Andrea Chénier       

 

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[Andrea Chenier - Bologna Tokyo] [Andrea Chenier - Barcelona and Karlsruhe]

 

 

Andrea Chénier

 

Background:  Andrea Chénier was a real poet who was guillotined three days before the end of the French Revolution. 

 

André Chénier was born in Constantinople on 30 October 1762, the third son of Louis de Chénier, an officer at the French embassy.  His mother was Greek. Moving to France as a child, Chénier proved popular in Paris salons and with women, but remained a sensitive poet who connected Greek classic literature with lyrical French poetry.

 

In 1789, he began a short career as a political journalist, fighting against anarchy, injustice, and tyranny.  On 4 March 1794, he was arrested by mistake while visiting friends and taken to police headquarters in Luxembourg;  he was subsequently sent to St. Lazare Prison where he spent the last months of his life.  While there, he met the poet Jean-Antoine Roucher, Louise de Laval-Montmorency, abbess of Montmartre, and  23-year-old Aimée de Coigny, Duchess of Fleury, alias Citizeness Franquetot, who became his last muse.  It is likely that in this appropriation, Chénier was reflecting awareness of upcoming doom, since Aimée proved to be less than an honorable ideal of pure love and womanhood he depicted.

 

André Chénier was sentenced to immediate death on 24 July 1794 and was executed with his friend Roucher.

 

 

Fast Facts:  Andrea Chénier is an opera in four acts by Umberto Giordano to an Italian libretto by Luigi Illica, based on the life of the French poet André Chénier (1762-1794).

 

The European premiere was at Teatro alla Scala, Milan, 1896.

 

Main Cast:  Andrea Chénier (tenor), a poet; Carlo Gérard (baritone), a servant; and Maddalena di Coigny (soprano).

 

“The role of Chenier is tailor-made for him: there is something viscerally exciting about his platform presence.”  Opera, UK May 1998

 

 

 

Andrea Chénier, Karlsruhe, Mar 09:  'The character of the revolutionary French poet is written into Cura’s body.  Magnificent was the fiery appeal in the salon of the Coignys when he presents his ideals or before the tribunal when he defends his honor.  Also the singing requirements [of the role] lie extremely well within his vocal chords.  After a few unfocused moments in the first act, he raced from highlight to highlight, crowned by the scene that might be considered to have taken the honors of the evening, at the beginning of the fourth act, ‘Come un bel di di maggio,’ in which José Cura also found quiet, gentle tones.' Manfred Kraft, Neue Badische Nachrichten,  17 March 2009

Andrea Chénier, DVD:  'This production's Chénier is the Argentine tenor José Cura. He sang Chénier's two major arias on his "Verismo" CD, and his performance here remains similar – heroic, yet thoughtful. This is a much subtler interpretation than Mario del Monaco's and Corelli's. Cura is handsome, credible, and, at times, quite touching. (I confess to getting choked up during "Un dì, all'azzurro spazio.") .....' Raymond Tuttle, Classical Net

 

Andrea Chénier, DVD:  'Passion is what [Cura] emits in this role from the very first appearance, with a glowing Un di all’azzurro spazio. He sings the furious Si fu soldato in the trial scene (act III) with no safety net. The sad Come un bel di di maggio in the last act is begun almost as a dream, lightly sung with some embellishments to the line before he opens out to a heartfelt, glorious climax, greeted with ovations from the audience. By his side, just as in the La Scala Manon Lescaut, he has the charming, expressive, warm Maria Guleghina, whose vibrant voice is a perfect foil for Cura’s impassioned Chenier.'  Göran Forsling,  Music Web International

 

Andrea Chénier, DVD:  'This 2006 performance finds José Cura fully immersed in the drama of the title role. Chénier's Act II dialogue with Roucher makes an especially powerful impression, with the poet obviously in agony not knowing the identity of the woman who wrote to him. The tenor offers gratifyingly secure vocalism throughout, giving maximum vocal thrill to all the set-pieces.' Roger Pines, Opera News, Dec 2006

Andrea Chénier, Barcelona, Oct 2007: 'Andrea Chénier returned in triumph to Barcelona, after more than two decades, to open the season at Gran Teatre del Liceu (seen Oct. 8).  Heading up the stellar cast of the Liceu’s striking production by Philippe Arlaud was a favorite of the Barcelona public—Argentine spinto tenor José Cura.  Cura’s love affair with the Liceu started five years ago, when he replaced José Carreras at the last minute as Samson (he was flown in the afternoon of the performance), and continued with a much admired Otello last year. As Chénier, Cura opted for dramatic truth over the virile brio and heroic antics that characterized his previous appearances at the Liceu.  His poet was a subdued, confused dreamer overcome by the grave circumstances that flooded his romance and everything else in blood and tears.  His choices were dramatically powerful and musically consistent:  he placed his highly individual, expressive voice completely at the service of the opera.  Even his high notes sounded more convincing and came with greater ease than in last year’s Otello.' Roberto Herrscher, Opera News, Jan 2008

Andrea Chénier, Barcelona, Sept 2007:  In the main role, the Argentinian tenor José Cura provided an intense portrait of the poet Andrea Chénier, convincing in the colour, the quality and the power of a voice produced with extreme ability, [...] voices of this caliber are seldom heard.  Javier Pérez Senz, El País, 17 Sept 2007

 

Andrea Chénier, Barcelona, Sept 2007: Andrea Chénier is an opera to bring out the best of a tenor and José Cura has got the appropriate, focused and "thick" voice to triumph in that role.   Albert Vilardell, El Mundo, 27 Sept 2007

 

Andrea Chénier, Barcelona, Sept 2007: José Cura was a fully convincing Chénier, here in ideal vocal condition, possessing high notes, appropriate phrasing and dramatic intensity.  Pablo Meléndez-Haddad, ABC, 25 Sept 2007

 

Andrea Chénier, Barcelona, Sept 2007:  Precious, with a brilliant timbre, ductile, malleable colours, is the voice of José Cura. Jorge de Persia, La Vanguardia, 27 Sept 2007

 

Andrea Chénier, Barcelona, Sept 2007:  In the first cast, which we saw, José Cura [play the character] as physically slightly embarrassed to find himself in the salon of Madame de Coigny, and as a young man tempted first by an adventure before becoming an ardent lover.  Vocally, his emission does not always have the necessary purity and clarity … [but] the court scene and the final act were honorably sung.  - Maurice Salles, Forum Opéra, October 2007

 

Andrea Chénier, Barcelona, Sept 2007:  José Cura creates a convincing Andre Chénier who draws applause at the end of the Act I “Improvviso.”.... A tremendous time thus awaits you if you intend to go to Barcelona. - Christophe Le Gall, Resmusica, October 2007

 

Andrea Chénier, Barcelona, Sept 2007:  Jose Cura in the title role, eagerly awaited by the "aficionados" of the upper floors of the Liceu, was fairly and warmly acclaimed. - Jaime Estapà i Argemí, WebThea, October 2007

 

Andrea Chénier, Barcelona, Sept 2007: José Cura possesses the density, the wounded gravity, and the aura of the poet, every part of which he qualifies with a restraint which multiples tenfold his vocal charm. While he has everything needed to move the audience--the beauty of his timbre, his radiant physical appearance, his projection--we regret to see him so underused by a director who does not realize how lucky he is [to have him]…… Carlos Alvarez is simply remarkable as Gérard in that he dominates the tessitura and imprecations—only with Cura is he able to come alive on the stage and make his character exist. - François Lesueur, Concert Classics, October 2007

Andrea Chénier, Japan, June 2006:  "The performance by José Cura as Andrea Chénier added a new aspect to the opera.  Maddalena could not help devotedly loving the song of the masculine and revolutionary poet with a tender heart."  Ongaku no tomo, June 2006

Andrea Chénier, Japan, June 2006:  "Cura's charm fully blooms in Andrea Chenier."   Mostry Classic, June 2006

Andrea Chénier, Bologna, Feb 2006:  'A Perfect Andrea Cheníer, with José Cura at his best.'After [what seems] years José Cura has put down his baton and returned to the stage in a role that, with his lirico spinto voice and handsome looks, leaves the impression was written specifically for him. His return is marked by newly formed brilliance and expressive new maturity…only in rhythmic order does he remain the ballet dancer of the past.  Cura sings “Improvviso,” which is certainly not a piece of candy in its phrasing, lyricism and fervor, with great ease (“drinks it down like a pair of fresh eggs”) and the audience erupted in applause.  In his farewell to life, “Come un bel dí di maggio,” he offers soaring high notes held with long breath but also softness and mezzo voce, dynamics this singer wouldn’t have been able to manage just a few years ago. Alberto Cantú, Il Giornale, 2005

Andrea Chénier, Vienna, Dec 2004:  'The José-Cura-Festival at the Vienna State Opera continues. After Verdi’s “Stiffelio” and Canio in Leoncavallo’s ‘Pagliacci’, the tenor is now singing the role of Andrea Chenier in Umberto Giordano’s opera by the same name. Cura refines/enriches this worn Otto Schenk production as well, because he acts with a degree of passion and devotion that we know from few other singers. To be sure, there are greater and more elegant voices- but in the totality of his presence (appearance and performance), Cura is excellent, first-class.'  GeKo, Kurier, 3 Dec 2004

Andrea Chénier, Vienna, Dec 2004:  'Even if the aged ‘Andrea Chenier’ production of the Vienna State Opera bubbled over with the revolutionary verve of a homely early Victorian (Biedermeier) salon: At this reprise on Wednesday as well, one could yearn, suffer, sob—and applaud euphorically, all thanks to dynamic interpretation.  Sniff, is this beautiful or what! One minute, this effervescent hormone hydrant named José Cura serenades the marvels of poetry with tenorial ardor and heart rending top notes; the next, he is tossed and carted off to the scaffold as Andrea Chenier, protagonist of the Verismo hit by the same name. And after a deeply emotional duet, his beloved jumps on and joins him of her own free will--because on the other side of the tooth-baringly threatening blade of the Paris Guillotine, a new and better world is awaiting both of them. To tell the truth: A death for love which is that consummately emotional is the only thing that could possibly be more alluring and beautiful than the sense of relish imparted by this reprise of Giordano’s tear jerker at the State Opera--in spite of the meter-thick layer of dust which by now weighs heavily on Otto Schenk’s museum-like cloak-and-dagger production that dates from 1981. But that proverbial dust isn’t just blown away –acoustically speaking- by the title hero alone: a spirited Marco Armiliato is in charge of an orchestra whose play is saber-rattling or squeezes the tear ducts—as desired.' Christopher Irrgeher, Wiener Zeitung, 4 Dec 2004

Andrea Chénier, London March 1998: 'His voice rings out powerfully, but he has the ability and taste to curb the volume when restraint is called for, as in Come un bel di. He is the real thing.'    Michael Kennedy, Electronic Telegraph, 1998

Andrea Chénier, London, April 1998:  'The role of Chénier is tailor-made for him:  there is something viscerally exciting about his platform presence.' Opera, May 1998

Andrea Chénier, London February 1998: 'The Argentinian José Cura is indeed the "fourth tenor", as his previous appearances with the company -Corsaro, Samson et Dalila - have already indicated. Tirelessly robust tone, heroic delivery, even plangent lyricism in the 30-odd seconds where it is required-all are on tap. He also has one of two traditional, rather endearing tenorial mannerisms, like tying one phrase to the next to show off his breath control, and approaching top notes via a springboard about a third down, then hitting the target with ejaculatory triumph. The audience went wild.'    Rodney Milnes, The Times 

Concert, England, 1997:   'Appropriately, he took over Andrea Chénier's Improvviso, and in Giordano's opera provided the most stirring singing of the evening. Cura, bold in his vocal attack and ready to flood the music with emotion, is a natural in this part. …   He was also the star, carrying the personality and the volume to take on the wastes of the Albert Hall. He got proceedings off to a fine start with Cielo e mar from Giocondo and closed them in equally ringing style with Tu qui, Santuzza from Cavalleria.’   John Higgins, Opera Galla, 1997 

 

 

 

Zurich 1999
 

 

 

 
 

 
   

 

  
 
   

 

 

  
     
     

 
 
 
 

 

 

 

 

 

 

Vienna Production

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Bologna 2006

 

 

 

 

 

 

 

 

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Last Updated:  Monday, January 09, 2012

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