La Jérusalem délivrée

La Jérusalem délivrée is a 1712 French opera in a prologue and five acts by Duke Philippe II, Duke of Orléans, the future Regent of France. The libretto by Hilaire-Bernard Requeleyne was based on Torquato Tasso's Gerusalemme liberata. The opera was performed in the Galerie des cerfs of the Château de Fontainebleau, by the musique du roi.[1] Philippe d’Orléans had already staged one opera with his music teacher Gervais in 1705, Penthée. Both the operas share atypical style and orchestration.[2]

Roles

Herminie
Armide
L’Occasion, La Voix de Clorinde, un Démon
Renaud
Adraste, Alcaste, un Vieux Berger
un Guerrier
Tancrède
Le Sage Vieillard, Ismen, Tissapherne

Revival performance and recording

Cappella Mediterranea dir Leonardo García Alarcón

References

La Jérusalem délivrée "In 1712, in the Galerie des Cerfs of the Château de Fontainebleau, the king's music performed a new work: La Jérusalem Délivrée, an opera composed by one of the most distinguished personalities of the kingdom, after the king himself: the Duc Philippe d'Orléans (future Regent of France). An informed musician, a pupil of Charpentier and Campra, he took Gervais as his music master from 1700 onwards: it was with his help that he composed three tragedies in music, including this Jerusalem, a "a continuation of Armide", in which we find two couples of knightly heroes Renaud and Armide, and Tancrède and Herminie, who had already inspired famous operas to Lully and Campra. A protector of the arts, Philippe d'Orléans also proved to be a true composer. "
"Philippe d’Orléans’ music master at the time was the composer Charles-Hubert Gervais, a remarkable musician who shared with his student a love of the Italian style. In 1705, with the help of Gervais, Philippe d’Orléans staged another opera at Palais-Royal called Penthée. Both works have much in common – first, they share a highly atypical style and orchestration, far divorced from the usual fare at the Académie Royale de Musique"

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[1] La Jérusalem délivrée "In 1712, in the Galerie des Cerfs of the Château de Fontainebleau, the king's music performed a new work: La Jérusalem Délivrée, an opera composed by one of the most distinguished personalities of the kingdom, after the king himself: the Duc Philippe d'Orléans (future Regent of France). An informed musician, a pupil of Charpentier and Campra, he took Gervais as his music master from 1700 onwards: it was with his help that he composed three tragedies in music, including this Jerusalem, a "a continuation of Armide", in which we find two couples of knightly heroes Renaud and Armide, and Tancrède and Herminie, who had already inspired famous operas to Lully and Campra. A protector of the arts, Philippe d'Orléans also proved to be a true composer. "

[2] "Philippe d’Orléans’ music master at the time was the composer Charles-Hubert Gervais, a remarkable musician who shared with his student a love of the Italian style. In 1705, with the help of Gervais, Philippe d’Orléans staged another opera at Palais-Royal called Penthée. Both works have much in common – first, they share a highly atypical style and orchestration, far divorced from the usual fare at the Académie Royale de Musique"