William Lincoln Christie (born December 19, 1944 in Buffalo, New York) is t… Read Full Bio ↴William Lincoln Christie (born December 19, 1944 in Buffalo, New York) is the founder and director of Les Arts Florissants.
Christie studied art history at Harvard University (where he was briefly assistant conductor of the Harvard Glee Club) and music at Yale University. He moved to France in 1971, where he became known for his interpretations of Baroque music, particularly French Baroque music, working with Renรฉ Jacobs and others.
In 1979 he founded Les Arts Florissants, named after the opera of the same name by Marc-Antoine Charpentier, which was to be its first fully-staged production. Major recognition came in 1987 with the production of Lully's Atys at the Opรฉra Comique in Paris. Christie has also presented and recorded works by Andrรฉ Campra, Franรงois Couperin, and Jean-Philippe Rameau.
He was professor at the Paris Conservatoire from 1982 to 1995, and maintains an active role in pedagogy by participating in masterclasses and academies. In 2002 he founded Le Jardin des Voix, a biennial academy for young singers in Caen. He was awarded the Lรฉgion d'honneur in 1993, and is an Officer in the Ordre des Arts et des Lettres. Christie has long been resident in France[1], and he was granted French citizenship in 1995.
Christie has expanded beyond his group's core French repertoire, performing Henry Purcell, George Frideric Handel, and Wolfgang Amadeus Mozart. He has been guest conductor at the Glyndebourne Festival, and productions for Zurich Opera and the Opera de Lyon. Since 2002 he has appeared regularly with the Berlin Philharmonic.
In 2008 he brought "Les Arts Florissants" to Madrid's Teatro Real to perform Monteverdi's L'Orfeo, a co-production with La Fenice, Venice.
Christie studied art history at Harvard University (where he was briefly assistant conductor of the Harvard Glee Club) and music at Yale University. He moved to France in 1971, where he became known for his interpretations of Baroque music, particularly French Baroque music, working with Renรฉ Jacobs and others.
In 1979 he founded Les Arts Florissants, named after the opera of the same name by Marc-Antoine Charpentier, which was to be its first fully-staged production. Major recognition came in 1987 with the production of Lully's Atys at the Opรฉra Comique in Paris. Christie has also presented and recorded works by Andrรฉ Campra, Franรงois Couperin, and Jean-Philippe Rameau.
He was professor at the Paris Conservatoire from 1982 to 1995, and maintains an active role in pedagogy by participating in masterclasses and academies. In 2002 he founded Le Jardin des Voix, a biennial academy for young singers in Caen. He was awarded the Lรฉgion d'honneur in 1993, and is an Officer in the Ordre des Arts et des Lettres. Christie has long been resident in France[1], and he was granted French citizenship in 1995.
Christie has expanded beyond his group's core French repertoire, performing Henry Purcell, George Frideric Handel, and Wolfgang Amadeus Mozart. He has been guest conductor at the Glyndebourne Festival, and productions for Zurich Opera and the Opera de Lyon. Since 2002 he has appeared regularly with the Berlin Philharmonic.
In 2008 he brought "Les Arts Florissants" to Madrid's Teatro Real to perform Monteverdi's L'Orfeo, a co-production with La Fenice, Venice.
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Purcell : Dido & Aeneas : Act 3 "When I am laid in earth"
William Christie Lyrics
No lyrics text found for this track.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
@arisussman1463
Thy hand, Belinda, darkness shades me,
On thy bosom let me rest,
More I would, but Death invades me;
Death is now a welcome guest.
When I am laid, am laid in earth, May my wrongs create
No trouble, no trouble in thy breast;
Remember me, remember me, but ah! forget my fate.
Remember me, but ah! forget my fate.
good lord that's dark..
@janesmith9024
I just sung this at the piano as I have for over 40 years.... it felt appropriate for the days of covid 19. "Death is now a welcome guest...."
200,000 dead so far across the world.......
Remember them but forget their fate....
Recitative
Thy hand, Belinda, darkness shades me,
On thy bosom let me rest,
More I would, but Death invades me;
Death is now a welcome guest.
Aria
When I am laid, am laid in earth, May my wrongs create
No trouble, no trouble in thy breast;
Remember me, remember me, but ah! forget my fate.
Remember me, but ah! forget my fate.
@margomoore4527
A white voice may may be pretty, but it is terminally immature, to my mind. A mature adult voice, in the absence of tension, has a natural vibrato, the โzitternden und bebendenโ to which Mozart referred.
The voix blanc is natural only to children. To prolong it into adulthood is unnatural and sounds as artificial and false as it is.
The proof of this is demonstrated by contrasting the timbre of the earliest reconstituted falsettist, Alfred Deller, shose voice was not adequately supported, with the current crop of counter-tenors (I heard 3 or 4 of them at Chicago Lyric, in an antique opera revival in the 2000โsโit may have been Alcina but I canโt recall.) what I do recall was the profusion of fine, well-supported young countertenors. It was a revelation.
If a handful of early-music enthusiasts desire to cling to the sound of boy sopranos (in adult women), well, they can do as they please. But the true womanly sound that best portrays a great female leader like Dido, is the full, warm sounds of Jessye Norman, Sarah Connolly, Kirsten Flagstad, and other, more recent Sopranos and Mezzos. The general public loves light, white, breathy voices, because they are easy to hear. The truly knowledgeable opera lover, by contrast, seeks and embraces the full intensity of the great womanly voicesโPonselle is also a stellar example.
The boy or girl soprano has a place in music. But even early operas benefit from voices that can use their God-given gifts in their fullnessโif Purcell had big, full voices available, would he not have rejoiced? Also, school or no, there often spring up young women whose physical instrument and consequently their entire voice matures earlyโPonselle being the classic example, who by 8th grade had the voice of an adult woman.
Iโm not trying to denegrate the work of Ms. Thomas, but to advance the cause of vocal health and the appreciation of the ideal womanly voice.โค
@boyisun
Recitative
Thy hand, Belinda, darkness shades me,
On thy bosom let me rest,
More I would, but Death invades me;
Death is now a welcome guest.
Aria
When I am laid, am laid in earth, May my wrongs create
No trouble, no trouble in thy breast;
Remember me, remember me, but ah! forget my fate.
Remember me, but ah! forget my fate.
@taylorfisher6203
I only came here to study musical pieces for my Musical Appreciation class, but I will say that this is an incredibly beautiful piece of music.
@martam7258
Same here
@helena7322
Me too..
@lapaula_fj_
Same here, but for a Spanish subject called Anรกlisis Musical. But still I appreciate this music ๐๐
@vonteriojohnson4198
Same
@shallows529
Sameeeee
@zombie1492ZD1492
love this piece, when I heard it play in GOTG Vol. 3 in my head I was like "DIDO'S LAMENT, IT HAS TO BE, IT IS IT"
@TheLewistownTrainspotter8102
High Evolutionary: "How did you know? About the microseminoproteins, P-1-3? What happened in there? Why? How did you know, P-1-3?"
Rocket: "I-i-it was too little filtration."
High Evolutionary: "In the hypotonic, yes, we know, we fixed that, BUT HOW DID YOU KNOW?!?! I. MADE. YOU!!!! How did YOU know? ... Because it worked. It, it worked. Their rage is gone."
@bendyexpert1239
BRO I SAW THAT MOVIE and the fact that I knew the song made it so much sadder omg ๐ญ๐ญ๐ญ
@jaimecorvus6373
the most emotional version, even the high notes so soft and pure, can't help crying.