France, 1792. Chenier is an idealistic poet, in love with the aristocratic Maddalena. While Chenier supports such notions as "liberte, fraternite egalite," his sympathies do not extend to the current Reign of Terror. Likewise, the Revolutionary Tribunal has no need for poets or their girlfriends, especially those judged to be an Enemy of the State. Heads will roll.

Although Domingo was younger and Banackova looked more like the sweet and innocent young Madalena than the one played by Tomowa-Sintow in the ROH production, this production was not as good. It was not as tight and neat. The tempo set was far too slow for the time-period of the story. The stage setting was distracting. The lighting was too dark. Except Domingo, a natural actor who was always into his role and sings and acts with passion, none of the other performers came up with a convincing portrayal of the role he/she played.

LITTLE CHENIER: A CAJUN STORY is the story of a young man who lives a simple life on a houseboat in the Louisiana bayou with his mentally handicapped brother until one is accused of a crime in the small town.

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Andrea Chenier is a poet during the French Revolution. He and Maddalena are in love. Gerard, former servant in Maddalena's house, denounces them to the Tribunal, but recants it too late. The lovers go to the guillotine together.

Live from ROH 1985. Giordano's Andrea Chenier is one of the greatest of verismo operas, full of heart-stopping big tunes and powerful emotional situations. If it is not as well-known as it should be, it is because in summary it sounds a little too like Puccini's Tosca: there is a tussle between political opponents over a woman, an attempt to save a condemned man, a tenor aria about writing poetry on the eve of execution. The difference is that Gerard (Giorgio Zancanaro) is not a villain like Scarpia, he is an idealist whom the French Revolution has betrayed as much as it has his rival the poet Chenier (Placido Domingo). His temptation to abuse his power to seduce the virtuous Maddalena (Anna Tomowa-Sintow) is a momentary one, though its consequences are terrible. There is a streak of post-Wagnerian decadence in much of this--Maddalena is at least as much in love with death as she is with Chenier, and the final love duet has a deeply sinister aspect. -- From Amazon.co.uk

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A rousing portrait of feminist writer Andrea Dworkin, one of the most controversial and misunderstood figures of the 20th century, who fought passionately for justice and equality for women.

The revolutionary tribunal has sentenced Andrea Chénier to death and no one can avert his fate. Shortly before his execution, Chénier is visited by his lover Maddalena, who has decided to die at the poet's side. “Our death is the triumph of love”, the lovers promise each other in their last words. The French Revolution, which was initially demanded by the people, turns out to be a machine of terror after 1789: spies of the regime pursue the citizens, show trials serve as a deterrent and the guillotine ensures that the sentences are carried out. Although the wanted Chénier could flee Paris, he decides against it. He wants to know who is behind the letters that are secretly delivered to him. Here, in the shadow of the reign of terror, love triumphs: Chénier and Maddalena find each other, swear eternal love and are faithful to each other until their last breath together.

Live from La Scala Saturday 06 July 1985