Latest content added for UNT Digital Library Partner: UNT Music Libraryhttps://digital.library.unt.edu/explore/partners/UNTML/browse/?sort=date_a&start=20&fq=untl_collection:JBLC2008-01-18T14:03:20-06:00UNT LibrariesThis is a custom feed for browsing UNT Digital Library Partner: UNT Music LibraryRoland. Tragédie mis en musique2008-01-18T14:03:20-06:00https://digital.library.unt.edu/ark:/67531/metadc68/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc68/"><img alt="Roland. Tragédie mis en musique" title="Roland. Tragédie mis en musique" src="https://digital.library.unt.edu/ark:/67531/metadc68/small/"/></a></p><p>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.</p>Thesée; tragedie mise en musique2005-11-08T16:27:30-06:00https://digital.library.unt.edu/ark:/67531/metadc71/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc71/"><img alt="Thesée; tragedie mise en musique" title="Thesée; tragedie mise en musique" src="https://digital.library.unt.edu/ark:/67531/metadc71/small/"/></a></p><p>Thesée, which premiered at the court theater at St. Germain-en-laye on January 11, 1675, was Jean-Baptiste Lully's third tragédie lyrique created in collaboration with librettist Philippe Quinault. As in most of his libretti for Lully, Quinault combines a plot based on a classical source (an episode from Ovid's Metamorphoses) with references to contemporary events. The Prologue alludes to Louis XIV's personal leadership in the military engagements in the Alsace (along the French/German border). The juxtaposition of Venus' entreaties for pleasure with Mars' call to arms reflects a period of unease during which the French armies were in retreat from the armies of the Elector of Brandenburg. This resulted in the unique joining of songs of love with songs of war and victory.</p>Isis; tragedie mise en musique2005-10-17T17:30:51-05:00https://digital.library.unt.edu/ark:/67531/metadc59/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc59/"><img alt="Isis; tragedie mise en musique" title="Isis; tragedie mise en musique" src="https://digital.library.unt.edu/ark:/67531/metadc59/small/"/></a></p><p>Isis, which premiered January 5, 1677, at St. Germain-en-Laye, was the fifth of Jean-Baptiste Lully's tragédies lyriques written with librettist Philippe Quinault. The plot is loosely adapted from one of the episodes in Ovid's Metamorphoses. In many of its essentials, the plot of Isis resembles that of Lully's previous opera, Atys. In Isis, the nymph Io, daughter of the river Inachus, is promised in marriage to Hierax, just as the nymph Sangaride, daughter of the river Sangar, was promised to Celoenus. Like Sangaride, Io is pursued by another love and yields to this love in spite of her feelings of guilt. Like Sangaride, Io has a goddess as a rival and is vulnerable to her jealousy. Lully's contemporaries interpreted this story as representing the volatile situation between two of the King's mistresses. The subsequent scandale of the premiere ended the collaboration between Lully and Quinault for a time, and led to the dismissal of a number of members of Lully's artistic circle.</p>Atys : tragedie mise en musique2005-10-17T17:02:02-05:00https://digital.library.unt.edu/ark:/67531/metadc57/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc57/"><img alt="Atys : tragedie mise en musique" title="Atys : tragedie mise en musique" src="https://digital.library.unt.edu/ark:/67531/metadc57/small/"/></a></p><p>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."</p>Persée : tragedie2005-11-08T16:25:12-06:00https://digital.library.unt.edu/ark:/67531/metadc60/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc60/"><img alt="Persée : tragedie" title="Persée : tragedie" src="https://digital.library.unt.edu/ark:/67531/metadc60/small/"/></a></p><p>King Louis XIV's involvement in campaigns against the Dutch/Swedish alliance in early 1682 prevented him from attending the premiere of Persée in April of that year. As was customary in the operas of composer Jean-Baptiste Lully and librettist Philippe Quinault, the prologue included references to current battlefield exploits and portrayed the king as a paragon of virtue. The prologues of previous Lully operas emphasized glory and prowess over virtue; the change in emphasis in Persée may have resulted from the increased influence of Madame de Maintenon (the king's new mistress) in the court and her pension for decorum.</p>Recueil d'opera2007-05-08T08:03:14-05:00https://digital.library.unt.edu/ark:/67531/metadc1690/<p><a href="https://digital.library.unt.edu/ark:/67531/metadc1690/"><img alt="Recueil d'opera" title="Recueil d'opera" src="https://digital.library.unt.edu/ark:/67531/metadc1690/small/"/></a></p><p>Collection of opera excerpts in manuscript (in an unidentified hand).</p>