On the evidence of this very fine recording, Arminio can stand among the best of Handel's operas, full of beautiful and imagination. The first number, a minor-key duet largely in dialogue for Arminio and his wife Tusnelda, is done with an intensity and vitality that immediately involves you in the action. In Act 2 a series of more expansive arias unfolds: a pair for Arminio, one noble and the other furious, a striking one, austerely scored for Tusnelda, a more playful piece for Arminio's sister Ramise, and a spacious one – also almost an oboe concerto movement – for Sigismondo. This sequence is crowned by a sombre aria for Arminio, with hints of a music that foreshadows 'He was despised', and a softtextured, sensuous siciliana aria for Tusnelda.
This is musically one of Handel's finest acts.
The performance is excellently directed by Alan Curtis, who paces the opera well, keeping the recitative moving and characterising the arias clearly. Dominique Labelle is of star quality, delicate, precise, rhythmic, powerful where she needs to be. The lower castrato part, the title-role, is sung by Vivica Genaux, whose focused, slightly grainy voice serves ideally – there's singing of real brilliance here. Geraldine McGreevy gives a lot of pleasure too with her commanding singing in the prima donna role.
Arminio isn't of the stamp of, say, Giulio Cesare or Alcina, but it has a lot of splendid music in it and is hugely enjoyable. Recommended.