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Scene 2, Cybèle and
Celanus begin scolding them with a duet: "Venez vous livrer au supplice" that effectively becomes a dialogue in which the two pairs sing in opposition alternating recitative and air delivery styles. For punishment, Cybèle summons the fury Alecton to put Atys under a magical spell. Scene 3 opens with a furious instrumental prelude, followed by a dialogue ("Ciel! Quelle vapeur m'environne!") between Atys and Sangaride. Atys mistakes Cybèle for Sangaride and Sangaride for a monster and chases Sangaride into the wings. The Phrygian chorus sings "Atys, Atys, lui-même fait perir ce qu'il l'aime. " Celenus enters from the wings and reports the death of Sangaride. In Scene 4, Cybèle removes the spell, informs Atys of his crime and shows him the dead Sangaride. Again the chorus finishes with "Atys, Atys, lui-même." In Scene 5 Cybèle with Mélisse regrets her punishment of Atys. In scene 6 Idas enters carrying Atys, who has stabbed himself. Cybèle intervenes and transforms Atys into a tree, the pine, beloved by the goddess. The final scene is a
861:. Once asleep, Atys is first met by a chorus of Pleasant Dreams that sing of love followed by Bad Dreams who remind him that there are consequences for deceiving the gods. After this lengthy scene, Atys awakens in Scene 5 with Cybèle at his side attempting to console him. Sangaride arrives in Scene 6 and begs Cybèle to stop her wedding to King Celenus because she does not love him. Atys, confused, intervenes on Sangaride's behalf. This upsets Cybèle because she too loves Atys and has bestowed the title of high priest on him. When she is left alone with Melissa in Scene 7, she sings the lament "L'ingrat Atys," also based on the chromatically descending tetrachord in A minor (A-G#-G-F#-F-E). Unlike Sangaride's earlier lament in Act I, there is only one presentation of the tetrachord at the beginning rather than a repeated pattern. In Scene 8, Cybèle is left alone and performs the slow air "Espoir si cher si doux."
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does not love him and is only doing so to obey her father. Atys arrives in Scene 3 and hears the conversation. He and
Sangaride are left alone in Scene 4 and engaged in a somewhat heated discussion involving rapid alternation between recitative and air styles. Atys assures Sangaride that he loves her and they swear to be faithful to each other. Sangaride's father approaches at the beginning of Scene 5. With his power as the high priest of Cybèle, Atys orders Sangaride's father to cancel the wedding to King Celenus. The River of Sangar approves Sangaride's choice in a chorus "Nous approuvons votre choix," followed by "Que l'on chante." A jubilant dance suite and choral numbers conclude the act.
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pretends to be excited for the wedding, especially because the goddess Cybèle will attend. The quartet sings "Allons, allons accourez tous." In scene 4, we learn that
Sangaride is in fact unhappy about her forthcoming wedding, for she is really in love with Atys. To convey this, she sings the lament "Atys est trop heureux" based on the diatonically descending tetrachord model (in this case in D minor: D-C-Bb-A) that had been established by
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opera, he exclaims "Mais quoi trahir le Roy!" (But, to betray the king!) Scene 4 is the sommeil described above, in which Cybèle causes him to fall asleep. The allegorical character Le
Sommeil sings "Dormons, dormons tous" after a lengthy instrumental introduction featuring gentle music in G minor scored for a pair of flutes, violins, and
958:
2009: Romain
Champion, tenor (Atys); Amaya Dominguez, mezzo-soprano (Cybèle); Bénédicte Tauran, soprano (Sangaride); Aimery Lefèvre, baritone (Célénus); Matthieu Heim, bass (Idas); Maud Ryaux, soprano (Doris); Maïlys de Villoutreys, soprano (Mélisse); Vincent Lièvre-Picard, tenor (Morphée); Le Choeur
872:
Scene 1 commences immediately with a dialogue between
Sangaride and Atys. She has interpreted Atys's confusion as love for Cybèle and laments in front of Doris and Idas who interject various duets. During Scene 2, King Celenus addresses Sangaride affectionately in "Belle nymphe." He realizes that she
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Celenus and Atys both announce their desire to be selected as the high priest of Cybèle in Scene 1's recitative "N'avancez plus loin." Atys then sings the air "Qu'un indifférent est heureux." In Scene 2, Cybèle arrives and states that she chooses Atys as the high priest because she has secretly loved
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King
Celenus finds out that the wedding plans have been cancelled and he confronts Cybèle in a lengthy recitative dialogue in Scene 1. Cybèle is not happy about the situation either. Because Atys has deceived the gods, Cybèle resolves to punish both him and Sangaride. As Atys and Sangaride enter in
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him. In fact, it was because of her love for Atys that she is attending the wedding. Celenus graciously accepts her decision. The chorus of
Nations sings "Célébrons la gloire immortelle" to celebrate Cybèle's choice, followed by a dance by the Zephyrs, which concludes the act in only four scenes.
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During Scenes 5 and 6, Atys finds
Sangaride lamenting and confesses his love for her in the recitative dialogue "Sangaride ce jour est un grand jour pour vous." Sangaride is astonished by his declaration of love. Atys and Sangaride sing the duet "Commençons, commençons" and are soon joined by the
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During Scene 1, Atys contemplates his unfortunate dilemma due to his love for
Sangaride (who is engaged to King Celenus against her will) in the air "Que servent les faveurs." He is soon joined by Doris and Idas in Scenes 2 and 3, to whom he expresses concerns. In an uncommon outburst in Lullian
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so that they can give a proper welcome to Cybèle. Idas mocks him in Scene 2, suggesting his motivation might be too much love for the goddess in the air "Vous veillez lorsque tout sommeil." Sangaride and Doris arrive in Scene 3. Sangaride is betrothed to the king of the Phrygians, Celenus, and
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The scene for the prologue is at the Palace of the allegorical character Time. A chorus of Hours of the Day and Night sing the praises of a 'hero' (Louis XIV) in "Ses Justes loix, ses grands exploits" ("His just laws, his great exploits"). Flore, the goddess of spring and her nymphs arrive and
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opera. Such scenes were especially useful because they could place a character into a vulnerable position for a variety of potential dramatic purposes. For example, the sleeping character could be vulnerable to attack, brainwashing, or might reveal secret thoughts in the altered state of
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in August 1677 and repeated at Saint-Germain in 1678 and 1682. It was revived at the Palais-Royal in November 1689, August 1690, 31 December 1699, 29 November 1708, 28 November 1709, 23 December 1725, 7 January 1738, and 7 November 1747. It was given concert performances at the
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chorus of Phrygians in Scene 7. After some dances by the Phrygians, Cybèle appears in Scene 8 and invites all into her temple in "Venez tous dans mon temple." The chorus of Phrygians motivate themselves to comply her wishes with "Nous devons nous animer."
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Although the lament was established in early seventeenth-century Italian opera, it spread to other national styles of opera including the French style that had rejected many Italianisms. For an excellent discussion of the lament convention, see Rosand,
779:, on the other hand, laments the coming of spring and the battles that will follow. Just as the hero is about to leave for battle, Melpomene arrives and, in a gesture functioning as a transition to Act I, proceeds to tell the story of Atys in the
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Most sources give the date of the premiere as 10 January 1676, but Brooks and Buford, April 2005, state it has only been firmly established that this was the first performance which was attended by their Majesties and may not have been the first
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form and style as developed by Lully, featuring three sections: a slow section in duple meter and pompous dotted rhythms in G minor, followed by a faster middle section and concluded with a second slow section ending with a
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2023: Reinoud Van Mechelen; Marie Lys; Ambroisine Bré; Philippe Estèphe; Romain Bockler; Gwendoline Blondeel; Olivier Cesarini; Kieran White; Nick Pritchard; Antonin Rondepierre; Apollime Raï-Westphal; Vlad Crosman;
724:; followers of Celænus, zephyrs, people attending the celebration of Cybele; Pleasant Dreams, Baleful Dreams; gods of the rivers and brooks, nymphs of the springs; gods of the woods and waters,
783:"Retirez vous." Iris then enters and relays the message from the goddess Cybèle in "Cybèle veut que Flore." This is followed by more dances and the chorus "Préparez vous de nouvelles festes."
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Lully's prologues normally served to comment on current events at the court of Louis XIV in a way that flattered the king. When the opera was premiered in 1676, France was
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consciousness. Although many Venetian traditions were not appreciated by the French, Lully and his librettist Quinnault clearly accepted the sleep scene type.
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1246:, March 2012, pp. 78–79: "This visually sumptuous production will satisfy the most diehard traditionalist. ... Mr Stanton must have been thrilled."
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in Paris in May 2011; (2) Bonus feature (1 hr 50 min), "Five Visions of Atys", including interviews with Christie and Villégier, among others,
1617:
2049:
1955:
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1635:
41:
1110:
Isherwood 1973, p. 219; Loewenberg 1978, column 58; Pitou 1983, p. 165. Pitou mistakenly places the 1677 performance at Saint-Germain.
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of the 1987 production by stage director Jean-Marie Villégier in which the prologue has been greatly modified; recorded live at the
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is as well performed and imaginatively staged as it is here the result is a special order of absorbing, theatrical magic".
1037:(dancers); Chorus and orchestra of Les Arts Florissants; William Christie, conductor. FRA Musica (2 blu-ray discs): (1)
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in June 1749 and June 1751 and at Fontainebleau (without the prologue) on 17 November 1753. It was first performed at
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in New York were the opera's American premiere. It was revived again in 1991–1992 and performed in Paris, Madrid's
283:. It was revived in 1989 and performed at the Salle Favart and in Montpellier. Performances later that year at the
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967:, conductor. Musiques à la Chabotterie, 3 CDs, 2 hr 47 min. Recorded 17–18 August 2009, Studio Akustika, Paris.
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The Paris Opéra: An Encyclopedia of Operas, Ballets, Composers, and Performers. Genesis and Glory, 1671–1715
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Chronologie critique et analytique des représentations d'opéra à Paris et à la cour des débuts jusqu'en 1723
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The Hours of the Day and Night, nymphs who follow Flora, four little zephyrs, heroes who follow Melpomene;
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Villégier's production was recreated in 2011 with a gift of $ 3.1 million from the American businessman
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3 CDs, 2 hr 51 mins. Recorded Studio 103 de la Maison de Radio France, January 1987.
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Atys, Tragédie en Musique. Ornée d'Entrées de Ballet, de Machines, & de Changements de Theatre
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of mourning; "the gentle weeping of the nymphs is juxtaposed with the frenzy of the Corybantes."
153:. It was premiered for the royal court on 10 January 1676 by Lully's Académie Royale de Musique (
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The French style of opera, established in the 1670s by Lully, was in five acts with a prologue.
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was met with indifference by Paris audiences, it became known as "the king's opera" because of
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category DVD Performance. The recreated production was also performed at the Théâtre de Caen,
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Faüre, Renier, Foignart l'aîné, Foignart cadet, Dolivet, le Chantre, Barazé, Dolivet l'aîné
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1029:(Doris); Jaël Azzaretti (Mélisse); Paul Agnew (Dieu de Sommeil); Cyril Auvity (Morphée);
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This act is set in the palace of the River Sangar with Atys and Sangaride alone.
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Scene 1 takes place at the holy mountain of the goddess Cybèle. Atys sings the
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271:. Later billed as a Paris Opera presentation, the production premiered at the
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1419:, vol. 78, no. 9 (March 2012); subscription required; accessed 16 July 2012.
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1033:(Le Temps, le fleuve Sangar); Compagnie Fêtes galantes et Gil Isoart de l'
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The first modern revival was conceived as a touring production staged by
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1522:(third edition, revised). Totowa, New Jersey: Rowman and Littlefield.
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751:, and the French winter campaign had resulted in the tragic death of
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in Paris on 12 May 1987. It was also performed that same year at the
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Music in the Service of the King. France in the Seventeenth Century
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Brooks, William S.; Norman, Buford (April 2005). "Introduction" to
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Music in Service of the King: France in the Seventeenth Century
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The scene of Act 2 is inside the temple of the goddess Cybèle.
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161:. The first public performance took place in April 1676 at the
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1989:
1149:"Review/Music; Reviving An Opera, A Reputation And a Style"
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King of Phrygia and son of Neptune, in love with Sangaride
251:, it was first performed on 20 December 1986 in the small
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Review by David Vickers of the 2009 Hugo Reyne recording
1477:, Paris, Ballard, 1676 (accessible for free online at
1069:(2021, 1 blu-ray disc or 2 DVDs, without supplements).
848:(sleep): a type of scene that had been established in
1966:
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Spectacles, catalog no. CVS126, 3 CDs, 2 hr 53 min.
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discuss the arrival of spring and perform dances. A
889:The final act takes place in the pleasant gardens.
279:, Montpellier Opera, on tour in Brazil and at the
1240:"Philanthropic revival for Villégier’s 1987 Atys"
803:"Allons, allons" at a brisk tempo to wake up the
2016:
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1175:
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493:relative of Sangaride and favourite of Celænus
302:was issued and was the runner-up for the 2012
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1411:Review by Judith Malfronte of the 2011 video
1184:, operabaroque.fr. Accessed 15 January 2024.
1488:. Centre de musique baroque de Versailles.
1234:
1232:
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1170:
1017:(Cybèle); Emmanuelle de Negri (Sangaride);
46:Title page of the libretto for the premiere
1618:
1604:
1537:. Westport, Connecticut: Greenwood Press.
1218:"Revival of a Passionate Operatic Triumph"
1140:
1138:
1136:
1134:
582:nymph, friend of Sangaride, sister of Idas
40:
1582:International Music Score Library Project
1292:"It's Not Easy to Be a Goddess's Boy Toy"
929:Chœur et Orchestre "Les Arts Florissants"
734:
676:The God of the River Sangar (Sangarius),
1262:, fraprod.com. Accessed 16 January 2024.
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1212:
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880:
790:
181:'s fondness for it; it was given at the
1625:
1554:, ed. L. Macy (accessed 24 July 2006),
1433:"Opera on DVD and Blu-ray: Atys, Lully"
1131:
837:The scene changes to the palace of the
2017:
1461:, naxos.com. Accessed 21 January 2024.
685:M Goudonesche (also spelt Godonesche)
298:and performed at the Salle Favart. An
168:
1599:
1207:
1507:. Ithaca: Cornell University Press.
1441:, February 2012, pp. 231–232: "When
566:friend of Attis and brother of Doris
2050:Operas based on classical mythology
1374:Opera in Seventeenth Century Venice
1361:Opera in Seventeenth Century Venice
1316:According to the original libretto.
314:and the Brooklyn Academy of Music.
13:
2075:Greek and Roman deities in fiction
596:confidante and priestess of Cybele
243:. Initially a coproduction of the
14:
2101:
1793:George Dandin ou le Mari confondu
1569:
1041:(3 hr 15 min), recreation by the
885:Frontispiece to the 1676 libretto
281:Innsbruck Festival of Early Music
131:, in a prologue and five acts by
2000:
1988:
1976:
1951:
1950:
1548:Rosow, Lois (1992). "Atys (i)",
1498:Archive copy (13 September 2016)
159:Château de Saint-Germain-en-Laye
1520:Annals of Opera 1597–1940
1448:
1422:
1404:
1388:
1379:
1366:
1352:
1339:
1319:
1310:
1301:
1281:
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1249:
1119:Loewenberg 1978, columns 58–59.
841:of Cybèle where Atys is alone.
259:. The role of Atys was sung by
1327:Le magazine de l'opéra baroque
1198:"Louis XIV Hummed a Few Arias"
1187:
1158:
1122:
1113:
1104:
1094:
1013:2011: Bernard Richter (Atys);
545:(also spelt Saint-Christophe)
338:Premiere Cast, 10 January 1676
1:
2065:Libretti by Philippe Quinault
2060:Operas based on works by Ovid
2025:Operas by Jean-Baptiste Lully
1503:Isherwood, Robert M. (1973).
1083:
900:
762:The overture is in standard
16:Opera by Jean-Baptiste Lully
7:
2055:Works based on Fasti (poem)
1518:Loewenberg, Alfred (1978).
1128:Loewenberg 1978, column 59.
1073:
1057:. Also released on 2 DVDs,
749:at war with the Netherlands
742:
291:, and the Théâtre de Caen.
245:Teatro Comunale in Florence
224:with the early music group
10:
2106:
1914:Académie Royale de Musique
1587:Libretto (The Hague, 1717)
919:, mezzo-soprano (Cybèle);
1946:
1906:
1848:
1823:
1777:
1642:
1633:
1496:; accessed 23 June 2012.
1165:Les Archives du Spectacle
981:Chœur de chambre de Namur
710:
589:Marie-Madeleine Brigogne
480:
324:
312:Royal Opera of Versailles
308:Grand Théâtre de Bordeaux
285:Brooklyn Academy of Music
206:on 19 November 1700, and
90:10 January 1676
85:
69:
61:
51:
39:
28:
23:
1871:Jean-Baptiste Lully fils
1839:Jubilate Deo omnis terra
1807:Monsieur de Pourceaugnac
1800:Le Bourgeois gentilhomme
1401:, December 2014, p. 105.
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876:
864:
832:
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795:Title page of 1689 score
786:
512:, daughter of the River
317:
183:Château de Fontainebleau
1035:Opéra National de Paris
923:, soprano (Sangaride);
620:Benoît-Hyacinthe Ribon
435:Dominique de La Grille
163:Théâtre du Palais-Royal
2035:French-language operas
1565:(subscription access).
961:La Simphonie du Marais
927:, baritone (Célénus);
886:
796:
735:Plot and music outline
1832:Plaude Laetare Gallia
1533:Pitou, Spire (1983).
1278:, Awards 2012, p. 55.
993:Château de Versailles
925:Jean-François Gardeil
884:
794:
360:François Beaumavielle
289:Teatro de la Zarzuela
188:Château de Versailles
101:Saint-Germain-en-Laye
2030:Tragédies en musique
1636:List of compositions
1455:Blu-ray product page
1298:, 19 September 2011.
844:This act includes a
814:Lament of the Nymph.
232:and choreography by
226:Les Arts Florissants
215:Jean-Marie Villégier
2080:Heracles in fiction
1937:Tragédie en musique
1766:(completed 1687 by
1763:Achille et Polyxène
1627:Jean-Baptiste Lully
1473:Original libretto:
1307:According to Rosow.
1204:, 9 September 2011.
1015:Stéphanie d'Oustrac
985:Les Talens Lyriques
917:Guillemette Laurens
678:father of Sangaride
419:Mlle Des Fronteaux
265:Guillemette Laurens
169:Performance history
133:Jean-Baptiste Lully
127:, an early form of
124:tragédie en musique
34:Jean-Baptiste Lully
1651:Cadmus et Hermione
1561:2008-05-16 at the
1551:Grove Music Online
1429:Christopher Webber
1332:2014-03-01 at the
1296:The New York Times
1238:Richard Lawrence,
1222:The New York Times
1202:The New York Times
1153:The New York Times
989:Christophe Rousset
887:
810:Claudio Monteverdi
797:
637:François Langeais
202:on 7 August 1689,
198:in February 1689,
2085:Castor and Pollux
2070:Flora (mythology)
1964:
1963:
1893:Philippe Quinault
1272:"DVD Performance"
1065:. Re-released by
732:
731:
543:Saint-Christophle
304:Gramophone Awards
296:Ronald P. Stanton
267:and Sangaride by
253:Teatro Metastasio
249:Montpellier Opera
234:Francine Lancelot
141:Philippe Quinault
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56:Philippe Quinault
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1876:Jean-Louis Lully
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1591:Internet Archive
1580:: Scores at the
1479:Gallica - B.N.F.
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1459:DVD product page
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933:William Christie
915:, tenor (Atys);
753:Henri de la Tour
501:Bernard Clédière
340:(Conductor: - )
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2012:
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1778:With Molière
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1494:CMBR website
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1325:Reported by
1321:
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1288:Allan Kozinn
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1096:
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1047:Salle Favart
1038:
921:Agnès Mellon
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663:son of Sleep
662:
647:son of Sleep
646:
630:son of Sleep
629:
613:God of Sleep
612:
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431:haute-contre
411:
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346:
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293:
273:Salle Favart
269:Agnès Mellon
263:, Cybèle by
261:Howard Crook
212:
174:
172:
148:
129:French opera
122:
116:
111:
110:
109:
77:
18:
2045:1676 operas
1859:Louis Lully
1824:Other works
1699:Bellérophon
1385:Rosow 1992.
1345:Isherwood,
1021:(Célénus);
523:Marie Aubry
507:Sangaride,
392:the tragic
335:Voice type
237: [
218: [
155:Paris Opera
2019:Categories
1707:Proserpine
1416:Opera News
1399:Gramophone
1376:, 338-342.
1363:, 366-386.
1349:, 218-219.
1276:Gramophone
1244:Gramophone
1084:References
1001:B0CN1NQYD7
965:Hugo Reyne
913:Guy de Mey
901:Recordings
781:recitative
726:Corybantes
706:M Dauphin
609:Le Sommeil
603:Mlle Bony
559:Jean Gaye
345:Le Temps,
196:Marseilles
165:in Paris.
94:1676-01-10
52:Librettist
1931:Intermède
1883:Louis XIV
1063:760307774
1055:762095799
973:708413702
953:163459395
949:180130474
945:455483098
805:Phrygians
722:Phrygians
651:baritone
594:Melisse,
556:baritone
550:Celænus,
534:a goddess
514:Sangarius
469:Polynices
412:a goddess
388:Melpomène
371:a goddess
210:in 1720.
194:in 1687,
192:The Hague
179:Louis XIV
173:Although
157:) at the
1956:Category
1768:Collasse
1559:Archived
1372:Rosand,
1330:Archived
1074:See also
1025:(Idas);
850:Venetian
757:Flanders
743:Prologue
701:travesti
659:Phantase
643:Phobétor
600:soprano
586:soprano
538:soprano
519:soprano
473:dancers
465:Eteocles
416:soprano
399:soprano
355:baritone
326:Prologue
300:HD video
247:and the
204:Brussels
137:libretto
86:Premiere
70:Based on
62:Language
1969:Portals
1907:Related
1888:Molière
1723:Phaëton
1659:Alceste
1492:at the
1468:Sources
1260:(2011)"
846:sommeil
812:in his
691:Alecton
626:Morphée
580:Doris,
482:Tragedy
441:Hercule
376:soprano
347:God of
121:) is a
92: (
2090:Cybele
2040:Operas
1864:Alcide
1849:People
1814:Psyché
1758:(1686)
1750:(1686)
1747:Armide
1742:(1685)
1739:Roland
1734:(1684)
1731:Amadis
1726:(1683)
1718:(1682)
1715:Persée
1710:(1680)
1702:(1679)
1694:(1678)
1691:Psyché
1686:(1677)
1678:(1676)
1670:(1675)
1667:Thésée
1662:(1674)
1654:(1673)
1643:Operas
1541:
1526:
1511:
1182:"Atys"
1079:Cibell
1061:
1053:
999:
971:
943:
911:1987:
777:Zephyr
716:Ballet
712:Chorus
695:a Fury
564:Idas,
530:Cybèle
457:Lyncée
453:Pollux
449:Castor
445:Anthæe
426:Zephyr
143:after
65:French
2007:Music
1995:Opera
1855:Sons
1438:Opera
1089:Notes
1067:Naxos
1008:Video
906:Audio
877:Act 5
865:Act 4
833:Act 3
821:Act 2
787:Act 1
682:bass
668:tenor
541:Mlle
510:nymph
367:Flore
332:Role
318:Roles
257:Prato
241:]
222:]
208:Lille
150:Fasti
135:to a
118:Attis
79:Fasti
30:Opera
1683:Isis
1675:Atys
1577:Atys
1539:ISBN
1524:ISBN
1509:ISBN
1490:View
1457:and
1443:Atys
1258:Atys
1059:OCLC
1051:OCLC
1039:Atys
997:ASIN
969:OCLC
959:and
941:OCLC
714:and
571:bass
489:Atys
461:Idas
408:Iris
394:Muse
349:Time
200:Lyon
175:Atys
145:Ovid
112:Atys
74:Ovid
24:Atys
1589:at
801:air
255:in
147:'s
139:by
76:'s
32:by
2021::
1435:,
1431:,
1413:,
1397:,
1294:,
1290:,
1274:,
1242:,
1229:^
1220:,
1209:^
1200:,
1196:,
1172:^
1151:,
1147:,
1133:^
987:,
983:;
963:;
951:,
947:,
931:,
771:.
759:.
718:-
703:)
693:,
661:,
645:,
628:,
611:,
532:,
491:,
467:,
463:,
459:,
455:,
451:,
447:,
443:,
424:A
410:,
390:,
369:,
310:,
239:fr
220:fr
1971::
1770:)
1619:e
1612:t
1605:v
1545:.
1530:.
1515:.
1500:.
1481:)
1336:.
1256:"
1167:.
1003:.
975:.
955:.
115:(
96:)
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