2004-02-13 Andrea Chenier (Giordano), Wiener Staatsoper
Andrea Chenier = José Cura
Maddalena di Coigny = Norma Fantini
Carlo Gérard = Renato Bruson
Bersi = Elina Garanca
Gräfin di Coigny = Waltraud Winsauer
Madelon = Mihaela Ungureanu
Roucher = Boaz Daniel
Pietro Fléville = Hans Peter Kammerer
Fouquier Tinville = Goran Simic
Mathieu = Wolfgang Bankl
Abbé = Benedikt Kobel
Incroyable = Michael Roider
Hauhofmeister = Marcus Pelz
Dumas = Peter Köves
Schmidt = Johannes Wiedecke
Marcello Viotti, conductor
13. Februar 2004
ANDREA CHÉNIER
(82. Aufführung in dieser Inszenierung)
Dirigent: Marcello Viotti
nach einer Inszenierung von: Otto Schenk
Bühnenbild: Rolf Glittenberg
Kostüme: Milena Canonero
Choreinstudierung: Ernst Dunshirn
Beginn: 19.30
about Andrea Chenier
ANDREA CHENIER, Wiener Staatsoper 13.2.04.
Wonderful production of this most known opera by Umberto Giordano. But I must confess that I was not convinced this was José Cura's best performance as Andrea Chenier. Not that I regret coming to Vienna for this Andrea Chenier. It was interesting to see Renato Bruson as Carlo Gerard and Norma Fantini as Maddalena di Coigny.
But I found the overall impression was not convincing . But the house agreed on Boaz Daniel as Roucher was wonderful. In my opinion José Cura acted Andrea Chenier wonderfully, but sang less good. Pronunciation and timing was somewhat lacking. Renato Bruson was great as Carlo Gerard, but unluckily for me I find his voice a little too hard. Norma Fantini also great as Maddalena, but lacked some of the vocal weight that I heard she had when she sang Aida in Munich (2002). Margareta Hintermeier did not sing the role of the Countess (Maddalena's mother) and I wonder if not that would have made a difference, more weight and drama in this small role.
Madelons aria is always a highlight in the 2 act, but this time it could have easily been overlooked. It is usually quite emotional to listen to this aria. And when the judges came in the judgement scene I did not feel any weight and could not see who they were and neither did I feel the terror that the people feel when the terrible judges come. So act 3 was a little blass.
In the whole the crowd scene was not really good represented on the stage. Very few angry men did get into the gilded house during the party in act 1, the house guests outnumbered them. The crowds was really small and in this huge stage it almost looked stupid, it is afterall supposed to be Paris, a rather overcrowded city.
OD Travel + Photos
Tuesday, February 13, 2018
February 13, 2004: Andrea Chenier in Vienna
Wednesday, January 31, 2018
January 31, 2015: Andrea Chenier in London
This was a very much traditional Andrea Chenier but not done in a lazy way. I found it elegant and profound. It had a reality feel. What a great treat it was to have Rosalind Plowright, herself once a famous Maddalena, as Comtesse Coigny, Maddalena's mother, and the great mezzo Denyce Graves as Bersi, Denyce Graves who is famous for her Carmen and Dalila!!! Sadly I did not see them at the final bow after the opera.
Rosalind Plowright sang Maddalena opposite Jose Carreras' Chenier in 1984 when this opera came back after more than 50 years absence. What I loved here is that one can see in this new ROH production that the Comtesse Coigny is really Mother of Maddalena. Not just a foolish aristocrate but a mother. Denyce Graves as Bersi is here much more a friend of Maddalena, a close friend, not a simple servant. And I love that. I love that there is real dedication between Maddalena and Bersi. It makes me understand Bersi's dedication to Maddalena much better. This Bersi is smart and resilient. Denyce Graves was such a joy to see and hear. I love Bersi!! Brava, Denyce Graves!!! Brava, Rosalind Plowright!
Jonas Kaufmann, I guess you want me to gush over the tenor as they all do. I won't do that but he sang so well this night so I almost ready to call him a tenor, but not Tenor with big T, yet, not for me. Eva-Maria Westbroek, she really filled the role of Maddalena di Coigny. A superb pair, Westbroek and Kaufmann!!
Željko Lučić as Carlo Gerard was more subtle than I would have expected after seeing him as Jago in Otello in Berlin. Still it worked, I could find sympathy for this Gerard.
Another thing I want to mention is that Idia Legray had a small girl who was there during the sentencing with an relative. Mother and child tries to hug but soldiers tears them apart. When Maddalena and Gerard come to prision, Gerard carries the young child. And we see mother and child meet again and go out with Gerard protecting them.
OD Travel & Photos
Original blog post
For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com
Monday, January 29, 2018
January 29, 2011: Andrea Chenier in Berlin
Andrea Chenier = Salvatore Licitra
Carlo Gérard = Seng Hyoun Ko
Maddalena de Coigny = Maria Guleghina
Bersi = Diana Axentii
Comtessa de Coigny = Katarina Bradic
Madelon = Liane Keegan
Roucher = Ben Wager
Pietro Fléville = Krzysztof Szumanski
L'abbé = Peter Maus
Fouquier Tinville = Hyung-Wook Lee
Mathieu = Nathan De’Shon Myers
L'Incroyable = Burkhard Ulrich
Schmidt = Seth Carico
Majordomo = Sergio Vitale
Dumas = Sergio Vitale
James Allen Gähres, conductor
Inszenierung - John Dew
Spielleitung - Anja Nicklich
Bühne - Peter Sykora
Kostüme - Jose-Manuel Vazquez
Chöre - Thomas Richter
Choreographische Mitarbeit - Klaus Beelitz
Maria Guleghina sang a wonderful Maddalena di Coigny. It was brave to do so when suffering from bronchitis. But I really wish she would take better care of herself and not think too much about her fans. We do love her well enough to see her healthy and sound even if we must suffer not see her onstage but another soprano. Get well and sleep well!
I worried about Salvatore Licitra as Chenier and about the baritone who sang Gerard but they only got better and better. The tenor used his lyrical instrument to the fullest. He gave a really beautifully sung Andrea Chenier. The baritone did not seem to have the right powerful voice in act 1 but that soon changed. He gave a really thrilling Nemico della patria. It was a truly believable duet between Gerard and Maddalena.
I loved the Regie. It was traditional and naturalistic at the same time as it was innovating using the space to maximize the history at the same time as it was minimalistic.
After the opera I got the change to give Maria Guleghina my get well wishes. Sleep well, my favorite Diva! Take care!!!!
For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com
Saturday, January 20, 2018
January 20, 2013: Andrea Chenier in Torino
Wednesday, January 10, 2018
January 10, 2014: Andrea Chenier in Stockholm
2014-01-10 Andrea Chenier (Giordano), Kungliga Operan (Stockholm)
Andrea Chénier - José Cura
Carlo Gérard - Alberto Gazale
Maddalena di Coigny - María José Siri
Bersi, her maid - Susann Végh
The Countess of Coigny - Marianne Eklöf
Madelon - Marianne Eklöf
Roucher - Linus Börjesson
Mathieu, a sans-culotte - Johan Edholm
The Incredible - Magnus Kyhle
The Abbot - Magnus Kyhle
The novelist Pietro Fléville - Kristian Flor
Fouquier Tinville, the Public Prosecutor -
Kristian Flor
Schmidt - Michael Schmidberger
Dumas - Michael Schmidberger
Master of the Household - Michael Schmidberger
Father of Gerard - Lars Ekholm
Pier Giorgio Morandi, conductor
DIRECTOR Dmitri Bertman
SETS Hartmut Schörghofer
COSTUME Corinna Crome
LIGHTING Hans-Åke Sjöquist
CHOREOGRAPHY Edvald Smirnoff
The Royal Opera Chorus
Chorus master: Folke Alin and Christina Hornell
Royal Opera Orchestra
It was Friday January 10th, 2014, it was winterly cold without snow. The snowing started on Sunday. I was going to see a traditional Regie of Andrea Chenier, or so I thought. At first I was disappointed but then I started to understand it. I hated the fakesness of the Contessa and her ilk in act 1. I thought in the beginning it meant that the Regie was wrong-headed and just vulgar. Later I understood it as a critique, and a just one, of the high society. A world where the fake has substitued the real. They might say the word love (Amore) but love is nowhere to be seen in here. They might flirt with sex, to be vogue as they lust, but real, pure love or simple affection that is true and not just affected does not live here.
Carlo Gerard looks at it all, sees the wrongness, and loves the still pure Maddalena. Maddalena di Coigny who is a few years from being corrupted by this society, is still pure at heart. Her play with Bersi, her chamber maid, is still that of a child. Then the entertainment enters. Andrea Chenier is the only one that is not playing a role. Chenier is clad in dark cloths and no whig. No one of the gray hairs on his head can make him old and cynic. Jose Cura's Andrea Chenier is very much young at heart. A dreamer and a poet. He does not belong in the cold and fake world. La Contessa of Marianne Ekløf is angered by his refusal simply to bough and recite a poem on the fly. Maddalena of Maria Jose Siri is taken by the first appearance of Andrea Chenier, so taken is she that she has to make him talk of love. She insults him by saying that they all have spoken of Love, and without his precious Muse. L'Improvviso. Great singing. And very much a tipping point, Maddalena understands something new, feels love. Carlo Gerard opens the door for la Miseria to visit the high society. As Carlo Gerard of Alberto Gazale leaves, the high society will meet death.
Often I get bored with the first act of Andrea Chenier and it is only when Chenier himself arrives that I get into it. In Stockholm there was no hesitation, I went inside the opera and stayed there. Alberto Gazale is the best Carlo Gerard I have ever seen. Maria Jose Siri was just amazing as Maddalena di Coigny. Jose Cura is the best Andrea Chenier today, and in Stockholm he just did one of his fiest intepretation. Marianne Ekløf was La Contessa. She was putting layers to her role, just as she could be totally fake and play with crowd, there was also a deep love for her daughter. Foolish and yet profond.
Act 2 was really great. It was really well thought out. Gazale, Siri and Cura was just astounding. Marianne Ekløf came again, this time as La Vecchia Madelon. Wow, this is how it should be done. I mean WOW!!! Of course, the love duet between Siri and Cura was wonderful!! But really Marianne Ekløf!!!! Viva!!
Interval. The Royal Opera House in Stockholm. It is old, it is lovely, it seem like an intimate venue.
Act 3. Alberto Gazale was looking so well in his red tuxedo. He looked like the handsomest Mefistofele. Carlo Gerard is no longer an innocent servant and he still lusts after Maddalena and now he has power. Maria Jose Siri is a powerhouse as Maddalena di Coigny. She is also an excellent actress. La mamma morta, wonderful, feeling every second of it. Then it is the court scene. Not just four condemned people but four people whose lives are connected now. Andrea Chenier is a source of comfort and strenght for them all. Chenier defense, Si, fui soldato, ended on a high note that I deem did not belong there. And really that it the only minus in the whole evening, that I still haven't accepted.
Act 4. Wonderful act 4. I have never seen any production of Andrea Chenier where the 4 prisoners are interacting. I loved how much love and care that they had towards each other, only when the soldier was not looking. Idia Legray, the young, pregnant woman. When the soldier let her out the door was he really letting her go? Chenier was a source of goodness and comfort. Wonderful love duet!! Of course, Stockholm got one of the best ever Come un bel di di Maggion from Jose Cura, too.
Death cage with the former high socity members to carry them to Death. Viva la morte insieme!
OD Travel & Photos
Original blog post
For more reviews from my travels, see www.operaduetstravel.com
If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com
Wednesday, October 18, 2017
October 18, 1998: Andrea Chenier in Zurich
1998-10-18 Andrea Chenier (Giordano), Opernhaus Zurich
Andrea Chénier = Giuseppe Giacomoni
Maddalena di Coigny = Gabriele Lechner
Carlo Gérard = Giorgio Zancanaro
Bersi = Margaret Chalker
La Contessa di Coigny = Renate Lenhart
Madelon = Judith Schmid
Roucher = Cheyne Davidson
Pietro Fléville = Rudolf A. Hartmann
Fouquier Tinville = Rolf Haunstein
Mathieu = Giusppe Scorsin
Incroyable = Martin Zysset
Abate = Miroslav Christoff
Schmidt = Werner Gröschel
Der Haushofmeister = Andrew Costello
Dumas = Simon Jaunin
Flando Fiorinelli = Ann Bechman
Gérards Vater = Victor Sandhofer
Manfred Honeck, conductor
Sunday at 1400 the opera was Andrea Chenier, a revelation of a soprano Gabriele lechner, a beautifully sung Maddalena, the Andrea Chenier of the day was Giuseppe Giacomini, was a disappointment, but the "old guy" Giorgio Zancanaro was a much better Gerard than in the video from Covent Garden with Plácido. The regie was genial, the "lights" told a sweet love-story before the Improvviso and during Fleville's romanza.
Great choreography and acting, all the singers and chorus.
Musikalische Leitung MANFRED HONECK
;Inszenierung HANS HOLLMANN
Spielleitung ULRICH SENN
Bühnenbild HANS HOFFER
Kostüme DIRK VON BODISCO
Lichtgestaltung JÜRGEN HOFFMANN
Chor JÜRG HÄMMERLI
Choreographe RUDOLF BUDAVÁRY
Der Haushofmeister ANDREW COSTELLO°
Dumas, Präsident
des Wohlfahrtsauschusses SIMON JAUNIN°
Flando Fiorinelli, ein Musiker ANN BECKMAN
Gérards Vater VICTOR SANDHOFER
Idia Legray,
eine junge Aristokratin ANDREA SARHAN
Orazio Coclite,
Mathieus Begleiter RICO TREVISAN
0 Mitglied des Internationau,n Opernstudios
CHOR DES OPERNHAUSES ZÜRICH
STATISTENVEREIN,
BALLETTSCHULE FÜR DAS OPERNHAUS, KINDER
ORCHESTER DER OPER ZÜRICH
Beginn: 14:00 Uhr
Ende: ca 16.45 UHR
OD Travel
Tuesday, October 17, 2017
October 17, 2007: Andrea Chenier in Barcelona
2007-10-17 Andrea Chenier (Giordano),
Gran Teatre del Liceu, Barcelona
Andrea Chenier = José Cura
Carlo Gérard = Carlos Álvarez
Maddalena de Coigny = Deborah Voigt
Bersi = Marina Rodríguez Cusí
Comtessa de Coigny = Viorica Cortez
Madelon = Irina Mishura
Roucher = Miguel Ángel Zapater
Pietro Fléville = Enric Serra
Fouquier Tinville = Enric Serra
Mathieu = Philip Cutlip
L'Increïble = Francisco Vas
El mossèn = Josep Ruiz
Schmidt = Vicenç Esteve Corbacho
Un Majordom = Vicenç Esteve Corbacho
Dumas = Manel Esteve Madrid
Pinchas Steinberg, conductor
Direcció d'escena / Dirección de escena / Stage Director Philippe Arlaud
Escenografia / Escenografía /Set Design Philippe Arlaud
Vestuari / Vestuario / Costume design Andrea Uhmann
Il·luminació / Iluminación / Light Design Philippe Arlaud
Coreografia / Coreógrafo / Choreography Keith Morino
Producció: The New National
Theatre Foundation -Tokio
"Questo azzurro sofà là collochiam."
In this production the Majordomo said blanco (white) instead of azzurro (blue) because in this production almost all were dressed in white, and then some tricolor. In this production Madame la Guillotine was omnipresent and the director heavy-handedly gave us the message of the revolution is eating its own, all acts ended with people onstage being murdered. In this Andrea Chenier there was no doubt that Chenier and Maddalena died along with a lot of people that we had seen alive in other acts, Roucher, Bersi etc. Only children was alive to show the flag and be revolutionary.
Wonderful José Cura as Andrea Chenier! Anna Shafajinskaia had been called to the Opera house to maybe step in for a sick Deb Voigt. That would have been very interesting!! But La Voigt did not feel that ill. I can understand that to sing in Liceu, it would be hard to say another must sing for me today. Deborah Voigt is not my ideal as Maddalena di Coigny. She is acting very well, although I find her portrayal to girlish, (loved Maria Guleghina in the DVD from Bologna), and I find it hard to war up to her voice.
Carlos Alvarez was wonderful as Gerard. Very youthful, and this Gerard was really like
Contessa said:
Quel Gérard! L'ha rovinato il leggere!
This Carlo Gerard was destroyed by the reading of books.
I did not take any photos inside the Liceu. I was too nervous, but the good thing with that is that I could concentrate on applauding. BRAVO!!!!!!!!!!!!!!!!!!!!!!
At the stage door: conductor, Roucher, Voigt, .... No José Cura and I waited a LONG time. But Carlos Alvarez came, but I did not take his photo, I did not take any photos at all in Barcelona. I talked to him. Told him how great I found him in this production and even mentioned how much I liked his Macbeth in the DVD with Maria Guleghina. WOW, Carlos Alvarez!!!!! I talked...
.. but no photos.
OD Travel
My original blog post
Tuesday, May 16, 2017
May 16, 2013: Andrea Chenier in Vienna
2013-05-16 Andrea Chénier (Giordano), Wiener Staatsoper
Andrea Chenier = José Cura
Maddalena di Coigny = Martina Serafin*
Carlo Gérard = Marco Vratogna*
Bersi = Margarita Gritskova*
Gräfin di Coigny = Donna Ellen*
Madelon = Monika Bohinec*
Roucher = Marco Caria
Pietro Fléville = Hans Peter Kammerer
Fouquier Tinville = Alexandru Moisiuc
Mathieu = Alfred Šramek
Abbé = Peter Jelosits
Incroyable = Thomas Ebenstein*
Haushofmeister = Marcus Pelz
Dumas = Il Hong*
Schmidt = Walter Fink*
Marco Armiliato, conductor
Nach einer Inszenierung von Otto Schenk
Bühnenbild - Rolf Glittenberg
Kostüme - Milena Canonero
Choreinstudierung - Ernst Dunshirn
* role debut in Wiener Staatsoper
I did not have to worry about falling asleep. I was wide awake. José Cura was wonderful as Andrea Chenier. Marco Vratogna got better as Carlo Gerard during the performance. Martina Serafin was a bit subdued as Maddalena di Coigny (it was her role debut). Alfred Sramek was a great Mathieu. Marco Armiliato is a great conductor.
Original blog post
For more reviews from my travels, see www.operaduetstravel.com If you want to see more photos from my OperaDuets Travels, go to www.operaduetsphotos.com
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