Cher Public

Broadcast: Andrea Chenier

Opening night of the 2017 La Scala season features Andrea Chenier starring Yusif Eyvazov, Anna Netrebko and Luca Salsi. The live broadcast begins at noon Eastern Standard Time, and La Cieca invites you all to discuss!

  • Seth David Lubin

    The sound on Musique Francaise is 100 percent better than RAI 3

  • bertrand simon

    Eyvazov a visiblement beaucoup travaillé pour maîtriser son déplaisant vibrato et il chante vraiment très proprement, au point de ne procurer aucune excitation et le timbre reste sans séduction . Netrebko suit le chemin de Tebaldi : du très beau son, très (trop) riche et une émotion générique . Salsi impeccable, Chailly prodigieux comme presque toujours .

  • Jungfer Marianne Leitmetzerin

    Tonight’s performance of “Andrea Chénier” has been posted at my Mixcloud site at https://www.mixcloud.com/Jungfer_Marianne_Leizmetzerin/giordano-andrea-ch%C3%A9nier-eyvazov-netrebko-salsi-chailly-milano-2017/

    Please scroll through the site to see what else I’ve posted in the past few weeks -- some very exciting stuff!

    Viel Spaß!

    • fletcher

      Thank you!

  • Cicciabella

    Some observations after watching the whole Chènier on the box:
    Not only did Chailly not allow any intermittent applause, but the soloists took no solo bows! Eyvazov, Netrebko and Salsi took there bows together. Some in the audience seemed to be making objections to this. There was also a curtain call at intermission.

    Disgracefully, after intermission the audience kept trickling in after the opera had started. The ARTE cameraperson had lots of fun filming this.

    The staging was traditional with minimal Personenregie. Guests at the salon in Act 1 just stood there, the public in the courtroom just widened their eyes to express…what? Gerard was a sort of Scarpia, pushing Maddalena onto a bed, until he thought better of it. The set was short on walls and big on furniture and props, like the huge gilt mirrors at Maddalena’s house, and a real guillotine. La Scala ballet did a lovely classical nymphs and shepherds number while two of the unwashed masses made fun of them outside. All in all a harmless but rather boring staging.

    I thought the orchestra made off with the musical honours. I did not love Netrebko in the beginning, her sound was too massive for a flirtatious young woman. I liked her more and more in the later acts, but I think she needs more time to refine the role. It’s amazing that even in close-up you never catch her looking at the conductor.

    Eyvazov very obviously looked at the conductor before each entrance, but if that helps him give a good performance, so be it. He certainly had the money notes and I thought he sang better than Netrebko. His jaw and chin looked totally relaxed at all times. He was paying attention to his technique the whole time, for which he traded off acting naturally, but I’d rather have better singing than better acting. I can’t warm to his timbre, it’s just not a beautiful sound to me, and the same goes for Salsi, who acted with the same passion as Netreko. The men are good singers but don’t have especially attractive voices and being on stage with Netrebko, who is vocally gifted beyond belief, they had the disadvantage of contrast.

    La Vecchia Madelon was a hoot, bellowing away like an angry bull. The director didn’t give her anything to do except the usual walk in with the grandson and walk out on a woman’s arm business.

    I enjoyed the tasteful costumes in beautiful, non-garish colours. At curtain time there was thunderous applause, shouts of “bravi” and “brava” and some consistent booing, at what I don’t know. Maybe somone who was actually there can tell us.

    • bertrand simon

      I completely agree with you . Martone gives no stage guidance and ruins some of his efforts by pretentious and distracting filming . About bows and curtain calls, the atmosphere of a premiere in La Scala might make fear the boos, anyway it is much regretfull if such new rule is imposed .

      • Camille

        Is this something new, then, at La Scala, that there are no solo bows, or only at this performance to discourage any unpleasantry toward Eyvazov, because he has had his detractors?

        Is it to discourage booing, as in the case of poor Piotr Beczala in the La Traviata prima, a few years back, and who swore off La Scala as a result. A shame as he is one of the best tenors out there. Better for us here, as he has been seen here too little and in not enough variety of roles, too many Rodolfos and Duca di Mantovas, etc.

        • David Yllanes

          The lack of solo bows was probably to avoid boos for the TV broadcast. Let’s see what happens in the next performances.

    • Camille

      DANKE! Cicciabella, you are so good to give us this résumé of the event. It’s funny but you seem to have seen things exactly the way I heard them, so for me, your account adds up perfectly.

      I was so nosey about La vecchia Madelon I found her name (Judit Kutasi, I think) and looked her up on Operabase, where, sure enough, she is slated to sing Azucena up next! Sounded to me as if she had already begun rehearsing the role, haha!

      The orchestra was just splendid and made an eloquent case for this work, much maligned, that I’ve as yet not heard equalled.

    • Armerjacquino

      A *REAL* guillotine…?

  • Marcello

    Javier Camarena has cancelled his three Tonios in Zürich starting on Dec 16. Is he still on for the Tucker Gala?

    • Camille

      René Barbera, (whose Lindoro I would have heard last year had I been able to see the performance of L’italiana in Algeri which was cancelled), is quite an excellent young leggiero tenor, at least from what I was able to HEAR over the radio on Listen Live. He should do the job very well. Sorry about Camarena, whom I just love, and hope he is all right. The Tucker Gala is this Sunday, I believe, so we shall soon know.

    • David Yllanes

      Camarena is not mentioned on the WQXR website about the broadcast (http://www.wqxr.org/story/listen-2017-richard-tucker-gala-live-carnegie-hall/?sf82011102=1)

      He still appears on Carnegie Hall’s and the Richard Tucker Foundation’s websites.