Andrea Chenier Naxos Historical 8.110066–67
- Composer(s):
Boito, Arrigo; Giordano, Umberto; Mascagni, Pietro; Puccini, Giacomo; Verdi, Giuseppe
- Lyricist(s):
Boito, Arrigo; Ghislanzoni, Antonio; Giacosa, Giuseppe; Illica, Luigi; Menasci, Guido; Oliva, Domenico; Targioni-Tozzetti, Giovanni
- Conductor(s):
Molajoli, Lorenzo
- Orchestra(s):
Milan La Scala Orchestra
- Choir(s):
Milan La Scala Chorus
- Artist(s):
Baccaloni, Salvatore; Baracchi, Aristide; Bassi, Anna Masetti; Bruna-Rasa, Lina; Conti, Ida; Galeffi, Carlo; Marini, Luigi; Nessi, Giuseppe; Villa, Natale
Gigli not only made commercial studio recordings over a period of 37 years (1918–1955) but was also the first international singer to record a substantial series of complete operas in the studio. Made during the Second World War, this recording of Andrea Chénier is of historical significance since no country other than Italy undertook complete recordings of operas for commercial purposes during this period. Due to the outbreak of hostilities between Italy and Britain in 1940, this 1941 Andrea Chénier was not released in Britain until 1949. The role of the revolutionary poet Andrea Chénier suited Gigli’s voice and temperament to perfection. It was always one of his favourite parts, to which he brought a splendid ardour and dramatic commitment.
Andrea Chenier Review
“Andrea Chenier is a singer's opera. The tenor has no less than four arias, nicely paced over four acts. The baritone has two big set pieces, Nemico della patria being a real showstopper. The ‘poor’ soprano is assigned only one, La Mamma morta, but she gets two extended duets and chews scenery while the tenor and baritone work hard to earn their fees. Even a cameo role like the blind woman Madelon, often assigned to superannuated former divas, gets a moment in the sun. With the whole wrapped up in the best verismo tradition, it's no wonder this ‘blood and guts’ piece has lasting audience appeal. This Naxos release of a seventy-year old performance scores on all counts. Originally issued on Italian Columbia, it features a very young Lina Bruna-Rasa as Maddalena. She pulls no punches vocally nor dramatically, offering up searing high notes and a generous chest register. Carlo Galeffi, a noted baritone with a warm, mellow sound, is a superlative Gerard. Compared with these two powerhouses, tenor Luigi Marini as Chenier is less pronounced, singing correctly and without exaggeration, but with clarion power and heroic heft when required. Also notable is the Roucher of the great character baritone Salvatore Baccaloni. …As a bonus, Naxos has included seven additional arias by Bruna-Rasa, recorded three years earlier.” Joseph So – La Scena Musicale