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Rossini: Armida / Frizza, Fleming, Brownlee, Osborn, Banks


Release Date: 02/15/2011 
Label:  Decca   Catalog #: 001522609  
Composer:  Gioachino Rossini
Performer:  Renée Fleming,  Lawrence Brownlee,  Kobie van Rensburg,  Barry Banks,   ... 
Conductor:  Riccardo Frizza
Orchestra/Ensemble:  Metropolitan Opera Orchestra
Number of Discs: 2 
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Notes and Editorial Reviews

Renée Fleming continues her reign as "Queen of the Met," starring in a bel canto rarity specially staged for her — a showcase for her extraordinary vocal virtuosity as well as for one of the most beautiful voices of our time. This 4-hour bel canto extravaganza is presented here on 2 DVDs.

In addition to the great prima donna title role, Armida uniquely features no fewer than six tenor roles, here led by the acclaimed young American tenor Lawrence Brownlee.

In May Zimmerman's magical new production, supported by striking sets, colorful costumes, and a fully-staged ballet, the "real world" of the Crusaders and the fantastical realm of Armida's enchanted island are clearly contrasted. Read more />
R E V I E W:

3464892.az_ROSSINI_Armida_Riccardo_Frizza.html

ROSSINI Armida • Riccardo Frizza, cond; Renée Fleming ( Armida ); Lawrence Brownlee ( Rinaldo ); Barry Banks ( Gernando, Carlo ); Kobie van Rensburg ( Ubaldo ); Metropolitan Opera O & Ch • DECCA B0015226-09 (2 DVDs: 183:00 Text and Translation) Live: New York 5/1/2010


Would you like a one-word summary first? That word would be “fabulous.” The recorded competition is all in the form of audio-only; I am not aware of any other video of Armida . Among the audio recordings, Maria Callas’s 1952 performance in Florence is worth having because it is one of her most spectacular efforts, but between the congested and limited sound, some serious weaknesses in the rest of the cast, and the cuts, it is only valuable as a supplement and really only recommendable for Callas. Neither Cecilia Gasdia (Europa) nor Cristina Deutekom (Foyer) is in Fleming’s league. And to that you add the Met’s magical Mary Zimmerman production, and you have a total winner.


One of the challenges in staging Armida is the existence of six tenor roles, most of them quite difficult. The Met actually had six on stage for some performances, but on this DVD Barry Banks doubles up two of the roles. To have a Rossini tenor of that quality not even in the principal tenor role defines luxury casting. Lawrence Brownlee’s fast-rising star is clearly explained by his brilliant performance here—singing with accuracy, agility, gleaming top notes, and innate musicality. Kobie van Rensburg’s Ubaldo is not quite at their level, and he starts shakily but warms up, and more than holds his own in Rossini’s remarkable trio for three tenors in the final act—and what a scene that is! You’ll rarely hear anything like it in opera. All of the other roles are well cast; it is amazing today how we cannot cast one really great Forza or Aida , but Rossini singing is lightyears beyond where it was in the 1950s and 60s.


But Armida stands or falls on the shoulders of its soprano, and this one stands tall. Fleming might not have quite the astonishing range of color and inflection of a Callas, but anyone who thinks that she just stands and delivers pretty sounds needs to see and hear this performance. She sings with deep feeling, veering back and forth between terrorizing her enemies and tenderly singing of her love for Rinaldo. Her top notes ring out with authority and beauty, her coloratura is clean, and she is persuasive in all elements of this complex role. Her legato, whether in the lovely duets with Rinaldo or her big solo scenes, is evenly produced, and her sense of the shape of the music is natural and flowing. This is a towering performance.


Zimmerman’s production captures convincingly both the magical and the mundane elements of the story, and make dramatic truth out of what could, in the wrong hands, be a very silly piece of theater. The costumes and sets fit the concept perfectly—everything is in harmony here. And special kudos go to Teele Ude, a young dancer/mime who plays the silent role of the spirit of love, present through much of the opera. She performs with real panache and skill. The Met Orchestra is now one of the opera world’s greatest, and Riccardo Frizza conducts with just the right sense of pacing. The sound quality, heard in conventional LPCM stereo, is well balanced and natural (you can also choose DTS 5.1 surround sound). Gary Halvorson’s direction for the video is perfect—not too busy, not too static.


This was a Live from the Met transmission originally, so we are given interviews by Deborah Voigt; the most interesting is the brief one with Mary Zimmerman. For Rossini lovers, this would seem to be a must-have.


FANFARE: Henry Fogel
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Works on This Recording

1. Armida by Gioachino Rossini
Performer:  Renée Fleming (Soprano), Lawrence Brownlee (Tenor), Kobie van Rensburg (Baritone),
Barry Banks (Tenor), John Osborn (Tenor)
Conductor:  Riccardo Frizza
Orchestra/Ensemble:  Metropolitan Opera Orchestra
Period: Romantic 
Written: 1817; Italy 

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