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Express, January 25, 2015 |
By Clare Colvin |
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Giordano: Andrea Chenier, London, Royal Opera House, 20. Januar 2015 |
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Giordano’s Andrea Chenier
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Set during the reign of terror that swept through France in the wake of the
1789 Revolution, Andrea Chenier bears analogies with today’s events in
Paris. Who would have thought writing poetry merited execution, yet that was
the fate of the poet Chenier, guillotined on Robespierre’s orders at the age
of 31.
Umberto Giordano’s romantic historical drama is rarely
performed partly because of its demanding title role, regarded as a vehicle
for a star tenor. Jose Carreras and PlacidoDomingo sang the role of Chenier
in the 1980s Covent Garden production. Now, in a sumptuous new staging by
David McVicar, the choice for Chenier falls naturally on the much lauded
tenor Jonas Kaufmann.
The first act opens onto the powdered world of
ancient regime France, exemplified by Robert Jones’s sets and Jenny
Tiramani’s historically accurate costumes. Liveried servants light the
candles on the chandeliers for a reception that Rosalind Plowright’s
autocratic old Countess is holding at her chateau, despite news from Paris
of the beleaguered King. Chenier arouses the Countess’s anger by criticising
the aristocracy, though her daughter Maddalena (Eva-Maria Westbroek) falls
instantly in love with him.
In Act 2 we are five years on, with
Robespierre’s terror at its height, in a cafe frequented by the
revolutionaries. A tumbril of victims for the guillotine is pursued by a mob
hurling vegetables, in time-honoured French protest mode. Giordano’s blend
of historical fact and fictional romance at times is reminiscent of the
musical Les Miserables.
There is more than a hint of Puccini’s Tosca,
too, when the Countess’s servant Gerard becomes a leading revolutionary and
bargains, Scarpia-like, with Maddalena for her favours in exchange for the
life of the condemned Chenier. In true operatic style, though, the two
lovers go to the scaffold together after the final duet “Vicino a the
s’acqueta,” declaring “Our death is the triumph of love.”
Kaufmann is
peerless as Chenier, heroic both in voice and stage presence. Eva-Maria
Westbroek is more low key, which mainly has to do with the role. Serbian
baritone Zeljko Lucic is impressive as Gerard, the servant turned
revolutionary who dominates from the start. His opening aria of hatred for
the privileged rich,“T’odio, casa dorata”,brought a storm of applause.
There is luxury casting of the lesser roles. Peter Hoare turns up as a
mincing Abbe to the Countess, and Peter Coleman-Wright as the underwritten
Fleville, friend of Chenier. The Royal Opera orchestra under Antonio Pappano
captures the lushness of the score, with its occasional lines of homage to
Puccini.
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