Amadis of Gaul by Garci Rodríguez de Montalvo

Reyne/Ricci/Masset/Laurens/Poul/Geslot/Westphal/Chuberre, with La Simphonie du Marais, live at Les Lucs-sur-Boulogne, July 2006, Accord, 3 CDs.Amaducci/Guiot/Eda-Pierre/Manchet/Pietti/Sénéchal/Bastin/Massard, with the Orchestre de Chambre de l’ORTF, live in Paris, Nov.(key: conductor/arcabonne/corisande/oriane/urgande/amadis/arcalaüs/florestan) Oriane, daughter of King Lisuart of Britainįlorestan, illegitimate son of King PerionĬorisande, Florestan's beloved, ruler of GravesandeĪrcabonne, sorceress, sister of Arcalaus and Ardan CanileĪrcalaüs, sorcerer, knight and brother of Ardan Canile and Arcabonneįollowers, knights, soldiers, demons, nymphs, shepherds and shepherdesses, captives and gaolers, enchanted heroes and heroines etc.Ī complex story of love and chivalry depicting the faithful love of Amadis and Oriane, opposed by the sorcerer family of Arcabonne and Arcalaus, with another pair of lovers, Florestan and Corisande, as a subplot. Urgande, sorceress, wife of Alquif (prologue) Roles CastĪlquif, sorcerer, husband of Urgande (prologue) This was also the title of an adaptation of the Quinault libretto with music by Johann Christian Bach, which premiered in Paris in 1779. After this, the Lully-Quinault work was billed as Amadis de Gaule.

The opera went by the title Amadis until 1699 when another opera, Amadis de Grèce, by André Cardinal Destouches appeared. At the beginning of the same act Arcabonne sings 'Amour, que veux-tu de moy?', as once did 'every cook in France', according to Le Cerf de la Viéville (Comparaison, 1704–6) Later developments Today the most famous aria from Amadis is Amadis' much anthologized monologue from act two, 'Bois épais'. Between 16 it was produced in Amsterdam, The Hague, Marseille, Rouen, Brussels, Lunéville, Lyon, and Dijon. There were eight revivals of the opera in Paris between 16. In the dance troupe the principal male dancers were Pierre Beauchamp, Louis-Guillaume Pécour and Lestang, and the principal female dancers were La Fontaine, Carré and Pesan.

The Prison of Amadis in the original 1684 productionĪmadis was the first tragédie en musique to be based on chivalric rather than mythological themes Lully's last three completed operas followed in this course.

Amadis of Gaul by Garci Rodríguez de Montalvo