The New York herald., 1921-03-08
GIORDANO'S "ANDRE CHENIER"
REVIVED AT THE METROPOLITAN
Impressive Performance, Re-
ceived With Favor, Has Con-
genial Roles for Singers.

ANDRE Chenier.- opera IN four acts.
book by Luigi nlica, music by Umberto
Giordano. was performed at the Met
ropolitan Opera House last evening. 1t
was to have been produced on Saturday
afternoon, February 26. but was post
poned because Mr.. Gigli was III 1t had
never been heard before In the Metro
politan. but mono the less cannot have
the honor Of record as a novelty.
1t was first heard here at the Acad-
envy of Music. November 13. 1896.
when Col. Mapleson presented il. After
that Ii remained I'm seciusion till
the Campaninis had a birthday celebra-
ton on March 81. 1908. at the Manhat-
tan Opera House under the consulship
Of the only Oscar Hammerstein. Cleo
fonte Campanini. who owned the birth
day. conducted. and his wife. Nine. Eva
Tetrazzini. carried the burden OF the
heroines agonies-
The composer has been represented
here by other operas, siberia" and
Fedora" the latter associated with the
Hogarthian curves of Miss Cavalieri.
Andre Chenier" is better work than
either and It's production yesterday
| might have caused some wonder at its
long neglect 1t Is not a great opera,
but this Is a barren period, day of
mustard seed and salt. and in midst OF
such little things ANDRE Chenier"
| seems to stand upright and carry a
proud crown of foliage.
The story Is simply. The hero, Che
nter, was distinguished French poet Of
the time of the Revolution. He wrote
like Greek, and left works which his
countrymen rightly regard as MASTER
pieces. His Avis aux Francois sur leurs
Veritables EnnemiS' antagonized the
Nationalists, who arrested and gull
lotined him. In the opera he is shown
as guest at the palace OF a noble lady
whose daughter invites him to recite
poetry and ridicules him, but is after
| ward overcome by his eloquence and asks
forgiveness. The two become enamored,
and when Chenier Is caught in the tolls
of the revolutionists the girl, substituting
herself for one OF the condemned pris-
oners. goes with him to receive the final
kiss of Madenoiselle Louisette
The libretto provides strong emo
tional situations, such as are essential
to the inspiration of the operatic COM
poser. and furnishes also sufficient
amount of pictorial movement to give
interest for the eye. The background
of the Revolution fills the stage with
sansculottes, beribboned and cockaded
citizens, glimpses OF Sleeves, Thuriot.
Fouque and even the "sea green. incor-
| ruptible" one himself We hear the IN
sane populace trolling the 'Carmag-
nole'' and a rumblins bass in the dis
tance chanting the 'Marseillaise." We
| see Republican guards and still more
| Republican spies.
A minuet graces the first scene and
| effective choruses others. But to come
| 10 Hecuba, the music allotted to the
cingers is generally excellent. The dia-
iogue is in arioso form, supple. sinuous,
wrought Of facile melodic fragments.
| The vocal climaxes embodying the emo
.ional situations nave the vigor of
melodramatic utterance and sometimes
are genuinely moving. Chenier's reci-
| tation in the first scene combines not
only individual musical quality but a
| quick disclosure OF the character of
4 the man.
| The duet for Madeleine and Che,sier
in the second act IS dramatic, but is ex-
celled by that in the last act. which is
| opera music of q respectable order.
That large majority of opera goers who
! find their chief pleasure In hearing the
voicee OF distinguished singers exercised
IN the delivery of theatrical melody will
obtain much satisfaction from the per-
formances OF ANDRE Chenier." Those
fewer music lovers who seek for an artis-
tic dramatic organism when they go to
hear an opera will not be wholly disap-
pointed, for Giordano has written not
only with understanding OF the posi-
bilities OF the theatre, but also with sin
cere feeling, some imagination and lyric
art.
Since the opera is not wholly a
stranger TO the local stage. further de-
tails about Its construction are unneces-
sary. The production at the Metropolis
ton should command the attention OF the
moment. 1t Is excellent. The best tradi-
tions of the direction OF Mr.. Gatt-
Casazza are sustained. There Is a gem
eral level Of merit which embraces the
contributions of principals, chorus, or
chestra and conductor. The performance
contains sharply drawn individual excel.
lences but in the end the impression is
one of an admirable and homogeneous
ems scmble.
Naturally the fiercest lights beat
about the heads of Miss Claudia Muzio
as Mudeleine and Beniamino Ggli as the
poet. Both are fortunate in their new
duties. Miss Muzio's art is one Of mar
row limitations and too often she Is COM