Giordano: Andrea Chénier

I was interest to have this opera. Based on the reviewers and cast I decided to get this selection.I am glad because I found this performance outstanding. Andréa Chenier played byPavarotti is always a guaranty that it is going to be wonderfulI was not disappointed because he was a very good singer and one of the best tenors in the world in all times. Maria Guleghina does her role very well opposite to this outstanding singer and Carlo Gerald played by Juan Pons was very well done.I liked the music very much and I only was familiar with some areas. I also realized that the story is good, showing the cruelty of that society knowing that some elements were actual facts for instance the way Andrea Chenier was killed for his ideas, as well as that other historical situations were changed to create a romantic scene for the opera plot.I was surprised by the quality of the film and the sound because it was done before the HD technique.The direction by James Levine as usual was great.

This live from the Met telecast from October 1996 of Giordano’s infrequently performed verismo gem is an absolute pleasure to watch and listen to and I highly recommend it. Nicholas Joel’s production is extremely elegant while at the same time being simple and uncluttered. Act I, for example, is dominated by an enormous gilt-framed mirror precariously tilted. I assume that it is a metaphor for the imminent downfall of the decadent aristocracy at the party given by the Contessa di Coigny. The costumes designs by Hubert Monloup are terrific. The prerevolutionary costumes in Act I are simply stunning each one individually tailored for the choristers and major performers.The DVD is of excellent quality. The stage lighting is beautifully done and the audio is superb. James Levine is in top form as the conductor.There is not a mediocre performance in the entire production. Juan Pons as Carlo Gerard produces a highly nuanced acting performance. He convincingly portrays a character filled in Act I with hatred for the excesses of the French aristocracy, but later full of regret for the excesses of the Revolution which he himself helped to bring about. His singing is quite beautiful. His rendition of “Son sessant anni” in Act I is full of passion and power. However, it was his “Nemico della patria” in Act III that appropriately brought the house down.Maria Guleghina as Maddalena is convincingly youthful for the role and looks elegant and beautiful in Monloup’s exquisite costumes. Her singing too is quite exquisite and her “La mamma morta” in Act III was rapturously received by the audience. Luciano Pavarotti’s golden lirico-spinto sound makes him ideal for the role of the doomed poet. All his arias including the “Improviso” in Act I, his “Credo a una possanza arcana” in Act II, his “Si, fui soldato” when before the Revolutionary tribunal and his lovely “Come un bel di di Maggio” in Act IV are beautifully sung without apparent effort and his voice sounds full and fresh.The only minor quibble is that while Pavarotti’s acting ability was somewhat better here than usual, the numerous close-ups of him were not at all flattering showing him heavily made up, often covered in facial sweat and wearing an ill-fitting wig. The chemistry between him and Guleghina was, however, very good and the passionate love duet with Guleghina in Act II and the “Vicino a te” duet that closes the opera had sublime moments.A particularly impressive feature of this production is that the lesser roles down to and including the comprimarios are filled by singers who do a better job than singers of major roles in most other opera houses. Judith Christin is delightful as the Contessa di Coigny, Stephanie Blythe gives a wonderful and moving performance as the blind Madelon and Wendy White is a delightful Bersi who manages to convert Act II at the Café Hottot in Paris to an equivalent of the vibrant Café Momus in La Boheme with her singing and acting reminding me of the best Musettas. Richard Vernon is excellent as Schmidt the jailer. Paul Plishka as Mathieu is a convincingly brutal and well-sung sans culotte and Michel Senechal as the spy l’Incredibile is simply wonderful.This Volpe-era production of Andrea Chenier reminds us what opera is and should be about. It’s an old-fashioned production with lovely somewhat modern sets. I hope the production is never abandoned and replaced by an Andrea Chenier set at some different time or in a place other than Paris as seems to be happening more frequently nowadays at the Met in their peculiar quest to make operas more hip so that they’ll attract a younger audience. We can only hope that if the Met can ever again assemble a cast of this quality for a new Chenier that we won’t have to face a production set in Las Vegas or in some time period other than that of the French Revolution!

This is a traditional performance, as well as a magnificent one. Pavarotti and Guleghina are at the top of their voices. The quality of the acting is excellent. Pavarotti’s acting, something for which he is, most certainly, not known, even scores high grades. Every one of the arias rings, with depth and beauty. Every voice is excellent, even in the minor roles. You will not go wrong, with this purchase.

I like everything. IT WAS A GREAT DELIGHT in listening and seeing this DVD.

I have been watching the videotape I made from this 1997 Met production broadcast on PBS for 18 years now. I finally decided to purchase the DVD. I also own the Carreras/Marton version, which is also good, but for some inexplicable reason, I prefer this one. Pavarotti does look older, and he moves around with some difficulty, but he still sounds fantastic! What can I say? Nobody sings better than he did. Juan Pons does a very believable job as Gerard, and Maria Guleghina both looks and sounds beautiful in this production in her pretty blond wig. She is also an excellent actress. Addendum 8/28/15. I have finally gotten around to watching this DVD, and I am blown away by the sharpness of the picture. I have watched over 1,000 films on Netflix, and this DVD is sharper than any of them.

Viewed this on Live From the Met and had to own a copy of my own. Pavarotti, nearly at his best.

Excellent!!! Wonderful arias by Pavarotti and Maria Gulghina...

Until seeing the final duet performed by Bocelli & Martinez(?) on PBS recently, I was not familiar with this opera (other than having heard of it). The first question that came to my mind was "Why is this not performed more often?". The second one was "Which DVD should I get?". I quickly settled on this new release from a 1996 performance and must say that I have just about worn it out! Everything about it is top notch. Of course, the main attraction was Pavarotti; but I have also now discovered Juan Pons and Maria Guleghina, neither of whom I had ever heard of (and WOW!). Do yourself a huge favor and add this to your collection ASAP!

Ich habe die DVD am 12.09.20 zugestellt bekommen, bisher aber nicht angesehen.Nun hatte ich heute endlich einmal die Zeit, konnte die DVD aber über kein Gerät laden. Der Grund, sie ist von unten komplett gerissen! In der Verpackung sieht man das nicht, erst nachdem ich immer wieder eine Fehlermeldung beim Versuch sie abzuspielen bekommen habe, habe ich sie mir auch mal von unten angesehen, wer macht das schon?Vielen Dank Amazon!

Aucun grand ténor ne saurait manquer d'inscrire son nom sous le patronyme du poète de la Révolution française. Andrea Chénier, opéra de ténor italien s'il en fut jamais où même une Maria CALLAS semblait devenue le faire-valoir d'un Mario Del MONACO (Scala 1955), exigeait que Decca aille diffuser un enregistrement live avec Luciano PAVAROTTI. Decca disposait déjà d'un enregistrement audio avec Big Luciano sous la baguette de Riccardo CHAILLY (1984) mais, cette fois-ci, c'est depuis le Metropolitan, sous la direction de James LEVINE, en 1996, que vient une captation vidéo qui devait concurrencer celles, vidéo et audio, laissées par les deux autres des "Trois Ténors".Ce DVD, sorti en 2011, propose une très belle image 4/3 qui permet d'apprécier la sage mise en scène de Nicolas JOËL. Une régie respectueuse de la tradition aux magnifiques costumes mordorés. Avec Andrea Chénier, il est quasi impossible de s'affranchir du contexte historique qui imprègne tous les discours y compris le discours musical qui cite, à l'envi, des mélodies inscrites dans le patrimoine national français (La Marseillaise, la Carmagnole). Cependant, pour peu que l'on connaisse les autres enregistrements live du marché DVD, quelque chose résiste qui fait que la mayonnaise ne prend pas idéalement. Le dernier Acte, par exemple, capté au plus près de chanteurs ne procure pas le frisson morbide que l'on serait en droit d'escompter. À qui la faute ?... Sans doute que, concernant Luciano PAVAROTTI, cette captation vient un peu tard dans la carrière mais Big Luciano a-t-il jamais été un Andrea Chénier idéal ?... Rien qu'à considérer les fameux "Trois Ténors", il me semble le moins convaincant de l'aréopage. Bien loin d'un José CARRERAS qui, pourtant, n'a pas gravé le rôle au meilleur moment de sa carrière. L'on se fait ainsi la conviction que Luciano PAVAROTTI n'a pas l'élan requis, la projection franche et le legato infini qui font les plus grands Andrea Chénier. Manquent aussi la longueur de souffle, les nuances, les sfumature qui rendent Franco CORELLI et Jonas KAUFMANN inapprochables dans ce rôle-là.Que reste-t-il, finalement, par-delà les quelques réserves, toutes relatives, venues de cette "pavarottisation" du rôle ?... Une excellente Maria GULEGHINA. L'on ne voit qu'elle qui est, depuis longtemps, une magnifique Maddalena Di Coigny (cf. un enregistrement audio avec Franco BONISOLLI, en 1989, et un DVD live avec José CURA, en 2006). Un très convenable Carlo Gérard de Juan PONS et un "Incredibile" proprement incroyable du sympathique vétéran Michel SÉNÉCHAL L'on ne saurait soutenir que les autres petits rôles soient idéalement tenus et que la direction de James LEVINE soit en mesure d'enfiévrer cette partition formidablement gratifiante quand on la pousse dans ses excès mélodramatiques. Tout cela paraît bien sage qui ne manquera pas de séduire mais qui, incontestablement, pourrait décevoir ceux qui connaissent et aiment cette œuvre de Giordano et la tiennent pour l'une des plus formidables du répertoire vériste italien à l'instar des plus beaux ouvrages de Puccini. Aucun défaut majeur et, cependant, quelque chose d'essentiel vient à manquer.

Gute Aufzeichnung, schöne Bilder. Es ist wohltuend, eine Inszenierung zu erleben, die der ursprünglichen Darstellung der Komponisten entspricht und nicht den Spinnereien von „verkannten Genies“ entstammt. Die Stimmen der Protagonisten sind großartig, vor allem entzückt die Guleghina mit ihrer Bravour und Schönheit. Ihre Interpretation der Arie „La mamma morta“ rührt einen an… Schon deshalb muss man der DVD fünf Sterne geben.Eliana Müller

Le voci naturalmente appropriate e sempre all'altezza delle attese. Dal Met mi sarei aspettata una regia migliore, specialmente nel primo atto. Purtroppo la presenza e la mancanza di espressione scenica di Pavarotti probabilmente ha condizionato il regista, mentre perfetta l'nterpretanzione scenica della Guleghina e di Juan Pons. Sempre all'altezza la coinvolgente direzione di James Levine.

Acquistato per parenti, rimasti molto soddisfatti.Ottimo sia come video che come riproduzione del suono.Seguiranno sicuramente altri acquisti simili.