Customer Reviews

Andrea Chenier

5 star:		(8)
4 star:		(1)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

This recording of Andrea Chenier is perfect from start to finish. The entire cast Domingo, Milnes, and Scotto are perfect in their respective roles. This is some of the finest singing, I believe, Domingo has ever done (with the possible exception of the Tosca with Price). This also appears to be, in my estimation, the most emtionally involved Domingo ever became with a recorded performance (I submit "Un di all' Azurro Spazio" for your approval). Truly a GREAT interpretation from Maestro Domingo (the "Un di..." is SOMEWHAT reminiscent of the great Mario Lanza, whom I feel would have been THE perfect Chenier). You should love Domingo on this recording, even if you are not normally a Domingo fan. The Gerrard of Sherrill Milnes is also quite compelling. Milnes certainly outdoes himself on the highly dramatic aria "Nemico Della Patria". The Baritone really shines on his entire portrayal of Gerrard here. Scotto is simply great in her portrayal of Maddalena (yes Callas can be found on a PIRATED recording of a LIVE PERFORMANCE of Chenier, but SHE NEVER WENT INTO A RECORDING STUDIO to immortalize her performance, which was a real pity). Scotto and Domingo are simply breathtaking in their final duet, "La Nostra Morta". The music in Andrea Chenier is some of the most beautiful in all of opera. Maestro James Levine does an excellent job of keeping the excitement and passion level high in this recording, which is a necessity in ANY performance of Andrea Chenier. Truly one of the finest operatic recordings of all time. If you're looking for a recording of Andrea Chenier, here it is. This reviewer believes this (along with the Gigli recording in Mono) is the best recording of Andrea Chenier ever made, beating out those recordings that retail at much higher prices. Andrea Chenier is a must for anybody's opera collection and THIS recording of the Giordano masterpiece is the Chenier to get. Truly 5 stars!

I have to admit, this is my favourite version of this opera. It is not one often performed, and the reasons are clear, it just isn't easy to perform. It requires very deeply felt commitment to the characters, the music, and the historical time of this opera. It is one of those actual historical operas where the characters were real people.

For north Americans ( who are usually "lady audiences" ), there is no big moment, save "la mamma morte" in the whole work for the soprano. This is a man's opera, and it deals with the trials of standing up for ones beliefs, at all costs. And that heroic attitude is well felt throughout this recording. Levine is wonderous with just the correct emotional support for the singers, and his reading of this score is clean. Domingo is by far the best Chenier I have heard, and Milnes is spine-tingling with his portrail of the jealous and bitter Germand, who eventually out of love reveals his noble character. Scotto is heart breaking, especially at the end of the trial scene where Chenier is ordered to die. It amazes me what she brings out of this role. Only one singer brought as much, and that I know only from a pirated recording, and that was Magda Olivero.

Oh, buy this recording and let yourself be swept away in the world of the french revolution, and let your heart weep with the unhappy lives of the characters -- no recording will do it better.

This recording is the epitome of quality. While I respect Placido Domingo, I take exception to Sherrill Milnes, whose role as Carlo Gerard makes you think he really is Gerard of the French Revolution. CD 2, track 6 begins Gerard's spelling bounding aria as he pens the execution edict for the poet and French Revolutionary defector, Andrea Chenier, who also has the attention of Maddalena di Coigny, the woman Gerard loves so passionately.

Milnes' bold and colorful baritone will make you feel the anger, pain, yet understanding of Coigny's love for Chenier. Play it until you can feel it. This opera is for the romantic. As a 30 year old generation X'er, I appeal to my peers--explore your romantic side--feel--not listen--to this opera. Too bad this opera does not get the attention of many opera company's. But that's the beauty-I make a special effort to stay on the mailing lists of all majors, and at times small, opera companies to see this very special operatic treat.

The finest recording of Andrea Chenier ever made. Levine maintains the excitement of a live recording throughout this entire recording (although this is definitely a studio recording with excellent sound quality). Domingo is in his absolute richest voice, pouring out one high note after another with more ease than I have ever heard out of this great tenor. Domingo is the one of the greatest Cheniers of all time (along with Gigli). His sound is almost reminiscent of Caruso on this recording and much preferrable to Pavarotti in this role (although, in general, I prefer Pavarotti's voice). Milnes is in very fine voice here and is a a very convincing Gerrard. His "Nemico della Patria" is excellent. Renata Scotto was still in pretty good voice here. Scotto is very reminiscent of Maria Callas in this role and since Madame Callas never recorded Andrea Chenier, this is not a bad consolation. If you wish to own a copy of this very fine opera, by all means buy this one. Believe me, you will not be sorry. A must have recording.

There are some operas in which the opera lovers look for the best. This is one of those. Opera lovers want an excellent Andrea Chénier, but also a superb Maddalena, to hear and hear again the magnificent La mamma morta. But the role of Gérard is also key in this play. Well, this is, with out doubt, one of the best versions of this opera. Domingo, very young (the recording is from 1976) sounds superb. Renatta Scotto also. Milnes as Gérard as well. This is not an easy-to-find version, I don't understand why, but I was very surprised to find it through Amazon. It's an ADD recording.
I Have another version, with Chailly conducting, and Pavarotti, Caballé and Nucci. This is another excellent version. If I had to choose, I would be difficult.
I defenetely recommend to download the Callas aria of la mamma morta of 1955. It's unbeatable. Becarful the versions. Not all of the discs have the same quality. I personally have this one: [...]

The finest recording of Andrea Chenier ever made. Levine maintains the excitement of a live recording throughout this entire recording (although this is definitely a studio recording with excellent sound quality). Domingo is in his absolute richest voice, pouring out one high note after another with more ease than I have ever heard out of this great tenor. Domingo, along with Gigli, is the one of the greatest Cheniers of all time (a real pitty Mario Lanza never had the chance to record this complete role). His (Domingo's)sound is almost reminiscent of Caruso on this recording and much preferrable to Pavarotti in this role (although, in general, I prefer Pavarotti's voice). Milnes is in very fine voice here and is a a very convincing Gerrard. His "Nemico della Patria" is excellent. Renata Scotto was still in pretty good voice here. Scotto is very reminiscent of Maria Callas in this role and since Madame Callas never recorded Andrea Chenier, this gives a good feel for what "La Divina" might have been like in this role. This is THE recording of Andrea Chenier to own. Definitely 5 stars all the way.

This recording is a memorable one. But I would like to point out that a previous reviewer is wrong when he writes that Maria Callas never recorded Andrea Chenier. Her recording (with dal Monaco) is available in Amazon and shows an excellent "La mamma è morta".

Chenier is, above all, the tenor's show and Domingo just does not possess either the heft or the squillo or the ease of delivery at the top displayed by Bonisolli, Del Monaco and Corelli that are required by this role or the passion and sweetness of Carerras in the other four Chenier CD sets I have. The ending is especially demanding with its high tessitura, presenting a challenging test for Domingo. His difficulties, while not necessarily interfering with his delivery or constricting his notes, are evident in the exacting spots where his voice seems to struggle to sing out over the orchestra as it should and which the others toss off con slancio.

The four Italian baritones in the other sets are all very fine Gerards but none has the lovely sound of Sherrill Milnes in this set. And Renata Scotto here actually rivals Tebaldi in interpretive skill and array of expression with some gorgeous pianissimos, but I must take exception to her (and Maria Gulegina in the Capriccio set with Bonisolli) singing the "Son Io" at the opera's close when it is marked to be SPOKEN thereby imparting greater dramatic impact and emphasis in contrast to the rest of the opera which is sung, as is so evident in "Traviata" where Violetta's speaking the letter clearly makes it a more poignant moment or in "Die Frau Ohne Schatten" with the Empress' wild, hysterical, conflicted and very lengthy and rapid emotional speech, Ach! Weh Mir...", omitted by non native German speakers as far too difficult to deliver!.

Do NOT miss this set at this bargain price. Sure Scotto's voice spreads on top, but so what? The beauty of the middle, so extremely expressive and vulnerable, the heart-stopping soft high notes, the supremely intelligent phrasing, the flawless legato... What a magnificent artist. Domingo and Milnes are above their usual high standards, and Levine caresses the beautiful lines spectacularly. The two duets alone are worth the price-- Don't tell me this is operatic trash. Buy this immediately!