Written May 26, 2016
No wonder this opera isn't done often: it's surprising to say that Rosini's music is a bore, but here it is, for three tedious hours; the libretto is even worse, so banal and repetitious. Mary Zimmerman's production of it made it still worse: awkward movements, ugly sets and equally stupid costumes. The only saving aspect was Reneé Fleming's excellent acting and singing. Hopefully the Met will stay away from Zimmerman in the future.
Written August 28, 2015
The three hours passed very quickly! Amazing voices by everyone in the cast; a wonderful evening of music. Would see again and definitely recommend! Renee Fleming was outstanding. Sets were a little sparse but very clever and unusual.
Written May 06, 2016
Highly enjoyed this production. I am a huge fan of Renee Fleming and she was sublime.
The Opera in HD offering are great because I can see them in my home town. This also interview the stars and you learn more about the production. Finally, you can see every detail, which you can't in a live performance.
Written May 03, 2010
I love being able to see Met operas live on screen. I was not familiar with Armida, but it had six wonderful tenors, the best ballet scene I've ever seen in an opera, and Renee Fleming whom I've heard and seen before and think her voice first class. I loved all the arias- tenors and hers, and especially hers, the final one most of all. I loved the tenors' trio. All the duets were great too; tenor and tenor or tenor and soprano This opera has fantastic music and I was surprised to learn that it is so rarely performed. The only negative thing I have to say is that Rinaldo was so young that Armida looked older than he. [The hair color of her wig aged her.] But that happens in opera to get the best voices.
Written May 26, 2016
The essential for great music are there: A great score by Rossini, wonderful singers headed by the incomparable Renee Fleming; excellent stage direction, attractive and unique costuming. But, of course, the story is to modern sensibilities ironic -- and one wonders whether Riossini shared in this sense of irony. For the evil was embodied by the love of Armido, the evil sorceress, and Rinaldo, the brave hero of the Crusades. The success of the two soldiers was in persuading Rinaldo to return to the "honor" or slaughtering thousands of Muslims and other "heathen," rather than live a benign live of love and leisure!
The ballet seemed overly long and did not advance the story, however annoying the actual story was.