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  • Rossini: Armida
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Rossini: Armida Live, Box set

8 customer reviews

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Audio CD, Live, Box set, October 4, 1994
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Editorial Reviews

1993

Disc: 1
1. Armida: Sinfonia
2. Armida: Act One - N. 1 Introduzione: 'Lieto, ridente oltre l'usato' (Coro)
3. Armida: Act One - N. 1 Introduzione: 'Ah! no: sia questo' (Goffredo)
4. Armida: Act One - N. 1 Introduzione: 'Arditi, all'ire' (Goffredo, Coro)
5. Armida: Act One - Recitativo: 'Si, guerrieri' (Goffredo)
6. Armida: Act One - N. 2 Coro di Paladini: 'Germano, a te richiede' (Eustazio, Goffredo, Coro)
See all 27 tracks on this disc
Disc: 2
1. Armida: Act Two - N. 7 Coro di Furie: 'Ala voce d'Amida possente' (Coro)
2. Armida: Act Two - Recitativo: 'Sovr'umano potere' (Astarotte)
3. Armida: Act Two - N. 8 Coro: 'Di ferro e fiamme cinti' (Coro, Astarotte)
4. Armida: Act Two - N. 9 Duetto: 'Dove son io!' (Rinaldo, Armida)
5. Armida: Act Two - Recitativo: 'Mio ben, questa che premi' (Armida, Rinaldo)
6. Armida: Act Two - N. 10 Finale secondo: 'No; d'Amor la reggia e questa' (Armida, Rinaldo, Coro)
See all 12 tracks on this disc
Disc: 3
1. Armida: Act Three - N. 11 Duetto: 'Come l'aurette placide'
2. Armida: Act Three - Recitativo: 'Oh quanto, amico'
3. Armida: Act Three - N. 12 Coro di Ninfe: 'T'inganni' - 'Qui tutto e calma'
4. Armida: Act Three - Recitativo: 'Fuggite, inferni mostri'
5. Armida: Act Three - N.13 Duetto: 'Soavi catene'
6. Armida: Act Three - Recitativo: 'O mio Rinaldo'
See all 16 tracks on this disc

Product Details

  • Audio CD (October 4, 1994)
  • Number of Discs: 3
  • Format: Live, Box set
  • Note on Boxed Sets: During shipping, discs in boxed sets occasionally become dislodged without damage. Please examine and play these discs. If you are not completely satisfied, we'll refund or replace your purchase.
  • Label: Sony Classical
  • ASIN: B0000029L0
  • Average Customer Review: 4.1 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Best Sellers Rank: #51,818 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

53 of 55 people found the following review helpful By adam,lorenzetti on April 13, 2002
In August 1992 I was working at the Rossini Opera Festival and I was very excited to meet Anna Caterina Antonacci who was supposed to sing Armida,one of my favourite operas.On August 1 around 12:00 pm. I receive a phone call from Antonacci's agent,cancelling the preformances. i was so disappointed I felt like crying,but we did have a double,her name was Renée Fleming a young and almost unknown american soprano.She was there the next day and rehearsed the aria "D'amor al dolce impero" at the piano. I must confess that loving Antonacci so much I had a prejudice against this young soprano,but when she opened her mouth it was like listening to a miracle, the beauty of her voice,her incredible technique and her amazing grasp of the Rossini style left me speechless and astonished. Needless to say she was wonderfull throughout the hole score and the preformances were flabbergasting,it was fortunate that they decided to record one of them so that everybody can enjoy this masterfull interpretation. After Callas' preformances in Florence in 1952 it seamed as though we had lost the real Armida voice,Christine Deutekom sang the part in the sixties,June Anderson in the eighties and Cecilia Gasdia recorded it in 1987 but each of these singers failed in recreating the true Rossini style.Armida is Rossini's third neapolitan opera wrote for his future wife Isabella Colbran one of the greatest opera divas of her time; born a contralto she gradually turned into a soprano and this switch left her with a very large vocal range and an incredible vocal agility. This particular vocal organization was to influence every opera wrote for her(10 all together,9 for the "Teatro San Carlo" in Naples and Semiramide wrote for the "teatro la Fenice" in Venice.Read more ›
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29 of 29 people found the following review helpful By pat_boyle_2001 on January 8, 2002
This is a live performance recording so it suffers from a certain amount of over resonance. That aside this is the one to get.
The Armida story has been made into nearly twenty operas. The Rossini is one of the last. It was a very popular libretto in th 18th century with works by Lully and Haydn. After Rossini only Dvorak wrote a major Armida opera again.
This piece is famous for requiring five or six tenors. Some of these parts only appear in one act so they were written to be doubled in performance. However it is also true that at the oppening performance the bass was ill and his role was covered by one of the tenors. Therefore if you don't like tenors - like say Richard Strauss - stay away for this opera.
The tenors here are all quite good. They have lovely voices, good muscianship and can sing the notes. This hasn't always been true. On the Callas recording Mario Fillepeschi, and Gianni Raimondi (both excellent in other repetoire) are lost in the fioratura.
Gregory Kunde is especailly noteworthy. He sings the Nozzari role altough he has a very different voice from Chris Merritt the Nozzari specialist.
The lead tenor part does not have an aria although some of the secondary tenor parts do. Kunde is a high note specialist. Most tenor voices thin out somewhat as they ascend. For example Pavarotti or Corelli had great success with there high notes but these notes were connected to their lower voice. There are a few others who have voices that explode into the high notes. Examplea include Leon Esclais, Pierre Duval, and even Franco Bonisolli. Kunde has this kind of voice. Down in the regular tenor range he sings very well but he sounds like a routine Mozart tenor or even a comprimario. Above the staff he hits some kind of a resonant node.
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22 of 22 people found the following review helpful By Mr T.Dennis on February 16, 2001
I attended these Pesaro performances, and wish to inform potential buyers that the set preserves in fine sound really remarkable performances from all the principals of one of Rossini's most demanding and individual Neapolitan operas. On buying the CD's I wondered if my memories of the live performances had been true to form, and all I have to add is that they were thrillingly confirmed! When the vocal demands of this work are considered, the beauty, virtuosity and stylish panache of the singers deserve all the bravos they can get!
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12 of 12 people found the following review helpful By A Customer on November 6, 1999
The story of Armida was very popular. As I remember there are something like 20 full length opera based on the plot. Rossini's was almost the last of them. There is of course the famous Armida by Haydn another by Lully, Gluck and Dvorak.
The Rossini version is also famous because it supposedly requires five tenors. In fact the tenors in the first act can come back as other newly introduced tenor characters in the last act. This is how it was originally done. Strangely at the premier the bass was sick and they had to substitute - you guessed it - another tenor. In this recording from the Pesaro festival there is no part doubling. Lots of tenors.
So did they find enough good tenors? In a word yes.
Gergory Kunde is a real find. It isn't a real big voice. He's sort of like a good not great Mozart tenor - say Kurt Streit - for most of his voice. Then there's the top. He has a sort of turbo charger above the break. This is of course nothing at all like the voice that Rossini was writing for. We know that Andrea Nozzari - the first Rinaldo - had great low notes and we suspect that the top was some kind of head voice. Maybe Nozzari sounded like Chris Merritt on the bottom nad Stanford Olsen on the top.
This is exactly the opposite of Kunde. Not much at the bottom but a top like Vesuvius. No matter, Kunde makes it work.
Strangely Rinaldo has no aria but don't worry he gets lots of duets and of course the famous trio for tenors.
The opera starts off with a giant scene for tenor and crusaders - recit, aria, and a cabaletta ending on a C. For anyone else this would be the climax of the show in the third act finale with the star tenor. In Armida its a curtain openner for a character who disappears shortly therafter.
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