Christophe Rousset, Les Talens Lyriques - Niccolo Jommelli: Armida abbandonata (2005)
Christophe Rousset, Les Talens Lyriques - Niccolò Jommelli: Armida abbandonata (2005)
EAC | FLAC | Image (Cue & Log) ~ 928 Mb | Total time: 61:04+66:40+44:10 | Scans included
Classical | Label: Naïve | # AMB 9983 | Recorded: 1994
EAC | FLAC | Image (Cue & Log) ~ 928 Mb | Total time: 61:04+66:40+44:10 | Scans included
Classical | Label: Naïve | # AMB 9983 | Recorded: 1994
Armida abbandonata is one of Niccolo Jommelli's finest operas. It was the first he composed after returning to Naples from his triumphant years in Stuttgart (1754-1769), receiving its first performance at the Teatro San Carlo on May 30, 1770. Among those who attended was the 14-year old Mozart, whose report that Armida was "beautiful, but too serious and old-fashioned for the theater," has been frequently quoted and almost as frequently misunderstood. "The theater" almost certainly refers specifically to the San Carlo, which did indeed find Armida "too serious," in the sense of its harmonic and orchestral complexity, ironically a criticism Mozart himself would later encounter in Vienna. Although Jommelli appears to have attempted some simplification as a concession to Neapolitan taste, Armida abbandonata betrays many of the stylistic traits of the reforms he introduced to opera seria in Stuttgart: greatly expanded orchestral writing, with arias frequently prefaced by long, richly scored introductions, the abandonment of the da capo aria in favor of flexible forms skillfully manipulated to suit dramatic context, and the adaptation of elements of French tragédie lyrique, in Armida most obviously in the Chaconne in act I, and the magic forest scene in act III, with its alternation of accompanied recitative, arioso, and choruses. All these features render Mozart's description of Armida as "old-fashioned" puzzling, particularly since his own Mitridate , produced in Milan later the same year, is a thoroughly conventional opera seria that falls short of Jommelli's outstanding work.
The familiar plot of Armida is of course drawn from Tasso's Gerusalemme liberata , being the story of Rinaldo's enchantment and eventual release from the clutches of the sorceress Armida. Many of the countless operatic settings derived either from Quinault's libretto for Lully, or a 1607 libretto by Francesco Silvano, but Jommelli's librettist Francesco De Rogatis went back to the original Tasso, producing a book full of spectacular magic scenes. But he cleverly underplayed the part of magic in Armida's hold over the Christian knight, thus intensifying the conflict between love and duty that lies at the heart of the story. Until unleashing her wrath on the departing Rinaldo in a remarkable scena that conveys vividly her near-madness, Armida emerges as a sympathetic figure that reaches genuinely tragic status in another great scena in act II, her anguish articulated first through the lacerating chromaticism of the orchestral writing in the accompanied recitative, then in the aria "Ah, ti sento", which powerfully presages 19th-century bel canto . Rinaldo, too, is finely drawn, a man who despite his Aeneas-like vacillation is capable of arousing sympathy for his predicament.
For his original cast Jommelli had at his disposal two of the finest singers of the age for the roles of Armida, and Rinaldo. The former was sung by Anna de Amicis, renowned as a great singing actress, while the part of Rinaldo went to Giuseppe Aprile, a favorite of Jommelli's, and a singer with whom he had worked often in the past. Both are formidable roles, that of Armida in particularly calling for a singer who can not only manage coloratura of Queen of the Night-like agility and tessitura, but also convey the sorceress's deepest pain. Ewa Malas-Godlewska may not have the most beautiful of voices, but her management of the glittering passage work the role demands is spectacularly impressive, and she has the dramatic power to be deeply moving in Armida's darker nights of the soul, effectively conveying both her troubled spirit, and tragic mien. Claire Brua's Rinaldo is also a convincing portrayal, managing to impart a real sense of heartbreak and inner turmoil at the prospect of losing Armida. Again, the voice is not the greatest, and there are times when vibrato obtrudes too much, but Brua provides a fine account of the big virtuoso "jealousy" aria of Act I, "Reste, ingrate."
The other major role is that of Tancredi, an import from an earlier part of Tasso's epic, and a man who has also been captive to Armida's allure, but here plays a heroic role in helping release Rinaldo from her clutches. It's another virtuoso role here splendidly undertaken by tenor Gilles Ragon, whose masculine, ringing tone is ideally suited to both the huge "Non è vita" (act I), and the splendid "simile" aria "Fra l'orror" (act II). The remaining parts are all capably taken, with especial plaudits going to Véronique Gens's touching Erminia, the woman who has come in search of her lover, Tancredi. Christophe Rousset directs with the fervor of a man on a mission, inspiring playing of great conviction from his fine band, although one might have wished for a string complement more in keeping with the considerably larger body Jommelli had at his disposal at the San Carlo.–Brian Robins
Performer:
Armida - Ewa Malas-Godlewska
Rinaldo - Claire Brua
Tancredi - Gilles Ragon
Erminia - Véronica Gens
Rambaldo - Laura Polverelli
Ubaldo - Patricia Petibon
Dano - Cécile Perrin
Les Talens Lyriques
Conductor - Christophe Rousset
Track List:
CD1:
01. Sinfonia
02. Atto I. Recitativo: “Alfin cessate” (Erminia, Tancredi, Rambaldo)
03. Recitativo: “O tu che baldanzoso” (Rambaldo, Tancredi, Erminia)
04. Aria: “Non è viltà” (Tancredi)
05. Recitativo: “E tu, che tanta hai cura” (Rambaldo, Erminia)
06. Aria: “Da quel primiero istante” (Erminia)
07. Recitativo: “Da’ torti angusti avviluppati calli” (Dano, Ubaldo)
08. Chaconne: “Ma lasciatemi alfin” (Rinaldo)
09. Recitativo: “Ma lode al cielo” (Rinaldo, Armida)
10. Aria: “Resta, ingrata; io parto” (Rinaldo)
11. Scena VII Recitativo: “Dalle furie gelose” (Armida, Rambaldo)
12. Aria: “Non ti sdegnar” (Rambaldo)
13. Recitativo: “Da me che si pretende” (Tancredi, Armida)
14. Aria: “Se la pietà” (Armida)
15. Recitativo: “Perfida donna, e credi” (Tancredi, Dano, Ubaldo)
16. Aria: “Odo che un zefiro” (Dano)
17. Recitativo: “Felice lui, cui tanto” (Tancredi, Rinaldo)
18. Recitativo accompagnato: “Sensi d’onor, di gloria” (Rinaldo)
19. Recitativo: “Mio ben, t’arresta” (Armida, Rinaldo)
CD2:
01. Recitativo accompagnato: “Addio – M’ascolta” (Rinaldo, Armida)
02. Duetto: “Ah! tornate” (Rinaldo, Armida)
03. Atto II. Recitativo: “In questa guisa” (Erminia, Rambaldo)
04. Recitativo: “Dunque del mio potere” (Armida, Erminia)
05. Aria: “Cercar fra i perigli” (Erminia)
06. Recitativo: “Oh Dio! Chi sa chi giunse” (Armida, Rinaldo)
07. Aria: “Caro mio ben” (Rinaldo)
08. Recitativo: “Ah! ch’io ritorno” (Armida, Rambaldo)
09. Aria: “Troppo da me pretendi” (Rambaldo)
10. Recitativo accompagnato: “Misera me!” (Armida)
11. Aria: “Ah! ti sento” (Armida)
12. Recitativo: “No, non fia ver ch’io manchi” (Rinaldo, Ubaldo, Dano)
13. Aria: “L’arte e l’ingegno” (Ubaldo)
14. Recitativo: “In odio della sorte” (Tancredi, Erminia)
15. Recitativo: “Tancredi, andiamo” (Ubaldo, Tancredi, Erminia)
16. Aria: “Fra l’orror” (Tancredi)
17. Recitativo: “E non giungono ancor” (Rinaldo, Dano)
CD3:
01. Recitativo accompagnato: “Io già ti lascio” (Rinaldo, Armida, Dano)
02. Cavatina: “Guarda chi lascio” (Rinaldo)
03. Recitativo: “Oh Dio!” (Rinaldo, Dano, Ubaldo, Tancredi, Erminia)
04. Recitativo: “Di Rinaldo il partir” (Rambaldo, Armida)
05. Recitativo accompagnato: “Misera Armida” (Armida)
06. Aria: “Odio, furor, dispetto” (Armida)
07. Recitativo accompagnato: “Ecco, Aletto e Megera” (Armida)
08. Atto III. Recitativo: “Come! Dunque sì breve” (Rinaldo, Tancredi, Dano, Ubaldo, Erminia)
09. Recitativo: “Togliam gl’indugi” (Dano, Rinaldo, Tancredi)
10. Aria: “Vieni ove onor ti chiama” (Tancredi)
11. Recitativo: “Ecco il bramato istante” (Dano, Erminia, Rambaldo)
12. Aria: “L’onor tradito” (Rambaldo)
13. Recitativo accompagnato: “Questa è la selva?” (Rinaldo)
14. Aria: “Giusto cielo” (Rinaldo)
15. Recitativo accompagnato: “Ma che più tardo?” (Rinaldo)
16. Coro: “Torna pure al caro bene” (Ninfe)
17. Recitativo: “Qual tumulto” (Rinaldo)
18. Coro: “Questo cielo” (Ninfe)
19. Recitativo: “Ah! si vincan gli incanti” (Rinaldo)
20. Aria: “Ah! non ferir!” (Armida)
21. Recitativo: “Che inopportuno incontro” (Rinaldo, Armida)
22. Recitativo accompagnato: “Si adopri alfine” (Armida, Rinaldo)
23. Coro: “Sconsigliato!” (Mostri, Rinaldo)
24. Recitativo: “E voi credete intanto” (Rinaldo)
25. Recitativo accompagnato: “Ecco cade la pianta” (Rinaldo)
26. Recitativo accompagnato: “Omai pentito” (Tancredi)
27. “Ah! perdona il mio trasporto” (Rambaldo, Rinaldo, Tancredi, Erminia, Dano)
Exact Audio Copy V1.6 from 23. October 2020
EAC extraction logfile from 2. August 2021, 17:44
Christophe Rousset, Les Talens Lyriques / Jommelli - Armida abbandonata CD1
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==== Log checksum 2C80FD4B9F03A1563D3EE1D053B4D821E7168250877A37FAB77608AC3FBAF6FA ====
Exact Audio Copy V1.6 from 23. October 2020
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Les Talens Lyriques, Rousset, Malas-Godlewska / Jommelli - Armida abbandonata CD2
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==== Log checksum D37B4174E33586738D883EDC30F4C9248B7AC59E997F7E3CE6A9D99678E2C974 ====
Exact Audio Copy V1.6 from 23. October 2020
EAC extraction logfile from 2. August 2021, 19:57
Christophe Rousset, Les Talens Lyriques / Jommelli - Armida abbandonata CD3
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24 | (9/9) Accurately ripped
25 | (9/9) Accurately ripped
26 | (9/9) Accurately ripped
27 | (9/9) Accurately ripped
==== Log checksum 55B133ECE2B453150B77ED1A7F98F70A69F3633F5ACA4461F3C1D48E287D8FDD ====
Christophe Rousset, Les Talens Lyriques - Niccolo Jommelli: Armida abbandonata (2005)
