Armida is a fictional character created by the Italian late Renaissance poet Torquato Tasso. She is a Saracen sorceress.
- Listen to Vivaldi: Armida on Spotify. Antonio Vivaldi Album 2010 84 songs.
- ANTONIO VIVALDIARMIDA AL CAMPO D'EGITTO (RV 699-A)Libretto: Giovanni Palazzi (after Torquato Tasso) for baron Federico Girolamo di WitzendorffVenice, San Moi.
- This dissertation involved reconstructing Vivaldi's Armida al campo d'Egitto. Since the music for Act II was missing, substitute music was found in other Vivaldi operas and used for the surviving aria texts from Armida. In addition, new recitative was composed for Act II. Included in the paper is a summary of Vivaldi's career as an opera.
Description[edit]
Probable portrait of Antonio Vivaldi, c. ( 1716) Teatro Sant'Angelo, Venice. Arsilda, regina di Ponto is a dramma per musica by Antonio Vivaldi. The opera was first performed at the Teatro Sant'Angelo in Venice on 27 or 28 October 1716.
Vivaldi Armida Libretto
In Tasso's epic Jerusalem Delivered (Italian: Gerusalemme liberata), Rinaldo is a fierce and determined warrior who is also honorable and handsome. Armida has been sent to stop the Christians from completing their mission and is about to murder the sleeping soldier, but instead she falls in love. She creates an enchanted garden where she holds him a lovesick prisoner. Eventually Charles and Ubaldo, two of his fellow Crusaders, find him and hold a shield to his face, so he can see his image and remember who he is. Rinaldo barely can resist Armida's pleadings, but his comrades insist that he return to his Christian duties. At the close of the poem, when the pagans have lost the final battle, Rinaldo, remembering his promise to be her champion, prevents her from giving way to her suicidal impulses and offers to restore her to her lost throne. She gives in at this and like the other Saracen woman, Clorinda, earlier in the piece, becomes a Christian and his 'handmaid'.
Many painters and composers were inspired by Tasso's tale. @xoxbrittanynicole tik tok. The works that resulted often added or subtracted an element; Tasso himself continued to edit the story for years. In some versions, Armida is converted to Christianity, in others, she rages and destroys her own enchanted garden.
She occupies a place in the literature of abandoned women such as the tragic Dido, who committed suicide, and the evil Circe, whom Odysseus abandoned to return home, but she is considered by many to be more human and thus more compelling and sympathetic than either of them.
Antonio Vivaldi Armida Al Campo D'egitto
In opera[edit]
The story of Armida and Rinaldo has been the basis for a number of operas:
- Armida abbandonata (1627) by Claudio Monteverdi (lost)
- Armide (1686) by Jean-Baptiste Lully
- Rinaldo and Armida (1698) by John Dennis
- Rinaldo (1711) by George Frideric Handel
- Armida al campo d'Egitto (1718) by Antonio Vivaldi
- Armida (1761) by Tommaso Traetta
- Armida abbandonata (1770) by Niccolò Jommelli
- Armida (1771) by Antonio Salieri
- Armida (1772) by Antonio Sacchini
- Armide (1777) by Christoph Willibald von Gluck
- Armida (1780) by Josef Mysliveček
- Renaud (1783), also by Sacchini
- Armida (1784) by Joseph Haydn
- Armida e Rinaldo (1786) by Giuseppe Sarti
- Armida (1802) by Francesco Bianchi
- Armida (1817) by Gioachino Rossini
- Armida (1904) by Antonín Dvořák
- Armida (2005) by Judith Weir
On 1 May 2010, Rossini's Armida was performed and broadcast live to theaters around the world in the series MetLive in HD.[1]
Johannes Brahms composed a cantata entitled Rinaldo based on the story.
Armida as a ballet[edit]
- Armida. Choreography by Jules Perrot. Music by Cesare Pugni. First performed by the Imperial Ballet at the Imperial Bolshoi Kamenny Theatre, St. Petersburg on 20 November [O.S. 8 November] 1855.
- Le Pavillon d'Armide. Choreography by Mikhail Fokine. Music by Nikolai Tcherepnin. First performed by the Imperial Ballet at the Imperial Mariinsky Theatre, St. Petersburg on 25 November [O.S. 12 November] 1907. Second premiere given by the Ballets Russes at the Théâtre du Châtelet, Paris on 19 May 1909.
- Rinaldo and Armida. Choreography by Frederick Ashton. Music by Malcolm Arnold. First performed by the Sadler's Wells Ballet at the Royal Opera House, Covent Garden, London on 6 January 1955.
Gallery[edit]
Rinaldo and Armida, by Tiepolo 1755.
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Rinaldo and Armida, by Gerard Hoet
Charles Errard: Renaud abandonnant Armide, Renaud abandoning Armida
Nicolas Colombel - Rinaldo abandoning Armida
References[edit]
| Wikimedia Commons has media related to Armida. |
This article incorporates text from a publication now in the public domain: Wood, James, ed. (1907). The Nuttall Encyclopædia. London and New York: Frederick Warne.Missing or empty |title= (help)
The Vivaldi Edition is a highly ambitious recording project conceived by the musicologist, Alberto Basso. With high quality recording released after high quality recording on the ever-enterprising naïve label, it can truly claim to be one of the most promising and significant recording projects of the twenty-first century. The plan - which is on course - is to have released by the time of its completion in 2015 all 450 autograph works of the composer that are now collected in the Biblioteca Nazionale Universitaria in Turin, where they have been at various stages of editing and publishing since the 1930s.
This latest offering, the Dramma per musica (in three acts), Armida al campo d'Egitto RV699 (volume 44 in the Edition), is well up to the project's usual standards. The eminent and highly energetic Rinaldo Alessandrini leads this production with his Concerto Italiano, from whom the playing is light, full of life, appropriately delicate and yet punchy - as suits the libretto. Every one of the seven soloists is excellent; their delivery commends the work as worthy of close attention, despite the fact that Armida al campo d'Egitto can't claim to occupy a space at the very top of Vivaldi's œuvre.
Armida is the tenth opera in the Vivaldi Edition; it's the second one to be recorded by Rinaldo Alessandrini (their first was L'Olimpiade). It's a great success. Marking the end of Vivaldi's first period in Venice, it lacks music for Act II. Alessandrini has reconstructed it here using carefully chosen existing music of the composer with the assistance of the musicologist Frédéric Delaméa.
First performed at Carnival in 1718, Armida al campo d'Egitto has Tasso's Gerusalemme Liberata as its source. It's a revenge drama: the somewhat self-destructive, certainly determined, Armida (Sara Mingardo) has been abandoned by Rinaldo. She travels to Gaza to wreak revenge. Intrigue, deception, gesture, sorcery, malice, much rivalry and some misunderstanding all follow. Vivaldi's music (no small thanks to the libretto by Giovanni Palazzi) explores these emotions and experiences over and above any way in which the opera exposes events in a purely narrative way.
Arias, for example, unambiguously explain why the protagonists - Armida in particular - behave the way they do. Their emotions are reinforced by Vivaldi's astonishing orchestrations with colour, changes in tempo, choice of instruments. It's not a 'psychological drama' in the way we understand such a genre in the twentieth century. But Armida al campo d'Egitto also consists of a credible critique of the destructive power of obsession.
Put another way, Vivaldi (and Palazzi) were true to Tasso. Significantly, the playing and singing respect this at every turn. There's no spurious bombast or garish effect. The remorse, malevolence, positioning for advantage and lack of detachment are all conveyed with musical dignity yet with great expression and involvement. Alessandrini has struck the idiom perfectly.
The book(let) that comes with this three-CD set runs to 135 pages, only half of which is the libretto - in French and English as well as in the original Italian. The rest contains useful background to Vivaldi, his operas, a synopsis, the singers and so on. How encouraging to see high standards maintained over half way into the Vivaldi Edition's progress.
If you've been collecting the Vivaldi Edition and/or love Baroque opera (there is no other currently-available recording of Armida), you should not hesitate to get this excellent release.
Mark Sealey
