Amadis or Amadis de Gaule (Amadis of Gaul) is a tragédie en musique in a prologue and five acts by Jean-Baptiste Lully to a libretto by Philippe Quinault based on Nicolas Herberay des Essarts' adaptation of Garci Rodríguez de Montalvo 's Amadis de Gaula . It was premiered by the Paris Opera at the Théâtre du Palais-Royal sometime from January 15 to 18, 1684. [1] There was a later production at Versailles without scenery or machines in 1685. [2]

The opera went by the title Amadis until 1699 when another opera, Amadis de Grèce , by André Cardinal Destouches appeared. After this, the Lully-Quinault work was billed as Amadis de Gaule . This was also the title of an adaptation of the Quinault libretto with music by Johann Christian Bach , which premiered in Paris in 1779. [3]

A complex story of love and chivalry depicting the faithful love of Amadis and Oriane, opposed by the sorcerer family of Arcabonne and Arcalaus, with another pair of lovers, Florestan and Corisande, as a subplot.

a Spanish romance of chivalry. Probably originating in the 14th century, it has come down to us only in the reworked version by Rodríguez de Mon-talvo (4 vols., 1508). It became popular in the 16th century and gave rise to many sequels and imitations. In Don Quixote , M. Cervantes, while parodying Amadís de Gaula , acknowledged its worth. The influence of the Renaissance concepts of the “just monarchy” is perceived in the romance. Its plot conflicts often coincide with those found in Breton and Carolingian epic cycles.

In Khrestomatiia po zarubezhnoi literature: Epokha Vozrozhdeniia , vol. 1. Compiled by B. I. Purishev. Moscow, 1959.

All content on this website, including dictionary, thesaurus, literature, geography, and other reference data is for informational purposes only. This information should not be considered complete, up to date, and is not intended to be used in place of a visit, consultation, or advice of a legal, medical, or any other professional.

Amadis or Amadis de Gaule (Amadis of Gaul) is a tragédie en musique in a prologue and five acts by Jean-Baptiste Lully to a libretto by Philippe Quinault based on Nicolas Herberay des Essarts' adaptation of Garci Rodríguez de Montalvo 's Amadis de Gaula . It was premiered by the Paris Opera at the Théâtre du Palais-Royal sometime from January 15 to 18, 1684. [1] There was a later production at Versailles without scenery or machines in 1685. [2]

The opera went by the title Amadis until 1699 when another opera, Amadis de Grèce , by André Cardinal Destouches appeared. After this, the Lully-Quinault work was billed as Amadis de Gaule . This was also the title of an adaptation of the Quinault libretto with music by Johann Christian Bach , which premiered in Paris in 1779. [3]

A complex story of love and chivalry depicting the faithful love of Amadis and Oriane, opposed by the sorcerer family of Arcabonne and Arcalaus, with another pair of lovers, Florestan and Corisande, as a subplot.

Amadis or Amadis de Gaule (Amadis of Gaul) is a tragédie en musique in a prologue and five acts by Jean-Baptiste Lully to a libretto by Philippe Quinault based on Nicolas Herberay des Essarts' adaptation of Garci Rodríguez de Montalvo 's Amadis de Gaula . It was premiered by the Paris Opera at the Théâtre du Palais-Royal sometime from January 15 to 18, 1684. [1] There was a later production at Versailles without scenery or machines in 1685. [2]

The opera went by the title Amadis until 1699 when another opera, Amadis de Grèce , by André Cardinal Destouches appeared. After this, the Lully-Quinault work was billed as Amadis de Gaule . This was also the title of an adaptation of the Quinault libretto with music by Johann Christian Bach , which premiered in Paris in 1779. [3]

A complex story of love and chivalry depicting the faithful love of Amadis and Oriane, opposed by the sorcerer family of Arcabonne and Arcalaus, with another pair of lovers, Florestan and Corisande, as a subplot.

a Spanish romance of chivalry. Probably originating in the 14th century, it has come down to us only in the reworked version by Rodríguez de Mon-talvo (4 vols., 1508). It became popular in the 16th century and gave rise to many sequels and imitations. In Don Quixote , M. Cervantes, while parodying Amadís de Gaula , acknowledged its worth. The influence of the Renaissance concepts of the “just monarchy” is perceived in the romance. Its plot conflicts often coincide with those found in Breton and Carolingian epic cycles.

In Khrestomatiia po zarubezhnoi literature: Epokha Vozrozhdeniia , vol. 1. Compiled by B. I. Purishev. Moscow, 1959.

All content on this website, including dictionary, thesaurus, literature, geography, and other reference data is for informational purposes only. This information should not be considered complete, up to date, and is not intended to be used in place of a visit, consultation, or advice of a legal, medical, or any other professional.


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Anthony Close's study places Don Quixote in the context of Cervantes' life and literary career, and in the book's cultural and social background. It focuses primarily on the central problems of Cervantine comedy, the use of burlesque, the presentation of characters through dialogue, the narrator's viewpoint, the virtuoso play with registers, and the complex and elusive irony. Using detailed analysis of individual passages, Dr Close shows how the moral themes of the novel are distilled in its humour, and in the characters of Don Quixote and Sancho. He also gives particular attention to the impact of this landmark text on the development of the European novel.

Amadís de Gaula - Wikipedia


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