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The season's first performance of "Andrea Chenier" was gratifying in many respects. The singers were all in good voice. Except for a rather sloppy first act, the orchestra was on a high level. And the scenery, new last year, is vividly suggestive of the period of the French revolution. The only element lacking was dramatic impact. The last portion of the Courtroom scene, in particular, did not come vividly to life.

Of the principals, Zinka Milanov, as Maddalena, could hardly have been in better voice. She sang "La mamma morta" with glorious tones, and her performance was characterized by a flamboyant intensity. Kurt Baum acquitted himself well in the title role. Though dramatically he seemed at loose ends, he sang "Colpito qui m'aveti" with warmth and passion. For Gerard, one could not ask for a more beautiful voice than Mr. Bastianini's. Though historionically he was not always convincing, it is safe to say that, in view of his well-grounded conception of the role, his Gerard will develop much sharper definition.

Happily, the secondary roles, which are so important in this opera, were excellently cast. Martha Lipton created a properly supercilious character, as the Countess. Rosalind Elias, though her voice was a little light for Bersi, gave an equally creditable performance. Sandra Warfield was a moving and pathetic Madelon; Salvatore Baccaloni, a wholly believable Mathieu; and Alessio De Paolis was as sinister a Spy as one might ask. Others in cast included George Cehanovsky, as Fl?ville; Norman Scott, as the Prosecutor; Osie Hawkins, as Dumas; Frank Valentino, as Roucher ; Lawrence Davidson, as Schmidt; and Louis Sgarro, as the Major Domo.

The performance was conducted by Fausto Cleva with due regard for the voices. Dino Yannopoulos' staging, though the second act seemed unnecessarily busy merely for the sake of creating a colorful stage picture, is of high caliber.

Search by season: 1955-56

Search by title: Andrea Ch?nier,

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