* Armida al campo by Giuseppe Boniventi ( Venice, 1708 )

* Armida al campo by Antonio Bioni ( Breslau / Wrocław, 1726 )

* Armida al campo d ' Egitto ( 1718 ) by Vivaldi

Among the most successful of his 37 operas staged during his lifetime were Armida ( 1771 ), La fiera di Venezia ( 1772 ), La scuola de ' gelosi ( 1778 ), Der Rauchfangkehrer ( 1781 ), Les Danaïdes ( 1784 ), which was first presented as a work of Gluck's, La grotta di Trofonio ( 1785 ), Tarare ( 1787 ) ( Tarare was reworked and revised several times as was Les Danaïdes ), Axur, re d ' Ormus ( 1788 ), La cifra ( 1789 ), Palmira, regina di Persia ( 1795 ), Il mondo alla rovescia ( 1795 ), Falstaff ( 1799 ), and Cesare in Farmacusa ( 1800 ).

* 1911 – Armida, Mexican-American actress, singer, and dancer ( d. 1989 )

She created the leading female role in Elisabetta, regina d ' Inghilterra ( 1815 ), Otello ( 1816 ), Armida ( 1817 ), Mosè in Egitto ( 1818 ), Maometto II ( 1820 ), and five other Rossini operas up to and including his final contribution to the genre, Semiramide, which was also written with Colbran in the major role.

These were Elisabetta, regina d ' Inghilterra ( 1815 ), La gazzetta, Otello, ossia il Moro di Venezia ( 1816 ), Armida ( 1817 ), Mosè in Egitto, Ricciardo e Zoraide ( 1818 ), Ermione, Bianca e Falliero, Eduardo e Cristina, La donna del lago ( 1819 ), Maometto II ( 1820 ), and Zelmira ( 1822 ).

Rossini, for instance, had recourse to a baritenor as a lover in Elisabetta, regina d ' Inghilterra, at a time when his company included two major singers of that type, and also for Torvaldo e Dorliska and Armida, where, beside the amatory protagonist, Rinaldo, created by the very prince of Rossini baritenors, Andrea Nozzari, there appear additionally five or six baritonal tenors in secondary roles.

* Rossini-Armida ( Armida ), Mosè in Egitto ( Sinaide )

Though her voice soon began to show signs of strain, Colbran continued to have a fertile career, creating the roles of Armida ( Armida ), Elcia ( Mosè in Egitto ), Zoraide ( Ricciardo e Zoraide ), Ermione ( Ermione ), Elena ( La donna del lago ), Anna ( Maometto II ), and Zelmira ( Zelmira ), all written by Rossini for Naples.

The libretto to Armida was by Marco Coltellini the house poet for the imperial theaters.

Armida was translated into German and widely performed, especially in the northern German states, where it helped to establish Salieri's reputation as an important and innovative modern composer It would also be the first opera to receive a serious preparation in a piano and vocal reduction by Carl Friedrich Cramer in 1783.

Armida was soon followed by Salieri's first truly popular success ; a commedia per musica in the style of Carlo Goldoni La fiera di Venezia ( The Fair of Venice ).

His opera ' Rinaldo and Armida ' has recently been published in the Recent Researches of the Music of the Baroque Era series ( A-R Editions ), edited by Steven Plank.

* Armida abbandonata ( Naples, 1770 ) – libretto by Francesco Saverio de ' Rogati

At the beginning of the 20th century, the Casa de Cultura Jesús Reyes Heroles was inhabited by María Concepción Armida, who is being considered for beatification by the Catholic Church.

* Rinaldo in Armida by Josef Mysliveček ( Milan, 1780 )

* Rinaldo in Armida abbandonata by Niccolò Jommelli ( Naples, 1780 )

Rinaldo and Armida, by Francois Boucher, 1734 ; this painting gained Boucher entrance to the Academie ( Louvre Museum )

He contributed to the society's exhibitions upwards of three hundred portraits and other works, among them being " The Enchantress Armida ", exhibited in 1831 ; " Haidee aroused from her Trance by the sound of Music ", 1834 ; " Eros ", 1836 ; " Italian Boys playing at the National Game of Mora " and the " Prisoner of Chillon ", 1837 ; " The Scene in St. Peter's, Rome, from Byron's Deformed Transformed ", 1839 ; " The Convent of St. Isidore: the Monks giving away provisions ", 1841 ; and a " Scene in a Spanish Posada in Andalusia ", 1843.

Rinaldo and Armida, by François Boucher.

The witch Armida ( modeled on Circe in Homer and the witch Alcina in Ariosto's epic ) enters the Christian camp asking for their aid ; her seductions divide the knights against each other and a group leaves with her, only to be transformed into animals by her magic.

Two Christian knights seek out the hidden fortress, brave the dangers that guard it and, by giving Rinaldo a mirror of diamond, force him to see himself in his effeminated and amorous state and to return to the war, leaving Armida heartbroken.

* Armida by Benedetto Ferrari ( Venice, 1639 ) music lost

* Armida by Marco Marazzoli ( Ferrara, 1641 )

* Amori di Rinaldo con Armida by Teofilo Orgiani ( Brescia, 1697 ) music lost

* Armida abbandonata by Giovanni Maria Ruggieri ( Venice, 1707 )

* Armida regina di Damasco by Teofilo Orgiani ( Verona, 1711 ) music lost

* Armida in Damasco by Giacomo Rampini ( Venice, 1711 )

* Armida abbandonata by Giuseppe Maria Buini ( Bologna, 1716 )

* Armida delusa by Giuseppe Maria Buini ( Venice, 1720 )

* Das eroberte Jerusalem, oder Armida und Rinaldo by Georg Caspar Schurmann ( Brunswick, 1722 )

* Antonio Salieri – Armida

* Armida abbandonata by Antonio Bioni ( Prague, 1725 )

* L ' abbandono di Armida by Antonio Pollarolo ( Venice, 1729 )

* Armida placata by Luca Antonio Predieri ( Vienna, 1750 )

* Armida by Antonio Salieri ( Vienna, 1771 )

* Il trionfo di Armida by Tomaso Albinoni ( Venice, 1726 )

* 1996-Grossi calibri al campo militare

sus guerreros al campo lanzó

* Christmas at Camp 119 ( 1948 ) ( Natale al campo 119 )