I think it's fair to say that Giordano's Andrea Chenier is not exactly top of the operatic hit parade when it comes to performances at the Royal Opera House. A cursory glance indicates that it was last performed there over 30 years ago! And yet it has some fabulous arias and duets that are loved by singers and audiences alike and quite rightly rolled out at gala concerts all over the world. La Mamma Morta is famously featured in the movie Philadelphia. As voiced by Maria Callas the aria is a high point and usually has audiences reaching for the hankies in no time. So why the dearth of performances?
When I asked the same question not so long ago about Puccini's Manon Lescaut the answer seemed to revolve around the tenor role and the lack of a suitable voice (or at least one willing) to take on the part. And so the story seems to be repeated here. And it seems to be no coincidence that once again Jonas Kaufmann steps into the breach and dares to go where no other tenor at Covent Garden has gone before - at least for quite some time.
On the vocal side, actually very little indeed. Jonas sings with practiced technique and a golden burnished ardour throughout - an accomplished debut of a very arduous tenor role. Four arias and duets aplenty - not forgetting to save your best for the final blistering duet - this is not an easy sing by any means. If I'm honest there's definitely a sense of power held in reserve and the singing is never anything less than tasteful - whether verismo should be quite this tasteful is for others to judge. I did enjoy it (more so the second performance I saw) but think an ounce more 'oomph' wouldn't go amiss. But quite honestly, not sure which other tenor (preferably alive) who I'd rather see and hear in the role. His portrayal of Chenier was more detailed than most - a sulky resentful poet in Act 1 as he surveys the aristocrats at play; Act 2 reveals Chenier as drunk and disillusioned with revolution and its excesses...until love is revealed in the shape of Maddalena. In Act 3 a sense of resignation to his fate is revealed, only briefly illuminated by his angry self-defense. Act 4 is simply the culmination of all that has gone before - a short very sublime postscript, the duet a mini-Liebstod as the lovers welcome the embrace of Madame la Guillotine.
Eva-Maria Westbroek also makes her stage debut as Chenier's doomed love Maddalena. The soprano has less to sing perhaps but also has to work harder to make an impression. The diligent soprano is rewarded with slightly more character development than the tenor, going from young flighty aristocrat to world-weary fugitive and finally, and in the final act, to absolute heroine. Her Act 3 confrontation with Gerard is the turning point of the opera and she certainly makes the most of it. The voice may not be ideally suited to the repertory but she is a warm-hearted and totally believable character and in many ways becomes the beating heart of the opera.
Revolutionary fervour is encapsulated in the form of Carlo Gerard - and as played by Željko Lučić he makes the most of every opportunity - saving his best singing for his aria Nemico della Patria. Again, not typically Italianate in tone but dark, firm and secure of voice - and a decent actor to boot. Not sure if he's already done Scarpia but that role surely beckons?
As you might have noticed by the photographs, this was a resolutely traditional production by David McVicar. Or as he put it himself 'It's the French Revolution - its a no brainer!' Costumes by Jenny Tiramani were equally traditional and well researched. It's a very decent production though to be honest, not that exciting. I though the vast open sets worked well for the opulent French chateau of Act 1 - less well for the remaining acts. It was all a bit too vast, too well-scrubbed and too polite - no sense of real menace or threat. There was no real sense of shock and outrage in Act 1 as Chenier impolitely rounded on his hosts with his improvised denunciation of the aristocracy. Or even when a scattering of peasants intruded - quickly shooed away as the gavotte resumed. The Act 3 trial scene was also curiously tepid in places - a bit more grit here wouldn't go amiss.
I feel the composer also has to take his share of the blame for being less than convincing in places. While the arias and duets shine with passion and inspiration, some of the other music is less memorable and the energy sags as you wait for the next big "tune". Maddalena and Chenier could also have done with a bit more stage time together as the progress of their relationship is episodic to say the least and you have to take it on trust that they fell in love somewhere along the way!
These are minor quibbles which are swept away by the passion of final short act where it almost feels as it there has been a sudden power surge! The temperature leaps up as Jonas lets rip in Come un bel di di Maggio - Chenier's final soaring lament, quickly followed by the ecstatic duet Vicino a te, as his beloved comes to die with him. A gorgeous and sublime ending to a not quite perfect opera.
If you can't get to London or can't get a ticket, ROH are broadcasting this opera around the UK and the rest of the world. Transmission details for your area can be found Here - have a feeling this production will work even better in close up.
And for your viewing pleasure the final glorious duet can be heard here:
All photographs copyright ROH/Bill Cooper
