In spite of being one of Gluck's favorite compositions, Armide has not endured with the same frequency as some of his other works. It was, however, successful enough at its premiere to spawn revivals throughout the 19th century and into the early 20th, the most notable being its premiere at the Metropolitan Opera with Olive Fremstad, Louise Homer, and Enrico Caruso, conducted by Arturo Toscanini. Upon hearing it, it becomes clear why Gluck held it in such high regard. His orchestration is evocative in a manner that at times seems to anticipate the innovations of Berlioz, and his dramatic pacing—from comic to serious—is deft and seamless.

The work culminates in an extended scene for the title character, expertly crafted to allow a great singing actress to shine both vocally and dramatically. Anna de Cavalieri does just that, bringing both elegance and dramatic force to the role of Armide. As Renaud, Mirto Picchi matches her in heft and skillfully scales back his otherwise oversized tenor during the more delicate moments. A young Anna Moffo makes a charming Sidonie.