Armida (1995)
Heroic Drama in Three Acts
Music by Franz Joseph Haydn
Libretto by Nunziato Porta, after Tasso
Critical edition by Wilhelm Pfannkuch
English version by Hugh Macdonald, commissioned by Opera Theatre of Saint Louis
Armida was first performed at the court of Prince Nicolaus Esterhazy on 26 February 1784.
By arrangement with Foreign Music Distributors for Bärenreiter-Verlag, publisher and copyright owner.
Festival Stage designed by Derek McLane.
Dates of Performance
June 4, 8, 10, 14, 16, 20
1995 Season
Tosca   La Belle Helene
Armida   The Woman at Otowi Crossing
Photo Gallery
Cast
David Evitts
Idreno
Christine Brewer
Armida
Charles Workman
Rinaldo
William Burden
Ubaldo
Gregory J. Turay
Clotarco
Erie Mills
Zelmira
Creative Team
Daniel Beckwith
Conductor
Tim Ocel
Stage Director
Neil Peter Jampolis
Set Designer
B. Modern
Costume Designer
Christopher Akerlind
Lighting Designer
Tom Watson
Wig & Makeup Designer
Ben Malensek
Repetiteur
John R. Novak
Stage Manager
Eric S. Millner
Assistant Stage Manager
David S. Levy
Assistant Stage Manager
Synopsis
Idreno, King of Damascus, announces that Christian armies are attacking and offers his kingdom to the hero who will save the city. Rinaldo, a crusader who has been bewitched by the sorceress Armida, offers to fight. Armida, fearful for his safety, determines to protect him by magic.
In the Christian ranks, Ubaldo is overcome by a mysterious drowsiness as he prepares to attack; his lieutenant Clotarco is overcome by icy cold. Resting to recover, Clotarco encounters Zelmira, who has been sent by Idreno to lure the Christian heroes into an ambush. They are immediately struck by each other’s beauty.
Armida’s sorcery is not enough to overcome the enemy; she cannot hide from Rinaldo her apprehension for his safety. Rinaldo, accosted by Ubaldo, his former ally, is ashamed to admit that he has been lured by Armida to abandon his former friends. He resolves to break with Armida and the Saracen cause, but his meeting with Armida ends instead with a declaration of love.
Idreno plans to destroy the Christian army, but Zelmira, anxious for Clotarco, begs him to spare them. Clotarco, in his turn, pleads the cause of peace. Ubaldo then asks Idreno to release Rinaldo and the other captive Christians. Idreno replies that Rinaldo is free to leave if he wishes.
Ubaldo manages to obtain a promise from Rinaldo to rejoin the Christian camp, but when confronted by Armida, Rinaldo hesitates, torn between love and duty. He finally leaves, whereupon Armida gives way to violent rage.
Rinaldo is warmly welcomed by his friends, but Armida is in pursuit. In a final trio, Ubaldo tries to persuade Rinaldo to stay, while Armida implores him to go with her.
Rinaldo enters Armida’s magic wood. He is bewitched by the beauties of nature but determined to carry out his task of cutting down the sacred myrtle. Zelmira urges him to return to Armida.
As he approaches the myrtle to cut it down, Armida steps out of the trunk with her magic wand in her hand. She pleads with Rinaldo to desist, but when he refuses, she storms out, leaving him in darkness assailed by furies. At first, he succumbs, but then he recovers his strength and strikes the tree with his sword.
The scene magically changes to the Christian encampment, where Rinaldo is yet again pursued by Armida. With a desperate cry of fury, she prepares to mount her infernal chariot.

Opera Theatre extends special thanks to an Anonymous Donor whose continued generosity has made this production possible.
The production is underwritten by a gift from Mr. and Mrs. Raymond H. Wittcoff.
Daniel Beckwith’s appearance as conductor is sponsored by Mr. and Mrs. Robert L. Scharff, Jr.
The services of the Saint Louis Symphony Orchestra are underwritten in part by Mr. and Mrs. William B. Firestone, Mr. and Mrs. David W. Mesker, Dr. and Mrs. Richard Shaw, and Dr. G. W. Spector and Barbara Messing.

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