Abstract
The image of Andrea from the opera “Andrea Chenier” by U. Giordano: the history of vocal interpretations
Highlights
The opera “Andre Chenier” is a model of the golden age of verismo, and it is endowed with all the main features of this direction of Italian art
The protagonist, in addition to being a poet, is a revolutionary, that is, an uneasy person, a hero, and it is the fact that deduces this work for the stylistic limits of verismo by demonstration of a strong, extraordinary character
Giordano counted on the Italian tenor in the main role, according to the traditions of the bel canto era
Summary
The opera “Andre Chenier” is a model of the golden age of verismo, and it is endowed with all the main features of this direction of Italian art. The protagonist, in addition to being a poet, is a revolutionary, that is, an uneasy person, a hero, and it is the fact that deduces this work for the stylistic limits of verismo by demonstration of a strong, extraordinary character These features are embodied in the musical characteristics of Chenier. Domingo interprets Andrea’s image as a whole more dramatically, but in a fairly wide range – from the pathetic (Act 1), the sublime, lyrical (recognition in love in the Act 2) to the tragic (monologue “Yes, I was a soldier” of the Act 3) and the dramatic (Act 4) His striking rubato, aimed at acutely emotional expression, is impressive, P. Domingo corresponds to Chenier’s status as a revolutionary hero
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