Giordano : Andrea Chénier
Royal Opera Chorus
Orchestra of the Royal Opera House, Covent Garden
Sir Antonio Pappano
I suppose that it has to be admitted that any composer who ends up as a "one-hit wonder", despite an otherwise relatively prolific output, cannot really be counted in the top flight of his profession. But what works some of those one-hits can be! Andrea Chénier is surely a case in point; the only thing that prevents it from being ranked up there with the likes of La Bohème or Tosca (with which it is pretty much contemporary) is the fact that it is not idiot-proof. You do need both a first-rate cast and a conductor who genuinely believes in it to do it justice. Fortunately, the Royal Opera has provided both, and if the performance was on a bit of a slow burn, at least it ended in a blaze of glory.
This was the first new production of Chénier in 30 years, since Plácido Domingo's hey-day, in fact, and the reason for re-staging it now was probably much the same as it was then; a tenor up to the demands of the title role, both vocally and dramatically. Another plus point for this revival was that the director, Sir David McVicar, decided to play it straight, so we had a production in proper period costume, with a well-designed single set that worked convincingly for both indoor and outdoor scenes, and no outlandish concepts in the direction of the singers. I don't quite understand why Chénier had to be so decidedly drunk in Act 2, but it was tolerable. Also, the little pas de deux for the Pastorale in Act 1 was both anachronistic and a bit saucy for the period, and therefore jarred somewhat, but again, a tolerable intrusion.
The performance got off to a very strong start because Zeljko Lucic was in outstanding form as Gérard, the voice in excellent condition and completely under control. Lucic produced the most consistent quality of singing all evening, from his opening aria right through to a superb "Nemico della patria". Eva-Maria Westbroek produced her usual type of performance for the first two acts; vocally very sound, even beautiful at times, but theatrically a little placid for my tastes, and not really generating much chemistry with Jonas Kaufmann's Chénier. "La mamma morta" was a touch rough in places towards the end, a bit of a raw edge to the tone, as if she was coming down with a cold, but dramatically she was beginning to come alight, and when she reappeared for the last act duet, there was no trace of impediment in the voice, and she was finally totally invested in her role.
The opera, however, belongs to the tenor, and Jonas Kaufmann was the prime attraction. Like Manon Lescaut at the end of last season, this was another new role for him, and it suits him better than Des Grieux. Apart from a little unsteadiness as he attempted a crescendo on "Ora soave" in Act 2, the role sounds comfortable in his voice, and of course he looks perfect for the part. His usual, impressive ability to inflect his phrases was put to very good use throughout, and as with Westbroek, his performance of the final duet was positively incandescent.
There was some luxury casting in the secondary roles too. Denyce Graves was maybe a little over-ripe as Bersi, but Rosalind Plowright was splendidly precious as the Countess, and Elena Zilio's cameo as Madelon was exceptional. Playing from the orchestra was also outstanding, Pappano revelling in Giordano's lush melodic lines, and highlighting little details of the orchestration here and there to telling effect. Where I felt the momentum flagged was in Act 2; the chorus seemed a bit stiff, and what should have been a rousing conclusion clearly fell a bit flat, judging from the somewhat perfunctory applause in the house as the curtain fell on that act. The court scene of Act 3 was more spontaneous and effective.
This is a handsome production, which needs its second act revised because the dramatic impetus sags here, before picking up again after the interval. However, all faults are pardoned for the white-heat of the last fifteen minutes, exactly what one wants to experience in the end.
[Next : 30th January]
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