TY - JOUR
AU - Sawkins, Lionel
AB - text of Quinault that attracted as much comment or crit- icism as Lully’s music; the subject and much of the libretto itself was approved by the king’s Petite Académie before any music was written, and composer and librettist worked together throughout the compositional process. Armide was particularly admired both at the time of its creation and for long afterwards for the monologue in recitative in Act 2 (cited by Rameau as a model of the genre) and especially for its dénouement , in which Armide, unsuccessful in overcoming the warrior Renaud, and bent on vengeance, invokes her powers to bring her palace crashing down in ruins, a scene long regarded as of unsur- passable emotional intensity (and one which called for, naturally enough, ingenuity on the part of the stage machinists, something which their audiences had long come to expect). In the wake of two earlier revivals of Lully/Quinault operas this year in Paris (see Early Music , xxxvi/2 (May 2008), pp.347 – 8), the staging of Armide was eagerly antic- ipated, notably as William Christie was to be responsible for musical direction with his Arts Florissants . In the event, the performances at the Théâtre des Champs Ely- 
TI - Armide in Paris
JO - Early Music
DO - 10.1093/em/can143
DA - 2009-02-01
UR - https://www.deepdyve.com/lp/oxford-university-press/armide-in-paris-YSh0vDTv2m
SP - 146
EP - 148
VL - 37
IS - 1
DP - DeepDyve
ER -