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Triangle Studio designed the sets for Acts I and II, James Fox those for Acts III and IV.
Andrea Ch?nier received five performances this season.

Review 1:

Review in the Brooklyn Times

Last night's first production of the Metropolitan Opera Company's Brooklyn 1923-1924 cycle, at the Academy of Music, proved an auspicious occasion. Giordano's tuneful work, "Andrea Ch?nier," was on the bill. It brought Gigli, the best of the company's tenors to our boards. And he poured out his fine voice with lavishness. The applause that rewarded him came from all parts of the house - not only from the rear; and as the big theatre was filled to overflowing, Signor Gigli may mark the evening down in his diary as one of a series of ovations. Frances Peralta sang the Madeline. She proved eminently satisfactory in many scenes and, though not always true to pitch and a little flat now and then, she scored nicely. She has improved beyond the expectations of many and especially in the duets where Gigli's true notes carried her up steep vocal heights like a reliable guide, she acquitted herself splendidly. Giuseppe de Luca, always delightful, added his artistry to the success of the evening in the role of Gerard, and there were others in the cast who did exceedingly well - Reschiglian, Malatesta and Didur above the others. On the distaff side, the minor singers were less able to make the evening an unalloyed joy.

The story of the servant who loved the lady who loved the poet has already been told. It is somewhat hard to follow, but its dramatic ending, with swain and damsel going to the guillotine, made its inevitable appeal, especially as it followed upon well managed scenes of revolutionary turmoil The music may lack in modern power, but it certainly possesses all the beauty for which Italian opera of Giordano's time is famed; and occasionally there sounded a strain which, we believe, a latter-day master has seen fit to make his own. Moranzoni conducted.

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