| Les arts florissants | |
|---|---|
| Chamber opera by Marc-Antoine Charpentier | |
 Marc-Antoine Charpentier in 1682 | |
| Language | French |
| Premiere | 1685 Residence of Marie de Lorraine, Duchess of Guise, Paris |
Les arts florissants (H. 487) is a short chamber opera (also described by the composer as idylle en musique) in five scenes by Marc-Antoine Charpentier.
It was written in 1685 for the group of musicians employed by Marie de Lorraine, Duchess of Guise, at her residence in Paris. The reason behind the creation of this work, as well as its place of performance, remain a matter for speculation. The French libretto, written by an unknown author, is allegorical in nature and draws on aspects of mythological and natural symbolism familiar to 17th-century audiences to add depth to a superficially simple plot.
The story of the opera concerns the eponymous Arts, shown flourishing under the beneficent and peaceful reign of Louis XIV, as they and a group of warriors become drawn into a dispute between the central characters of La paix (Peace) and La discorde (Discord). After a brief struggle in which Discord and his Furies gain the upper hand, Peace appeals to Jupiter to intervene on her behalf. Discord and his followers are chased back into Hades by a hail of thunderbolts, and Peace holds sway once more.
The opera is scored for seven solo voices, five-part chorus, two flutes (or recorders), two treble viols and basso continuo.
The manuscript score also calls for two choruses in the form of a Troupe de Guerriers (Troop of Warriors) and a Chœur de Furies chantantes (Chorus of singing Furies), to be sung by all available singers, [1] and a troupe of Furies dansantes, si l'on veut (Dancing Furies, if desired). The instrumentalists are included in the original character list under the entry Suite de la Musique, and the overture is labelled pour les symphonistes de la Suite de la Musique (for the orchestral players in Music's following).
| Role | Voice type | Premiere cast, 1685 (Conductor: – ) |
|---|---|---|
| La Musique, Music | soprano | Jacqueline-Geneviève de Brion |
| La Poésie, Poetry | soprano | Antoinette Talon |
| La Peinture, Painting | haute-contre | Marc-Antoine Charpentier |
| L'Architecture, Architecture | mezzo-soprano | Marie Guilbault de Grandmaison |
| La Discorde, Discord | bass | Pierre Beaupuis |
| La Paix, Peace | soprano | Elisabeth "Isabelle" Thorin |
| Un Guerrier, A Warrior | baritone | Germain Carlier |
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Marc-Antoine Charpentier was a French Baroque composer during the reign of Louis XIV. One of his most famous works is the main theme from the prelude of his Te Deum, Marche en rondeau. This theme is still used today as a fanfare during television broadcasts of the Eurovision Network and the European Broadcasting Union.
William Lincoln Christie is an American-born French conductor and harpsichordist. He is a specialist in baroque and classical repertoire and is the founder of the ensemble Les Arts Florissants.
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Noémi Rime is a French soprano. She regularly appears in opera productions by William Christie's Les Arts Florissants ensemble. Her roles have included Cleone in Médée, Dido in Dido and Aeneas, and Fatime in Les Indes galantes. She currently teaches on the faculty of the Conservatoire à rayonnement régional de Poitiers.
Médée is a tragédie mise en musique in five acts and a prologue by Marc-Antoine Charpentier to a French libretto by Thomas Corneille. It was premiered at the Théâtre du Palais-Royal in Paris on December 4, 1693. Médée is the only opera Charpentier wrote for the Académie Royale de Musique. The opera was well reviewed by contemporary critics and commentators, including Sébastien de Brossard and Évrard Titon du Tillet, as well as Louis XIV whose brother attended several performances, as did his son; however, the opera only ran until March 15, 1694, although it was later revived at Lille.
Les Arts Florissants is a Baroque musical ensemble in residence at the Théâtre de Caen in Caen, France. The organization was founded by conductor William Christie in 1979. The ensemble derives its name from the 1685 opera Les Arts florissants by Marc-Antoine Charpentier. The organization consists of a chamber orchestra of period instruments and a small vocal ensemble. Current notable members include soprano Danielle de Niese and tenor Paul Agnew, who has served as assistant conductor since 2007. Jonathan Cohen is also on the conducting staff; Christie remains the organization's Artistic Director.
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La descente d'Orphée aux enfers H.488 is an incomplete chamber opera in two acts by the French composer Marc-Antoine Charpentier. It was probably composed in early 1686 and performed either in the apartments of the Dauphin that spring or at Fontainebleau in the autumn. Charpentier himself sang the title role, joined by musicians of Mademoiselle de Guise and members of the Dauphin's little ensemble; it was Charpentier's last appearance with this ensemble.
Les plaisirs de Versailles H.480 is a short opera by the French composer Marc-Antoine Charpentier. It was intended for performance at the new courtly entertainment known as les appartements du roi devised by King Louis XIV and held in his own apartments at the palace of Versailles in 1682. At the time, Charpentier was composer for Louis, le Grand Dauphin, the king's son. The librettist is unknown.
Marie de Lorraine was the daughter of Charles de Lorraine, Duke of Guise and Henriette Catherine de Joyeuse and the last member of the House of Guise, a branch of the House of Lorraine.
Étienne Loulié, pronounced [e.tjɛn lu.lje], was a musician, pedagogue and musical theorist.
Agnès Mellon is a French soprano who specializes in baroque music.
Stéphanie d'Oustrac is a French mezzo-soprano.
François Fauché is a French soloist singer specializing in baroque repertoire for bass.
Philippe Cantor is a contemporary French bass-baritone.
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Messe de minuit pour Noël, H.9, is a mass for four voices and orchestra by Marc-Antoine Charpentier, written in 1694 based on the melodies of ten French Christmas carols. Charpentier called for eight soloists, a duo of two sopranos and two trios of alto, tenor and bass, but it can be performed by five soloists. Choir and orchestra are in four parts, scored for flutes, strings, organ and basso continuo. The mass is regarded as a unique work in both the composer's work and in the genre. While in Charpentier's time, the mass was performed by all-male choirs, it has later been performed and recorded also by mixed choirs with modern instruments.
