Metropolitan Opera Archives

Triangle Studio designed the sets for Acts I and II, J. Fox those for Acts III and IV.
Andrea Chénier received four performances this season.

Review 1:

Review of Leonard Liebling in the New York American

GIGLI'S HURT ANKLE NO BAR TO SUCCESS IN 'ANDREA CHENIER'

The ankle injury sustained by Beniamino Gigli last Saturday afternoon in "Bohème," when he slipped and fell while frolicking as the merry Rodolfo, did not prevent him from succeeding admirably last night as the meditative and melancholy poet, Andrea Chenier, after whom Giordano's opera "Andrea Chenier," is named.

Gigli sang warmly and admirably, but histrionically he expressed his feelings though emotional intensity rather than through physical action. It was noticed that he treated the Metropolitan boards with great respect so far as treading much upon them was concerned. The couch in the first act and the café chair in the second act were convenient resting places, and the duel was fought by the tenor with suspicious alacrity and amazing quickness of result. The audience was there chiefly to listen, however, and gave the popular Gigli a sympathetic and admiring ovation.

Florence Easton, as Madeleine, put much well-considered and finely effective singing to her credit. Giuseppe Danise impersonated the quick-tempered Gerard, Ina Bourskaya was the Countess and Adamo Didur did a characteristic bit cleverly as the Spy [Mathieu].

The drama of the French Revolution, and based on the historical figure of Chenier, who perished by the guillotine, has been made into a swift-moving libretto by Illica, the best modern fashioner of opera books. Giordano's music, becomingly lively, varied and impassioned, was conducted with animation by Tullio Serafin.

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