The story of Armida
is based on one of the epic literary
creations of The Renaissance: Torquato
Tasso’s Gerusaleme liberata which
was about the First Crusade. Rossini’s
opera is one among many composers, including
Lully, Gluck, Handel and Haydn, who
set variations of the story of the sorceress
Armida and the knight Rinaldo.
Rossini composed the
work on his return to the re-built Teatro
San Carlo, Naples, after premiering
his Thieving Magpie at La Scala on May
31st 1817 and La Cenerentola
in Rome on 25th January that
same year. The impresario of the theatre
was keen for a work of musical individuality,
one breaking away from the prevailing
conventions. Above all he wanted an
opera utilising the new facilities of
the refurbished theatre in terms of
scenic effect and dance. The fourteen-minute
ballet was good practise for Rossini’s
later Paris works where a ballet was
de rigueur (CD 2 tr. 6). In fact Rossini
produced his most romantic opera to
date in terms of the spirit and opulence
of the music including three extended
love duets (CD 1 trs 15-16), (CD 2 trs.
1-2 and 11-12). The libretto called
for lavish staging including Armida’s
palace and enchanted garden. There were
to be many comings and disappearances
as well as dances by nymphs, cherubs
and dragons. The lovers Armida and Rinaldo
descend on a cloud that becomes her
chariot and, as she waves her wand,
turns into her castle. Despite the spectacle
of the production, the opera was only
moderately well received. The contemporary
critical opinion was that the music
was ‘too German’; the implication was
that it was too romantic in the manner
of Weber. The requirements for the staging
of the work restricted its spread although
it found favour in Germany. By the end
of the 1830s it had disappeared, only
re-emerging as a vehicle for Callas
at the 1952 Maggio Musicale in Florence.
Added to the complications and cost
of staging the work is the requirement
of six tenors, albeit with the prospect
of doubling. These roles involve much
high-lying tessitura the skill for which
has only in the last twenty or so years
become available again. How the 1952
revival managed I don’t know. The sole
female role is that of Armida. At the
premiere Isabella Colbran sang the role.
She was shortly to become Rossini’s
wife, which may account for the inspiration
for some of his voluptuous music.
This recording of Armida
followed performances under the baton
of the conductor and Rossini scholar
Claudio Scimone. He draws vital and
vibrant playing from I Solisti Veneti,
whilst the Ambrosian Opera Chorus sound
Italian to a man, British or not. In
fact I am tempted to suggest an Italian
chorus would not have given the disciplined
and superbly articulated performance
that is found here. The chorus are not
merely protagonists in their own right,
but are vital supports in solo arias
in a manner that Rossini had not used
before to the same extent. As the hero
Rinaldo, Chris Merritt, who can be vocally
variable, is in good voice with firm
vocal control at both ends of his considerable
range. Both William Matteuzzi and Bruce
Ford double up roles. Bruce Ford has
the better voice of the two and is heard
to advantage in Gernando’s Non soffriro
l’affesa with chorus (CD 1 tr. 13).
William Matteuzzi’s tone is somewhat
dry but he manages his demanding music
more than adequately (CD 1 trs. 3-4).
In the tenorino role of Eustazio, Charles
Walkman’s lighter tone can be heard
in the act I ensembles Nos. 3 and 4
(CD 1 trs. 5-11). Ferruccio Furlanetto
doubles as Idraote and the devil Astarotte.
At this stage of his career his flexible
well-tuned bass lacked some of the sonority
and weight it developed later, but his
contributions are musical and well characterised
(CD 1 trs. 21-24). Before leaving the
male voices I mustn’t forget to mention
the act III terzetto Lo splendor
di que rai for three tenors where
high Cs abound (CD 2 trs. 13-14).
Cecilia Gasdia sings
the sorceress-cum-seductress of the
title. Armida preys on Christian soldiers
and tempts Rinaldo, the most formidable
of the heroes into her web. Whilst she
may not have the ideal seductive voluptuousness
of voice, or even temperament, to perfectly
characterise the seductress of act I,
her singing and coloratura is perfectly
pitched and with a wide variety of colour.
Her greatest vocal strengths are in
her expression and true coloratura as
heard in the central showpiece aria,
with chorus, D’Amore al doce impero
(CD 2 tr. 5). There her runs are pinpoint
in accuracy and without aspirates. Even
more formidable is her Dov’e son
io? (CD 2 tr. 15), and the remainder
of her contribution to the final scene
as Armida flies off in her chariot ostensibly
to wage battle another day, Rinaldo
having escaped her clutches.
This recording is bright
with clear separation of orchestra and
solo voices, which have a little added
bloom. The booklet has a poorly translated
rather over-erudite essay covering the
Armida legend, Rossini’s composition
of the opera and the 1952 revival. A
synopsis, without reference to acts,
let alone tracks, is dispersed through
this essay. There is a full libretto
in Italian only. The tracks indicated
in the libretto can be cross-referenced
to the track listing and read in conjunction
with a synopsis available as a free
download on the web.
Armida comes in at
number 22 of the 39 titles in the Rossini
oeuvre. The music is mature Rossini
at his best. The difficulties of staging
and casting have doubtless contributed
to its neglect. Rossinians are fortunate
that this well recorded and conducted
performance, originally on the Europa
label, is available again. Despite its
positive qualities, and being the only
currently available recording of the
work, it is at budget price. Arts Music
is to be commended for making it available
again. I suggest lovers of Rossini’s
works, and Italian opera in general,
go out and purchase it, now, and give
encouragement to the commendable enterprise
shown by Arts Music in re-issuing this
fine performance of an undeservedly
neglected work.
Robert J Farr
Ambrosian Opera Chorus 
