Welcome Andrea Chénier From Juventus Lyrica


  Giordano, Andrea Chénier: Soloists, Chorus and Orchestra of Juventus Lyrica, Antonio Maria Russo (conductor), Teatro Avenida, Buenos Aires. 10.4.2015. (JSJ)

Andrea Chénier-500

Juventus Lyrica’s Andrea Chénier. Photo Liliana Morsia.

Andrea Chénier: Darío Sayegh
Carlo Gérard: Juan Salvador Trupia y Rodríguez / Pol González
Maddalena de Coigny: Sabrina Cirera / Monserrat Maldonado
Bersi: Milagros Seijó / Verónica Canaves
Countess of Coigny y Madelon: Verónica Canaves / Milagros Seijó
Roucher: Felipe Cudina Begovic / Felipe Carelli
The Incredible: Norberto Lara / Pablo Urban Albareda
Pietro Fléville: Felipe Cudina Begovic / Felipe Carelli
Fouquier-Tinville: Federico Rodríguez  Salcedo
Mathieu: Walter Aón
The Abbé: Norberto Lara
Schmidt: Walter Aón / Norberto Crespi

Director/costumes: Ana D’Anna
Sets/lighting: Gonzalo Córdova
Chorus: Antonio Maria Russo

Andrea Chénier is the better known of the two operas for which Giordano is best known today (the other being Fedora), although neither are now performed that frequently. For example at the Teatro Colón in the 1920s Andrea Chénier was put on almost every year but the last production there was as long ago as 1996.

The production by Juventus Lyrica to open the company’s 16th season was therefore especially welcome – and a challenge to which the ‘regular team’ of Ana D’Anna and Antonio Maria Russo rose with aplomb. The story, loosely based around the life of the real Andrea Chénier, is set in the French Revolution and comprises more a set of vignettes than a narrative. Thus, the engagement is primarily with the music and singing, here so ably led by Russo with his characteristic affinity for the music of his homeland once again apparent.

D’Anna and Gonzalo Córdova sought to give substance to the storyline with a somewhat more substantial than usual setting of platforms at different levels, which effectively served throughout. With varying lighting and effects between the acts, the setting was given its correct historical context, and the dress was also appropriate to the era.

The announced Chénier, Gustavo López Manzitti, bowed out at a late stage due to commitments at the Teatro Colón, leaving the role to be filled by Darío Sayegh. Meeting the demands he, and Sabrina Cirera as Maddalena, brought power and emotion to the roles. But it was Juan Salvador Trupia y Rodríguez, a member of the Colón chorus, as a commanding Carlo Gérard who stole the show with his elegant and secure delivery. Noteworthy too among the smaller roles was Norberto Lara’s wily Incredible.

Jonathan Spencer Jones


Print Friendly


Leave a Reply

Recent Reviews


Season Previews

  • NEW! Svetlana Zakharova and Bolshoi Stars Bring Amore to the London Coliseum in November __________________________________
  • NEW! Tom Green and Carol Ann Duffy’s The World’s Wife Premieres on 15 October in Cardiff __________________________________
  • NEW! The 2017 Malcolm Arnold Festival in Northampton __________________________________
  • UPDATED! English National Ballet’s 2017 – 2018 Autumn/Winter Season __________________________________
  • NEW! Contemporary Music from Manchester’s Psappha in 2017-18 __________________________________
  • NEW! I Musicanti’s ‘Alexandra and the Russians’ at St Johns Smith Square, 2017-18 __________________________________
  • NEW! The 2017 Oxford Lieder Festival – The Last of the Romantics __________________________________
  • NEW! Anna Netrebko and Yusif Eyvazov’s Return to London in May 2018 __________________________________
  • NEW! St John’s Smith Square announces its 2017/18 Season __________________________________
  • NEW! The Pierre Boulez Saal’s 2017/18 Season in Berlin __________________________________
  • NEW! Birmingham and Beyond: Ex Cathedra in 2017/18 __________________________________
  • NEW! The Glyndebourne Opera Cup and Glyndebourne in 2018 __________________________________
  • NEW! The City of Birmingham Symphony Orchestra’s 2017/18 Season __________________________________
  • UPDATED! English National Opera’s 2017/18 Season __________________________________
  • Subscribe to Review Summary Newsletter

    Reviews by Reviewer

    News and Featured Articles

  • NEW! English Music Festival in Yorkshire Lifts the Lid Off an English Treasury __________________________________
  • NEW! Opera Philadelphia’s Inaugural O17 Festival __________________________________
  • NEW! A FULLY STAGED PILGRIM’S PROGRESS IN ORLEANS, MA __________________________________
  • NEW! JIŘÍ BĔLOHLÁVEK (1946-2017) AND THE CZECH CONDUCTING LEGACY __________________________________
  • NEW! JUSTIN DOYLE DISCUSSES MONTEVERDI WITH MARK BERRY __________________________________
  • NEW! Katie Lowe Wins the 2017 Elizabeth Connell Prize __________________________________
  • NEW! Opportunity for a Rare Composition Masterclass with Gavin Bryars in April 2018 __________________________________
  • NEW! ITINÉRAIRE BAROQUE 2017: TON KOOPMAN TALKS TO COLIN CLARKE __________________________________
  • NEW! The Royal Opera House in Mumbai is Restored to its Former Glory __________________________________
  • NEW! iSING! – International Young Artists Festival in Suzhou, China __________________________________
  • NEW! A Riveting Kokoschka’s Doll from Sir John Tomlinson and Counterpoise __________________________________
  • Archives by Week

    Archives by Month

    Search S&H