[Met Performance] CID:302760
New Production
Andrea Chénier {143} Metropolitan Opera House: 12/8/1990.

(Debuts: Wolfram Skalicki, Diana Levy (Choreographer)
Review)


Metropolitan Opera House
December 8, 1990
New Production


ANDREA CHÉNIER {143}
U. Giordano-Illica

Andrea Chénier..........Nicola Martinucci
Maddalena...............Aprile Millo
Carlo Gérard............Sherrill Milnes
Bersi...................Diane Kesling
Countess di Coigny......Joyce Castle
Abbé....................Bernard Fitch
Fléville................Michael Sokol
L'Incredibile...........Andrea Velis
Roucher.................Brian Schexnayder
Mathieu.................Renato Capecchi
Madelon.................Camellia Johnson
Dumas...................Jeffrey Wells
Fouquier Tinville.......James Courtney
Schmidt.................Richard Vernon
Major-domo..............Ross Crolius
Dance...................Antoinette Peloso
Dance...................Joseph Fritz

Conductor...............Julius Rudel

Production..............Lotfi Mansouri
Stage Director..........Fabrizio Melano
Set designer............Wolfram Skalicki [Debut]
Costume designer........Jane Greenwood
Lighting designer.......Gil Wechsler
Choreographer...........Diana Levy [Debut]

Andrea Chénier received nine performances this season.

[This production was borrowed from its co-owners, the San Francisco Opera and the Houston Grand Opera.]

Adaption gift of the Edith C. Blum Foundation


Review of Susan Elliott in the Post

Pomp and promise at the Met

"Andrea Chenier" had its season premiere Saturday night at the Metropolitan Opera with a new production and a promising cast that included Nicola Martinucci, Sherrill Milnes and Aprile Millo as the object of their rivalry and desire.

Some operagoers are still debating whether Millo is the real thing, or merely a collection of diva mannerisms. As Maddalena, her performance was generally committed - despite some unfortunate costuming decisions that overemphasized her generous bosom - and she sang with a vivid, consistent tone.

Milnes, now in his 25th season at the Met, was a delight. Gerard seems the perfect role for him - a born leader with a gruff, commanding exterior and a kind heart. He brought a clear, ringing tone and impassioned intensity to the third-act aria, deservedly bringing the house down. Milnes never broke character to receive adulation. But Martinucci, as Chenier, did on two occasions, flying in the face of opera etiquette. He possesses a superior instrument, but is a stiff (and here pompous) stage presence and rarely varies his tone.

Among the supporting cast, Diane Kesling was an energetic sweet-voiced La Bersi, and Andrea Velis a crafty, sinister Spy. Brian Shexnayder sang Roucher and Camellia Johnson filled the house easily in Madelon's aria. The score's luscious sonorities blossomed under Julius Rudel's baton and the orchestra, though far too loud in the first two acts, sounded glorious.

Fabrizzio Melano's production "borrowed" from San Francisco and Houston operas, benefits from the clean lines and spacious playing areas of Wolfram Skalicki's uncluttered set.




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