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Jean-Baptiste Lully [a] (28 November [O.S. 18 November] 1632 – 22 March 1687) was a French composer, dancer and instrumentalist of Italian birth, ...
Amadis 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. Louis XIV of France chose the theme. In the dance troupe the principal male dancers were Pierre Beauchamp , Louis-Guillaume Pécour and Lestang, and the principal female dancers were La ...
Jean Baptiste Lully around 1670. This article contains a list of the works of Jean-Baptiste Lully (LWV); also lists of the dance-forms and instruments he frequently was to use. Works by Lully ( Lully-Werke-Verzeichnis )
Lully's Armide at the Palais-Royal Opera House in 1761, watercolor by Gabriel de Saint-Aubin. Armide is an opera in five acts by Jean-Baptiste Lully. The libretto by Philippe Quinault is based on Torquato Tasso's poem La Gerusalemme liberata (Jerusalem Delivered). The work is in the form of a tragédie en musique, a genre invented by Lully and ...
Tragédie en musique (French: [tʁaʒedi ɑ̃ myzik], musical tragedy), also known as tragédie lyrique (French: [tʁaʒedi liʁik], lyric tragedy), is a genre of French opera introduced by Jean-Baptiste Lully and used by his followers until the second half of the eighteenth century.
Achille et Polyxène (Achilles and Polyxena) is a tragédie lyrique containing a prologue and five acts based on Virgil's Aeneid with a French libretto by Jean Galbert de Campistron. The opera's overture and first act were composed by Jean-Baptiste Lully, who died from a conducting
Atys is a tragédie en musique, an early form of French opera, in a prologue and five acts by Jean-Baptiste Lully to a libretto by Philippe Quinault after Ovid's Fasti.It was premiered for the royal court on 10 January 1676 [1] by Lully's Académie Royale de Musique (Paris Opera) at the Château de Saint-Germain-en-Laye.
Several sources report that Jean-Baptiste Lully was the first composer to formalize the standard chord progression and melodic line. [4] [5] Other sources note that the chord progression eventually associated with the "later Folia" appeared in musical sources almost a century before the first documented use of the "Folia" name.