AndreaChenierWNO - Page: 1 of 1

THE STORY -- The story/opera was inspired by the life of the French Poet Andre Chenier. The opera opens at a time of great turmoil in France and the onset of the French Revolution, with the servants reluctantly tending to their master’s party guests. When the poet Andrea Chenier arrives he is persuaded to improvise a poem for the gathering. Instead of entertaining he scandalizes the guests with a harsh criticism of the aristocracy and clergy. It is here that Maddalena, the interest of a servant, Gerard, sees Chenier for the first time. Time passes and years later as the Reign of Terror is in full swing Chenier is spotted in a café waiting for a woman who has been secretly writing him letters and signing them “Hope”. His secret admirer is none other than Maddalena. Hope and Chenier eventually meet and are observed by Gerard. A fight ensues and Gerard is wounded. Later, Gerard has Chenier arrested and falsifies accusations that he is an enemy of the state; an accusation that will lead to Chenier’s certain death. Gerard wisely calculates that bringing in Chenier will bring in Maddalena, but begins to feel remorse over what he has done when the actual trial begins. As Chenier is brought to his death, Gerard pleads for his release, while Maddalena manages to bribe a guard to allow her to take the place of a woman who is also to be executed. Maddalena and Chenier die together.

THE PLACE --The Kennedy Center, home of the Washington National Opera, has been recently renovated and looks and feels great. The house was dressed patriotically for the evening’s Gala as well as a remembrance of and honor to the September 11th heroes. This renovation truly has given Washington an arts center to celebrate.

THE PERFORMANCE -- The opening night performance of Umberto Giordano’s “Andrea Chenier” at the Kennedy Center was special on many different levels. It was not only the opening night of “Andrea Chenier” but the opening night of the opera season for the Washington National Opera – and what a memorable night it turned out to be for those lucky enough to attend. It started at the pre-curtain when Placido Domingo, Artistic Director, walked on stage and asked the audience to stand and sing while the orchestra played our National Anthem (I can now say that I once sang for Placido Domingo).
The evening was Salvatore Licitra’s debut at the Washington National Opera and much of the success of this opera goes to his electrifying performance. Mr. Licitra replaced Pavarotti on what was to be his farewell performance at the Met – what a way to make a debut.
This production worked perfectly on every level; from the amazing cast and visually gripping direction, to the wonderful sound of the orchestra and chorus. To point out all of the positives would be too lengthy, and since there were no noticeable negatives, lets look at what stood out most. First, if you are familiar with the work of Director Mariusz Trelinski (I saw his 2001 Washington Opera Madama Butterfly) then you came to this production fully prepared and expecting to be visually dazzled. In this regard, Trelinski did not disappoint; he gave the audience something to talk about with a production that was a pleasure to watch on many levels. The first two acts had something for everybody and covered the gauntlet from depicting elegant aristocracy to creating haunting images of the macabre of the French Revolution and its aftermath, all balanced perfectly in what appeared to be a timeless, fluid sequence. The final two acts were hypnotic, almost like watching a black and white movie with the only other color being the color of blood red. If there is no other reason to see this Chenier production, the dramatic use of color -- or no color as the case may be – might be reason enough.
But there are other reasons, of course; namely Salvatore Licitra as the poet Andrea Chenier and Paoletta Marrocu as his muse Maddalena, both singers making their WNO debut. Licitra and Marrocu gave us exactly what we look for in these roles: strong voices, commanding stage presence and obvious chemistry with each other as performers. Their compelling performances as fated lovers added immeasurably to a very successful outcome. Licitra’s act I “Un di all azzurro spazio” brought on a thunderous ovation and gave the audience a glimpse of what was to follow the remainder of the evening. It also gave everyone in attendance bragging rights to say they saw this amazingly talented tenor make his extraordinary debut on this very special evening. His final act “Come un bel di di maggio” was both touching and sung with palpable passion, delivered in a manner that blended beautifully as a natural part of the drama, not as a stand alone show piece. Paoletta Marrocu’s Maddelana made it easy to understand the feelings Chenier and Gerard had for her. Her singing was beautiful, full, strong and tender where called for. The other standout performer, Jorge Lagunes, singing the character Gerard, delivered his performance handsomely and with comfortable confidence and solid control. His baritone was delivered with just the right measure of menace and remorse throughout, and his act III aria was surprisingly tender too. As noted this was a standout production with no noticeable miscues. The entire cast and orchestra was in fine form, making this production a pleasure to hear and witness. Special mention should be given to mezzo-soprano Elizabeth Bishop for pulling double duty as Bersi and Madelon; her Madelon gave us a shot of the horror and realism of war and was gripping in the powerful manner of its delivery. Specifically, the scene where she sings of the sorrow she experienced losing both her children to the revolution, only to admit that she would give up her grandson to the cause of liberation as well. Powerful stuff!
Lastly, Maestro Eugene Kohn, conductor, gave us a well-paced, well-controlled and richly nuanced orchestra that complimented the principles, never overwhelming the singers on stage or lapsing into mediocrity itself. Also in great form for this September 11th debut was the WNO Chorus led by Chorus Master Steven Gathman. Well done!

Director, Mariusz Trelinski
Set Design, Boris Kudlicka
Costume, Wig and Make Up, Magdalena Teslawska and Pawel Grabarczyk
Lighting Design, Felice Ross
Choreographer, Emil Wesolowski
Wigs and Makeup, Elsen Associates
Chorus Master, Steve Gathman