Opera Delaware has served up such a bloody good, full-throated rendition of Giordano and Illica’s Andrea Chénier, that the cheering audience could not have been more boisterous in its rapturous reception.
This is owing not only to music-making of a very high standard indeed, that effortlessly captured the heart, but also because of well-considered stagecraft that clarified the complex action and engaged the eye.
To paraphrase a quote that originated regarding Il trovatore, all you need to mount a successful production of Andrea Chénier is the three best singers in the world. And Opera Delaware really scored big here, with three star turns emanating from their enviable roster of Company Artists.
In the title role, tenor Dane Suarez was simply everything one could wish for. He is possessed of an uncommonly poised, gleaming spinto instrument that can ring out in the house with powerful impact one minute and then intone phrases with caressing nuance and offer melting utterance the next. Mr. Suarez’ acting is sincere and unforced, and his musical instincts are spot on. Surely he is destined to become a tenor of choice in this demanding role assignment.
Toni Marie Palmertree (lead photo) proved to be his perfect romantic pairing as the doomed Maddalena, her vibrant soprano soaring into the stratosphere with thrilling ease. Ms. Palmertree has a substantial, gorgeously rounded tone, and she proved to be a sensitive and varied interpreter. The treacherously challenging aria, “La mamma mort”a was delivered with an impressive dramatic arc and utmost emotional honesty. Stand by and watch Ms. Palmertree’s rising career continue to take her to the world’s major houses, and marvel that you “saw her in Wilmington.”
Not to be outdone, Gerard Moon was a force to be reckoned with as Gérard. His incisive, orotund baritone at times awesomely threatened to peel the paint off the Grand Opera House, and his initial nefarious outpourings could probably be heard in Philadelphia. As the character softened, so did the variety in Mr. Moon’s declamations and he proved more than capable of more introspective musings. His rock solid delivery of “Nemico della patria” was so stirring it nearly stopped the show cold.
But Chénier requires a panoply of excellent singers to people the many featured roles, and boy, did this company have them in spades. Lauren Cook offered an animated, lithe presence as the Contessa di Coigny, wedded to an engaging mezzo-soprano. Taylor-Alexis Dupont’s warm, supple mezzo, and assured acting made Bersi a memorable turn. The oily schemer L’Incredibile was flawlessly served up with unctuous relish by Max Zander, whose pure, crystal clear tenor cleverly belied his malintent.
Dylan Gregg’s sonorous bass-baritone greatly enlivened the character of Roucher, and his imposing stature and committed acting were a noteworthy contribution. Brian James Myer does not so much perform his role assignments as inhabit them, and his Mathieu was no exception. His assured, burnished baritone limned a characterization that was chillingly zealous. Mr. Meyer’s haunting, wordless intonation of Le Marseillaise was a bejeweled moment in an evening resplendent with them.
Old Madelon’s stage time is brief, but Darly Freedman made every note count and her plummy, imposing mezzo-soprano made a distinctive highlight out of her compact scena. The estimable baritone Marcus DeLoach brought his usual professional aplomb and rich toned vocalizing to the dual assignments of Fléville and Fouquier-Tinville. As the Abbé, Douglas Rowland deliver a pitiable figure with a tangy, characterful tenor. Dante Doganiero displayed a virile baritone as Schmidt, and rounding out the large cast of principals, Dominic Walker’s polished baritone served well the parts of Dumas and the Major-Domo. The excellent, engaged chorus was exceedingly well-tutored by George Hemcher.
Anthony Baresse conducted a beautifully idiomatic, elastic reading of Giordano’s sprawling score. Maestro Baresse elicited superbly atmospheric playing from his orchestra, who truly became another character in the evening’s storytelling. Whether providing wondrous, expansive ensemble playing, or luminous solo work, this was an orchestral achievement of a very high order. Add to the mix that Maestro provided a potent partnership with his singers, and you have the recipe for a very satisfying traversal of this sweeping piece.
Stage Director Octavio Cardenas masterfully clarified the myriad love interests, lust interests, and deadly political intrigues with complete command of his diverse resources. Mr. Cardenas filled the stage with meaningful movement, telling detail, and dramatic honesty. The set design by John Raley was spare yet very effective. I like the paneled look and the stained glass windows, especially the hanging back wall that was diagonally shaped to suggest a guillotine that hovered over the entire evening. With the simple (and fluid) changing out of well-chosen set pieces, including rustic risers, Mr. Raley provided a very functional acting space.
I also greatly enjoyed Tláloc López-Watermann’s lighting design, which was by turns severely dramatic and brooding, and colorful and diverting. The effects always enhanced the telling of the story, although the flashing, multi-colored Gavotte scenes seemed somewhat a departure too far; more Saturday Night Fever than courtly France. Brittany Rappise is credited with the Herculean task of providing a comprehensive make-up and hair design, as well as coordinating the copious period costumes, which she accomplished with eye-popping success.
Mounting a credible production of Andreas Chénier is a heavy lift, even for the largest of opera companies. That plucky Opera Delaware has so ably succeeded in creating this powerful, musically satisfying evening of lyric theatre should be celebrated as a matter of great local, nay regional pride. Bravi tutti!
James Sohre
Andrea Chénier: Music by Umberto Giordano; Libretto by Luigi Illica; Andrea Chénier: Dane Suarez; Carlo Gérard: Gerard Moon; Maddelena di Coigny: Toni Marie Palmertree; La Contessa di Coigny: Lauren Cook; Bersi: Taylor-Alexis Dupont; L’Incredibile: Max Zander; Roucher: Dylan Gregg; Mathieu: Brian James Myer; Madelon: Daryl Freedman; Fléville/Fouquier-Tinville: Marcus DeLoach; The Abbé: Douglas Rowland; Schmidt: Dante Doganiero; Dumas/Major-Domo: Dominic Walker; Conductor: Anthony Baresse; Director: Octavio Cardenas; Scenic Designer: John Raley; Lighng Designer: Tláloc López-Watermann; Hair and Makeup Designer/Costume Coordinator: Bri2any Rappise; Chorus Master: George Hemcher