Hidden treasures ≈ Tommaso Traetta ≈ Armida ≈ Di quest’aura

Painting: Armida encounters the sleeping Rinaldo by Giovanni Battista Tiepolo {fragment}.

{Based on the Grove Dictionary}
History & Narrative: Tommaso Traetta (1727-1779) was trained between in Naples by such teachers as Porpora and Durante. The crucial phase of Traetta's career began with his appointment in 1758 to the court at Parma. Pleased with the fame of his maestro di cappella, the duke allowed him to fulfil commissions for other courts and between 1760 and 1763 Traetta composed operas for Turin, Vienna and Mannheim. The work in question – Armida – premiered in 1761 in Vienna. The performance celebrated the weeding of Emperor Joseph II to Isabella of Bourbon-Parma and the alliance between the Habsburg and Bourbon dynasties. The libretto for the opera is derived from Lully’s Armide (1686) and follows a simplified account of the love and ultimate heartbreak between the hero Rinaldo and the sorceress Armida.

Music: Some endeavors by modern musicians notwithstanding {Rousset’s recording of Antigona being a key example}, Traetta remains an obscure composer, seemingly forced into the shadows both by his predecessors and successors, most critically – “the reformer” Gluck with whose style of opera serie, uniting baroque gestures with classical grace, Traetta has much in common. Indeed, Armida is yet to be recorded, save for just the overture and two arias, including the present piece, sung by a mesmerized Rinaldo in Armida’s garden. However, it is this hidden treasure that proves a tantalizing introduction to Traetta and makes one consider rediscovering other works by the composer. The vocal line, as Rinaldo marvels at the beauty of his surroundings, is highly lyrical {reminding one of Orfeo's Che puro ciel from Gluck's opera} with just two well-judged florid elaborations, as the hero allows himself “a moment to breathe a sigh of relief” on the word “respirar” {1:12 and 2:33}. The constantly evolving accompaniment, highlighting flowing, ever-changing lines for the violins {listen to the different effects attained by Traetta at 0:20 and 1:36} and extended sighs for the horns {the flutes get a characteristic bird call at the beginning of the aria but are, perhaps somewhat unsatisfactorily, relegated to the background}, perfectly sets the dreamy mood. The piece is clearly laid out in contrasting sections yet their similar thematic material and the simplicity of the text (just four lines) force the listener to see the whole piece as a unified whole. Thus, thought an AA’AA’ structure is suggested, the “repeat” of AA’ is elegantly differentiated. The aria does not have a “strong” ending but literally ends {3:24}, as Rinaldo loses himself in the splendor of the garden.

Score: The entire manuscript of Traetta’s Armida is available on IMSLP {for the present aria – Act II, starting P. 57}: https://bit.ly/2MMmAfN

Recordings: The excerpts are takes from the 2003 Amadeus recording by Cosarara led by Giuseppe Camerlingo. A young Anna Bonitatibus perfectly paints the picture of the lovesick hero.

Hope you enjoy =)!