Comic opera had a real story that people liked; it had dramatic variety; and, musically, it had strong melodies and even strong supporting orchestral parts, including a strong "stand-alone" overture (i.e., you could even enjoy the overture as an independent orchestral piece). Verdi was also enthusiastic because the music was by a southern Italian and the text by a northerner, which appealed to Verdi's pan-Italian vision. The genre was developed further in the 19th century by Gioachino Rossini in his masterpieces such as "The Barber of Seville" (1816) and "La Cenerentola" (1817). French composers eagerly seized upon the Italian model and made
Armida (Rossini) back but finds herself helpless. She rushes off in pursuit of the men. Armida reaches the three soldiers before they can sail away. She begs Rinaldo not to desert her and even offers to go into battle with him. Ubaldo and Carlo restrain Rinaldo, trying to bolster his strength, and ultimately drag him away from her. Armida struggles between love and desire for revenge ("Dove son io?… Fuggì!"). She chooses revenge, destroying the pleasure palace and flying away in a rage. Act 1 Act 2 Act 3 Armida (Rossini) Armida is an opera in three acts by Italian composer Gioachino