José Carreras (tenor)-Andrea Chenier; Eva Marton (soprano)-Maddalena; Silvana Mazzieri (mezzo-soprano)-Bersi; Piero Cappuccilli (baritone)-Carlo Gérard; Chorus and Orchestra of Teatro alla Scala, Milan; producer Brian Large; Home Vision 8339233.

This is a handsome version, taped live at La Scala in 1985, of what is often called "the best of the B operas". The sets and costumes are pleasing to the eye and in keeping with the period. (I particularly like the fact that the latter are all in reds, whites and blues), and the producer, Lamberto Pugelli, who is responsible for the staging, keeps the action flowing nicely and gives a good impression of mobrule during a revolution, as well as of the incredibly hoity-toity-ness of the drawing-room lives of the rich in the period just before that revolution. In addition, television director Brian Large has worked his magic again. We always catch important characters doing their most important things. All of this, in hand with the excellent subtitles helps make this performance a success.

The singing is interesting as well. Tenor, José Carreras, while hardly having an easy time with this extremely heavy part, sings as impassioned a poet as one could ask for-his involvement in the text and the action very special indeed. Dramatic soprano Eva Marton has almost too much voice for Maddalena, particularly in the more girlish moments of the first act; but her singing of the great Act Three "La mamma morta" is monumental, and she partners Carreras well in their duets.

Piero Cappuccilli, who has been singing in the role of Carlo Gérard for at least 20 years has still not found too many insights into the character of this servant-turned-revolutionary, but his strong, burly voice serves him well and he is very effective in his big moments.

Riccardo Chailly leads the La Scala forces with a real understanding for the work, and he manages to keep the orchestra and chorus together during some of the trickier second and third act ensembles. I wish he had given Carreras a bit more room during the tenor's "Improvviso", however; there's less of a sense of space here than I prefer in this wonderful aria.

In all, nevertheless, this is a good bet. Both Carreras and Marton are major singers, Chailly actually makes the music sound important, and there are plenty of thrilling moments to be found on this videocassette. The sound, particularly in stereo, is grand.

Copyright © 1987 Ovation Magazine