and it is brought, sometimes forcibly, back in line.
We go through an emotional and intellectual moment of change. The greatest musical achievement was perhaps that of the gorgeously blended and impeccably coordinated chorus. The style dominated opera in France for much of the century. Christie has grown more willing to go off on his own. The mezzo-soprano role of Cybele is sung by Guillemette Laurens; her strong clear voice suites the part though her intonation is weak in places. Act V The final act takes place in the pleasant gardens.
In the engraving, he stands to the left, on the lowest level, his right arm extended and holding a scroll of paper with which to beat time. This upsets Cybèle because she too loves Atys and has bestowed the title of high priest on him. In this way both figures are connected with the action of the seasons—the central theme of the Prologue. From 1661 on, the trios and dances he wrote for the court were promptly published. The sound poured into the near-darkness. Deeply regretting her immortality, which gives her no respite from her suffering, Cybele is left mourning over a love that has for ever been snatched away from her. But one must question the decision to just repeat a prior success when so many other French Baroque operas have still not even been seen once in New York.
As with all of Quinault's librettos for 11 in all , the story is drawn from classical literature -- in this case from Ovid's Fasti. At the age of 12 he went to Paris, where he received his musical training. Fidelity is top notch and dynamic range, despite the period instruments which don't always have the facility that modern instruments do, is quite impressive. Atys plays almost like a chamber opera at times, despite its mythic setting and its larger than life characters, not to mention a rather large ensemble. His operas were immensely popular and continued to be performed long after his death. The prince was also very fond of Lully and showered him with benefits in a most gracious way. But Baroque operas depict characters at war with the display of their own feelings.
In like manner the chorus performed in several combinations: the entire chorus, the chorus singing as duos, trios or quartets, the dramatic chorus, the dancing chorus. Recorded Studio 103 de la Maison de Radio France, January 1987. Grout, A Short History of Opera 1947; 2d ed. And the Compagnie Fêtes Galantes executed the plentiful choreography by Francine Lancelot and Béatrice Massin with an elegance that was consistently riveting. Sangaride arrives in Scene 6 and begs Cybèle to stop her wedding to King Celenus because she does not love him.
Macy accessed July 24, 2006 , subscription access. Christie had his singers take. In the Prologue to Atys, the ancient gods and the king are arranged in an imaginary space, where they can enjoy a certain community, in this case played out as a querelle between Time and Memory Fame. Unlike Italian opera of this period, from which the chorus had disappeared, the chorus plays a major role not only in the prologue, but as participants in the drama itself. At the same time, Lully was writing music and achieving a reputation as a composer.
The art of ornamentation was part of the training of 17th-century singers; it was expected that they would embellish their solo arias in a skillful, tasteful manner. The first public performance took place at the Paris Opéra in April that year. The development of his instrumental style can be discerned in his. As Melpomene, the muse of tragedy, enters, parading the heroes of antiquity, the Harlequins continue their antics, one taking over the part of Zephir. In this new recording from Harmonia Mundi William Christie has used the same musical resources that he drew upon for his highly successful and illuminating performances at the Salle Favart in Paris earlier this year. Lully cannot strictly be called the creator of French opera, since other French composers had already written a few operas.