Giordano, U: Andrea Chénier

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Choosing between this recording and the Decca Chailly (currently available only as a download), it might seem sensible to start with the tenor in the title-role, and here a strong inclination... — Gramophone Classical Music Guide, 2010 More…

Release Date: 3rd Jul 1989
Catalogue No: 74321394992
Label: RCA
Length: 1 hour 54 minutes

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Giordano, U: Andrea Chénier

Work length1:54:10

$50.70

$66.30

Nigel Beavan (bass baritone), Plácido Domingo (tenor), Sherrill Milnes (baritone), Renata Scotto (soprano), Gwendolyn Killebrew (mezzo-soprano), Michel Sénéchal (tenor), Isser Bushkin (bass), David Brand (soprano), Enzo Dara (baritone), Jean Kraft (mezzo-soprano), Allan Monk (baritone), Terence Sharpe (bass), National Philharmonic Orchestra, Maria Ewing (mezzo-soprano), Piero de Palma (tenor), Stuart Harling (bass), Malcolm King (bass), John Alldis Choir, John Alldis (chorus master)
James Levine

Act I: Questo azzurro sofà là collochiam

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Act I: Compiacente á colloquii

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Act I: Son sessant'anni, o vecchio

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Act I: Il giorno intorno già s'insera lentamente!

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Act I: L'orribile gonnella

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Act I: Commososo ... lusingato

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Act I: Debole è il Re ...

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Act I: O pastorelle, addio!

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Act I: Signor Chénier?

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Act I: Al mio dire perdono ed al mio ardire!

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Act I: Un dì all'azzurro spazio

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Act I: La notte il giorno

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Act II: Per ex l'inferno!

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Act II: Temer? ... Perchè? Perchè temer dovrò?

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Act II: No, non m'inganno!

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Act II: Credo a una possanza arcana

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Act II: Calliagrafia in vero femminil!

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Act II: Viva Robespierre! Evviva!

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Act II: Ecco l'altare

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Act II: Eravate possente

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Act II: Ora soave, sublime ora d'amore!

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Act II: Maddalena di Coigny!

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Act III: Doumouriez traditore e girondino

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Act III: Lacrime e sangue dà la Francia!

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Act III: Prendi! É un ricordo (Son la vecchia Madelon)

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Act III: Amici, ancor cantiam, beviam

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Act III: Donnina innamorata

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Act III: Nemico della patria?

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Act III: Se ancor di me vi sovvenite non so!

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Act III: La mamma morta

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Act III: Perduto!

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Act III: Mamma Cadet

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Act III: Si, fui soldato

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Act III: Udiamo i testimoni!

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Act IV: Cittadino, men duol, ma è tardi assai

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Act IV: Come un bel di di maggio

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Act IV: Viene a costei concesso

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Act IV: Vicino a te s'acqueta

Track length3:32

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Act IV: La nostra morte

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Reviews
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Reviews

2010

Choosing between this recording and the Decca Chailly (currently available only as a download), it might seem sensible to start with the tenor in the title-role, and here a strong inclination would be to plump for RCA and Domingo: he's in splendid voice, with a touch of nobility to his manner that makes for a convincing portrayal of a poet. Pavarotti (Chailly) begins with a rather leather-lunged Improvviso, but he later finds poetry in the role as well, especially when responding to his soprano, Caballé, who's rather stretched by the more exhausting reaches of her role and sounds audibly grateful for the occasional opportunities he gives her to float rather than belt a high-lying phrase. However, Pavarotti is an Italian tenor, and his Italianate sense of line adds one per cent or so of elegance to some phrases that even Domingo can't match. Caballé does many things beautifully, and her fine-spun pianissimos and subtle shadings only occasionally sound mannered, but the role is undeniably half a size too big for her. So it's for Scotto, you might say, and a hint of strain is audible once or twice, in her timbre rather than her phrasing.
It's her phrasing that tips the balance back to RCA: Scotto is as subtle a vocalist as Caballé, but she gives meaning and eloquence to every phrase without ever breaking the long line, which one can't always say of the Spanish soprano. Matters are about even as far as the baritones are concerned: Milnes acts admirably, but refrains from over-acting, and the voice is rich and characterful. In the supporting cast, but RCA's striking Bersi, vividly characterised Incredible, and their Roucher, too, aren't outmatched (only their Madelon, both fruity and acid – a grapefruit of a voice – is disappointing).
A lot of people will enjoy the huge energy and bustle of Levine's direction. It's vividly characterful, but a shade exhausting and overassertive.
The flow of the music seems more natural in Chailly's hands, and orchestral detail is clearer.
The Decca recording, too, is warmer.

Offer,Giordano, U: Andrea Chénier

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