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Andrea Chénier Giordano ANDREA CHÉNIER GIORDANO Argument MT / 3 Andrea Chénier Argument 4 / 5 Andrea Chénier Andrea Chénier torna al Liceu amb la producció de David McVicar. (ROH/Bill Cooper) Fitxa L’autèntic 6 / 7 9 45 André Chénier Alain Verjat Repartiment 10 Entrevista a 53 Sondra Radvanovsky Amb el teló abaixat 12 Andrea Chénier al 61 Gran Teatre del Liceu 17 Argument Jaume Tribó Cronologia 27 English Synopsis 68 Jordi Fernández M. Selecció d’enregistraments Andrea Chénier, Javier Pérez-Senz 35 una òpera verista 77 entre el Romanticisme i el romàntic Biografies Jesús Ruiz Mantilla 80 Andrea Chénier Temporada 2017-18 8 / 9 ANDREA CHÉNIER Dramma storico en quatre actes. Llibret de Luigi Illica. Música d’Umberto Giordano. Estrenes 28 de març de 1896: estrena absoluta al Teatro alla Scala de Milà 12 de novembre de 1898: estrena a Barcelona al Gran Teatre del Liceu 17 d’octubre de 2007: última representació al Liceu Total de representacions al Liceu: 49 Març 2018 Torn Tarifa 9 20:00 1 Durada total aproximada 2h 35m 10 20:00 PB 6 (*): Amb audiodescripció 12 20:00 1 13 20:00 PC 6 15 20:00 1 17 20:00 C 4 18 17:00 T 3 19 20:00 G 5 21 20:00 D 3 22 20:00 B 4 24 20:00 E 2 25 18:00 F 3 27 20:00 A 4 28* 20:00 H 4 Uneix-te a la conversa #AndreaChénierLiceu liceubarcelona.cat facebook.com/liceu @liceu_cat @liceu_opera_barcelona Andrea Chénier Andrea Chénier, poeta Madelon, anciana revolucionària Jonas Kaufmann 9, 12 i 15 de març Anna Tomowa-Sintow Jorge de León 9, 12, 15, 18, 21, 24 i 27 de març 10, 13, 17, 19, 22, 25 i 28 de març Elena Zaremba Antonello Palombi 18, 21, 24 i 27 de març 10, 13, 17, 19, 22, 25 i 28 de març Carlo Gérard, criat i posteriorment Roucher, amic d’Andrea Chénier cap de la Revolució Fernando Radó Carlos Álvarez 9, 12, 15, 18, 21, 24 i 27 de març Pietro Fléville, escriptor Michael Chioldi Toni Marsol 10, 13, 17, 19, 22, 25 i 28 de març Fouquier Tinville Maddalena de Coigny, Fernando Latorre jove de família noble Sondra Radvanovsky Mathieu 9, 12, 15, 18, 21, 24 i 27 de març Manel Esteve Julianna Di Giacomo 10, 13, 17, 19, 22, 25 i 28 de març L’incredibile, espia Francisco Vas Bersi, donzella de Maddalena Yulia Mennibaeva Abate 9, 12, 15, 18, 21, 24 i 27 de març Marc Sala Gemma Coma-Alabert 10, 13, 17, 19, 22, 25 i 28 de març Majordom / Schmidt Christian Díaz Comtessa de Coigny, mare de Maddalena Dumas, president del tribunal Sandra Ferrández David Sánchez El Gran Teatre del Liceu dedica les funcions d’Andrea Chénier a la memòria de la Sra. Carmen Mateu de Suqué, presidenta del Festival Castell de Peralada i mecenes del Teatre, que ens va deixar el passat 24 de gener de 2018. La seva aportació a la cultura i al mecenatge ha estat exemplar, especialment en l’àmbit operístic i la seva divulgació social. Moltes gràcies per compartir amb nosaltres la teva passió, Carmen! Repartiment 10 / 11 Direcció musical Pinchas Steinberg Direcció d’escena David McVicar Reposició Marie Lambert Coreografia Andrew George Escenografia Robert Jones Vestuari Jenny Tiramani Il·luminació Adam Silverman Assistència de la direcció d’escena Barbara Lluch Assistència de la il·luminació Gary Marder Mestre d’armes Xavier Padilla Coproducció Royal Opera House Covent Garden (Londres), Centre Nacional d’Arts Escèniques de Beijing i l’Òpera de San Francisco Orquestra Simfònica i Cor del Gran Teatre del Liceu Direcció del Cor Conxita Garcia Concertino Kostadin Bogdanoski Assistència a la direcció musical Santiago Serrate Assistents musicals Véronique Werklé, Rodrigo de Vera, Alfredo Abbati, Vanessa García, Júlia Sesé, Jaume Tribó Andrea Chénier és una producció gentilesa de la Royal Opera House, Covent Garden de Londres, el Centre Nacional d’Arts Escèniques de Beijing i l’Òpera de San Francisco. Aquesta producció es va veure per primera vegada a la Royal Opera House de Londres el 20 de gener de 2015. Andrea Chénier AMB EL TELÓ ABAIXAT Compositor Umberto Giordano (1867-1948) va ser un dels compositors italians que, juntament amb Ruggero Leoncavallo, Pietro Mascagni, Giacomo Puccini i Francesco Cilea, formen part de la nuova scuola d’òpera italiana, també coneguda com el Verisme, reacció al romanticisme verdià i amb una clara opció per l’emoció directa mitjançant un cant sense ornamenta- cions i amb el paper expressiu de l’orquestra. Giordano va estudiar a Nàpols i, per consell de Mascagni, el 1892 va estrenar la breu òpera Mala vita. Després de Regina Díaz (1894), dos anys més tard va estrenar a Milà Andrea Chénier, que juntament amb Fedora és la seva òpera més famosa. Siberia (1903), Marcella (1907), Mariano (1910), Madame Sans-Gêne (1915) y La cena delle beffe (1924) van ser altres títols de les dotze òperes del compositor, avui pràcticament oblidades. Amb l’adveniment del feixisme, Giordano, així com Mascagni o Respighi, van ser alguns dels compositors «oficials» del règim i van ser membres de l’Acadèmia d’Itàlia, institució fundada per Benito Mussolini. La seva va ser una vida còmoda i fàcil, en part gràcies al seu casa- ment amb Olga Spatz, filla d’una il·lustre família propietària de diversos 12 / 13 hotels en una Itàlia que ja començava a ser destinació turística de primera categoria. I va compaginar l’òpera amb altres gèneres musicals, com ara l’opereta, cançons diverses, música de cambra i per a piano. Llibret i llibretista El poeta de vida agitada Luigi Illica, col·laborador habitual de Giuseppe Giacosa en algunes de les òperes de Puccini, va ser l’autor de diversos llibrets per a compositors veristes, com ara Catalani, Panizza o el mateix Giordano, per a qui va escriure el d’Andrea Chénier, subtitulat com a «drama històric»: l’òpera es basa en l’existència real del poeta francès André Chénier (1762-1794), que en un primer moment va abraçar la causa de la Revolució Francesa però que finalment va acabar sent víctima del període conegut amb el nom del Terror i que va morir guillotinat. Illica, tot i mantenir el rerefons de la revolució, focalitza l’argument de l’òpera en la història d’amor entre Maddalena de Coigny i Andrea Chénier. Andrea Chénier Estrena Andrea Chénier es va estrenar a La Scala de Milà el 28 de març de 1896 amb la participació, entre d’altres, del tenor Giuseppe Borgatti i la soprano Avel·lina Carrera. L’èxit va ser discret, perquè els partidaris de l’editorial Ricordi intentaven sabotejar les estrenes dels compositors que editaven les seves partitures amb la competència: Giordano editava amb Sonzogno, la qual cosa despertava no poques animadversions. Tanma- teix, la qualitat de la música de Giordano i l’instint teatral que vertebra la partitura d’Andrea Chénier van fer que aviat l’òpera fos un èxit, dins i fora d’Itàlia: el mateix any de l’estrena arribava a Nova York i un any després es representava a Hamburg amb direcció de Gustav Mahler. Estrena al Liceu La primera funció d’Andrea Chénier al Gran Teatre del Liceu va ser el 12 de novembre de 1898. Van participar-hi, entre d’altres, Emilio De Marchi, Emilia Corsi i Eugenio Giraldoni, amb direcció musical de Gaetano Cimini. Marc-Jesús Bertran va publicar el dia 13 la seva crítica a La Vanguardia i va deixar testimoni de la feliç vetllada i de l’acceptació de l’òpera, tot i els aires wagnerians d’aquelles temporades, seguits per acòlits que menyspreaven l’òpera italiana. Bertran deia el següent sobre la partitura de Giordano: «La música del maestro Giordano, es la música de un maestro joven, no falto de inspiración, pero á las veces tampoco exento de inexperiencia. Es una música para un público que se deje impresionar de momento». Amb el teló abaixat 14 / 15 Assaigs d’Andrea Chénier al Liceu durant el mes de febrer de 2018 Andrea Chénier Andrea Chénier compta amb la direcció d’escena de David McVicar i la direcció musical de Pinchas Steinberg. (ROH/Bill Cooper) 16 / 17 ARGUMENT ACTE I Jardí d’hivern del castell de la comtessa de Coigny, abans de la Revo- lució Francesa. S’està preparant una festa que s’haurà de celebrar aquell vespre. L’inquietant revolucionari Carlo Gérard reflexiona davant del majordom sobre la misèria de la humanitat. De seguida, i quan apareix el seu pare, jardiner de la casa, lamenta la vida quasi d’esclau del seu progenitor.1 La comtessa, la criada Bersi i Maddalena –filla de la comtessa– arriben per posar a punt els preparatius de la festa i per la serenata que s’hi oferirà. Gérard queda corprès per la bellesa de la jove Maddalena, que confessa a Bersi sentir-se presonera dins del vestit encotillat que està obligada a dur. Arriben diversos convidats, entre ells Pietro Fléville, el poeta Andrea Chénier, el músic Fiorinelli i l’abate, que posa al dia els presents sobre el clima revolucionari que es viu aquells dies a França i els mals consells que Necker, el ciutadà suís responsable de la Direcció General de Finances, ha provocat fins a la creació del Tercer Estat, cosa que ha engendrat tumults i revoltes a la ciutat. Comentaris 1 Giordano dibuixa de seguida taris irònics a càrrec de la musicals amb trets precisos el perso- corda. Una segona secció, natge de Gérard al monòleg «Son sessant’anni», deixa lloc «Compiacente a’colloqui del a la tendresa envers el pare de cicisbeo» en un número a mig Gérard fins a l’esclat sobre la camí entre el recitatiu acom- frase «T’odio, casa dorata!».
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