Armida review

Armida was quintessential Renée Fleming, superb.
Members of the Hot Springs Village Opera Guild met at the Woodlands Auditorium parking lot to car pool to Benton’s Tinseltown for the Metropolitan Opera live high definition broadcast of the season finale on Saturday, Armida.
Armida’s debut at the Met was filled with innovative touches. The set was ingenious, the ballet was alarmingly erotic and the choice of cast was ingenious.
Rossini originally created the opera Armida in 1817 for his mistress, later his wife, Isabella Colbran. It could have been created for Fleming. Her voice, beauty and acting ability were perfect for the role as enchantress.
Originally, Fleming put forth the opera for production at the Met. She suggested director Mary Zimmerman. Although New York audiences were not pleased with Zimmerman’s production, it played well to audiences elsewhere. After all we got our $20 worth. Those at the Met paid up to $375 for a seat.
The opera is also known for its six tenor roles including the love interest, Rinaldo, played to perfection by Lawrence Brownlee. Brownlee more than had the voice for the role. He also was able to let the war between his emotions, love and revenge, dance across his face. It was clear to the audience this was a man in torment.
There were five tenors singing the six tenor roles. The parts are tough and it is almost impossible to assemble a cast that can cover all the parts adequately much less superbly. This production entered the superb stratosphere.
The opening tenor nod went to Yegishe Manucharyan as Eutazio, Armida’s champion when she asks for help from the Crusaders to regain her throne. He is earnest, sweet and passionate in his singing.
José Manuel Zapata was ill and unable to perform for the HD broadcast. Gernando is featured in the first act only as a warrior jealous of Rinaldo’s success. Diminutive Barry Banks stepped into this role as well as his role as Carlo. Banks was a treasure, well-prepared for both roles. He was especially striking as he sang next to the very large character of revenge. Adding a visual of his being overpowered by his darker feelings. Carlo was a steadfast and loyal soldier trying to save his comrade, Rinaldo, in act three.
John Osborn sang the wise leader, Goffredo. His character had to be touched personally by love before relenting and allowing some of his men to assist Armida. All of the tenors were in good voice and possessed good acting skills, he was no exception.
Kobie van Rensburg was wonderful as the steadfast knight Ubaldo. He kept on task under very tempting circumstances. Unfortunately, you know he is doomed by his association with Rinaldo at the end of the opera.
There are two minor parts for basses but both were not minor as far as the production was concerned. The basses were Peter Volpe as Idraote and Keith Miller as Asarotte. Both were in fine voice and up to the unusual staging.
The ballet was mesmerizing.