Andrea Chénier, Royal Opera House review ★★★★★
Giordano's most popular opera is revived with an impressive cast, as Covent Garden's music director bows out
Jonas Kaufmann and Sondra Radvanovsky star in Andrea Chénier. Photo: Marc Brenner
Every now and then you think, great opera, wrong name. Umberto Giordano's 1896 opera Andrea Chénier is based on the true story of the heroic poet of its title. Uncomfortable with the lavish and uncaring lifestyle of French high society, he joins the revolutionaries, but then finds himself under suspicion as he voices his misgivings.
With Jonas Kaufmann as Chénier in a revival at the Royal Opera House of David McVicar's spectacular production, all eyes and ears are on this much-loved tenor in the title role. But the performances of the evening come from the Mongolian baritone Amartuvshin Ekhbat, who sings his comrade and rival in love, and from American-Canadian soprano Sondra Radvanovsky as Maddelena di Coigny, the woman whom both men desire.
French society is alarmed by change in Andréa Chenier. Photo: Marc Brenner
Maddalena is our kind of woman. She eschews her corset, scorns her petticoat, and favours intellectual discourse over small talk. Convinced by Chénier's radicalism, she becomes ashamed of a ruling class that keeps dancing the gavotte while desperate men and women appeal for better conditions. Robert Jones's set and Jenny Tiramani's costumes create vividly two tiers of society.
Gérard was a footman in Maddalena's household, like his ancient father, in its service for 60 years. Now he is a leader in the revolutionary movement, his power there coloured by his passion. But he is capable of heroic honour when the lovers' future is in his hands.
From the outset, Ekhbat's Gérard is superbly sung, the full rich tone making his character so impressive in contrast to the weedy di Coigny hangers-on, and his feelings for Maddalena heartfelt.
Rough justice in revolutionary France. Photo: Marc Brenner
Radvanovsky's Maddalena is equally impressive, the voice filling out as the character grows in confidence until the last act's great declamations of love. Kaufmann, despite his commanding stage presence, does not have the same ringing top notes nor lushness of tone.
Maddalena is out of the frying pan into the fire when her spoilt family is hacked down by the mob, but she is cornered by Gérard in a pivotal scene. And it is remarkable how important female characters in general are in this opera, from the imperious Contessa di Coigny (Rosalind Plowright), through the womenfolk who donate their few treasures to the cause, to Elena Zilio (singing wonderfully at the age of 83) as the grandmother who gives up her grandson.
This revival of Andrea Chénier marks the last production at the Royal Opera House as music director of Sir Antonio Pappano, and on first night there was tangible emotion in the audience as he took to the pit and, finally, to the stage for the calls. His 22 years at Covent Garden have been distinguished by his special feeling for the Italian repertoire, although he will be back for the continuation of Wagner's Ring Cycle, and no doubt to guest conduct other productions to be announced.
Katia Ledoux as Bersi. Photo: Marc Brenner
He's only going up the road to the Barbican, and to the London Symphony Orchestra, but his departure from the Opera House feels like the end of an era. Giordano's expansive score is just the sort of music that he excels in, and the Orchestra and Chorus of the Royal Opera gave it all they've got on his last first night. Pappano has shepherded a lot of house debuts in his time, and here he sees in French mezzo-soprano Katia Ledoux, luscious as Maddalena's companion Bersi.
Andrea Chénier is one of the early operas in that body of real-life Italian opera dubbed verismo, product of the Giovane Scuola, the group of young bloods eager to move Italian opera on from the grand legacy of Verdi. Among them was Giacomo Puccini, who created a style of his own, but Giordano laid a stepping stone. Four years after Maddalena first resisted powerful Gérard, Puccini's Tosca would be flinching from bullying Scarpia. Puccini called his opera Tosca. And Giordano should have called his opera Maddalena.
Andrea Chénier is sung in Italian with English surtitles. Further performances are on 2, 5, 8 and 11 June. Click here for booking. Relayed in cinemas across London and worldwide Tues 11 June, 7.15PM, with Encore screening Sun 16 June, 2PM
With Jonas Kaufmann as Chénier in a revival at the Royal Opera House of David McVicar's spectacular production, all eyes and ears are on this much-loved tenor in the title role. But the performances of the evening come from the Mongolian baritone Amartuvshin Ekhbat, who sings his comrade and rival in love, and from American-Canadian soprano Sondra Radvanovsky as Maddelena di Coigny, the woman whom both men desire.
French society is alarmed by change in Andréa Chenier. Photo: Marc Brenner
Maddalena is our kind of woman. She eschews her corset, scorns her petticoat, and favours intellectual discourse over small talk. Convinced by Chénier's radicalism, she becomes ashamed of a ruling class that keeps dancing the gavotte while desperate men and women appeal for better conditions. Robert Jones's set and Jenny Tiramani's costumes create vividly two tiers of society.
Gérard was a footman in Maddalena's household, like his ancient father, in its service for 60 years. Now he is a leader in the revolutionary movement, his power there coloured by his passion. But he is capable of heroic honour when the lovers' future is in his hands.
From the outset, Ekhbat's Gérard is superbly sung, the full rich tone making his character so impressive in contrast to the weedy di Coigny hangers-on, and his feelings for Maddalena heartfelt.
Rough justice in revolutionary France. Photo: Marc Brenner
Radvanovsky's Maddalena is equally impressive, the voice filling out as the character grows in confidence until the last act's great declamations of love. Kaufmann, despite his commanding stage presence, does not have the same ringing top notes nor lushness of tone.
Maddalena is out of the frying pan into the fire when her spoilt family is hacked down by the mob, but she is cornered by Gérard in a pivotal scene. And it is remarkable how important female characters in general are in this opera, from the imperious Contessa di Coigny (Rosalind Plowright), through the womenfolk who donate their few treasures to the cause, to Elena Zilio (singing wonderfully at the age of 83) as the grandmother who gives up her grandson.
This revival of Andrea Chénier marks the last production at the Royal Opera House as music director of Sir Antonio Pappano, and on first night there was tangible emotion in the audience as he took to the pit and, finally, to the stage for the calls. His 22 years at Covent Garden have been distinguished by his special feeling for the Italian repertoire, although he will be back for the continuation of Wagner's Ring Cycle, and no doubt to guest conduct other productions to be announced.
Katia Ledoux as Bersi. Photo: Marc Brenner
He's only going up the road to the Barbican, and to the London Symphony Orchestra, but his departure from the Opera House feels like the end of an era. Giordano's expansive score is just the sort of music that he excels in, and the Orchestra and Chorus of the Royal Opera gave it all they've got on his last first night. Pappano has shepherded a lot of house debuts in his time, and here he sees in French mezzo-soprano Katia Ledoux, luscious as Maddalena's companion Bersi.
Andrea Chénier is one of the early operas in that body of real-life Italian opera dubbed verismo, product of the Giovane Scuola, the group of young bloods eager to move Italian opera on from the grand legacy of Verdi. Among them was Giacomo Puccini, who created a style of his own, but Giordano laid a stepping stone. Four years after Maddalena first resisted powerful Gérard, Puccini's Tosca would be flinching from bullying Scarpia. Puccini called his opera Tosca. And Giordano should have called his opera Maddalena.
Andrea Chénier is sung in Italian with English surtitles. Further performances are on 2, 5, 8 and 11 June. Click here for booking. Relayed in cinemas across London and worldwide Tues 11 June, 7.15PM, with Encore screening Sun 16 June, 2PM
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| What | Andrea Chénier, Royal Opera House review |
| Where | Royal Opera House, Bow Street, Covent Garden, London, WC2E 9DD | MAP |
| Nearest tube | Covent Garden (underground) |
| Price | £113-£285 |
| Website | Click here for details and booking |