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Opera Now, May 31, 2024 |
Jonathan Whiting |
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Giordano: Andrea Chenier, London, Royal Opera House, ab 30. Mai 2024
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Pappano's final production as the Royal Opera’s music director is a success
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Umberto Giordano’s Andrea Chénier often falls by the wayside, living in the
shadow of the giant that is Puccini’s ‘shabby shocker’ Tosca that premiered
only four years later. Even at first glance, the similarities are almost
uncanny. A tenor finds himself arrested and destined for execution whilst
his soprano lover begs a baritone (who has loved her since childhood) to
release him – all against the backdrop of revolution. But one shouldn’t go
into the theatre expecting Puccini-lite, Andrea Chénier holds its own as a
suspenseful thriller with a sophisticated and stark commentary on class,
revolution and sacrifice.
American-Canadian soprano Sondra
Radavnovsky gives a beautiful vulnerability to the role of Maddalena di
Coigny, her rich velvet tone effortlessly fills the house at no expense of
expression or nuance. It takes an act for her to really come into her own
but her act three aria ‘La mamma morta’ is a particular highlight – a
grounded and convincing performance. Jonas Kaufman as the titular poet
Andrea Chénier (who originated the role in this production back in 2015)
brings a compelling stoicism to the part. As expected, his excellent dynamic
control and tone are on show throughout, though perhaps not always matching
Radavnovsky’s energy.
One notable downside is in the source material
itself, where in Tosca (and La bohème for that matter) we are presented with
a down-to-earth and oddly relatable couple, Chénier can’t quite match that.
The plot quickly moves through the falling in love phase to get to the
action which could certainly appeal to some. Where Chénier triumphs, in
fact, is in its villain – where Scarpia is almost a cartoon with his evil
schemes, Carlo Gérad is a broken man reconciling with his long-held morals
being tested by the regime he championed. Mongolian baritone Amartuvshin
Enkhbat is a standout here – his bold tone cuts through the orchestra, each
word held a compelling weight. His act three aria ‘Nemico della patria’ was
a personal favourite of the night – his anti-hero persona could lead many to
root for him instead…
In a world of stripped-back, minimal white-wall
productions (many of which are very successful and are perfectly valid
interpretations) it is certainly refreshing to see a sumptuous production
like this. The elaborate sets by Robert Jones create an illusion of depth
and there’s a satisfying unity across the four acts. This, alongside the
attention to detail in Jenny Tiramini’s costumes, allowed us to be fully
immersed in the oppressive world of the Reign of Terror. Similarly, the
direction (as with the source material) leaves nothing superfluous, each
scene, line and action has meaning and propels the narrative.
One
cannot go without mentioning the orchestra of the Royal Opera House. It
navigated Giordano’s rich vibrant score with an effortless ferocity and
tenderness. Giordano particularly enjoys juxtaposing bold brass chords with
a solo instrument immediately after – these subito pianos were highly
effective. What else could one expect under the baton of the great Antonio
Pappano – the whole night was a masterclass in music direction.
A
perfect opera for newcomers and those looking for something different but
still in walking distance to the works of Puccini. A great facet of the
Royal Opera Houses regular production repertoire.
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