Name: Jean Baptiste Lully (1632-1687) - Ouverture avec tous les Airs de l'opéra Atys (1676) | Videos | Gan Jing World - Technology for Humanity | Video & Movie Streaming
Uploaded: 2022-11-28T05:00:00.000Z
Duration: 14 min 12 s
Description: Joyeux anniversaire Jean Baptiste Lully! 🎭👑 Composer: Jean Baptiste Lully (1632-1687) Work: Ouver... | Videos | Gan Jing World - Technology for Humanity | Video & Movie Streaming

Pau NG

https://video2-us-east.cloudokyo.cloud/video/v4/6d/57/69/6d576962-5e16-4cf1-b533-c66c07e0e1c5/master.m3u8

Joyeux anniversaire Jean Baptiste Lully! 🎭👑

Composer: Jean Baptiste Lully (1632-1687)
Work: Ouverture avec tous les Airs de l'opéra Atys (1676)
Performers: Caprіccіo Basеl Baroque Orchestra; Dοmіnіk Kіеfеr (conductor)

Painting: Jacques Vigoureux Duplessis (1680-1732) - Le Palais du Temps. Décor pour le prologue d’Atys, tragédie lyrique de Lully (1708)
HD image: https://flic.kr/p/2o2Q9Zr
Engraving: Jean Louis Roullet (1645-1699) - Portret van Jean-Baptiste Lully
HD image: https://flic.kr/p/2o2KjME

Further info: https://www.discogs.com/release/6283026-Jean-Baptiste-Lully-Capriccio-Barock-Orchester-Pha%C3%ABton-Atys-Armide-Ouvertures-Avec-Tous-Les-Airs
Listen free: https://open.spotify.com/album/51InCaUya8cIS79nGD9t9W

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Jean-Baptiste (Giovanni Battista) Lully [Lulli]
(Florence, 28 November 1632 - Paris, 22 March 1687)

French composer, violinist and dancer. Born Giovanni Battista Lulli, he was the second son of a Tuscan farmer, Lorenzo Lulli (1599-1667). Little is known of the son’s education. Perhaps he learned the fundamentals of music from the friars of the Via Borgo Ognissanti in Florence. Somehow, possibly as early as 1645, he managed to be appointed as a tutor of Italian to Anne- Marie-Louise d’Orléans, cousin of King Louis XIV of France. In February 1646, Lully moved to Paris. A source printed in 1695 identifies Lully’s teachers from this point: the organists at the church of St. Louis of Rue Saint-Antoine, Nicolas Métru and Nicolas Gigault, the violinist Jacques Cordier, and the dancer Jean Regnault. Possibly through Regnault, Lully entered the service of Louis XIV and danced in the Ballet Royal de la Nuit, caught the eye of the king, and was appointed compositeur de la musique instrumentale on 16 March 1653. His dancing and obvious talent for composition allowed Lully to persuade the king to establish an instrumental ensemble apart from his official one, Les Vingtquatre Violons du Roi. Lully was able to form the new orchestra, Les Petits Violons, according to his own ideas of ensemble playing, and it would become famous throughout Europe. In 1656, Les Petits Violons made its debut in the ballet Les Galanteries du Temps, the earliest surviving ballet composed entirely by Lully. On 24 July 1662, he married Madeleine Lambert, a composer’s daughter 20 years of age. They had six children. To this point, Lully as composer had contributed chiefly to court ballets. But age began to curtail his dancing, and he retired as a dancer by 1668. In 1664, however, he entered upon a second stage of his career as composer: a collaboration with the great dramatist Jean-Baptiste Poquelin (1622-1673), known by his stage name Moliére, on a series of comédies-ballets, comic dramas in which Lully’s dance music interweaves with Molière’s poetry, beginning with Le Mariage Forcé (29 January 1664), including Le Bourgeois Gentilhomme (14 October 1670), and concluding with Psyché (17 January 1671).

In March 1672, Lully was to able buy the royal privilege of producing “academies for opera . . . in the French language”—essentially a patent for a monopoly granted by Louis XIV—from its original holder, the poet Pierre Perrin (c.1620-1675), and immediately moved to establish the Académie Royale de Musique. Because the privilege brought no court financing of the new venture, Lully entered into a partnership with long-time acquaintance and theater architect Carlo Vigarani (1637-1713) in August 1672, and together they adapted a tennis court for their productions. They began with Les Fêtes de L’Amour et de Bacchus, a pastiche made of Lully’s earlier ballet music, and they mounted the first original tragédie lyrique in April 1673, Cadmus et Hermione. This created a sensation, luring the king to the tennis court to see it. By 28 April 1673, the king authorized Lully to use the Palais Royal theater rent-free, and after the opening of Alceste in January 1674, Louis brought the business of tragédie lyrique into the court, supported by the court’s sets, costumes, and machinery and by funded rehearsals. With such backing, Lully produced a new opera nearly every year until he died in 1687, usually working with the great librettist Philippe Quinault (1635-1688). His control of the royal opera privilege virtually eliminated all rivals from Paris, although he did allow provincial opera companies to operate. He also managed the Palais Royal almost as a monopoly, setting high prices for seats. The royal privilege allowed him to earn royalties on his printed librettos and, after 1677, royalties from prints of his music. From then on, he published complete scores of all his tragédies lyriques, a phenomenon unknown in the rest of Europe, where opera scores were lucky to survive in manuscript. In December of 1686, while conducting his Te Deum at the Church of the Feuillants, he wounded himself in the foot. The wound became gangrenous, and Lully died on 22 March 1687. #ClassicalMusic