Giordano, U: Andrea Chénier

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

Work length1:54:10

$50.70

$66.30

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

Act I: Questo azzurro sofà là collochiam

Track length0:39

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Act I: Compiacente á colloquii

Track length1:54

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Act I: Son sessant'anni, o vecchio

Track length2:29

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

Track length2:41

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Act I: L'orribile gonnella

Track length2:30

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Act I: Commososo ... lusingato

Track length0:49

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Act I: Debole è il Re ...

Track length3:15

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Act I: O pastorelle, addio!

Track length2:06

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Act I: Signor Chénier?

Track length0:51

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

Track length2:44

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Act I: Un dì all'azzurro spazio

Track length4:59

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Act I: La notte il giorno

Track length4:08

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Act II: Per ex l'inferno!

Track length1:19

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

Track length1:53

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Act II: No, non m'inganno!

Track length1:37

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Act II: Credo a una possanza arcana

Track length3:44

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Act II: Calliagrafia in vero femminil!

Track length2:30

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Act II: Viva Robespierre! Evviva!

Track length6:55

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Act II: Ecco l'altare

Track length2:55

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Act II: Eravate possente

Track length2:33

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

Track length2:39

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Act II: Maddalena di Coigny!

Track length1:43

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Doumouriez traditore e girondino

Track length3:10

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Lacrime e sangue dà la Francia!

Track length1:31

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Prendi! É un ricordo (Son la vecchia Madelon)

Track length4:38

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Amici, ancor cantiam, beviam

Track length1:36

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Donnina innamorata

Track length2:37

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Act III: Nemico della patria?

Track length6:20

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Se ancor di me vi sovvenite non so!

Track length4:56

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Act III: La mamma morta

Track length6:08

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Perduto!

Track length1:26

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Act III: Mamma Cadet

Track length3:28

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Si, fui soldato

Track length2:18

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Act III: Udiamo i testimoni!

Track length3:03

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

Track length1:49

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Act IV: Come un bel di di maggio

Track length3:49

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Act IV: Viene a costei concesso

Track length3:28

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Act IV: Vicino a te s'acqueta

Track length3:32

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Act IV: La nostra morte

Track length3:28

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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.

Giordano, U: Andrea Chénier

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