Jean-Baptiste Lully: Armide (Live)

0:00:00 March of Hidraot (from Act I)
0:02:05 Ouverture, Prologue
0:23:16 First Act
0:48:06 Second Act
1:21:02 Third Act
1:46:08 Fourth Act
2:04:28 Fifth Act

• Armide (magician, niece of Hidraot): Stéphanie d’Oustrac
• Renaud ( a knight): Paul Agnew
• La Haine (Hate): Laurent Naouri
• La Gloire (Glory), Phénice (a confidante of Armide), Lucinde (a demon in the form of the Danish Knight’s beloved): Claire Debono
• La Sagesse (Wisdom), Sidonie (a confidante of Armide), Mélisse (a demon in the form of Ubalde’s beloved): Isabelle Druet
• Hidraot (magician, King of Damascus): Nathan Berg
• Ubalde (a knight), Aronte (guard of Armide’s captive knights): Marc Mauillon
• Artémidore (a knight): Marc Callaghan
• Le Chevalier Danois (the Danish Knight, companion of Ubalde): Andrew Tortise
• Un amant fortuné (a happy lover): Anders J. Dahlin

Les Arts Florissants (chœur et orchestre )
William Christie, direction

Johann David Heinichen: Dresden Wind Concertos

…A few years ago, the name of Johann David Heinichen (1683-1729) came out of the blue as a wonderful surprise. Baroque music lovers around the world were amazed to discover an obscure composer who, in his best works, was second to none–easily comparable to Vivaldi in terms of originality, rhythmic exuberance, and boundless imagination. A half decade and a few recordings later, Heinichen has become a popular name, and rightly so. These Dresden Wind Concertos display treasures of passionate invention, energized by a spectacular use of dynamic contrasts and poetized by delicate touches of lyricism in the solo writing for woodwinds. Just listen to the dialogue (an obbligato figure in Heinichen’s style) between traverso flute and pizzicato strings in the Concerto S. 225’s last movement, or the biting orchestral outbursts in the G minor oboe concerto. Examples of Heinichen’s vivid, sometimes unpredictable inspiration abound in every page of these extraordinary works. The Fiori Musicali ensemble, on period instruments, plays with enthusiasm and poetic commitment. The virtuosity may not be as extreme as that of Concerto Köln (on Capriccio), but each performance reaches a perfect balance between expressive ardor and precision–a quality mirrored by the accurate and natural sonics of the Radio Bremen engineers…”