Giordano Berti

On KASSANDRA, composer Anthony Brandt and librettist Neena Beber explore two leading issues of our times — climate change and sexual harassment. Based on the Greek myth of Apollo trying to seduce Trojan princess Cassandra, Brandt and Beber tell the tragic yet familiar story of Kassandra, a scientist whose forecasts of climate change are discredited as a result of rejecting sexual advances from a venture capitalist. In the ancient myth, Apollo places a curse on Cassandra: she will see the future but no one will believe her. In today’s world, scientists face a similar curse, their warnings of our warming planet too often ignored. Brandt and Beber’s chamber opera challenges us to heed Kassandra’s predictions.

Set in Paris immediately before and during the French Revolution, Andrea Chenier is Giordano's passionate and most successful opera. Jose Carreras stars in the title role as the idealistic poet of the French Revolution, and Maddalena, the object of Chenier's adoration, is portrayed by Hungarian soprano Eva Marton.

Mirella Freni returns as a glamorous Russian princess involved with a dashing aristocratic spy (Plácido Domingo) in this production of Giordano’s Fedora from 1997 conducted by Roberto Abbado. The audience and critics were unanimous in their praise for her dramatic authority, power, warmth and brilliance of her voice and the partnership of Freni and Domingo was described as “operatic royalty.”

“This is something of a find – a production produced in Milan's television studios in 1973 that does more than justice to Giordano's verismo work about personal conflicts at the time of the French Revolution. It's directed, with considerable imagination, by the Czech Vaclav Kaslik, at the top of his profession in the 70s. In realistic period sets he unerringly creates the milieu of a degenerate aristocracy in Act 1 and of the raw mob-rule of the Revolution in the succeeding acts. The only drawback is the poor lip-synch. Conductor Bruno Bartoletti makes certain we're unaware of the score's weaker moments and releases all the romantic passion in Giordano's highly charged writing for his principals.

Out of all Italian verismo operas, Umberto Giordano's Andrea Chénier is one of the few of lasting popularity that is still performed regularly on major opera stages worldwide. This 1981 production features a stellar Plácido Domingo in the title role and a classic staging by Otto Schenk, making for one of the finest readings of the opera. Andrea Chénier was an overwhelming success when premiered at La Scala in 1896 and first performed in Vienna in 1926, returning to the stage whenever a truly great tenor was available to tackle the demanding title role. Gabriela Benacková and Piero Cappuccilli lead a strong supporting cast in this tragic love story set during the times of French Revolution.

In continuing the great tradition of Decca's magnificent Met Opera DVDs, Giordano's Andrea Chénier is captured here in excellent quality, showcasing Luciano Pavarotti, the premiere opera star of his day in one his most memorable performances, alongside Maria Guleghina and Juan Pons, with the Metropolitan Opera Orchestra and Chorus, conducted by James Levine. One of the great verismo operatic dramas, Andrea Chénier is notable for the title role's two great solo arias, 'Un di all'azzurro spazio' (also known as 'L'improvviso') and 'Come un bel di di maggio', as well as the overwhelming final duet, 'Vicino a te'. Truly a legendary and unique performance from the great tenor.

Chenier was the role with which Del Monaco changed singing by introducing a technique taught by Arturo Melocchi, based on singing with the larynx kept low, at the bottom of the neck. It gave Del Monaco a powerful, brassy, thick, muscular, penetrating sound.
In March 1949 Del Monaco sang Chenier at La Scala. His performances excited the public and marked a changing of the guard. Gigli sang his final Scala performances in 1947, as Chenier. His object and that of the tenors he influenced was, above all, to caress you. Del Monaco's was to excite you.