Salieri / Himy "Vieni a me sull'ali d'oro" from Armida. ( "Come to me on Golden Wings")

ANTONIO SALIERI
Salieri was born in Legnago on August 18, 1750, and died in Vienna on May 7, 1825.

There is no one who questions the greatness of Mozart, but the most famous composer in Europe at the end of the 18th century was probably Antonio Salieri. "The whole together is a masterly composition," declared the London Morning Post of La scuola de’ gelosi, "and does great honour to Salieri, whose reputation as a composer must rise infinitely in the musical world, from this very pleasing specimen of his abilities." Indeed Antonio Salieri wrote his last opera in 1804, retiring from the stage at the age of 54 at which point he had already produced about 40 operas in three languages and in a wide variety of genres. His operas were performed and applauded all over Europe. Why did audiences respond so enthusiastically to Salieri’s operas? What led his patron, Emperor Joseph II, to predict that Salieri would be able to replace the great Christoph Gluck?

Unfortunately, as his style became old-fashioned his works lost popularity, and he composed relatively little after 1804, but he remained a influential figure in Viennese musical Iife. Indeed his many pupils included Beethoven, Schubert and Liszt. There is little evidence of any intrigues against Mozart, still less of the charge of poisoning.

Armida (Vienna, 1771) was Salieri’s first serious opera turning toward the dramatic ideals of Gluck. Salieri's very own description of Armida in his autograph score was 'opera di stile magico-eroico-amorosa toccante il tragico'- that is to say an opera combining a variety of emotions and techniques. Working with the French dancer and ballet master Jean-Georges Noverre, he produced a opera notable not only for it’s beautiful music, but also for its choruses, ballets, and spectacular scenery. Salieri wrote the role of the Christian knight Rinaldo for the castrato Giuseppe Millico. In Act II, Rinaldo’s aria gave Millico ample opportunity to display his vocal and dramatic gifts. After a passionate recitative Rinaldo expresses his love for Armida in a cavatina, "Lungi da te, ben mio" in an expressive slow, noble minuet. More recitatives follow, then the climax arrive with the lovely aria "Vieni a me sull’ali d’oro", ( "Come to me on Golden Wings") featuring a beautiful oboe solo, in which Rinaldo begs to be overcome with sleep, so that he may dream of his beloved. His prayer is answered as the aria closes.

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