Question: Armide is an opera by a composer born in which year ?

Context articles: Renaud (Desmarets)
Amadis de Gaule (J.C. Bach)
Armide (Lully)
Didon (Desmarets)
Davide Perez
Marcel Mihalovici
Evald Aav
Brett Polegato
Armide (Gluck)
Jean-Baptiste Lully

Renaud, ou La suite d'Armide ("Renaud, or the Sequel to "Armide"") is an opera by the French composer Henri Desmarets, first performed at the Académie Royale de Musique (the Paris Opera) on 5 March 1722.
 It takes the form of a "tragédie en musique" in a prologue and five acts.
 The libretto, by Simon-Joseph Pellegrin, is based on Torquato Tasso's "Gerusalemme liberata".
 The opera is a sequel to Jean-Baptiste Lully's "Armide" (1686).
Amadis de Gaule, or Amadis des Gaules ("Amadis of Gaul"), is a French opera in three acts by the German composer Johann Christian Bach.
 The libretto is a revision by Alphonse de Vismes of "Amadis" by Philippe Quinault, originally set by Jean-Baptiste Lully in 1684, which in turn, was based on the knight-errantry romance "Amadis de Gaula" (1508).
 Bach's opera was first performed at the Académie Royale de Musique, Paris on 14 December 1779.
 It followed the contemporary French fashion for resetting libretti by Quinault ("Armide" by Gluck and "Roland" by Piccinni are other examples of this trend).
 The work was not a success with the Parisian public, mainly because it pleased neither the supporters of Gluck nor those of Piccinni, the two leading rival opera composers in France at the time.
 It was the last opera J. C. Bach composed.
Armide is an opera by Jean-Baptiste Lully.
 The libretto by Philippe Quinault is based on Torquato Tasso's poem "La Gerusalemme liberata" ("Jerusalem Delivered").
 The work is in the form of a tragédie en musique, a genre invented by Lully and Quinault.
Didon is a tragédie en musique or opera in a prologue and five acts by composer Henri Desmarets.
 The work uses a French language libretto by Louise-Geneviève Gillot de Saintonge.
 The opera was heavily influenced by Jean-Baptiste Lully's "Armide" and the music of both Marc-Antoine Charpentier and Henri Dumont.
Davide Perez (1711 – 30 October 1778) was an Italian opera composer born in Naples of Italian parents, and later resident court composer at Lisbon from 1752.
 He staged three operas on librettos of Metastasio at Lisbon with huge success in 1753, 1754, and 1755.
 Following the 1755 Lisbon earthquake, Perez turned from opera mostly to church music.
Marcel Mihalovici (Bucharest, 22 October 1898 – Paris, 12 August 1985) was a French composer born in Romania.
 He was discovered by George Enescu in Bucharest.
 He moved to Paris in 1919 (at age 21) to study under Vincent d'Indy.
 His works include his "Sonata number 1 for violin and piano" (1920), "Mélusine" opera (1920, libretto by Yvan Goll), his "1st string quartet" (1923), "2nd string quartet" (1931), "Sonata number 2 for violin and piano" (1941), "Sonata for violin and cello" (1944), "Phèdre" Opera (1949), "Étude in two parts for piano and instrumental ensemble" (1951) and "Esercizio per archi" (1960).
 Many of his piano works were first performed by his wife, the concert pianist Monique Haas.
Evald Aav (7 March [O.S. 22 February] 1900 – 21 March 1939) was an Estonian composer born in Tallinn, Governorate of Estonia, Russian Empire.
 He studied music composition there with Artur Kapp and wrote primarily vocal music to words in the Estonian language.
 In 1928 he composed the first national Estonian opera, "Vikerlased" (The Vikings).
 The opera premiered in Tallinn on 8 September 1928.
 He modelled his style of composition after Tchaikovsky.
Brett Polegato (born 1968 in Niagara Falls, Ontario, Canada) is an operatic baritone.
 In 1999 he made his Lyric Opera of Chicago debut as Peter Niles in Levy's "Mourning Becomes Electra" followed by his La Scala debut in 2000 as Ned Keene in Britten's "Peter Grimes".
 He is particularly known for his interpretation of the title role in Debussy's "Pelléas et Mélisande" which he has performed with many companies including the Bavarian State Opera, Opéra National de Paris, Oper Leipzig, and Opéra National du Rhin among others.
 Other European appearances include Ubalde in Gluck's "Armide" at Opéra de Nice, the title role in Monteverdi's "Orfeo" at Opéra d'Avignon, and Frère Lèon in Messaien's "Saint François d'Assise" at Opéra National de Paris.
 He has sung numerous roles with Flanders Opera, including Guglielmo in Mozart's "Così fan tutte", Albert in Massenet's "Werther", and the Steward in Jonathan Dove's "Flight".
 In his native Canada, Polegato has sung Papageno in Mozart's "Die Zauberflöte", Figaro in Rossini's "Il barbiere di Siviglia", and Zurga in Bizet's "Les pêcheurs de perles" with Vancouver Opera.
 In the United States, he has sung with New York City Opera, Houston Grand Opera, and Michigan Opera Theatre as well as making many concert appearances and recordings with American orchestras.
 He made his Seattle Opera debut in 2005 as Henry Miles in Jake Heggie's "The End of the Affair" and returned to the company in 2007 as Orestes in Gluck's "Iphigenia in Tauris".
Gluck set the same libretto Philippe Quinault had written for Lully in 1686, based on Torquato Tasso's "Gerusalemme liberata" ("Jerusalem Delivered").
 Gluck seemed at ease in facing French traditions head-on when he composed "Armide".
 Lully and Quinault were the very founders of serious opera in France and "Armide" was generally recognized as their masterpiece, so it was a bold move on Gluck's part to write new music to Quinault's words.
 A similar attempt to write a new opera to the libretto of "Thésée" by Jean Joseph de Mondonville in 1765 had ended in disaster, with audiences demanding it be replaced by Lully's original.
 By utilizing "Armide", Gluck challenged the long-standing and apparently inviolable ideals of French practice, and in the process he revealed these values capable of renewal through "modern" compositional sensitivities.
 Critical response and resultant polemic resulted in one of those grand imbroglios common to French intellectual life.
 Gluck struck a nerve in French sensitivities, and whereas "Armide" was not one of his more popular works, it remained a critical touchstone in the French operatic tradition and was warmly praised by Berlioz in his "Memoirs".
 Gluck also set a minor fashion for resetting Lully/Quinault operas: Gluck's rival Piccinni followed his example with "Roland" in 1778 and "Atys" in 1780; in the same year, Philidor produced a new "Persée"; and Gossec offered his version of "Thésée" in 1782.
 Gluck himself is said to have been working on an opera based on "Roland", but he abandoned it when he heard Piccinni had taken on the same libretto.
Jean-Baptiste Lully (] ; born Giovanni Battista Lulli ] ; 28 November 1632 – 22 March 1687) was an Italian-born French composer, instrumentalist, and dancer who spent most of his life working in the court of Louis XIV of France.
 He is considered a master of the French baroque style.
 Lully disavowed any Italian influence in French music of the period.
 He became a French subject in 1661.