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Andrea Chenier Umberto Giordano Andrea Chénier Dramma di ambiente storico in quattro quadri Libretto di LUIGI ILLICA Personaggi: Andrea Chénier (tenore) Carlo Gérard (baritono) La Contessa di Coigny (mezzo) Maddalena di Coigny (soprano) La mulatta Bersi (mezzo) Roucher (basso) Il sanculotto Mathieu detto «Populus» (basso) Madelon (mezzo) Un «Incredibile» (tenore) Il Romanziero, pensionato del Re (Pietro Fléville) (baritono) LʼAbate, poeta (tenore) Schmidt, carceriere a San Lazzaro (basso) Il Maestro di Casa (basso) Dumas, presidente del tribunale di Salute Pubblica (basso) Fouquier Tinville, accusatore pubblico (baritono) Dame - Signori - Abati, Lacchè, Staffieri, conduttori di slitte, Ungheri volanti, Musici, Servi, Paggi, Valletti, Pastorelle, Straccioni Borghesi, Sanculotti, Carmagnole, Guardie nazionali, Soldati della Repubblica, Gendarmi, Mercatine, Pescivendole, Calzettaje, Venditrici ambulanti, Meravigliose, Incredibili, Rappresentanti della Nazione, Giudici, Giurati, Prigionieri, Condannati, Ragazzi strilloni Un maestro di musica, Alberto Roger, Filandro Fiorinelli, Orazio Coclite, Un bambino, Un cancelliere, Il vecchio Gérard, Robespierre, Couthon, Barras, Un Fratello servente (garzone di caffè), ecc. Prima rappresentazione: Milano, Teatro alla Scala 28 marzo 1896 1 Giordano: Andrea Chénier - parte prima PARTE PRIMA In provincia; nel castello della Signoria dei Conti di Coigny. Il giardino d’inverno. La gran serra; imita- zione pretenziosa di quella di Casa Orléans o di quella Kunsky. La serra offre ora - sul finire di una giornata dell’inverno del 1789 - un curioso aspetto; sembra un giar- dino colle sue statue di Bacco, di Flora, coll’altare di Minerva, ed è sala, talmente ovunque vi sono sparsi mobili, - e, perfino fra i vasi di piante esotiche, un clavicembalo Silbermann - ed è campagna, anche, verso l’estremo lato sinistro dove, per una mite e microscopica collinetta, aprentesi ai piedi in grotta da ninfe, si sale a una casetta rustica da latteria e pastorelle addossata ad un infantile mulino. «Tal de’ tempi il costume!» All’alzarsi della tela, sotto i rigidi comandi di un arrogante e gallonato Maestro di Casa, corrono Lacchè, Servi, Valletti carichi di mobili e vasi completando l’assetto della serra. Carlo Gérard, in livrea, entra, sostenendo con altri servi un azzurro e pesante sofà. È a lui che principal- mente si rivolge il maestro di casa con piglio altezzoso, borioso ed ironico impartendo ordini. Dal giorno che Gérard fu sorpreso a leggere Jean Jacques Rousseau e gli Enciclopedisti, non ironia o servizio più umile o più basso gli è risparmiato. IL MAESTRO DI CASA A’ tuoi protervi Questo azzurro sofà arroganti signori là collochiam. hai prodigato fedeltà, sudori, la forza dei tuoi nervi, (Gérard e i lacchè eseguiscono) l’anima tua, la mente… e - quasi non bastasse la tua vita (poi il Maestro di Casa accenna verso le sale interne a renderne infinita e vi entra seguito da tutti i lacchè, eccettuato Gérard eternamente che, inginocchiato avanti all’azzurro sofà ne liscia le l’orrenda sofferenza - frange arricciatesi e ridona lucido alla seta rasata, hai dato l’esistenza sprimacciandone i cuscini) . dei figli tuoi. GÉRARD (con immenso sdegno si picchia colla larga mano il (al sofà) petto sussurrando fra le lagrime) Compiacente a’ colloqui Hai figliato dei servi! del cicisbeo che a dame maturate (poi si asciuga sdegnosamente le lagrime, torna a porgeva qui la mano! guardare fieramente intorno a sè la gran serra) Qui il Tacco rosso al Neo sospirando dicea: T’odio, casa dorata! «Oritia… o Clori… o Nice… incipriate, L’immagin sei d’un mondo vecchiette e imbellettate, inciprïato e vano!… io vi bramo, Vaghi dami in seta ed in merletti, ed, anzi sol per questo, forse, io v’amo!» affrettate, accellerate Tal dei tempi il costume! le gavotte gioconde e i minuetti! Fissa è la vostra sorte! (Dal giardino si avanza trascinandosi penosamente Razza leggiadra e rea, un vecchio giardiniere curvo sotto il peso di un figlio di servi e servo, mobile. - È il padre di Gérard. - Questi gitta lo qui - giudice in livrea - spolveraccio che tiene in mano e corre a porgere ti grido: - È l’ora della Morte! - aiuto al padre che tutto tremulo si allontana pei con- torti sentieri del giardino.) (La Contessa, Maddalena e Bersi (questa strana- mente vestita) appajono al di là dell’arco d’ingresso (guardando commosso allontanarsi il padre.) alla serra. - La Contessa si sofferma a dare alcuni Son sessant’anni, o vecchio, che tu servi!… ordini al Maestro di Casa. Maddalena si avanza len- tamente con la Bersi.) 1 Giordano: Andrea Chénier - parte primo MADDALENA CONTESSA Il giorno (volgendogli le spalle) intorno già s’inserra A momenti lentamente! arriveranno gli ospiti. In queste misteriose ombre forme fantastiche assumono le cose!… MADDALENA Or l’anime s’acquetano Uno è il signor Fléville umanamente!… CONTESSA GÉRARD (con grande compiacenza) (fra sè guardando ammirato Maddalena) Uno scrittore emerito… Quanta dolcezza nell’anima tetra per te penetra! MADDALENA Anche l’idea muor, tu non muori giammai, E l’altro chi è? tu, l’Eterna Canzone! CONTESSA CONTESSA (con sussiego) (entra nella serra e coll’occhialetto e con fare altez- E l’Abatino!… zoso guarda attentamente se e come è stata dispo- sta.) MADDALENA (a Gérard ed altri lacchè) Uno viene dall’Italia? Via, v’affrettate, CONTESSA e alla lumiera luce date! (accenna che sì) S’, Fléville, l’Abate da Parigi. (I lacchè, Gérard compreso, montano su alcuni sgabelli e cominciano ad accendere i bracciali, i (poi, sorpresa, osservando che ancora sua figlia è in doppieri e a dar luce a tutta la serra, - a poco a vestaglia) poco tutto sfolgora di luce allegra.) Maddalena, (a Gérard) ancor così? Ancor non sei vestita? E - dite - tutto è pronto? (Maddalena accenna a sua madre che andrà ad abbigliarsi. - La Contessa la accarezza e va ad esa- GÉRARD minare se nulla manca anche nelle sale superiori) Tutto! BERSI CONTESSA (corre a Maddalena e si accoccola grottescamente ai I cori? suoi piedi con gesti strani e bizzarri) Sospiri? GÉRARD Stanno di già vestendosi. MADDALENA Sì; - io penso alla tortura CONTESSA del farsi belle! E i suonatori? GÉRARD Accordan gli strumenti. 2 Giordano: Andrea Chénier - parte prima BERSI ed una rosa in testa! (crollando la testa vivacemente) (e corre via seguita da Bersi) Sei tu che fai belle le vesti tue! Io le fo’ brutte - tutte!… (Già si anima tutto il castello. - I valletti corrono animatamente in su ed in giù apparecchiando le (Si guarda curiosamente gualcendo le pieghe dalla torcie nell’attesa delle slitte.) veste) (Un’ondata di volanti colle loro mazze adorne, quale MADDALENA di nastri, quale di lanterne, irrompe per l’arco di ingresso precedendo e seguendo le dorate slitte. (s’avvicina alla Bersi e la calma dicendole sorri- Ogni slitta ha a un lato un nobilissimo ed elegan- dendo) tissimo signore che poi premurosamente ajuta a Soffoco… moro discenderne, porgendole il braccio, la dama che vi è tutta chiusa dentro tutta avvolta in pelliccia, e della quale egli è in busto stretto il cavaliere. a squame ombra di moro Il cavaliere e la dama, poscia, passando attraverso o in un corsetto, a due ali di fronti curve, si avvicinano alla contessa come si usa, che va loro incontro sorridente. in seta di nakara!… Prima di stringersi la mano le due dame s’inchi- nano tre volte, con doppio inchino ogni volta, come BERSI vuole l’etichetta - poi la Contessa porge la mano a baciare al cavaliere, al quale essa graziosa sussurra (la interrompe imitando il gesto caricato, il fare, il le lodi della dama che egli serve. sospirare di un patito) Il cavaliere bacia la mano, sorride e raggiunge la Il tuo corsetto sua dama.) è cosa rara! (Tolte le pellicce e i manicotti giganteschi e conse- gnati ai premurosi donzelli, ecco le belle dame appa- MADDALENA rire nelle loro curiose e sapienti toelette. L’orribile gonnella Il “grand panier” se ne è ito anche lui! I fianchi pos- “coscia-di-ninfa-bianca” sono disegnarsi un po’ più naturalmente. La “dama” mi inceppa e stanca forse vi ha perduto, ma la “donna” vi ha acquistato mi sfianca tutta in sincerità. e, aggiungivi un cappello La levita ha ridonato al corpo della donna le pure “Cassa-di-sconto” o quello linee femminili, - la testa si conserva tuttora la parte alla “Basilio” od alla “Montgolfier”, più discutibile. e tu sei sorda e cieca La moda inglese la irrigidisce nei gesti; Maria Anto- e, nata bella, nietta colle sue “lattivendole” la rende più infantile. eccoti fatta brutta. E gli uomini? L’abatino si conserva snello e donnajolo, l’uomo di (Ma lontane grida annunciano l’avvicinarsi delle finanza ancora donnajolo e adiposo.) visite. Ma ecco la Contessa che rientra) CONTESSA MADDALENA (alle dame) (affrontandola coraggiosa) Oh!Come elegante… Per stasera pazienza! Mamma, non odi? (ad un cavaliere) e voi, gentil galante! CONTESSA Sono di già gli ospiti! (al barone) Vera galanteria! MADDALENA Così mi metto: - Bianca vesta (al marchese) 3 Giordano: Andrea Chénier - parte primo A ben più d’una brama CONTESSA la vostra dama Che novelle dalla corte? accender saprà l’esca! MADDALENA (ad una vecchia dama) Dite? Appariscente e fresca sempre! Contessa, sempre, sempre la stessa! CONTESSA Presto! (Entrano tre personaggi: uno avanzato di età, il romanziere Fléville; un giovane imberbe, Chénier, MADDALENA uno senza età, il musicista Fiorinelli.) Noi curiose tutte siam! FLÉVILLE Commosso… lusingato… Presto! Dite! dite! e… a questo, più che omaggio… (L’Abatino graziosamente lusingato da quella dimo- (cerca la parola adatta) strazione bacia molte mani e fa inchini che sem- brano genuflessioni.) … amabil persiflaggio!… (La Contessa intanto lo serve personalmente di una marmellata.) (imbrogliato a continuare in quel silenzio, presenta i due personaggi che son venuti con lui) L’ABATINO Ch’io vi presenti Flandro Fiorinelli, Debole è il Re… è cavaliere, italiano e musico! e… MARITI Ha ceduto? (cerca invano i titoli del presentato e dice umil- mente) L’ABATINO Andrea Chénier… Fu male consigliato!… un che fa versi e… che promette molto.
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