Andrea Chénier - Historical dramatic
opera in four acts (1896)
Andrea Chenier, poet - Héctor Sandaval (tenor); Carlo Gérard,
former servant in the Coigny household and also in love with Maddalena,
Scott Hendricks (baritone); Madddalena, in love with Chenier - Norma
Fantini (soprano); Bersi, her maid - Tania Cross (mezzo); La Contessa
di Coigny - Rosalind Plowright (mezzo); Un Incredible, Peter Bronder
(tenor); Fléville - Tobias Hächler (baritone)
Prague Philharmonic Chorus and Bregenz Festival Chorus
Vienna Symphony Orchestra/Ulf Schirmer
Director: Keith Warner;
Set Designer: David Fielding
Costumes Designer: Constance Hoffman
Video Director: Felix Breisach
rec. live, Bregenz Festival, Seebühne, July 2011
Filmed in High Definition; 1080p. Format: 16:9
Sound formats: PCM Stereo; DTSHD-HD 5.1
Subtitles: Italian (original language), English, German, French,
Spanish, Korean, Chinese.
UNITEL CLASSICA/C MAJOR 708004
After study at the Naples Conservatory Umberto Giordano submitted
his one act opera Marina in the competition famously
won by Mascagni with Cavalleria Rusticana. His efforts
were not in vain as the sponsoring publishers commissioned him
to write a full-length opera. The result was Mala vita
(1892), a full-blown verismo work of the kind then in fashion.
His next opera was a failure and he lost his publisher’s
sponsorship. His future as a composer looked bleak. He had,
however, maintained the friendship of Mascagni who helped him
get Andrea Chénier staged. It proved an overwhelming
success at it premiere and was followed by his other notable
opera, Fedora in 1898 which is also in verismo style.
The circumstances and betrayals of the French Revolution and
The Terror form the setting. The story opens in
the opulent Chateau of La Contessa di Coigny as tensions between
the aristocracy and the Third Estate build. Gérard, a
valet of the Countess, who secretly loves the aristocratic daughter
of the house, Maddalena, leaves his post to join the Revolutionaries.
The poet Andrea Chénier declines to offer his services
to the nobility and is admired by Maddalena. Act 2 takes place
in Paris in 1794. Gérard has made a name for himself
during the Revolution as has Chénier who originally joined
the revolutionary side but has fallen out of favour. Maddalena,
pursued as an aristocrat, seeks refuge with Chénier and
the two swear eternal love. They are betrayed and Chénier
is arrested and accused of supporting the aristocracy. Despite
having discovered the love between Chénier and Maddalena,
Gérard is prepared to let Chénier escape the danger
of The Terror in exchange for Maddalena’s love. She is
prepared to comply, at which point Gérard, moved by her
self-sacrifice tries, in vain, to obtain Chénier’s
release, but he is condemned to death. In the prison of St.
Lazare the final act that Gérard can render his friends
is to bribe the jailer to let Maddalena take the place of a
mother condemned to death so that the lovers can die together.
The Bregenz Festival first hit the headlines at its inception
in 1948. This small Austrian town on Lake Constance now boasts
three venues, but it is the biggest that gives it definition.
The open-air setting, on the lake, literally, with its fantastic
backdrop of mountains, the stage, or stages, is built on pontoons.
The audience numbers nearly seven thousand and whilst binoculars
seem de rigueur, others think telescopes more appropriate.
The sound is amplified and the singers have microphones attached
near their faces.
Given the venue and size of the audience, big is the name of
the game. Recent productions have included an Il Trovatore
set in what could have passed for an ICI factory on Teeside
when that company was a bell-weather for UK industry, to a recent
Aida where swimming ability seemed a casting necessity
for soloists and chorus. Those were operas that, like a previous
Tosca, had audiences clamouring for tickets. Whether
this verismo mediocrity will do the same only time will
tell. David Fielding’s sets are vertiginous with stages
set on several levels joined by staircases of builder’s
scaffolding. The dominant features are a huge image of the head
and upper torso of the eponymous hero. One of the stages is
set on a book of his poems. Constance Hoffman’s costumes
are in period with the aristocratic ladies having massive hairstyles.
Director, Keith Warner, keeps the story concise except for some
rather unnecessary gymnastic displays on gyroscopic swings during
manufactured interludes. He justifies the Grim Reaper and his
scythe at the start and conclusion, but I will not spoil that
bit of theatre.
The Bregenz Festival does not draw premier league singers. With
amplification one can only hazard a guess at the true vocal
quality. Acting however is all-important. Not many can match
Rosalind Plowright as the Contessa di Coigny and still with
a more than adequate voice. The Gérard of Scott Hendricks
starts rather dryly but rapidly finds some vocal sap. He acts
the part superbly, particularly as he decides, despite loving
Madddalena himself, to seek to rescue her for Chénier
(CH.29). As the eponymous hero, Héctor Sandaval sings
strongly and makes an effort at sensitive characterisation.
Together with the Maddalena of Norma Fantini he makes the final
duet a moment of true pathos (CHs.34-35), with sensitive lighting
adding to the overall effect. Norma Fantini is a convincing
Maddalena and manages the demands of La mamma morte well
as she regrets the death of her mother and the manner of it
(CH.26). As Bersi, Maddalena’s mulatta maid, Tania Kross
is none too steady. Peter Bronder is a weird-looking Un Incredible.
The Prague Philharmonic Chorus and Bregenz Festival Chorus,
along with the Vienna Symphony Orchestra under Ulf Schirmer
are good value. Video Director, Felix Breisach, catches the
colours of the lighting and challenges of the scenes and the
movement along and among the scaffolding with welcome sensitivity.
In case you watched last year’s Aida on terrestrial
TV transmission in the UK, yes the water has its uses both in
drowning aristocrats and for the arrival of a boat bringing
the judge for Chénier’s trial (CH.27).
Robert J Farr
see also review of DVD release by Rob