Renée Fleming long ago proved that she has some say as to what operas are produced at the Met. A versatile and technically aware singer with a unique buttery sound and enchanting stage presence, she has commanded roles in German, Italian, French, Czech, Russian, etc. and in 2008 became the only woman to highlight an Opening Night Gala for the Met, where she sang three acts from three different operas. Not always thought of as a master bel-canto singer, Ms. Fleming still managed to convinced the Met to stage Armida. An opera by Gioachino Rossini, it is one of the composer's nine serious operas from his time in Naples (1817-1822), and is rich in experimental music characterization. Armida is a sorceress, who throughout a nearly four hour long opera (including two intermissions) travels from desert to magical worlds and seduces six Crusaders, each a tenor role with incredibly difficult music. The opera is rarely staged, partly because of its traditional serious opera format that is so different from Rossini's comedies, but also because it is hard to find six tenors who can sing the music. For the opera's premiere in 1817 Rossini used only four tenors, one for the role of Rinaldo and three others for the remaining five roles. If there is a single 'bravo' to be heard about this production, it is the Met's ability at finding six tenors, each with a unique voice that stands up to the alluring Ms. Fleming.The quickly rising star, Lawrence Brownlee sang Ronaldo with relaxed beauty, nailing passages throughout the two-and-a-third octaves role. He hit his high Ds with effortless accuracy, (the highest tenor note in the opera). Despite the pluses, his volume and projection were lacking. Singing next to José Manuel Zapata, his voice at times seemed dwarfed. On another note, no matter how much diction training one has, there is still a definite difference between a native English speaker and a native romance language speaker. Sorry to say, but Mr. Brownlee sang like a gringo. The remaining four tenors- Bruce Ford, Kobie van Rensburg, Barry Banks, and Yeghishe Manucharyan stood up to their demanding roles quite nicely.
Though always in control of her voice and full of warm sensual texture, Ms. Fleming seemed restrained last night. She sang pleasantly, but never overwhelmingly. I know she can sing Armida fearlessly because she did so on her "Bel Canto" album in 2002. Has time taken its toll? Probably not, that was only 8 years ago. So what was it?
Quite possibly a lack of inspiration from the conductor and director. Mary Zimmerman's production was largely uninteresting to look at and bordered at being a farce. The only thing that didn't seem to be made cheaply were the costumes, beautifully designed by Richard Hudson. Knights wore shiny silver armor draped with red fabric and the commanders wore long and elegant black suits seamed with bright red. The Act II ballet was entertainingly choreographed by Graciela Daniele in her Met debut, and she successfully made the chorus members 'move'. Does Ms. Zimmerman actually like opera? Certain props from the set looked like they were from a child's playpen, and the white rotunda wall encircling the action was the most boring stationary set-piece I've ever seen. The blocking was uneventful. I simply don't understand how such a magical opera, one with limitless Romantic possibilities, can turn into Sesame Street.
Understandably so, the conductor Riccardo Frizza seemed uninspired. He led a solid performance, though didn't stand out for any strong interpretive choices.
The audience's body language and applause throughout the evening seemed lackadaisical. I heard a few scoffs at the production, and at the curtain call the 'boos' roared out. This time I must admit, I wanted to join them.
