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Gluck: Armide [Box set]

~ Christoph Willibald Gluck (Composer), Marc Minkowski (Conductor), Choeur des Musiciens du Louvre (Orchestra), Musiciens du Louvre (Orchestra), Mireille Delunsch (Performer), et al.

3.7 out of 5 stars See all reviews (3 customer reviews)

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Product details

Performer: Mireille Delunsch, Charles Workman, Laurent Naouri, Ewa Podles
Orchestra: Choeur des Musiciens du Louvre, Musiciens du Louvre
Conductor: Marc Minkowski
Composer: Christoph Willibald Gluck
Audio CD (10 May 1999)
SPARS Code: DDD
Number of Discs: 2
Format: Box set
Label: Archiv Produktion
ASIN: B000026BO7
Other Editions: MP3 Download

Average Customer Review: 3.7 out of 5 stars See all reviews (3 customer reviews)

Amazon.co.uk Sales Rank: 151,125 in Music (See Bestsellers in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Disc 1:

Samples

Song Title Artist Time Price

1. Armide - Overture Les Musiciens du Louvre 4:23 �0.79

2. Armide / Act 1 - 2. "Dans un jour de triomphe" Fran�oise Masset 2:10 �0.79

3. Armide / Act 1 - 3. "Je ne triomphe pas" Mireille Delunsch 1:05 �0.79

4. Armide / Act 1 - 4. "Qu'importe qu'un captif manque" Nicole Heaston 0:38 �0.29

5. Armide / Act 1 - 5. "Les enfers ont pr�dit cent fois/Un songe affreux" Mireille Delunsch 1:55 �0.79

6. Armide / Act 1 - 6. "Vous troublez-vous d'une image l�g�re" Nicole Heaston 1:00 �0.79

7. Armide / Act 1 - 7. "Armide, que le sang qui m'unit avec vous" Laurent Naouri 1:10 �0.79

8. Armide / Act 1 - 8. "Je vois de pr�s la mort" Laurent Naouri 1:11 �0.79

9. Armide / Act 1 - 9. "La cha�ne de l'hymen m'�tonne" Mireille Delunsch 1:22 �0.79

10. Armide / Act 1 - 10. "Pour vous, quand il vous pla�t" Laurent Naouri 1:19 �0.79

11. Armide / Act 1 - 11. "Contre mes ennemis" Mireille Delunsch 0:46 �0.29

12. Armide / Act 1 - 12. "Si je dois m'engager un jour" Mireille Delunsch 1:02 �0.79

13. Armide / Act 1 - 13."Armide est encore plus aimable/Nos ennemies" ennemies/Suiv.."ennemis/Suivons Sandrine Rondot 3:01 �0.79

14. Armide / Act 1 - 14. Andante Les Musiciens du Louvre 1:19 �0.79

15. Armide / Act 1 - 15. "� ciel! � disgr�ce cruelle! Vincent Le Texier 1:13 �0.79

16. Armide / Act 1 - 16. "Poursuivons jusqu'au tr�pas" Mireille Delunsch 2:01 �0.79

17. Armide / Act 2 - 17. "Invincible h�ros" Yann Beuron 2:25 �0.79

18. Armide / Act 2 - "Le repos me fait violence" / "Fuyez les lieux o� r�gne Armide" / "J'aime la libert�" Charles Workman 2:53 �0.79

19. Armide / Act 2 - 19. "Arr�tons-nous ici" Laurent Naouri 0:46 �0.29

20. Armide / Act 2 - 20. "Esprits de haine et de rage" / "Dans le pi�ge fatal notre ennemi s'engage" Mireille Delunsch 2:22 �0.79

21. Armide / Act 2 - 21. "Plus j'observe ces lieux" Charles Workman 6:00 �0.79

22. Armide / Act 2 - 22. "Au temps heureux o� l'on sait plaire" Valerie Gabail 0:54 �0.29

23. Armide / Act 2 - 23. "Ah! Quelle erreur, quelle folie" Valerie Gabail 1:08 �0.79

24. Armide / Act 2 - 24. Moderato Les Musiciens du Louvre 1:03 �0.79

25. Armide / Act 2 - 25. "On s'�tonnerait moins" Nicole Heaston 2:17 �0.79

26. Armide / Act 2 - 26. "Ah! Quelle erreur, quelle folie" Les Musiciens du Louvre 1:06 �0.79

27. Armide / Act 2 - 27. "Enfin, il est en ma puissance" Mireille Delunsch 2:22 �0.79

28. Armide / Act 2 - 28. "Ah! Quelle cruaut� de lui ravir le jour!" Mireille Delunsch 1:46 �0.79

29. Armide / Act 2 - 29. "Venez, secondez mes d�sirs" Mireille Delunsch 2:05 �0.79

30. Armide / Act 3 - 30. "Ah! Si la libert� me doit �tre ravie" Mireille Delunsch 3:48 �0.79

31. Armide / Act 3 - 31. "Que ne peut point votre art?/Votre amiti� .." Fran�oise Masset 1:40 �0.79

32. Armide / Act 3 - 32. "De mes plus doux regards Renaud sut se d�fendre" Mireille Delunsch 1:02 �0.79

33. Armide / Act 3 - 33. "Que votre art serait beau!" Fran�oise Masset 4:05 �0.79

34. Armide / Act 3 - 34. "Venez, venez, Haine implacable!" Mireille Delunsch 2:32 �0.79

35. Armide / Act 3 - 35. "Je r�ponds � te voeux" Ewa Podles 0:36 �0.29

36. Armide / Act 3 - 36. "Plus on conna�t l'amour" Ewa Podles 2:00 �0.79

37. Armide / Act 3 - 37. Andante Les Musiciens du Louvre 0:41 �0.29

38. Armide / Act 3 - 38. "Amour, sors pour jamais" Ewa Podles 4:12 �0.79

39. Armide / Act 3 - 39. "Sors, sors du sein d'Armide" Ewa Podles 1:26 �0.79

40. Armide / Act 3 - 40. "Suis l'amour, puisque tu le veux" Ewa Podles 1:42 �0.79

41. Armide / Act 3 - 41. "� ciel! Quelle horrible menace!" Mireille Delunsch 1:55 �0.79

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Disc 2:

On this CD:

Armide
Composed by Christoph Willibald Gluck
Performed by Choeur des Musiciens du Louvre, Musiciens du Louvre
with Mireille Delunsch, Charles Workman, Laurent Naouri, Ewa Podles, Fran�oise Masset, Fran�oise Masset, Nicole Heaston, Nicole Heaston, Nicole Heaston, Yann Beuron, Yann Beuron, Brett Polegato, Vincent le Texier, Magdalena Kozen�, Val�rie Gabail
Conducted by Marc Minkowski

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Customer Reviews

3 Reviews

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Average Customer Review

3.7 out of 5 stars (3 customer reviews)

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Most Helpful Customer Reviews

10 of 10 people found the following review helpful:

5.0 out of 5 stars A TALE OF TWO HALVES, 1 Nov 2005

By	DAVID BRYSON (Glossop Derbyshire England) - See all my reviews (TOP 50 REVIEWER) (REAL NAME)

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 love, a kind of downmarket Dido who finally just magicks herself away leaving the rest of them to their own devices, the Christian armies that the earlier acts were supposed to have been about literally nowhere. This in turn highlights two separate sides of the composer's personality - the dramatist and the composer of tableaux. He excelled in both capacities, but it may have been a bit much to expect him to switch from the former role (in the earlier acts) to the latter within the limits of a single work. Gluck was a musical rationalist and reformer, but also a musical politician and in-fighter, and I suspect that in Armide the two sides to his musical personality come into conflict to a certain extent, with the tableau-composer coming out on top. Keen to establish himself in Paris, he took over the traditional libretto used by Lully, involving a lot in the way of ballet-music and set-pieces in the later acts. Whether he would have done this given a freer hand and fewer entrenched interests to placate, I rather doubt. On the other hand, he was very good at that sort of thing, and I feel simply that his best inspiration belongs in these later acts, the gem of the whole work being a long aria for Renaud. This is not to say that there is not a lot of fine stuff in acts I-III as well, the jewel of those being another aria for Renaud, just that these acts are not, by and large, quite the greatest Gluck.

The challenge for the interpreters, on this view, is how to handle the first three acts. The excellent liner-essay tells us about a performance from Toscanini that failed, seemingly because the performers tried to ham up the music as if it were Verdi. If so, that was asking for disaster - this music is not at that kind of voltage, and Minkowski knows better than to treat it as if it were. Taking it for what it is, I would say they all do a first-class job. The cast are largely francophone, and the two Americans sing their French very convincingly too, which is particularly important in the case of Workman as Renaud as he seems to me to get the best music in the entire opera. The direction throughout shows admirable taste and sense of proportion - the demons for instance are very urbane and well-behaved demons, the kind of demons you could safely invite to dinner, and I am astonished that Gluck doesn't try to make any kind of effect out of the diamond shield. Brahms is not known as a musical dramatist and his Rinaldo is one of his less-performed works, but his treatment of the moment in Goethe's text when the diamond shield is displayed is simply awesome.

We are in safe hands with Minkowski in music of this period. Period instruments are of course used, and the scale of the performance is judged exactly. If the earlier acts seem less dramatic than they might have been, my feeling is that that is down to the music not to the performers, who know what to avoid. Armide is not Gluck's greatest work, but it's very fine one and this is a set I wouldn't have wanted to miss. To what extent it will suit other listeners I have no way of knowing, but I have tried to make coherent sense of how it all comes across to me.

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5 of 8 people found the following review helpful:

5.0 out of 5 stars Proof Positive, 24 Jun 2003

By	Anastasia Beaverhausen - See all my reviews

This great masterpiece has found a worthy group of performers to record it. Where would one start to list its many strengths and beauties? The subtle and sublime nature of much of Gluck’s music for this particular work is indescribable. And at other times the pace and sheer demonic drive of the drama, music and singing will leave you breathless. Minkowski and his superlative cast (including Delunsch, Podles and Brett) and orchestra are faultless. Bravo to all involved! Now if Minkowski would also start recording Gluck’s unknown opera seria we are bound to discover even more treasures of this much-neglected composer. I cannot recommend this recording enough. (‘Ifigenia’ conducted by Minkowski is also as impressive). I think a much more intensive Gluck revival is in order.

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1 of 4 people found the following review helpful:

1.0 out of 5 stars Armide without the heroine, 17 May 2007

By	R. Burgess (London UK) - See all my reviews (REAL NAME)

I could not disagree more with previous reviewers of this recording. 'Armide' is a marvellous opera with a wealth of varied and attractive music that deserves to be far better known than it is. Maybe the production at the 2006 Buxton Festival will have helped to advance its cause, but the present recording, the only one now available, does it few favours. So much depends on the portrayal of the long and demanding title role. It requires a true dramatic soprano, which Mireille Delunsch is not. She has a small, rather undistinctive voice and can make little of the many big moments in the score such as Armide's scene at the end of Act 2, much of Act 3 and especially the cataclysmic conclusion of Act 5. In such places her shallow and unvaried tone quality becomes wearing. Some of the other singing is pleasing enough, but the set suffers from another big liability.
Marc Minkowski belongs to the let's-see-how-fast-we-can-take-this school of period band conductors in 18th century music. At every opportunity he whips up the tempo, reducing the players and singers all too often to a gabble. Far from making the opera dramatically exciting, the fast speeds, combined with Minkowski's habitual rhythmical slackness, rob the music of its true vitality and impetus. Whether for this reason or for some other few of the singers make much of the words: both they and the conductor seem to be unaware of Gluck's important precept in the preface to his opera 'Paride ed Elena' that 'singing in opera is nothing more than declamation set to music.' (The character of Aronte in Act 1 is allowed to ignore music and words and, supposedly for dramatic "effect," delivers a crucial announcement in an incomprehensible Schoenbergian speech-song). To set against the over-fast tempi slow pieces are perversely sometimes too slow, too self-consciously "artistic." Potential buyers should also be warned that there are several cuts in the 'divertissement' sections of this very French score, thus depriving us of some delectable songs and dances in what is not an overly long opera.
The movement for authenticity in the performance of Baroque and early Classical music has done wonders for our appreciation of such music, but too often now verges towards the arty and artificial. Gluck's intentions in his famous reform of opera were above all to return to truthfulness to nature: artiness does not help him at all. Those who wish to hear this opera would do better to search out the recording made from the 1982 Christ Church Spitalfields festival. In every department it is superior to the present set and a worthy representation of this wonderful score.

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