Customer Reviews

Rossini: Armida

5 star:		(3)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(1)

 

 

I am lucky enough to have two versions of Rossini's Armida, this one and one conducted by Gatti with Renee Flemming. Of the two this version is clearly superior.

Armida is a rather peculiar opera, with one soprano role, six tenor roles and two bass roles. The tenors can to a large extent be doubled as can the bass roles, the lack of real dramatic coherence being indicated by the way in which so many of the characters do not interact with each other.

One of the main strengths of this recording is the conducting by Claudio Scimone of a first-class and sympathetic orchestra and a great chorus. As Gatti's unfortunate performance demonstrates, this work needs solid direction to make it at all coherent and this Scimone provides. The tenors produce some very fine singing indeed and they have sufficiently distinctive voices to help keep the drama alive in aural form alone. Chris Merritt in the principal male role gives a well-balanced and satisfying rendition. Bruce Ford and William Matteuzzi, each of whom sings two roles, also do very well; indeed, I can't remember hearing a better performance by Bruce Ford.

The central figure in the opera is Armida herself. Only here is there real competition from the alternative set. I actually prefer Cecilia Gasdia's interpretation, partly because Flemming, though more spectacular, is poorly recorded, but many would find Flemming preferable.

This set only provides the libretto in Italian only, while the rival does have translations into English, German and French.

Overall, however, there is no real competition to this set. It is not the best Rossini, but it does provide an enjoyable, well executed work.

This difficulty opera- because of the large part of the soprano and the six roles for tenor - has a vivid music and Scimone knows how to express all the colours of the score, as those composed for the bright world of knights, as those composed for the witch's dark and mysterious world. All parts are well sung by the four tenor in this version (Matteuzzi and Ford sing two roles each that never coincided on stage), and Gasdia with a darker voice than her old young years, give to Armida the drama she need and Callas succesfully did. Of course, you must know Gasdia won a Callas' contest and her voice is similar to the greek-american diva.
Good booklet, with libretto and articles, this is one of the recordings people who loves Rossini must have, cosidering the almost whole rossinian cast. I never listened other version, but I know that the Serafin to Callas jewel, has its used cuts.

I think the other three reviewers are accurate in their assessment. [There is a fourth reviewer who gives one star for reasons which do not signify.] I want to say that I know only one recording of "Armida", the 1952 Maggio Musicale set with Callas. She is spectacular; the rest of the cast get through their parts without undue mishap; but. . .the sound is not good. Having said that, enough Callas comes through to make that live performance a touchstone - not for technical reproduction, but for vocal and dramatic interpretation. With that said, and having heard that performance so often, I can say that nothing in this Gasdia performance disappoints and in fact it is a delight throughout. Whether it is minor Rossini or not, I'll let scholars debate; all I know is that I enjoy it! All of it: Gasdia and her tenors. There isn't a cringe moment to be heard anywhere. The only slight, very slight, disappointment is that Gasdia doesn't end the opera on a show-stopper high note, a la Callas. Since I'm used to it and it fits so well, I miss it. But I'll survive - and I think you will as well if you choose to buy. I really do enjoy this set very much. I hope you will as well.

I won't go into a complete review other than to say that I find the Gasdia set greatly superior to the Fleming. For one reason, the sound quality on the Fleming is poor. Whoever engineered her live performance should find another profession. The Gasdia is in beautiful sound. Since no other review mentioned sound quality, I think you should be advised of same....

6 ueber-tenor roles and several dazzling opportunities for a powerhouse coloratura come through in this recording. (It's going to take many more outings before anything definitive definitive is achieved with this score.) The tenors here do some amazing things that most do not (if you go through the youtube offerings), especially in the famous tenor trio. Matteuzzi has the exciting tenor sound probably more what Rossini had in mind when he wrote these amazingly challenging roles in those earlier operas. Ermione also has killer tessitura for tenors. I have to say this is a better performance in every way than the limp one I heard at the Met this year, although I loved the singers in that cast...Fleming, Brownlee, etc. You don't take on Armida lightly, though. It's unknown because it's an epic challenge, not because it's unworthy material. I heard excerpts from a 1903 recording with Met artists and found that to be the best. I had it on an old casette tape but lost it and now can't find it listed anywhere. The singers back in that day had the chops and gave everything 150%. Even through the crude recording technique of the day you could here the insanely superior vocal production each singer had effortlessly. And they seemed to enjoy one upping each other! Those were the days.

The role of Armida, sung by Gasdia, is gargled the whole time! The Fleming and even the Callas (Live, 1952) are clearly superior. Gasdia lacks depth in her singing -- and has no sense of 'bel canto' and no sense of the musical line. They should rename 'bel canto' -- 'bel can't' -- just for her. Don't waist $20 buying this...buy the Fleming or the Callas -- both recordings are far superior -- with brilliant singing and real operatic drama.