By asdrubal.e
12-Jul-2011

The best Rossini's Armida  

"Armida" released for the reopening of the Teatro San Carlo in Naples in November 1817, constituted a theme atypical for Rossini which always shied away from the supernatural elements.

Moreover, it presents the particularity of having three tenors of force and a single female character, the sorceress Armida. Its difficult implementation scene made it fall into oblivion by more than 100 years until Maria Callas rescued it in the year 1952 by achieving a memorable interpretation. The same did not arrive to register fully, and their sound was very poor.

Rossini in this work, at only 25 years, achieves a score extremely virtuous and brilliant run especially the voice capability of Isabella Colbran, your muse. The registry here commented on account with three tenors of excellent performance, while the sorceress Armida personified by Cecilia Gadia not reaches to achieve an interpretation of long-term, however its vocal beauty.

The version of Claudio Scimone in front of I Solisti Veneti and the Ambrosian Opera Chorus, based on its own critical reading of the score, is carefully until detail, who is very knowledgeable of the Rossinian works. The author of this commentary understands that, as a whole, this is the best version of Armida recorded to date by what recommends it without doubt.
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