Armida, Rossini/ Gamba La Comédie, Montpellier 5 III 2017)

It was the last run of  this opera seria in the intimate Italian style theater 'La Comédie' in Montpellier. I had to delay blogging about this performance because of  trips happening at the same time plus some spells of under  the weather coming from toothache....
Still Spring is spreading over France and temperatures are rather high for the season. Our old almond trees  here and there in the Provence landscape are in full bloom, they are the  testemony of a time where the land around Aix -en-Provence was dedicated to the growth of almond trees, (Calissons are  the delicacy from Aix).
Almond trees are the first ones to bloom every year.
That Sunday 5th in Montpellier was mildy  rainy and very warm.

The house was packed where I was sitting, third gallery facing the stage, and it was stiffling...
But as soon as the music started I felt more comfortable!
I discovered Armida with an excellent cast and a wonderful conductor who had a Rossinian knowledge which irradiated the whole opera. The setting was at times ridiculous and almost vulgar (the inflatable puppet going from soldier to soldier) with this transpostion in two opposed teams, football players  and crusade soldiers (correct to the libretto).
The pantomime showed the chorus  in an hilarious scene where the footballers in languid positions were stripping off tops and  black socks while singing in the arms of white veiled virgins (as

nymphs).... I wondered how Karine Deshayes who was singing at the beginning of this scene could keep serious with what was going on around her.
The singing was so good from all the tenors ( Four of them, some taking two roles as it is written for six tenors) and of course Armida sung by karine Deshayes, a very demanding role Rossini wrote for his wife Isabella Colbran.
Karina Deshayes is now in possession  of all the beauties and musicality of her voice:  she has clear easy tops and the demanding technique of trills and coloratura, a wonderful medium and a  good low range.  What is amazing these days is the generosity of her voice and her tremendous work : she was Adalgisa in Madrid in Autum and now Armida in Spring in Montpellier.  She should have been creating these two roles in Paris. She is in full possession of her skills and artistry. She is simply wonderful on stage. Thc  difficulties of this role go crescendo until Armida  is left alone at the last scene. Karine Deshayes  was stupendous in her last aria  ' Dove Io sone'

Rinaldo, Enea Scala, was well matched with her and they both had beautiful arias, their love duet at act two were breathtaking. I enjoyed The trio with tenor and bass, the voices were fantastic and well matched. The musicality prevailed all afternoon. Rossini, either Seria or Buffa, is always a feast for the listener, sometimes I wonder if he is not my favourite one with dear Bellini of course !
 It is so hard to choose... Still that matinée was most enjoyable. And having the great privilege of meeting and thanking Karine  for this new interpretation was also most delightful.
Soon she will be at Marseille Opera house with Patrizia Ciofi for Bellini ' Capuleti e i Montecchi, another  musical feast...(April 4th for me!)

Here is the first applause right at the end of her tremendous last scene: she is in the light at the front stage and then it is possible to see her, running off stage... how did she find that energy?
Such a wonderful person and artist singer !