From our correspondents in Madrid:
"Habemus Chénier," exclaims a little excited to say the director of the Theatre Real Madrid at the end of the recitation of February 27, embracing all "his" Andrea Chenier and Maddalena Coigny.Ed of this final image is of genuine happiness which I accidentally saw, I liked you back to beginning this personal review.
If there is a work that has always divided audiences and most critics, this is undoubtedly Andrea Chenier. Umberto Giordano's masterpiece is frequently stressed in fact a 'overemphasis dramatic effects in the search for "easy" in the same way, however, from the first triumphal Scala in 1896, is constantly repeated in theaters all over the world, getting more notable successes. Due to the number and beauty of the pages dedicated to the protagonist, was a little 'the "workhorse" of great tenors (Pertile, Gigli, Del Monaco, Corelli ...). Therefore impossible, even for Fabio Armiliato, escape the particular charm of this masterpiece, which debuted in Pittsburgh in 1998, accompanied him for about 50 performances in major temples of the Opera and has made the interpreter of the latter reference years. The two performances
Madrid on 18 and 27 February only confirm what was said:
Armiliato gives the audience that filled every order in place of the Teatro Real, a highly personal Andrea Chénier, resolute and incisive, built on an unparalleled musicality all the unfolding Work with absolute gems and stylistic and technical evidence in the pages of the most anticipated Opera Jordan: His electrifying "Sudden" , the poignant, angry interpretation of "Yes, I was a soldier" and especially appealing the office of lyricism "Like a beautiful day of May" that are accepted by many applauded. The same speech and equal welcome, to the well-known duets with Mary Magdalene Coigny, where the standard "fold" its voice to a faint sweetness that palapa. With this interpretation Fabio Armiliato confirmed once again that it did not rivals in this role, as repeatedly stressed by critics and the enthusiasm of the fans all these years.
Daniela Dessì gives voice and soul of all'eroicità Magdalene Coigny: another great masterpiece Soprano now reigns supreme in this repertoire. The voice, amber and sound as ever, manages to paint an intense portrait of Countess: giddiness of the first act, to 'exaltation in final sacrifice, through the poignant duet the second picture, the chisel pianissimi Dessì , and the moving "The dead mother" , a true test of bel canto and intensity of interpretation, greeted enthusiastically by a real ending ovation! Marco di Felice Gerard is a strong voice, and fortunately far from grim realist effects. Among the many supporting cast is worth to point out the powerful Madelon Larissa Diadkova and always worthy of the Incredible Carlo Bosi.
The performance of Giancarlo del Monaco, coming from 'Opera National de Paris, resumes and renews its previous production created for the Teatro Comunale di Bologna. Nice idea of \u200b\u200bthe first painting in an enclosed room with views of the garden trompe l'oeil (as to say that the only kind possible here is false, it is an imitation), which gives the last meeting, dark (almost zombie ) representatives of the 'Ancien Regime and including contrast, thanks to the wonderful pastel costumes by Maria Filippi, Andrea and Mary Magdalene, the idea of \u200b\u200bsubstantial set the Revolutionary Tribunal, a body that the tasks had to dismantle the aristocracy, the aristocracy created in the same place to give full display of himself: a theater (in ruins, of course ...) that, with phenomenal coup de théâtre, appears on stage at the rise of a huge French flag. An exceptional show very nice although maybe a bit 'too torn between the way of concrete realism or the more poetic symbolism (like the final moment in which the two men climb on the huge grille attached to the proscenium). Good evidence
Orquestra Titular del Teatro Real Tour, with times sometimes a bit 'too dilated to a work with a strong drama like this, by Victor Pablo Pérez. Triumphant welcome and endless applause, accompanied by real rain of flowers, the two main protagonists of the Opera.
And here are some precious fragment video:
- "One day the blue space"
- "I believe in a mysterious ... Might I not have loved him again!"
- "Behold, the altar ... ... Now You were mighty sweet, sublime ora d'amore!"
- "My mother died"
- "Yes, I was a soldier"
- "What a beautiful day in May"
- "Near s'acqueta to you ... La nostra morte è il Trionfo dell'amore! "
18 e 27 febbraio 2010
Madrid, Teatro Real
Andrea Chenier Andrea Chenier: Fabio Armiliato
Maddalena de Coigny: Daniela Dessì
Carlo Gérard: Marco Di Felice
Bersi: Marina Rodriguez-Cusi
The Countess of Coigny: Stefania Toczyska
Madelon: Larisa Diadkova
Roucher: Felipe Bou
Fléville Pietro, Marco Moncloa
Fouquier Tinville: Marco Moncloa
Mathieu: Luis Cansino
An "unbelievable": Carlo Bosi
Abbe: Ángel Rodríguez
Schmidt: Károly Szemerédy
A butler Paul García
Dumas Tomeu Bibiloni
Dirección musical: Víctor Pablo Pérez
Dirección de escena: Giancarlo del Monaco
Escenografía: Carlo Centolavigna
Figurines: Maria Filippi
Iluminación: Wolfgang von Zoubek
Choreography: Laurence Fanon
choir Dirección: Peter Burian
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