You limited your search to:

  Partner: UNT Music Library
 Decade: 1700-1709
Recueil d'airs serieux et a boire de differents auteurs : pour l'année 1701.

Recueil d'airs serieux et a boire de differents auteurs : pour l'année 1701.

Date: 1701
Creator: Lully, Jean Baptiste, 1632-1687
Description: Contains songs by various composers with figured bass. French or Italian words. Issued in 12 monthly installments.
Contributing Partner: UNT Music Library
Proserpine : tragedie mise en musique

Proserpine : tragedie mise en musique

Date: 1707
Creator: Lully, Jean Baptiste, 1632-1687
Description: With Proserpine, composer Jean-Baptiste Lully returned to his collaboration with librettist Philippe Quinault, which had been interrupted when the poet was banned from Court for offending Madame de Montespan (the king's mistress) with unflattering references in Isis. By 1679, Quinault had been restored to favor. Proserpine was first performed at St. Germain-en-Laye in February of 1680. Though seventeenth-century audiences were familiar with the story of Proserpine being carried off into Hades from numerous ballets and stage plays, Quinault returned to the source in Ovid's Metamorphoses to embellish the plot. In addition to details drawn from Ovid, Quinault added some of his own, making Proserpine among the most convoluted of Lully's operas. While the prologue alludes to King Louis XIV in the guise of Jupiter, the play itself refers specifically to the king's recent victories over the Spanish and Dutch when Jupiter battles and defeats the giants. Robert Isherwood notes that Jupiter's trip to Phrygia may represent Louis' inspection of Flanders after its defeat in 1679.
Contributing Partner: UNT Music Library
Roland. Tragédie mis en musique

Roland. Tragédie mis en musique

Date: 1709
Creator: Lully, Jean Baptiste, 1632-1687
Description: Roland is one of three operas by composer Jean-Baptiste Lully and librettist Philippe Quinault based on the medieval legends of chivalry (the other two are Amadis and Armide). This is the second edition. Roland sets episodes from Ludovico Ariosto's Orlando furioso. And, like its sibling Armide, Roland centers on the conflict between duty and love. Acts I-III portray this conflict within Angélique, Queen of Cathay, while the remaining acts concern Roland's unrequited love for Angélique, which is resolved only when the goddesses Glory and Fame show him that this too is a struggle between duty and love.
Contributing Partner: UNT Music Library
Atys; tragedie mise en musique

Atys; tragedie mise en musique

Date: 1709
Creator: Lully, Jean Baptiste, 1632-1687
Description: Atys, which premiered on 10 January 1676, is the first of the tragédies lyriques of Jean-Baptiste Lully and Philippe Quinault to have a tragic ending. As the Prologue indicates, the tragedie itself is a divertissement to ease the king's mind of his impending duties. Joyce Newman, in Jean-Baptiste de Lully and his Tragédie Lyriques, summarizes the message of the story in this way: "In [Atys], Quinault shows how actions which are not in accord with the noble ideal will bring defeat and punishment. Not only is love in opposition to glory in this opera, but also it is shown that if love is place more highly than honor, it will bring unhappiness even to one of the immortals."
Contributing Partner: UNT Music Library
Phaëton. Tragedie mise en musique

Phaëton. Tragedie mise en musique

Date: 1709
Creator: Lully, Jean Baptiste, 1632-1687
Description: Like many of the operas created by composer Jean-Baptiste Lully and Philippe Quinault, his favorite librettist, Phaëton is filled with solar symbolism--a reference to the "Sun King," Louis XIV. The story also provides a political lesson: the haughty youth unable to contend with his position of power served as a warning to anyone brash enough to challenge the rigid mores of Louis' court. In addition to this political interpretation, the story is also a character study of a reckless juvenile whose arrogance destroys him. Phaëton's misguided and inappropriate attempts to make his lineage public bring about his downfall. The plot, like that of several of Lully's operas, is based on an episode in Ovid's Metamorphoses.
Contributing Partner: UNT Music Library
Nouvelles parodies bachiques, mélées de vaudevilles ou ronde de table

Nouvelles parodies bachiques, mélées de vaudevilles ou ronde de table

Date: 1700
Creator: Ballard, Christophe, 1641-1715.
Description: This a copy of vol. 2 of an anthology of French songs compiled by Christophe Ballad, music publisher of King Louis XIV. The work consists mainly of unaccompanied melodies with underlaid text for selected acts of the following tragedies: Proserpine (pp. 1-19); Le triomphe de l'amour (pp. 20-60); Persée (pp. 61-81); Phaeton (pp. 62-94); Amadis (pp. 95-125); Roland (pp. 126-155); Armide (pp. 169-176); Acis et Galatée (pp. 177-192). It contains also melodies for "Ballet du temple de la Paix" (pp. 156-168), and Vaudevilles on rondes de table (pp. 193-264). Two previous editions, compiled by Monsieur Ribon, published under title: Parodies bachiques. Cf. RISM, v. B I, 1 1695(4) and 1696(1), present ed. listed as 1700(3).
Contributing Partner: UNT Music Library
Atys : tragedie

Atys : tragedie

Date: 1708
Creator: Lully, Jean Baptiste, 1632-1687
Description: Atys, which premiered on 10 January 1676, is the first of the tragédies lyriques of Jean-Baptiste Lully and Philippe Quinault to conclude with a tragic ending. Joyce Newman, in Jean-Baptiste de Lully and his Tragédie Lyriques, summarizes the message of the story in this way: In [Atys], Quinault shows how actions which are not in accord with the noble ideal will bring defeat and punishment. Not only is love in opposition to glory in this opera, but also it is shown that if love is placed more highly than honor, it will bring unhappiness even to one of the immortals.
Contributing Partner: UNT Music Library
Tancrède:  tragédie

Tancrède: tragédie

Date: 1702
Creator: Campra, André, 1660-1744
Description: André Campra’s Tancrède, which premiered on 7 November 1702, is his best-known tragédie en musique, with a run of performances until 1764, and high praise by noteworthy music personalities such as Rameau. While the music critic La Cerf de la Viéville wrote positive comments about Tancrède, he was bothered by the opera’s use of low voices, which defied the tradition of employing castrati parts. Additionally, the role of Clorinda was written for a well-known contralto named Mademoiselle Maupin; although the range is that of a mezzo-soprano, the powerful quality of Maupin’s voice seemed to be a prime consideration for Campra.
Contributing Partner: UNT Music Library
Omphale, tragedie en musique

Omphale, tragedie en musique

Date: 1701
Creator: Destouches, M. (André Cardinal), 1672-1749
Description: Omphale (1701) is one of Destouches’s contributions to the Lullian genre of the five-act tragédie en musique. Half a century after the premiere, Friedrich Melchior Grimm targeted the opera in his pamphlet “Lettre sur Omphale” (1752), which continued the earlier debate between advocates of Lully and Rameau. This written attack also precipitated the famous guerre des bouffons, which was sparked by a performance of Pergolesi’s La serva padrona (1733) in 1752.
Contributing Partner: UNT Music Library
Songs in the new opera call'd Arsinoe, queen of Cyprus

Songs in the new opera call'd Arsinoe, queen of Cyprus

Date: 1705
Creator: Clayton, Thomas, 1673-1725
Description: Thomas Clayton’s first opera, Arsinoe, Queen of Cyprus, premiered at Drury Lane in London on 16 January 1705. The opera initially enjoyed success, but two years later, Clayton’s second opera was not well-received. Part of Arsinoe’s popularity may have been due to Catherine Tofts' portrayal of the title character; Toft would later become a star of the English stage.
Contributing Partner: UNT Music Library