By Angela E. Pometto
Herald Staff Writer
(From the issue of 9/23/04)

It is a tale about death. "Andrea Chénier," an Italian opera by Umberto Giordano, now playing at the Kennedy Center, illustrates the many ways that death was present during the time of the French Revolution. There is a sacrificial element to the opera as well as the idea of suffering for a purpose that makes the play an enlightening experience.

The opera begins with a party at the Chateau Coigny, the family of the beautiful Maddalena (Paoletta Marrocu). Among the guests are the novelist Fléville (Michael Chioldi) and a poet Andrea Chénier (Carlo Ventre). Maddalena and her friends teasingly beg Chénier to write a poem for them, which he does. His poem shocks the wealthy guests present as he chastises them and the Church for ignoring the needs of the poor. The Countess (Keri Alkema), Maddalena’s mother, insists on bringing laughter back to the party and starts a dance. The evening is rudely interrupted when Carlo Gérard (Jorge Lagunes), a servant at the Coigny household, riots with fellow servants.

The revolution has come and the characters are swept into it. The Coigny family is separated and Maddalena is forced into hiding, protected by her former maid, Bersi (Elizabeth Bishop). Chénier is given a chance to escape France, but he hesistates because he has been receiving letters from a mysterious lover named "Speranza" or "Hope." Chénier stays and meets his mysterious letter-writer, Maddalena. They profess their love for each other, but are separated when Gérard and his spies attack. Chénier defends himself, but wounds Gérard, who has become the leader of the revolution.

After this, they are thrown into the throes of the revolution. Chénier is arrested on false accusations against the revolution and eventually sentenced to death. Maddalena then makes a deal with the jailer so she can take the place of a young woman who was also sentenced to death. She and Chénier are united, not through marriage, but through death.

The characters in this opera are real, complex and full of confusion. Maddalena begins by jesting Chénier before she turns to him in her hour of need. Gérard changes his mind many times about whether or not he will help Chénier and Maddalena.

In their lead roles, Ventre and Marrocu make their debut to the Washington National Opera stage with a stunning performance. Langunes leads the talented supporting cast, who overall make the difficult music seem as effortless as it is beautiful. The orchestra, led by Eugene Kohn, fills the elegant hall with worthy music.

Director Mariusz Trelinski brings all the elements together to create a wonderful experience for the audience.

Costumes, designed by Pawel Grabarczyk and Magdalena Teslawska, illustrate the theme of death that runs through the play. The aristocracy wears dresses and suits that look as if they are already decaying, and their wigs look more like cobwebs.

Set Designer Boris Kudlicka successfully meets the challenge various sets: an aristocratic home, a French night club and a court room. A large guillotine is the back drop for the night when Chénier and Maddalena meet. Maddalena meaningfully says, "This is where I meet him."

Choreographer Emil Wesolowski helped create an atmosphere appropriate to the time frame and Lighting Designer Felice Ross coordinates both dramatic stage lights and several flashlights that shine incriminatingly out into the audience.

"Andrea Chénier," sung in Italian with English subtitles, runs at the Washington National Opera through Oct. 2. For more information call 202/295-2420 or go to www.dc-opera.org.