{"id":28334,"date":"2024-06-07T11:40:47","date_gmt":"2024-06-07T09:40:47","guid":{"rendered":"https:\/\/operacarlofelicegenova.it\/?post_type=show&p=28334"},"modified":"2025-02-13T17:19:23","modified_gmt":"2025-02-13T16:19:23","slug":"andrea-chenier","status":"publish","type":"show","link":"https:\/\/operacarlofelicegenova.it\/en\/show\/andrea-chenier\/","title":{"rendered":"Andrea Ch\u00e9nier"},"content":{"rendered":"\n
<\/div>\n\n

Historical drama in four scenes by Umberto Giordano<\/strong>, libretto by Luigi Illica<\/p>\n\n

Staged by the Fondazione Teatro Comunale di Bologna<\/strong> and the Op\u00e9ra Garnier Monte-Carlo<\/strong><\/p>\n\n

<\/div>\n\n

Characters and interpreters:<\/em><\/p>\n\n

Andrea Ch\u00e9nier<\/em>Fabio Sartori<\/strong><\/p>\n\n

Carlo G\u00e9rard<\/em>Amartuvshin Enkhbat<\/strong>Stefano Meo <\/strong>(9,12)<\/p>\n\n

Maddalena di Coigny<\/em>Maria Jos\u00e8 Siri<\/strong>Valentina Boi <\/strong>(9, 12)<\/p>\n\n

The mulatta Bersi<\/em>Cristina Melis<\/strong><\/p>\n\n

The Countess of Coigny<\/em>Siranush Khachatryan<\/strong><\/p>\n\n

Madelon<\/em>Manuela Custer<\/strong><\/p>\n\n

Roucher<\/em>Nicol\u00f2 Ceriani<\/strong><\/p>\n\n

Fl\u00e9ville<\/em>Matteo Peirone<\/strong><\/p>\n\n

Fouquier Tinville<\/em>Marco Camastra<\/strong><\/p>\n\n

Mathieu<\/em>Luciano Roberti<\/strong><\/p>\n\n

An incredible<\/em>Didier Pieri<\/strong><\/p>\n\n

The abbot<\/em>Gianluca Sorrentino<\/strong><\/p>\n\n

The master of the house<\/em>Franco Rios Castro<\/strong><\/p>\n\n

Dumas<\/em>Angelo Parisi<\/strong><\/p>\n\n

Schmidt<\/em>Andrea Porta<\/strong><\/p>\n\n

<\/div>\n\n

Concertmaster and conductorDonato Renzetti<\/strong><\/p>\n\n

DirectorPier Francesco Maestrini<\/strong><\/p>\n\n

Scenes and videosNicol\u00e1s Boni<\/strong><\/p>\n\n

CostumesStefania Scaraggi<\/strong><\/p>\n\n

ChoreographySilvia Giordano<\/strong><\/p>\n\n

LightsDaniele Naldi<\/strong><\/p>\n\n

Orchestra, Chorus and Technicians of the Opera Carlo Felice Genova<\/strong>Choirmaster Claudio Marino Moretti<\/strong>Ballet Fondazione Formazione Danza e Spettacolo \u2018For Dance\u2019 ETS<\/strong><\/p>\n\n

<\/div>\n\n

Stage DirectorLuciano Novelli<\/strong><\/p>\n\n

Stage musical directorSimone Ori<\/strong><\/p>\n\n

Hall MastersSirio Restani<\/strong>, Antonella Poli<\/strong><\/p>\n\n

Stage MastersAndrea Gastaldo<\/strong>, Anna Maria Pascarella<\/strong><\/p>\n\n

other Choir MasterPatrizia Priarone<\/strong><\/p>\n\n

Lighting MasterLuca Salin<\/strong><\/p>\n\n

Master of supertitlesSimone Giusto<\/strong><\/p>\n\n

Music archive managerSimone Brizio<\/strong><\/p>\n\n

Stage directorAlessandro Pastorino<\/strong><\/p>\n\n

Console Handling ManagerAndrea Musenich<\/strong><\/p>\n\n

Engineer foremanGianni Cois<\/strong><\/p>\n\n

Foreman electricians\/lighting boothMarco Gerli<\/strong><\/p>\n\n

Tooling foremanTiziano Baradel<\/strong><\/p>\n\n

Head of audio\/video departmentWalter Ivaldi<\/strong><\/p>\n\n

Head of tailoring, shoemaking, make-up and wigsElena Pirino<\/strong><\/p>\n\n

Make-up and hair co-ordinatorRaul Ivaldi<\/strong><\/p>\n\n

Assistant directorSilvia Giordano<\/strong><\/p>\n\n

Assistant light designerPaolo Bonapace<\/strong><\/p>\n\n

Sets, props and costumesFondazione Teatro Comunale di Bologna<\/strong>, Op\u00e9ra Garnier Monte-Carlo<\/strong><\/p>\n\n

EquipmentE.<\/strong> Rancati<\/strong><\/p>\n\n

CostumesSartoria Cimec di Mario Brancati<\/strong><\/p>\n\n

FootwearEpoca<\/strong><\/p>\n\n

WigsAudello Teatro<\/strong><\/p>\n\n

Supertitles byFondazione Teatro Carlo Felice<\/strong><\/p>\n\n

<\/div>\n\n

Opera in brief<\/strong>by Ludovica Gelpi<\/p>\n\n

When he began work on Andrea Ch\u00e9nier<\/em> in 1895, Umberto Giordano was twenty-eight years old and had three opera titles under his belt: the first – Marina, <\/em>from 1889 – had never been performed, Mala vita,<\/em> from 1892, had been lukewarmly received, and Regina Diaz,<\/em> from 1894, had been a flop. Giordano had recently moved to Milan, where he came into contact with the verista milieu and in particular with the composer Alberto Franchetti. The latter had received from librettist Luigi Illica a libretto inspired by the life of the poet Andrea Ch\u00e9nier, and it was to Giordano that he decided to entrust it for an opera. When the work was completed, despite the uncertainties of first the publisher Sonzogno and then the Teatro alla Scala, the first performance of Andrea Ch\u00e9nier<\/em> on March 28, 1896 was a triumph. Soon the opera was revived in Italy and Europe and to this day remains along with Fedora<\/em> (1898) the composer’s greatest success.The subject is precisely inspired by the life of French poet Andrea Ch\u00e9nier (1762-1794), who was condemned for his pro-monarchist and constitutionalist ideals by the revolutionary court and executed at the height of the Reign of Terror. The first painting is set in the palace of the Counts of Coigny in 1789, at the dawn of the Revolution. Each of the three main characters, Ch\u00e9nier, the Countess Maddalena, and the servant G\u00e9rard, represents a different point of view on the sharp contrast between the aristocracy of the Ancien R\u00e9gime and the increasingly palpable tension of the people. Maddalena is a young daughter of the nobility, showing herself to be sensitive but never really confronted with alternative contexts to her own; Ch\u00e9nier is an established artist embedded in high society, whose superficiality he denounces, however; G\u00e9rard experiences firsthand the bitterness of the people, at the end of the first painting he begins his \u201cown revolution\u201d by railing against his masters and dismissing himself. From the second painting the setting shifts to 1794 Paris, where the Revolution overthrew the nobility and resulted in Robespierre’s Reign of Terror. From here and until the end of the fourth painting, each of the characters is overwhelmed by historical contingencies. Magdalene, as a former noble, is forced to live in misery and hiding. Andrew is identified as a counterrevolutionary, then tried and executed. G\u00e9rard has become Robespierre’s lieutenant, but soon realizes that he has abandoned his status as servant of the nobility only to become a servant again, and this time of a bloody regime now far removed from the ideals it had promised.Political and social tension goes hand in hand with love tension, told in its purest and most passionate expression with the story between Andrew and Magdalene and in its most morbid and violent with G\u00e9rard’s obsession with Magdalene. Love is in this work inextricably linked to historical shifts and evolves with them. Magdalene and Andrew experience the feeling as the true and only way to salvation, so strong in their union that they advance together to the scaffold in ecstasy. G\u00e9rard goes so far as to want to kidnap and then rape Magdalene, and only once he is confronted with the true face of an oppressive and corrupt system will he feel repentance. Andrea Ch\u00e9nier<\/em> is considered one of the masterpieces of the verismo repertoire, yet the realism and accuracy of the historical transposition are combined with a heroic dimension animated by the deep ideals and sentiments that could have inhabited a serious opera of H\u00e4ndelian composure. This dramaturgical aspect in itself has an important repercussion on the musical level and reveals the singularity of the encounter between Illica and Giordano. On the one hand, a librettist able to grasp and rework the dramatic potential of the story of Ch\u00e9nier, almost a hero par excellence. On the other, a composer ready to adapt his language to the best possible expression of the subject, attuned as much to the misery of everyday life as to the momentum of the burning spirit. Giordano employed direct and effective writing, at times almost declamatory and in this typically veristic, fully expressed his melodic talent and passionate vein. To all this he added the contrast of more tragic hues, which emerges both in the lyricism of such famous pieces as \u201cUn d\u00ec all’azzurro spazio\u201d and \u201cLa mamma morta,\u201d and in the choral moments, which convey in its many facets the impetus of a distraught collectivity. <\/p>\n\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

Umberto Giordano\u2019s historical drama conducted by Donato Renzetti, directed by Pier Francesco Maestrini<\/p>\n","protected":false},"featured_media":32675,"template":"","discipline":[202],"season":[460],"tag_spettacoli":[504,515,485,36,512,511,521,520,517,519,514,378,508,518,154,158,507,510,516,509,513,40,506],"class_list":["post-28334","show","type-show","status-publish","has-post-thumbnail","hentry","tag_spettacoli-andrea-porta","tag_spettacoli-cristina-melis","tag_spettacoli-didier-pieri","tag_spettacoli-donato-renzetti","tag_spettacoli-enkhbat-amartuvshin","tag_spettacoli-fabio-sartori","tag_spettacoli-gianluca-sorrentino","tag_spettacoli-luciano-roberti","tag_spettacoli-manuela-custer","tag_spettacoli-marco-camastra","tag_spettacoli-maria-jose-siri","tag_spettacoli-matteo-peirone","tag_spettacoli-nicolas-boni","tag_spettacoli-nicolo-ceriani","tag_spettacoli-opera-carlo-felice-genova","tag_spettacoli-orchestra-dellopera-carlo-felice-genova","tag_spettacoli-pier-francesco-maestrini","tag_spettacoli-silvia-giordano","tag_spettacoli-siranush-khachatryan","tag_spettacoli-stefania-scaraggi","tag_spettacoli-stefano-meo","tag_spettacoli-teatro-carlo-felice","tag_spettacoli-umberto-giordano"],"acf":[],"_links":{"self":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/28334","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show"}],"about":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/types\/show"}],"version-history":[{"count":0,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/show\/28334\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media\/32675"}],"wp:attachment":[{"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/media?parent=28334"}],"wp:term":[{"taxonomy":"discipline","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/discipline?post=28334"},{"taxonomy":"season","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/season?post=28334"},{"taxonomy":"tag_spettacoli","embeddable":true,"href":"https:\/\/operacarlofelicegenova.it\/en\/wp-json\/wp\/v2\/tag_spettacoli?post=28334"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}