Metropolitan Opera Archives

It was what might be called a three-star combination that the Metropolitan Opera Company provided last evening at the Academy of Music. The opera was Giordano's "Andrea Chenier" - founded in part upon incidents in the life of the famed young poet, but sentimentalized for the purpose of romantic and impressive music drama. It is a work that has some tellingly effective periods of electrifying song, and they were not neglected in any particular. Indeed, they helped to give some new distinction to the three stars and, so that there may be no further suspense, it may as well be said that the triumvirate consisted of Elisabeth Rethberg, Giacomo Lauri-Volpi and Titta Ruffo. But to whom went the greatest honors it would not be easy to say. The trio bowed profoundly in response to curtain calls at the close of the third act, and then each in turn "took a call" while the applause continued. It would take an expert to decide which of the singers was the most applauded.

"Andrea Chenier" is not what might be called a favorite work, but because of its fine opportunities for the singer it is popular with him or her at any rate. It is a tale of the French revolution and of a love that would not permit Madeleine to be separated from her lover, Andrea, even at the moment of death. So together with him she went off in the tumbrel, taking another woman's place. And there were some stirring moments of song leading up to the denouement, with Mme. Rethberg glorious in the opulence of her lovely voice and with Lauri-Volpi making the welkin ring in his tenor fervidness. Ruffo as the noble Gerard, who was willing to save Andrea because of his devoted love, gave new evidence of his superb powers of vocalism, deeply impressing, of course, by his sterling quality.

In Mme. Rethberg the Metropolitan has one of its best women artists. Her voice is of utmost loveliness and yet it is powerful and can be used with dramatic effect. She shows a thorough musicianship in all that she does. Ina Bourskaya, in diverse roles, was another of the principals contributing to the merit of the performance, and Adamo Didur, Millo Picco, Angelo Bada, Grace Anthony and others made the most of their respective roles. There was a gavotte danced by the corps de ballet in the first act and the chorus work was excellent. Tullio Serafin conducted the performance, adding greatly in the smoothness of it all.

Search by season: 1926-27

Search by title: Andrea Chénier,

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