Tragédie en musique in 3 acts by Jean-Baptiste Lully (1632-1687)
Libretto by Philippe Quinault (based on Torquato Tasso’s La Gerusalemme liberata)
First performed in 1686 in Paris
A co-production by Innsbrucker Festwochen der Alten Musik and Musikfestspiele Potsdam Sanssouci, in collaboration with Centre de Musique Baroque de Versailles, Nordic Baroque Dancers and orchestra Les Folies Françoises.
5-14 November 2017 Warsaw Opera Kameralna, Poland
18-22 June 2016 Orangerie at Schloss Sanssouci, Potsdam, Germany
22-26 August 2015 Innenhof der Theologischen Fakultät, Innsbruck, Austria
Photo credits: Stefan Gloede / Musikfestspiele Potsdam Sanssouci 2016
Musical direction Patrick Cohën-Akenine/Benjamin Bayl
Stage direction and choreography Deda Cristina Colonna
Scenography and light design Francesco Vitali
Orchestra Les Folies Françoises/WOK orchestra
Dance company Nordic Baroque Dancers
Dance rehearsal director Karin Modigh
Armide Elodie Hache/Emilie Renard (soprano)
Renaud Joao Pedro Cabral/Rupert Charlesworth (tenor)
Phénice Daniela Skorka (soprano)
Sidonie Miriam Albano (soprano)
Hidraot Pietro di Bianco (bass baritone)
Aronte/Ubalde Tomislav Lavoie (bass)
Artémidor Jeffrey Francis (tenor)
Le chevalier danois Enguerrand de Hys (tenor)
What would a French baroque opera be without dance elements? An egg without the yolk.Peter Buske
The absolutely magnificent troupe from Nordic Baroque Dancers is not an adventitious or ornamental element, but contributes fully to the rhetorical efficiency of the tragedy. The dramatization of the choreography allows for a pertinent unification of the heterogeneous elements of the opera, and reminds us to what extent it was born from the art of dancing.
The Nordic Baroque Dancers from Sweden, a company specialized in baroque dance, magically produced gracious and masterly dance elements which, just as Lully would have wished, didn’t stand on their own, but were woven into the action.
…while the Nordic Baroque Dancers cavorted according to an insanely unruly and delightful choreography by Deda Cristina Colonna, who also directed the production, and brilliant playing by the Baroque band Les Folies Françoises led by Patrick Cohën-Akenine, the whole imaginative production shared with festivals in Potsdam and Versailles.Laurence Vittes
The dancers' point of view
Karin Modigh, Noah Hellwig and Robert Le Nuz, all members of Nordic Baroque Dancers and dancers in Armide, speak about the production and about their fascinating work to develop baroque dance together with choreographer and director Deda Cristina Colonna.
The choreographer's point of view
Deda Cristina Colonna speaks about her work as the choreographer and director of Armide, and her close work with the dancers of Nordic Baroque Dancers.
The scenographer's point of view
Francesco Vitali uses very modern technologies and techniques mixed with costumes from Centre de musique baroque de Versailles to stage Lully’s baroque opera Armide.