Name: Armide
Start: 2022-08-11T00:00:00.000Z
End: 2022-08-14T00:00:00.000Z
Location: Lillian Piercey Concert Hall

Organization

Halifax Summer Opera Festival

Conductor

Melissa Doiron

Stage director

David Mosey

Nina Scott-Stoddart

Choreographer

Andrew Pelrine

Pianist

Giancarlo Scalia

Chorus master

Maureen Batt

Costume designer

Singer

Soprano

Megan Cullen

Armide

Agnès Ménard

Tenor

Colin Frotten

Renaud

Vivien Illion

Phenica

Claire Hartlen

Sidonie

Joanna Loepp Thiessen

Mezzo-soprano

Sarah Storms

La Haine

Joelle Kontos

Baritone

MarKo Hubert

Ubalde

fransk

Armide -  (Armida)

Halifax

Canada

Lillian Piercey Concert Hall

Armide Gluck

Public

Armida

Approved

In 1777, the German composer Christoph Willibald Gluck, who was living and working in Paris, daringly decided to set Quinault’s libretto for Armide to music. It was daring, because the last composer who set this libretto was the immortal Lully, and with this choice Gluck was basically throwing down the gauntlet to claim mastery over French opera.

The original story is set in Syria during the Crusades. The sorceress Armide, along with the citizens of Damascus, hope to overcome the knight Renaud and his followers. She manages to ensnare her enemy with her magic spells, but, at the moment she raises her dagger to kill him, she finds herself falling in love with him. Armide casts a spell to Renaud him love her in return. Upon returning to her castle, she cannot bear that Renaud’s love is only the work of enchantment. She calls on the Goddess of Hate to restore her hatred for Renaud, but fails to escape from her feelings of love for him. The Goddess condemns Armide to eternal love. Before Armide can return to Renaud, two of his fellow soldiers overcome Armide’s enchantments, rescue Renaud and break Armide’s spell. Renaud manages to escape from Armide, who is left enraged, despairing, and hopeless.

It’s a story about a clash of cultures and about male versus female power, but most of all it’s about the many ways that love can enchant, confuse, torment and destroy us.

There are many wonderful roles for all voice types, and every role has at least a very nice featured solo. The music is mid-Classical, with flavours of late Handel, Haydn, early Mozart and solid French style. We’ll be performing it in French.

English

Forestilling krediteringer (Medvirkende & Produktionshold )

Medvirkende

Produktionshold