The Metropolitan Opera's latest production of Giordano's Andrea Chénier has been met with mixed reviews. The opera, a dramatic tale of love, betrayal, and revolution set against the backdrop of 18th-century France, boasts stunning sets and costumes but is somewhat marred by miscasting.
Tenor Piotr Beczala, known for his powerful voice, took on the lead role of Carlo Gérard, a baritone role that requires more nuance and subtlety than Beczala's typical tenor repertoire. His performance was described as "dramatically blank" with show-stopping music coming across as "uncomfortably loud and unsubtle." In contrast, his rival for Gérard's affections, Igor Golovatenko, delivered a strong performance that showcased his real vocal goods.
The soprano cast, particularly Sonya Yoncheva as Maddalena, the love interest of both Chénier and Gérard, also faced criticism. Her debut in the role was marred by wobbly high notes, persistent intonation difficulties, and a tendency to take on roles beyond her capabilities. Despite her youthful energy, her performance of iconic arias such as "La mamma morta" was uneven, with wildly varying interpretations from phrase to phrase.
On the other hand, the supporting cast shone in their respective roles. Nancy Fabiola Herrera's Countess di Coigny brought much-needed haughty grandeur to the opera, while Alexander Birch Elliott delivered a great performance despite an effeminate portrayal of Fléville by Joël. The production also featured some impressive performances from less-experienced singers, including Guriy Gurev as Roucher and Olesya Petrova as Madelon.
The conductor's score was also commended for its vibrancy and felicity, but at times it overwhelmed the singers. Rustioni's love for Giordano's opera was evident in his bold statement, but he had to work with less-than-optimal tenor and soprano casting.
Despite some high points, the overall production felt uneven, a reflection of the inconsistent performances from its leads. A more suitable cast and conductor might have resulted in a truly stellar production, but as it stands, this revival will be an intriguing watch for those who want to experience Giordano's classic opera.
Tenor Piotr Beczala, known for his powerful voice, took on the lead role of Carlo Gérard, a baritone role that requires more nuance and subtlety than Beczala's typical tenor repertoire. His performance was described as "dramatically blank" with show-stopping music coming across as "uncomfortably loud and unsubtle." In contrast, his rival for Gérard's affections, Igor Golovatenko, delivered a strong performance that showcased his real vocal goods.
The soprano cast, particularly Sonya Yoncheva as Maddalena, the love interest of both Chénier and Gérard, also faced criticism. Her debut in the role was marred by wobbly high notes, persistent intonation difficulties, and a tendency to take on roles beyond her capabilities. Despite her youthful energy, her performance of iconic arias such as "La mamma morta" was uneven, with wildly varying interpretations from phrase to phrase.
On the other hand, the supporting cast shone in their respective roles. Nancy Fabiola Herrera's Countess di Coigny brought much-needed haughty grandeur to the opera, while Alexander Birch Elliott delivered a great performance despite an effeminate portrayal of Fléville by Joël. The production also featured some impressive performances from less-experienced singers, including Guriy Gurev as Roucher and Olesya Petrova as Madelon.
The conductor's score was also commended for its vibrancy and felicity, but at times it overwhelmed the singers. Rustioni's love for Giordano's opera was evident in his bold statement, but he had to work with less-than-optimal tenor and soprano casting.
Despite some high points, the overall production felt uneven, a reflection of the inconsistent performances from its leads. A more suitable cast and conductor might have resulted in a truly stellar production, but as it stands, this revival will be an intriguing watch for those who want to experience Giordano's classic opera.
This Andrea Chénier production at the Met has some major issues 
. I mean, Piotr Beczala is a talented tenor, but he just doesn't fit the baritone role of Gérard. It's like they threw him in there because he was available, not because he had the right voice for it 
. And don't even get me started on Sonya Yoncheva... I love her talent, but Maddalena is just too big a role for her right now 
. The supporting cast, though? 
Nancy Fabiola Herrera was on point as the Countess di Coigny! 
. So, Andrea Chénier at the Met was a letdown, imo. The sets and costumes were on point, but the cast was all over the place. I mean, Piotr Beczala as Gérard? It didn't quite work out, he's just too loud for that role 
. And Sonya Yoncheva... poor girl, she looked like she was still in vocal boot camp 
. But the supporting cast was lovely! Nancy Fabiola Herrera brought some serious sass to Countess di Coigny 
. And can we talk about how much I love a good revamp? Maybe they should've done more casting work, but at least it's an opportunity for some fresh blood 
. still, gotta see it for myself to form my own opinion 
. And Sonya Yoncheva, bless her heart, was struggling in Maddalena - I think she's still got some growth to do 
.
.
. Maybe if they'd had a more suitable cast and some tighter direction, this could've been a truly unforgettable performance 
. As it is, I'm still excited to watch it, though - sometimes you just have to love an opera even when it's not perfect 
. rustioni's a great conductor and all, but even he can't save a production with miscast leads from total disaster 
. Andrea Chénier is like that one aunt at the family reunion - all drama and emotion, but somehow still kinda cheesy 
. Beczala's power was nice, but he needs to tone it down a notch, you feel? And Sonya Yoncheva's got potential, but maybe stick to sopranos who aren't trying to sing arias with dental floss 
. All in all, it's like that one episode of your favorite show where everyone's having a bad day except the supporting characters 
. Worth watching if you're a Giordano fan or just wanna see some pretty costumes 
.
! And those less-experienced singers did alright for themselves. But overall, it just felt like the whole thing was held back by its cast and conductor. 
.
️. That young soprano girl had some amazing moments, like when she brought the house down with "La mamma morta" 
. And the supporting cast? Wow! They totally carried the show on their shoulders 
.
.
just heard about the new Met Opera production of Andrea Chénier... I mean, I love a good opera as much as the next guy, but this one sounds like a major disappointment 
. And don't even get me started on the inconsistent conductor - I mean, you can't have a good opera without a solid score backing it up. Guess I'll just stick to watching this one from home, might as well experience it in its entirety and see if it's worth my time... or not 
i'm so disappointed with piotr beczala's performance as carlo gérard 
he's such a great tenor but he just didn't bring the nuance and subtlety that this role needed 
i mean, i loved him in donizetti's dom quo videt 
but this was just not his cup of tea 
on the other hand, igor golovatenko as carlo gérard was perfection 
and sonya yoncheva's maddalena was so heartbreaking 
i can see why they cast her but wobbly high notes are a major no-go for me 
! And that conductor Rustioni knows his stuff, even if it was a bit overpowered sometimes 
...
[
The sets and costumes are always the highlight, but when it comes down to it, miscasting is a total buzzkill. Like, who casts Piotr Beczala in a baritone role? 
. I mean, I love a good opera as much as the next person, but sometimes it feels like they're more focused on the aesthetics than actual talent 
.
. Piotr Beczala's performance was like watching a train wreck – you don't want to look, but you can't help yourself 
. And Sonya Yoncheva's debut in Maddalena was like a wild rollercoaster ride 
– sometimes it felt like she was on top of the world and other times she was crashing down hard 
.
.