During the 1950s and 1960s, Giyarno Andrea Chénier he was often performed at the Metropolitan Opera with some of the greatest ERA venues. However, Opera has often been seen in the last few decades for the lack of great dynamic voices that need to do justice to the three leading roles that Opera wants to lead. The Met’s current revival, the first in nearly a dozen years, features an engaging, HD-ready cast only rising to the occasion.
Based on a true story, Giordano’s 1896 Chénier with a libretto by Luigi Illica (co-author with Giuseppe Giacosa of the text of La bohème Which was renewed that year) includes some of the Verismo Opera’s motives in their Arias and Deets, although they are of a much higher class than those included in the works known by Puccini, Mascagni and Leoncavallo. The poet Son of Coplomat, the real André Chénier (1762-1794) was arrested in the French Revolution and executed just three days before the end of the reign. Maddalena de cougy, his ideal active lover, is the daughter of the coeraste; He is also followed by Carlo Gérard, one of his mother’s servants who eventually rises to become a revolutionary leader. The three of them form a triangle with fuzes that seem to be explored in a rising music that goes up in a bad way that can unintentionally be melodic inspiration of other melodismo operas.
Although it calls for three great singers of health, the opera is generally accepted as one of the most sought-after vehicles for the spinto tenor. Throughout the Pre’s Prime years under Rudolf Bing, Chénier he was the usual golden show of Mario del Monaco, Richard Tucker, Franco Corelli and Carlo Bergonzi in the role of Zinka Milanov, while Gérard was played by Leonard Hilanov, while Gérard was played by Leonard Warren, Robert Merrian.
At the latest Chénier By Nicolas Jowas Johan Olula Although the strange sets were resurrected by Hubert Monloup created in April 1996 as the final new production was due to Luciano Pavarotti who was playing his last Opera Telecast role. Unfortunately he was followed by Plácido Domingo (who in 2002 at the age of 61 was criticized on a plane for transferring too much music to the poem), then by Ben Heppner.
The renaissance of this period undoubtedly happened because the local favorite PioTR took the title role for the first time this summer in a concert performance at the Salzburg festival. Beczala, who was unsuccessful during the meeting of the 202223 season Fedora and Wagner’s Lohangrinhowever it has been a rocky time at Lincoln Center since then. Illness saved the Polish tenor from singing Premie Carrie Cracknell’s New Carmenwhile in the meantime the next New Year’s Eve GALA descends foolishly resplendent with the evil radames of Michael It’s new.
The tenor who turns 59 on December 28 already takes on roles such as radames and I’m sorryKalaf’s Kafa has many looking up to his great lyrical voice. Chénier He also asked the spinto tenor and, on the opening night, he gave birth, while it was surprisingly empty, it sounded healthy but threw his music with a sound and inappropriate blocking. His Arias, especially “Plappviso” and “come UN Bel Dì dig maggio,” drive a way that was more seductive and poetic than what we hear in the difficult and driven versions of BECZala.
Like his Nemesis Gérard, Igor Golovatenko, on the other hand, showed at least he had real vocal assets. In his opening aria where he comes from the infamous missing daughter, the Russian baritone sang with a thrilling, theatrical ardor filled with thrilling ardor and brought a sympathetic energy to his beautiful pursuit of Maddalena. The cry of the great Golovatenko “Neshoni Della Patria” was anointed with a forced purpose, tortured and duly rewarded with the avation of the Premier. Gérard proved to be the most successful Baritone’s Met Portrayal to date, especially after his ineffective Prince Yeletsky last time Queen of Spades.
Although he is owned by Chénier-Maddalena-Gérard Triangle, Giyarno’s Opera also responds in a subtle way with clear character roles that give their appropriate actors a chance to shine. Nancy Fabiola Herrera’s Plush Counteral di courigny by chance made a good opportunity for her pride. While Alexander Birch Elliott sounded good despite the expression of Joaël’s hope of showing FLÉVILLE. Although Siphokazi Molteno’s Bersi was brilliant, her slim mezzo was often overshadowed by Daniel Rustingli’s busy orchestra. Tortured, Guriy Gurev does a nice enough role as Roucher, while Muurizin Muraro, who usually casts buffo roles, was genuinely scary as Mathieu or the great lover revealed to be defeated. It is possible that the refreshing young Brenton Ryan may have been more than necessary, and Olida Petrova brings her mezzo to the binding of the deodo as the blind Macelon.
And so what ChénierThe leading lady? Three years ago, Sonyow Yoncheva chased the greatness of Giordano Fedora; However, the following met Bellini’s share Norma Get the soprano in a way in his head, and he ran away after the fourth performance. A compassionate lisa inside Queen of Spades At the beginning of the year it brought hope that he would overcome other issues facing the voices, but unfortunately, Maddalena revealed again his crazy tendency to take on bigger roles beyond his control.
While he brought a youthful mischief to the Maddalena of the First Act, the next three acts required the kind of Spinto’s painful expression that brought out Yoncheva’s prominent notes, persistent high notes and high comprehensibility and high comprehensibility. Although her restless beauty has an effect during the brave encounter with Gérard, her depressing interpretation of “its popularity” of LA Mamma “various Aria varies from sentence to sentence to be ideas that one did not know would come next.
The desired thought of “vicino a te” -The duet ene Chénier As they marched towards the Guillotine-finding Yoncheva almost fainted even though he blasted the last big note – is it b-flat? The inconsistency of the soprano in the evening aroused great reservations about his arrival and met Puccini’s cio-cio-san in Madla is a butterfly.
Although in this one he also led the operation of Don Giovanni and La bohème As the new guest conductor of MET MAYEL, Rustitia makes her bold statement no Chénierthe likes of which have just happened to lead to good forgiveness in Lyon and Paris (with a completely different cast, fittingly). RustiCi was a joy to watch as he revealed the joyous felicities to Giyaryano’s Orchestral writing. But, as in Molteno, he sometimes let his weak orchestra overpower the singers even though otherwise Ceczala and Golovatenko coped much better. The course director showed his great love Chénierbut unfortunately he had to do it unfortunately with his little tenor and soprano.
Perhaps the two will come to greater safety in the sixth and final performance, which will be shown in HD in theaters around the world on December 13.
