Artistic Director David Clenny and his West Side Opera Society began their season of opera-in-concert, on November 2, with Gioachino Rossini rarity and bel canto opera seria "Armida" (1817), somewhat abbreviated, with a committed, energetic cast, at Trinity Lutheran Church of Manhattan, 164 West 100th Street, as a benefit for Trinity Place, the church's shelter for homeless LGBT youth.

Clenny, a one-man orchestra at the piano, set the tone for the proceedings, in grand style, with a majestic account of the overture, in all its ominous, Beethoven-esque glory, a feat he repeated in the prelude to the best-known soprano aria.

As the eponymous Saracen sorceress, bent on diverting Crusaders from their purpose-a role written for Isabella Colbran, later Rossini's spouse, and associated in recent generations with Maria Callas, Cristina Deutekom, June Anderson, Renée Fleming and Christine Weidinger-Elizabeth Honer introduced a commanding portrayal with a fiery, florid contribution to first act ensemble "Sventurata! or che mi resta" (Wretched me! What's left for me now); dug deep down into her guts for forceful declarations of love and vengeance; and delivered a blazing bravura "D'Amor al dolce impero" (To the sweet dominion of love), the central theme with demanding, ornate variations. I mentioned to Clenny that I knew that Callas had interpolated high Ds and Es into the role and assumed that Honer, with her ringing top tones, had those in her arsenal here as well. Oh, yes, he assured me, and also some high Fs!

"Armida" boasts six roles for coloratura tenor, which were divided among four singers on this occasion. Honer's enchantress seduced Jovier Sanchez, as the errant Rinaldo, her love interest, in gentle duets. As Rinaldo's rival warrior, Gernando, Dorian Balis displayed an ingratiating lyric sound, with thrust and well-placed high notes, in a dramatic "Oh sorte infida! ... Non soffrirò l'offesa" (Oh, treacherous fate! ... I won't suffer the insult). As Rinaldo's comrades summoned him back to his duty, Sanchez, Balis (now as Carlo), and Joseph Mayon (as Ubaldo) blended voices mellifluously in "In quale aspetto imbelle" (What a pathetic sight), which these three tenors capped with a rousing stretta. Offering solid support in remaining roles were tenor David Zimmerman and bass Greg Lauterbach. Special kudos go to Clenny's chorus of soloists, including West Side stalwarts Elizabeth Perryman, Sara Henry, and Gary Filsinger, playing nymphs, knights and demons.

Clenny and the West Side Opera Society continue their season of bel canto opera at Trinity Lutheran with Gaetano Donizetti's "Don Pasquale" on January 31, 2009, with Vincenzo Bellini's "Beatrice di Tenda" and "I Puritani" to follow in March and May respectively.