Search - Giordano - Andrea Chenier on DVD

Giordano - Andrea Chenier
Giordano - Andrea Chenier
Actors: Renata Tebaldi, Mario Del Monaco, Aldo Protti, Franco Capuana, Anna Di Stasio
Director: Bruno Nofri
Genres: Indie & Art House, Music Video & Concerts, Musicals & Performing Arts
NR     2007     1hr 58min

No Description Available. Genre: Performing Arts - Concerts Rating: NR Release Date: 24-APR-2007 Media Type: DVD


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Movie Details

Actors: Renata Tebaldi, Mario Del Monaco, Aldo Protti, Franco Capuana, Anna Di Stasio
Director: Bruno Nofri
Genres: Indie & Art House, Music Video & Concerts, Musicals & Performing Arts
Sub-Genres: Indie & Art House, Music Video & Concerts, Classical
Studio: Video Artists Int'l
Format: DVD - Black and White - Subtitled
DVD Release Date: 04/24/2007
Original Release Date: 01/01/1961
Theatrical Release Date: 00/00/1961
Release Year: 2007
Run Time: 1hr 58min
Screens: Black and White
Number of Discs: 1
SwapaDVD Credits: 1
Total Copies: 0
Members Wishing: 0
Edition: Classical
MPAA Rating: NR (Not Rated)

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Movie Reviews

Classic, exciting performance with two legendary stars
Ivy Lin | NY NY | 05/19/2007
(5 out of 5 stars)

"Let's face it, Giordano's Andrea Chenier needs big voices. By big I mean voices that fill the house and sail over the often bombastic orchestration. The opera is filled with catchy melodies and showstopping arias and duets for the tenor, baritone, and soprano. And this 1961 performance from Tokyo, is as great of a video document as one is likely to ever get. Mario del Monaco was a legendary Chenier. His stentorian trumpet-like voice made him the dominant Otello, Canio, Radames, and Chenier for more than a decade, before the voice-killing roles wore him out. 1961 was the tail-end of del Monaco's peak, and while it no longer has perhaps the ring and power of his prime, it's still an impressive voice. Though short, del Monaco was handsome and his acting is adequate for this stand-and-sing role. Both his arias ("Improviso" and "Come un bel di maggio") receive huge ovations.
The beloved soprano Renata Tebaldi also had a huge voice, along with a warm stage personality that negated any weaknesses she might have had as an actress (she had polio as a child and had some difficulties walking in adulthood). Unfortunately she had an unruly top (high C was never a good note) and occasional but painful lapses in pitch. 1961 was also maybe the tail-end of Tebaldi's real peak. After the mid-1960s her voice hardened and became more metallic. In 1961 it was still unbelievably lush and beauitful. She is in top form in this performance. "La mamma morta" also brings down the house and it's one of the charms of Tebaldi's stage presence that she acknowledges the ovation with a small Japanese style bow, and it doesn't seem self-indulgent in the least.
Aldo Protti was perhaps the Leo Nucci of the day -- a dependable if unimpressive Italian baritone who never achieved the fame of Tito Gobbi or Giuseppe Taddei or even Renato Capechi. But it's not a bad voice, and he is serviceable if not an exactly exciting Gerard.
The sets and costumes are somewhat old-fashioned, with vaguely period style furniture, and lots of powdered wigs. But in the end, none of that matters. This is the kind of performance that will make you think, "Yes, opera's no longer what it was." Listen to the final thrilling chords of "Vicino a te" and enjoy opera in its golden age with two legendary stars at their best."
From an era that unfortunately does not exist anymore
Marc Musnick | 08/13/2008
(5 out of 5 stars)

"For better or for worse, opera singers like this trio no longer exist. This is a period performance from 1961 when it was still acceptable for a singer to "break" character and acknowledge an ovation after an aria or duet. But more importantly, this is a pedal on the metal performance that is an example of thee definitive style for this type of opera.

Only Franco Corelli achieved the same performance heat that del Monaco had and this aria filled role shows del Monaco at his best both vocally, and even when there's a bit too much narcisim, his masculine presence and richly ringing voice compensate. Tebaldi's voice was perfect for her role and although she looks a little uncomfortable here and there and the voice doesn't always obey when going for a high note, the warmth of her voice, her exquisite phrasing and stage persona comes through. It is interesting that twice (once with del Monaco after the big second act duet) during the performance, she appears seriously reticent about breaking character to acknowledge the ovations. Even after her big third act aria, it takes her forever to modestly accept the applause. Protti is a pleasure to see working with his big dark baritone voice and handsome presence, he's in much form that any of his studio performances.

This is in black and white and in more than acceptable video and audio and part of a series published by VAI of Italian singers who appeared in staged opera performances in the early 1960s in Japan.
Chilean Opera lover | Santiago, Chile | 08/04/2007
(5 out of 5 stars)

"Tebaldi and Del Monaco together in a live performance, and at their best... what else can we ask ? Spectacular singing. In spite of supposedly lack of acting, Tebaldi acts and sings wonderful in this performance the same as Del Monaco."