Armide was premiered at the Paris Opéra on September 23, 1777, recalling the earlier success of Lully’s opera of the same name, which premiered nearly a century earlier on February 15, 1686. After collaborating on several reform operas with Calzabigi, Gluck revived the older dramatic tradition of Quinault (Lully's librettist) by setting the older text in the modern musical style. The seventeenth-century five act model requires more continuous music, with few distinct arias, as well as divertissements and spectacular effects. Gluck also respects the tragic conclusion endemic to the model, avoiding the modern practice of the lieto fine ("happy ending") in which misfortunes are reversed at the last possible moment.

Armide, which premiered at the Paris Opéra February 15, 1686, was the last tragédie lyrique on which Jean-Baptiste Lully collaborated with his favorite librettist, Philippe Quinault. Quinault retired from the stage after Armide, and Lully died a year later on March 22, 1687. From its first performance, Armide was considered their masterpiece. Armide is unusual among Lully and Quinault's tragédies lyriques in that it concentrates on the psychological development of a single character; the reflective style of this late work may be regarded as an early presentiment of trends toward individualism in art.

Armide was premiered at the Paris Opéra on September 23, 1777, recalling the earlier success of Lully’s opera of the same name, which premiered nearly a century earlier on February 15, 1686. After collaborating on several reform operas with Calzabigi, Gluck revived the older dramatic tradition of Quinault (Lully's librettist) by setting the older text in the modern musical style. The seventeenth-century five act model requires more continuous music, with few distinct arias, as well as divertissements and spectacular effects. Gluck also respects the tragic conclusion endemic to the model, avoiding the modern practice of the lieto fine ("happy ending") in which misfortunes are reversed at the last possible moment.

Armide was premiered at the Paris Opéra on September 23, 1777, recalling the earlier success of Lully’s opera of the same name, which premiered nearly a century earlier on February 15, 1686. After collaborating on several reform operas with Calzabigi, Gluck revived the older dramatic tradition of Quinault (Lully's librettist) by setting the older text in the modern musical style. The seventeenth-century five act model requires more continuous music, with few distinct arias, as well as divertissements and spectacular effects. Gluck also respects the tragic conclusion endemic to the model, avoiding the modern practice of the lieto fine ("happy ending") in which misfortunes are reversed at the last possible moment.

Armide, which premiered at the Paris Opéra February 15, 1686, was the last tragédie lyrique on which Jean-Baptiste Lully collaborated with his favorite librettist, Philippe Quinault. Quinault retired from the stage after Armide, and Lully died a year later on March 22, 1687. From its first performance, Armide was considered their masterpiece. Armide is unusual among Lully and Quinault's tragédies lyriques in that it concentrates on the psychological development of a single character; the reflective style of this late work may be regarded as an early presentiment of trends toward individualism in art.

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).

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). 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.

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.

A deluxe folio edition (second edition, third issue) Massenet's Manon, with orchestral accompaniment arranged for piano. This printing was limited to 50 copies, of which this copy is number 19. The preliminary pages include a dedication to Mme C. Miolan-Carvalho and a listing of the cast of the premiere. Illustrative engravings by P. Avril precede each act, and each page of music has a green floral border by Barbizet. This copy also includes an autograph musical quotation from Manon in the hand of the composer, followed by signature and inscription in black ink "au Prince Bojidar Karageorgevitch. Hommage de grand sympathie. J. Massenet Paris. 1893," on the half-title (page 20 of this scan).

Piano-vocal score of Bellini's opera Il Pirata.