{"id":12053,"date":"2025-03-13T15:54:52","date_gmt":"2025-03-13T14:54:52","guid":{"rendered":"https:\/\/cappellamediterranea.com\/post-discographie\/suite-darmide\/"},"modified":"2025-06-06T15:03:17","modified_gmt":"2025-06-06T13:03:17","slug":"suite-darmide","status":"publish","type":"post-discographie","link":"https:\/\/cappellamediterranea.com\/en\/post-discographie\/suite-darmide\/","title":{"rendered":"Suite d’Armide"},"content":{"rendered":"\n
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The Regent was also… a composer! And a talented one, as evidenced by this Suite d’Armide<\/em>, based on Tasso’s La Gerusalemme liberata<\/em>, recorded in its complete version for the first time. <\/h4>\n\n\n\n
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“Une red\u00e9couverte qui a tout d’une r\u00e9v\u00e9lation.\r\nOn pourrait croire qu’il s’agit d’une curiosit\u00e9, mais c’est tout le contraire. Servi par un cas impeccablement choisi, cet enregistrement […] soulev\u00e9 par la direction ardente de Leonardo Garc\u00eda-Alarc\u00f3n, met en lumi\u00e8re un compositeur pour le moins inattendu et une \u0153uvre singuli\u00e8re.”<\/p>\n

Charles Sigel<\/p>\n <\/div>\n

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“Veillant au relief expressif et aux \u00e9quilibres t\u00e9nus entre chant et somptuosit\u00e9s orchestrales, le chef Leonardo Garc\u00eda-Alarc\u00f3n d\u00e9montre une plasticit\u00e9 flexible, une \u00e9loquence particuli\u00e8rement vive et color\u00e9e, d\u00e9voilant toutes les p\u00e9pites d’une partition visionnaire qui assume toutes ses audaces. […] Sous la plume de Philippe d’Orl\u00e9ans, servie par des interpr\u00e8tes aussi engag\u00e9s, la sc\u00e8ne envo\u00fbte, s’embrase, captive.”<\/p>\n

Camille de Joyeuse<\/p>\n <\/div>\n

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\u00ab\u00a0M\u00eame si l’on peut supposer que le prince s’est fait seconder par Gervais, son ma\u00eetre de composition, cette Suite d’Armide r\u00e9v\u00e8le un talent certain, une grande sensibilit\u00e9, une r\u00e9elle ma\u00eetrise des techniques de composition, mais surtout une grande originalit\u00e9, tant dans la forme que dans l’inspiration.\u00a0\u00a0\u00bb<\/p>\n

Thomas Leconte<\/p>\n <\/div>\n <\/div>\n <\/div>\n\n

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A royal music<\/h2>\n\n\n\n

La J\u00e9rusalem d\u00e9livr\u00e9e ou La Suite d’Armide<\/em>, a musical tragedy in a prologue and five acts by the future Regent Philippe d’Orl\u00e9ans, was composed in the early 18th<\/sup> century and performed by the King’s Band at Fontainebleau, in the ch\u00e2teau’s Galerie des cerfs, on October 17, 1712, probably in the presence of Louis XIV. Philippe d’Orl\u00e9ans’s music master at the time was the composer Charles-Hubert Gervais, a remarkable musician who shared with his pupil a pronounced taste for the Italian style. In 1705, with the help of the same Gervais, Philippe d’Orl\u00e9ans had already had another opera, Penth\u00e9e<\/em>, performed at the Palais-Royal. The two works share many common features, starting with a highly atypical style and orchestration, far removed from what was then heard at the Acad\u00e9mie royale de musique. Seduced by this previously unpublished score, Leonardo Garc\u00eda-Alarc\u00f3n and his musicians took up the challenge and recreated the work for the CVS label. <\/p>\n\n\n\n

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