Giacomo Meyerbeer - Il crociato in Egitto (1819) - Act One Finale - "Sogni e ridenti" (Ian Platt, Bruce Ford, Diana Montague, Yvonne Kenny, Della Jones, Ugo Benelli)

I've wanted to post this by turns explosively exciting and tender finale to the first act of Meyerbeer's first true success, "Il crociato", for quite some time and, happily, that is exactly what I am doing in this upload. I've decided to start the piece at its' centerpiece - the classical suspension over time. The preceding scene is occupied mainly with a hurried dialogue between all the main characters as Armando (known to Aladino, Palmide's father, as Elminero) reveals his true identity to the shocked Egyptians and the jubilant Crusaders. Meyerbeer, however, does not turn this revelation into the starting point of the andante, allowing for a conflict to instigate between Aladino and Adriano, the representative heads of the Egyptians and the Crusaders; another scene to unfold, as Aladino and Palmide plead with Armando "to return Elminero to them" (shockingly but very humanely, Aladino's plaint is even more pronounced than that of his daughter); an attempt of Aladino, completely in despair, to challenge Armando to a duel which leads to his defense by Felicia. Only then does Meyerbeer open an andante of striking sensitivity from which be begin. The piece is opened by Armando singing a simple line, ornamented in certain places by short descending lines of both the voice and a solo flute; he is then progressively joined by Adriano (with Armando replacing the flute), Palmide and Felicia (singing their lines in an echo pattern that is continued by the men), and Aladino and Osmino (though their lines are more or less secondary but their appearance lends a more intense harmony to the proceedings (both in vocal and orchestral demands (in the latter case - a more obvious bass line, horn and flute flourishes)). The piece ends with a long but remarkable cadenza and coda with all voices floating in a most delightful ensemble. I had to cut another transitional scena, though I preserved the intense military chorus that then overflows into the final allegro, as all the parties prepare for war. It's difficult to name the final