Pinchgut's Armida

Another wonderful production by Pinchgut. Here's my thoughts for Artshub http://performing.artshub.com.au/news-article/reviews/performing-arts/lynne-lancaster/armida-251622 Pinchgut have done it again with a musically and vocally ravishing production of the now rarely seen Baroque Opera Armida by Haydn (1784). It is based on Torquato Tasso’s sixteenth century story, ostensibly about the Crusades, but this opera is more about love, loss, deception, magic and war. Rinaldo, a crusading knight, has been seduced by the Syrian sorceress Armida. He is kept in her uncle Idrino’s castle in a semi-comatose state somewhat similar to that of Odysseus’ sailors in Circe’s palace. It was a hit in its day but languished in obscurity until the late 20th century. There are perhaps hints of Sarti and Gluck in the score. The Orchestra of the Antipodes on their period instruments were splendid under the beaming – with the enthusiastic yet crisply precise baton of Maestro Antony Walker. Finely nuanced the Orchestra had zestful attack and energetic momentum with great dramatic tension. Director Crystal Manich, with a deft light but sure touch, wants us to explore the character’s internal worlds and emotions instead of focusing on other outside issues like politics, religion, war and power. Alicia Clement’s set design was most effective with an upper level balcony for dramatic appearances and Armida’s myrtle tree lair. There is a staircase descending to a wintry, battle scarred stage with dead trees and tangles of upended chairs. Lighting by Matthew Marshall was at times lyrical and delicate and at others storm tossed. Costumes are 'timeless' yet of the era. The singers were all terrific with fine ensemble work and surtitles were provided with an excellent translation provided in the programme. The sorceress Armida was terrifically portrayed by stunning soprano Rachelle Durkin. At the start of the opera she is elegant and has glittering mask-like makeup. At the end she has black sap-like markings, representing her magic myrtle tree bleeding – and also her furious heart. She has several amazing arias throughout the show (in the second half: scene seven her aria beginning 'Barbaro! E ardisci ancor' soared). She has incredible range; dynamically controlled with focused clarity. We see her emotions broil from softened love and sweet charming seduction to furious anger, stormy like The Queen of the Night in Mozart’s The Magic Flute. Coloratura fireworks were contrasted with lyrically shaped segments to suit what was demanded by the moment. Her vengeance aria, 'Odio, furor, dispetto' is another showstopper and superbly sung. Durkin and Aruhn- Solen blended thrillingly in a coloratura duet. Our dithering hero Prince Rinaldo was splendidly sung and acted by Leif-Arun Solen. Bewitched by the sorceress Armida he is torn between love and duty. He has several show stopping scene /arias, just one example is in the second half when he is trying to steel himself yet again to break away from Armida and rejoin his army and friends. Ravishing; his expressive intensity made Rinaldo’s many changes of heart appear convincing. Zelmira, Armida’s attendant was magnificently sung by radiant soprano Janet Todd. Her major scene in Act 2 when she tries to distract Idreno was terrific. She lushly blends both lyric and coloratura soprano to effortlessly create lyrical yet demanding high-register passages creamily sung.The tall bearded ursine knight Ubaldo, one of Rinaldo’s friends, was splendidly sung by Jacob Lawrence. His other friend, darkly handsome Clotarco as portrayed by Brenton Spiteri with his bright tenor was also excellent. The villain of the piece: scheming, treacherous king Idreno was authoritively sung by tall commanding baritone Christopher Richardson who was most imposing.Mention must be made of the three veiled ghostly spirit attendants that Armida and Zelmira use, similar in style to that of Romantic ballet perhaps and also with echoes of the Rhinemaidens. Armida is the final work of the company’s departing artistic director and conductor Antony Walker. Erin Helyard who was on harpsichord for this performance will lead alone from now on. Rating: 4 stars out of 5 Armida Pinchgut Armida Rachelle Durkin Rinaldo Leif Aruhn-Solén Zelmira Janet Todd Ubaldo Jacob Lawrence Clotarco Brenton Spiteri Idreno Christopher Richardson Orchestra of the Antipodes Antony Walker, conductor Crystal Manich, director Alicia Clements, set designer Christie Milton, costume designer Matthew Marshall, lighting designer City Recital Hall 22-28 June 2016 First published on Tuesday 28 June, 2016 What the stars mean? Print Email ShareTweet  Email to a friend Your email Please enter a valid email Your name Please enter your name Friend's email Please enter a valid email Friend's name Please enter your friend's name Verification (type the code in the image) Invalid security codeGenerate New Image Close Related Articles Big West board refuses to answer community questions The public meeting, organised by the Save Big West group, was intended to allow the board to explain their reasons for axing the festival. 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He is kept in her uncle Idrino’s castle in a semi-comatose state somewhat similar to that of Odysseus’ sailors in Circe’s palace. It was a hit in its day but languished in obscurity until the late 20th century. There are perhaps hints of Sarti and Gluck in the score. The Orchestra of the Antipodes on their period instruments were splendid under the beaming – with the enthusiastic yet crisply precise baton of Maestro Antony Walker. Finely nuanced the Orchestra had zestful attack and energetic momentum with great dramatic tension. Director Crystal Manich, with a deft light but sure touch, wants us to explore the character’s internal worlds and emotions instead of focusing on other outside issues like politics, religion, war and power. Alicia Clement’s set design was most effective with an upper level balcony for dramatic appearances and Armida’s myrtle tree lair. There is a staircase descending to a wintry, battle scarred stage with dead trees and tangles of upended chairs. Lighting by Matthew Marshall was at times lyrical and delicate and at others storm tossed. Costumes are 'timeless' yet of the era. The singers were all terrific with fine ensemble work and surtitles were provided with an excellent translation provided in the programme. The sorceress Armida was terrifically portrayed by stunning soprano Rachelle Durkin. At the start of the opera she is elegant and has glittering mask-like makeup. At the end she has black sap-like markings, representing her magic myrtle tree bleeding – and also her furious heart. She has several amazing arias throughout the show (in the second half: scene seven her aria beginning 'Barbaro! E ardisci ancor' soared). She has incredible range; dynamically controlled with focused clarity. We see her emotions broil from softened love and sweet charming seduction to furious anger, stormy like The Queen of the Night in Mozart’s The Magic Flute. Coloratura fireworks were contrasted with lyrically shaped segments to suit what was demanded by the moment. Her vengeance aria, 'Odio, furor, dispetto' is another showstopper and superbly sung. Durkin and Aruhn- Solen blended thrillingly in a coloratura duet. Our dithering hero Prince Rinaldo was splendidly sung and acted by Leif-Arun Solen. Bewitched by the sorceress Armida he is torn between love and duty. He has several show stopping scene /arias, just one example is in the second half when he is trying to steel himself yet again to break away from Armida and rejoin his army and friends. Ravishing; his expressive intensity made Rinaldo’s many changes of heart appear convincing. Zelmira, Armida’s attendant was magnificently sung by radiant soprano Janet Todd. Her major scene in Act 2 when she tries to distract Idreno was terrific. She lushly blends both lyric and coloratura soprano to effortlessly create lyrical yet demanding high-register passages creamily sung.The tall bearded ursine knight Ubaldo, one of Rinaldo’s friends, was splendidly sung by Jacob Lawrence. His other friend, darkly handsome Clotarco as portrayed by Brenton Spiteri with his bright tenor was also excellent. The villain of the piece: scheming, treacherous king Idreno was authoritively sung by tall commanding baritone Christopher Richardson who was most imposing.Mention must be made of the three veiled ghostly spirit attendants that Armida and Zelmira use, similar in style to that of Romantic ballet perhaps and also with echoes of the Rhinemaidens. Armida is the final work of the company’s departing artistic director and conductor Antony Walker. Erin Helyard who was on harpsichord for this performance will lead alone from now on. Rating: 4 stars out of 5 Armida Pinchgut Armida Rachelle Durkin Rinaldo Leif Aruhn-Solén Zelmira Janet Todd Ubaldo Jacob Lawrence Clotarco Brenton Spiteri Idreno Christopher Richardson Orchestra of the Antipodes Antony Walker, conductor Crystal Manich, director Alicia Clements, set designer Christie Milton, costume designer Matthew Marshall, lighting designer City Recital Hall 22-28 June 2016 First published on Tuesday 28 June, 2016